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Product Identifiers

PublisherUniversity of Rochester Medical Press

ISBN-101648250327

ISBN-139781648250323

eBay Product ID (ePID)19059036624

Product Key Features

Number of Pages302 Pages

LanguageEnglish

Publication NamePerforming Arts and Gender in Postcolonial Western Uganda

SubjectEthnomusicology, Gender Studies

Publication Year2023

TypeTextbook

Subject AreaMusic, Social Science

AuthorLinda Cimardi

SeriesEastman/Rochester Studies Ethnomusicology Ser.

FormatHardcover

Dimensions

Item Height0.9 in

Item Weight19 Oz

Item Length9.3 in

Item Width6.3 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2023-008414

Dewey Edition23

IllustratedYes

Dewey Decimal780.89

Table Of ContentList of IllustrationsForeword by Samuel Kahunde AcknowledgmentsNote on LanguageNote on the Musical ExamplesNote on Online Audio and Video MaterialPrelude: Encountering Local Culture in Western UgandaIntroduction: Approaching Gender and Performing Arts in Bunyoro and Tooro1 "Traditional Dance Preserves Culture and Shows People How to Behave": Runyege , MDD, and Gender2 Singing Marriage, Runyege , and Labor3 "Women Aren't Supposed to": Instrument Playing in the Past and Today 4 Shaking the Hips, Stamping the Feet: The Runyege Dance 5 Narrating and Representing Local Culture: Theater in Songs and Dances 6 Trans-Performing and Morality in Cultural Groups Postlude: Gendering CultureAppendix I. Glossary of Terms in Runyoro-RutooroAppendix II. Historical Recordings from Bunyoro and TooroAuthor's InterviewsReferencesIndex

SynopsisFocusing on runyege , the main traditional performance genre of the Banyoro and Batooro people, this book explores the entanglement of traditional music, dance, and theater with gender and postcolonialism in Western Uganda., Focusing on runyege, the main traditional performance genre of the Banyoro and Batooro people, this book explores the entanglement of traditional music, dance, and theater with gender and postcolonialism in Western Uganda. Drawing on archival research and extensive fieldwork in the regions of Bunyoro and Tooro, Linda Cimardi examines the connection between traditional performing arts and gender in western Uganda. The book focuses on runyege, the main genre of the Banyoro and Batooro people, exploring its different components of singing, instrument playing, dancing, and acting and identifying their complex relationships to gender models and expressions. Today mainly performed at Ugandan school festivals and by semiprofessional ensembles, repertoires like runyege adhere to stage conventions that have developed over several decades. Some of these conventions are powerful devices allowing the actors involved (performers, teachers, students, adjudicators, and audiences) to collectively shape an image of local culture grounded in a gender binary that is perceived as traditional. At the same time, stage conventions are exploited by some performers to negotiate their gender identities and expressions in unconventional ways, thus challenging hegemonic gender models. Moving between analysis of historical recordings, oral accounts, and present-day fieldwork data and experiences, the book engages in a comprehensive analysis of the postcolonial entanglement of arts and gender. Audio and video recordings presented in the book can be accessed on the book's companion website, http: //hdl.handle.net/1802/37373., Focusing on runyege , the main traditional performance genre of the Banyoro and Batooro people, this book explores the entanglement of traditional music, dance, and theater with gender and postcolonialism in Western Uganda. Drawing on archival research and extensive fieldwork in the regions of Bunyoro and Tooro, Linda Cimardi examines the connection between traditional performing arts and gender in western Uganda. The book focuses on runyege, the main genre of the Banyoro and Batooro people, exploring its different components of singing, instrument playing, dancing, and acting and identifying their complex relationships to gender models and expressions. Today mainly performed at Ugandan school festivals and by semiprofessional ensembles, repertoires like runyege adhere to stage conventions that have developed over several decades. Some of these conventions are powerful devices allowing the actors involved (performers, teachers, students, adjudicators, and audiences) to collectively shape an image of local culture grounded in a gender binary that is perceived as traditional. At the same time, stage conventions are exploited by some performers to negotiate their gender identities and expressions in unconventional ways, thus challenging hegemonic gender models. Moving between analysis of historical recordings, oral accounts, and present-day fieldwork data and experiences, the book engages in a comprehensive analysis of the postcolonial entanglement of arts and gender.Audio and video recordings presented in the book can be accessed on the book's companion website, http://hdl.handle.net/1802/37373.

LC Classification NumberML3797.2.U4C56 2023