Kyagambiddwa, the unsung hero who took Uganda to the Vatican
Oct 20, 2015
According to Archbishop Cyprian Kizito Lwanga, Pope Francis’ visit is a pilgrimage to the land of the martyrs, who were canonized by Pope Paul VI, in Rome, on October 18, 1964.
According to Archbishop Cyprian Kizito Lwanga, Pope Francis’ visit is a pilgrimage to the land of the martyrs, who were canonized by Pope Paul VI, in Rome, on October 18, 1964. Mathias Mazinga talked to Uganda’s folk musician who manned the choir that sang during the canonisation of the Uganda Martyrs at St. Peter’s Basilica.
The Uganda Martyrs have attracted three Popes into the country. Uganda will thus become the first African country to host three different popes.
Uganda also became the first country in the world to sing in local languages, using indigenous instruments at the Vatican in 1964. The Martyrs were canonized on October 18, 1964, during the Vatican II synod, which allowed indigenous music, singing and instruments during Catholic worship. And, during the canonization mass, a Ugandan choir sang, for the first time, non-Latin songs, in the Basilica of St. Francis. This choir was led by Joseph Kyagambiddwa.
Pope Paul VI, Cardinals and pilgrims from all over the world looked on in amazement as the Ganda drums, shakers and xylophones rocked the Basilica. Fr. Dr. James Kabuye, who sang in the same choir, said the honour they felt was of no ordinary kind.
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“We sang our native Ugandan songs in the Basilica, before over 2,000 prelates. This was the first time, in the history of the Catholic Church, for an African choir to sing African music and also play African traditional musical instruments at St. Peter’s Basilica. The Vatican had just sanctioned indigenous liturgical worship, after Vatican Council II. Our hero was Joseph Kyagambiddwa,” he said.
The choir that wowed the Vatican did not all come from Uganda. The church did not have enough money to send and maintain all the members from Uganda. As an improvision, it was decided that a few people go and get beefed up by other Ugandans who were already in Italy and close European countries, who could sing. In the end, the choir was comprised of mainly Ugandan students, who were on their studies in various European and American Universities and others who were working there. The chief mobiliser, trainer and conductor, was the late Joseph Kyagambiddwa, who had also been sent by the late Archbishop Dr. Joseph Nakabaale Kiwanuka, to the US, to study music.
Kyagambiddwa was a born-virtuoso music writer, teacher and choral conductor who, further to writing songs in the Ganda traditional style, also transcribed them on the classical music staff notation.
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Kyagambiddwa conducting a choir at Namugongo in the 1960s
He will always be remembered by his immortal classical musical work, the Uganda Martyrs’ Oratorio, an operatic collection of 22 songs about the Uganda Martyrs. He composed the songs in the typical Ganda musical genre, spiced them with infectious sounds of authentic Ganda musical instruments like Ngoma (big drum), Ngalabi (long drum), Ndingidi (tube-fiddle), Endere (flute) and Ensaasi (shakers).
The Martyrs’ Oratorio musical pieces, some of which were sung in the Vatican, include among others Karoli Lwanga Wuuno omulwanyi owamaanyi (Charles Lwanga the invincible religious warrior), Kizito Omuto ye wange, (Kizito my younger brother) Abagalagala b’embuuza and Mulinnya lya Patri (In the name of the Father).
Kyagambiddwa’s songs are characterised by magical acoustic effects, energetic vibes and yodels. They are also lavish in poetry and rhyme. They portray his great skill to bring out the moods and circumstances of his respective subject matter. Songs like Wa gyendisanga eyantonda (where shall I find my creator), are chiefly African in authenticity but also lavish romantic/jubilant characteristics, owing to their joyous/celebratory subject matter.
Kyagambiddwa's choir that sang in Rome
But although the Martyrs Oratorio is his most celebrated work, Kyagambiddwa composed many other hymns of unrivalled beauty. Such songs, which have continued to prevail over the urban contemporary gospel musical waves include Ye mmanyi mmanyi nze (based on the Apostolic Creed), Ali waggulu eyantonda nnyini buyinza, Mbuuza abataka b’e Buyudaaya and Lwali Lukulu, a musical dedication to the White Fathers, the great missionaries of sweet memories, who pioneered Catholic evangelism in Uganda.
Despite its beauty, Kyagambiddwa’s music was fiercely resisted by some conservative/fanatic Catholics, who then regarded traditional African music/musical instruments as satanic, unworthy for Church use. But today indigenous music is highly cherished, encouraged and dominantly used in local liturgy.
Today as we celebrate the Uganda Martyrs, we acknowledge with even greater appreciation the tremendous contribution of Kyagambiddwa, to the development of Catholic liturgy in Uganda and Africa.
However, it hurts to realize that this great son of the Church died a poor man. He also did not get the due attention and care he deserved to receive from the people of his time, during his last days on earth. His grave at Buloddo, in Masaka, was until last year not cemented and could actually not be easily recognised.
But it is good that some concerned Catholics have now taken up the duty to build/cement Kyagambiddwa’s grave, so that people/tourists who choose to visit his ancestral home can recognize it.
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Kyagambiddwa’s brief fact file:
Joseph Kyagambiddwa was born at Kaloddo, Masaka in 1914. He studied at Bukulula Primary School, St. Henry’s College Kitovu and Katigondo National Major Seminary.
Much as Kyagambiddwa had left the Seminary, Archbishop Dr. Joseph Kiwanuka, who had identified his unique musical talent, sent him to Makerere University to study music. He later got for him a scholarship to further his musical studies at the Catholic University of America.
Ot his return, Kyagambiddwa taught music at the then Kyambogo National Teachers College, Nkozi TTC and Busuubizi TTC. Further to teaching music, Kyagambiddwa also wrote music educational books like Music from the Source of the Nile.
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