Nannyonga Sylvia Antonia Tamusuza

@article{Nannyonga‐Tamusuza2025,

title = {Sing safety: Understanding South Sudanese protection strategies through song},

author = {Sylvia A. N. Nannyonga‐Tamusuza and Naomi Pendle},

doi = {10.1111/1758-5899.13498},

issn = {1758-5899},

year  = {2025},

date = {2025-02-00},

journal = {Global Policy},

volume = {16},

number = {1},

pages = {150--160},

publisher = {Wiley},

abstract = {Abstract

                  We advocate for ethnomusicology—the critical study of the dialogical relationship between music and the contexts that define it—as one of the research approaches that humanitarians and peacekeepers should use to better understand civilians' self‐protection strategies during conflict. Humanitarian protection strategies have not kept all civilians safe, so there is growing scholarly and policy attention to self‐protection strategies. It is important that humanitarians do not simply instrumentalise self‐protection strategies but understand the politics and logics behind them. This article argues that paying attention to music can help humanitarians understand self‐protection strategies, especially as music can create space for discussion even about emotive or political topics that cannot be verbalised in other ways. Musicians also often have an authority that can help shape behaviour, and songs are often used to share strategies to stay safe. Music can also create important memories and social meanings around protection strategies. This article is based on research in Warrap State, South Sudan—a region that has long histories of colonial and post‐colonial armed conflict, military mobilizations and aid actor interventions as well as established musical norms and evolving self‐protection strategies.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{antonia2025contemporary,

title = {Contemporary responses in Africa to the aftermath of death: developments and decolonising challenges},

author = {Sylvia Antonia Nannyonga-Tamusuza and Ruth Evans and Dennis Klass and Henry Okidi Okoth and Naomi Pendle and Jane Ribbens McCarthy and Jedeit Jal Riek},

year  = {2025},

date = {2025-01-01},

journal = {Mortality},

volume = {30},

number = {2},

pages = {355–376},

publisher = {Taylor & Francis},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{nannyongatamusuza2017ring,

title = {Ring-tunes and Caller-tunes: New Media’s Sustenance of Song Performance Tradition as Women’s Strategy for Domestic Conflict Management among the Baganda of Uganda},

author = {Sylvia Antonia Nannyonga-Tamusuza},

year  = {2017},

date = {2017-01-01},

journal = {African Performance Review},

volume = {9},

number = {2},

pages = {75–96},

note = {A Journal of the African Theatre Association (AfTA)},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{Nannyonga-Tamusuza2015,

title = {A Response to Peter Cooke’s Response},

author = {Sylvia Nannyonga-Tamusuza and Andrew N. Weintraub},

doi = {10.5406/ethnomusicology.59.3.0480},

issn = {2156-7417},

year  = {2015},

date = {2015-09-01},

volume = {59},

number = {3},

pages = {480--482},

publisher = {University of Illinois Press},

abstract = {Abstract

                  In the spirit of scholarly dialogue about issues of common concern, we would like to respond to Peter Cooke’s critique of our article “The Audible Future: Reimagining the Role of Sound Archives and Sound Repatriation in Uganda” (Ethnomusicology 56:2). His comments appear to be based on misunderstandings of our statements and on personal interpretations with which we take issue. We did not state in the article that Wachsmann mistreated or infringed on the rights of the people of Uganda. We highly respect and continue to honor the contributions of Klaus Wachsmann as a scholar, collector, and curator of Ugandan music. Indeed, it is because of the great respect for Wachsmann, and the hard work he did to preserve the great wealth of Uganda’s musical culture, that the Makerere University Klaus Wachsmann Music Archive (MAKWMA) was named after him. Our goal was for readers to reflect on the theoretical premises, ethnographic practices, and ethical standards that informed Wachsmann’s field recordings. How can Wachsmann’s “motivations, preferences, and limitations” help us to understand those premises, practices, and standards (p. 208)? Wachsmann’s work in Uganda raises issues about a particular time and place in the history of ethnomusicology, and it is in the spirit of historical and cultural critique that we wrote the article.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{Nannyonga-Tamusuza2015b,

title = {Music as Dance and Dance as Music: Interdependence and Dialogue in Baganda \textit{Baakisimba} Performance},

author = {Sylvia Nannyonga-Tamusuza},

doi = {10.5921/yeartradmusi.47.2015.0082},

issn = {2304-3857},

year  = {2015},

date = {2015-00-00},

journal = {yearb. tradit. music},

volume = {47},

pages = {82--96},

publisher = {Cambridge University Press (CUP)},

abstract = {The integration of music and dance among African people is a well-articulated phenomenon both within and outside of ethnomusicology (e.g., Blacking 1973; Hanna 1973; Nketia 1974; Stone 1998; Mans 2002; Gilman 2009; Mason 2012:5). As Ruth Stone reports, “African performance is a highly wrapped bundle of arts that are sometimes difficult to separate, even for analysis. Singing, playing instruments, dancing, masquerading and dramatizing are part of a conceptual package that many Africans think of as one and the same” (1998:7). Despite the ubiquity of this conceptual packaging, African performance arts are realized in very particularized ways and contexts throughout the continent. In his study of the vimbuza healing ritual among the Tumbuka of Malawi, for example, Steven Friedson concludes that music and dance in vimbuza are not independent, but “multilayered and complexly interrelated” (1996: 131). In fact, “without drumming there would be no dancing, and without the dancing, the vimbuza [ancestral spirits] would be unable to ‘play with their children‘” (ibid.: 129). Friedson's observation goes beyond the basic acknowledgement that people who create and view dance experience it as sound too; as a practitioner, he found the very act of drumming to be “dancelike” (ibid.: 131–32). Similarly, in the specific cases of Ugandan kizino, kimandwa, maggunju, and gaze. Alfdaniels Mabingo argues that “to embody these dances is to personify the music that accompanies them. Music represents, frames and influences the corporeal bases, capabilities, performance and choreographic sensibilities of the dances” (2015: 13; see also Makubuya 1995). In both of these cases, music not only helps to define the choreographic movements, but also determines the speed and vigour of the dancers.},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{nannyongatamusuza2012audible,

title = {The Audible Future: Reimagining the Role of Sound Archives and Sound Repatriation in Uganda},

author = {Sylvia Nannyonga-Tamusuza and Andrew N. Weintraub},

year  = {2012},

date = {2012-01-01},

journal = {Ethnomusicology},

volume = {56},

number = {2},

pages = {206–233},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{nannyonga2009female,

title = {Female-men, male-women, and others: constructing and negotiating gender among the Baganda of Uganda},

author = {Sylvia Nannyonga-Tamusuza},

year  = {2009},

date = {2009-01-01},

journal = {Journal of Eastern African Studies},

volume = {3},

number = {2},

pages = {367–380},

publisher = {Taylor & Francis},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{nannyongatamusuza2009female,

title = {Female-Men, Male-Women and Others: Constructing and Negotiating Gender among the Baganda of Uganda},

author = {Sylvia Nannyonga-Tamusuza},

year  = {2009},

date = {2009-01-01},

journal = {Journal of Eastern African Studies},

volume = {3},

number = {2},

pages = {367–380},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{nannyongatamusuza2007gendering,

title = {Gendering `Musicking': Commodification of Women in the Music Business in Uganda},

author = {Sylvia Nannyonga-Tamusuza},

year  = {2007},

date = {2007-01-01},

journal = {Noterat},

volume = {15},

pages = {75–101},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{nannyongatamusuza2006constructing,

title = {Constructing the Popular: Challenges of Archiving Ugandan ``Popular'' Music},

author = {Sylvia Nannyonga-Tamusuza},

year  = {2006},

date = {2006-01-01},

journal = {The South African Journal of Musicology},

volume = {18},

number = {2},

pages = {33–52},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{Nannyonga‐Tamusuza2006,

title = {Constructing the popular: Challenges of archiving Ugandan ‘popular’ music},

author = {Sylvia Nannyonga‐Tamusuza},

doi = {10.1080/1013929x.2006.9678246},

issn = {2159-9130},

year  = {2006},

date = {2006-01-00},

journal = {Current Writing: Text and Reception in Southern Africa},

volume = {18},

number = {2},

pages = {33--52},

publisher = {Informa UK Limited},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{nannyongatamusuza2003competitions,

title = {Competitions in School Festivals: A Process of: Re-Inventing Baakisimba Music and Dance of the Baganda (Uganda)},

author = {Sylvia Nannyonga-Tamusuza},

year  = {2003},

date = {2003-01-01},

journal = {The World of Music},

volume = {45},

number = {1},

pages = {97–118},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{nannyongatamusuza2001baakisimba,

title = {Baakisimba: Constructing Gender of the Baganda through Music and Dance},

author = {Sylvia Nannyonga-Tamusuza},

year  = {2001},

date = {2001-01-01},

journal = {Women and Music: A Journal of Gender and Culture},

volume = {5},

pages = {31–39},

keywords = {},

pubstate = {published},

tppubtype = {article}

}

@article{nannyongatamusuza1999baakisimba,

title = {Baakisimba Dance: Articulation and Negotiation of Power and Gender Relations among the Baganda People of Uganda},

author = {Sylvia Nannyonga-Tamusuza},

year  = {1999},

date = {1999-01-01},

journal = {MACSEM Newsletter},

volume = {XVIII},

number = {1},

pages = {5–8},

note = {Mid Atlantic Chapter of the Society for Ethnomusicology (MACSEM) Prize Winner},

keywords = {},

pubstate = {published},

tppubtype = {article}

}