Jump to content

Orunyege-Ntogoro

Add links
From Wikipedia, the free encyclopedia
ntogoro dance of bunyoro / tooro
runyege dance of bunyoro / tooro
Dancers from Bunyoro
Drums used during Orunyege-Ntogoro dance
Kinyege worn by men around there lower leg when performing Orunyege-Ntogoro dance

Orunyege-Ntogoro is a traditional dance from the Bunyoro and Tooro kingdoms in western Uganda. It is a courtship dance that involves the use of rattles (ebinyege) and rings (entogoro) to produce rhythmic sounds and movements. The dance is performed by young men and women who seek to attract and impress potential partners for marriage.[1][2][3][4][5][6]

Orunyege-ntogoro dance

History

[edit]

Orunyege-Ntogoro is a combination of two dances: Orunyege and Ntogoro. Orunyege comes from Hoima and Fort Portal districts, while Ntogoro comes from Masindi district. The two dances have similar origins and characteristics but differ in some respects. Orunyege is more energetic and acrobatic, while Ntogoro is more graceful and elegant.[7]

The dance dates back to the pre-colonial era when the Bunyoro and Tooro kingdoms were powerful and influential in the region. The dance was a way of celebrating the culture and identity of the people, as well as expressing their love and affection. The dance was also a means of socialization and entertainment, as the young people would gather in the evenings and dance under the moonlight.[8][9]

Performance

[edit]

Orunyege-Ntogoro is performed by two groups of dancers: the male dancers (abakwongezi) and the female dancers (abakwetegerezi). The male dancers wear shorts and shirts, and tie rattles (ebinyege) made of dried gourds or calabashes on their legs. The female dancers wear long skirts and blouses, and tie rings (entogoro) made of beads or cowrie shells on their waists. The rings are used to accentuate the movements of the hips, while the rattles are used to create sounds that match the drumbeats.[10]

The dance is accompanied by drums, flutes, and xylophones. The drummers play different patterns and rhythms, depending on the mood and tempo of the dance. The flutists and xylophonists play melodies and harmonies that add to the musicality and beauty of the dance. The dance is led by a master of ceremonies (omukama), who sings and chants praises and jokes to the dancers and the audience.[11]

The dance consists of several steps and formations, such as circles, lines, and pairs. The dancers move in sync with each other, following the cues of the master of ceremonies and the drummers. The dancers also improvise and showcase their individual skills and styles, such as spinning, jumping, and shaking. The dance is a display of agility, coordination, and creativity.[12][13]

Significance

[edit]

Orunyege-Ntogoro is a dance that reflects the culture and values of the Bunyoro and Tooro people. It is a dance that celebrates life, love, and joy. It is a dance that fosters social cohesion and harmony among the people. It is a dance that preserves and promotes the heritage and identity of the people.[14] Orunyege-Ntogoro is also a dance that has a practical and educational purpose. It is a dance that teaches the young people about the norms and expectations of their society, especially regarding courtship and marriage. It is a dance that allows the young people to interact and communicate with each other, and to express their feelings and emotions. It is a dance that helps the young people to find and choose their suitable partners for marriage.[15][16][17][18]

References

[edit]
  1. ^ Kobusinge, Brenda (2022-10-21). The role of Orunyege music in promoting Bunyoro's traditions and culture (Thesis thesis). Makerere University.
  2. ^ Cimardi, Linda (2023). Performing Arts and Gender in Postcolonial Western Uganda. Boydell & Brewer. ISBN 978-1-64825-032-3.
  3. ^ Tumwine, Jesse (January 2017). The social and economic history of Toro kingdom 1830-1962 (Thesis thesis). Kyambogo University (un published work).
  4. ^ Mabingo, Alfdaniels (2019-09-02). "'African dances are valid knowledge': Dance teachers' de/construction of meanings from cultural heritage dances in Uganda". Research in Dance Education. 20 (3): 311–330. doi:10.1080/14647893.2019.1631271. ISSN 1464-7893. S2CID 202245646.
  5. ^ Martí, Josep; Revilla, Sara (2018-01-23). Making Music, Making Society. Cambridge Scholars Publishing. ISBN 978-1-5275-0741-8.
  6. ^ Mabingo, Alfdaniels (2017), Barton, Georgina; Baguley, Margaret (eds.), "Pedagogies of Adaptation: Teachers' Reflections on Teaching Traditional Ugandan Dances in Urban Schools in Kampala, Uganda", The Palgrave Handbook of Global Arts Education, London: Palgrave Macmillan UK, pp. 285–304, doi:10.1057/978-1-137-55585-4_18, ISBN 978-1-137-55585-4, retrieved 2024-01-09
  7. ^ Kobusinge, Brenda (2022-10-21). The role of Orunyege music in promoting Bunyoro's traditions and culture (Thesis thesis). Makerere University.
  8. ^ "Runyege, Tooro's energetic dance". Monitor. 2021-01-04. Retrieved 2024-01-09.
  9. ^ Mabingo, Alfdaniels (2019-09-02). "'African dances are valid knowledge': Dance teachers' de/construction of meanings from cultural heritage dances in Uganda". Research in Dance Education. 20 (3): 311–330. doi:10.1080/14647893.2019.1631271. ISSN 1464-7893. S2CID 202245646.
  10. ^ Kibirige, Ronald (2016). "Notation of an African Indigenous Dance: An Inquiry on the Application of Labanotation Theory to Understand Myel Bwola from the Acholi Sub-Region of Northern Uganda". International Council for Kinetography Laban. 27. ISSN 1013-4468.
  11. ^ Cimardi, Linda (2023). Performing Arts and Gender in Postcolonial Western Uganda. Boydell & Brewer. ISBN 978-1-64825-032-3.
  12. ^ Kobusinge, Brenda (2022-10-21). The role of Orunyege music in promoting Bunyoro's traditions and culture (Thesis thesis). Makerere University.
  13. ^ Martí, Josep; Revilla, Sara (2018-01-23). Making Music, Making Society. Cambridge Scholars Publishing. ISBN 978-1-5275-0741-8.
  14. ^ Tumwine, Jesse (January 2017). The social and economic history of Toro kingdom 1830-1962 (Thesis thesis). Kyambogo University (un published work).
  15. ^ Beattie, J. H. M. (January 1958). "Nyoro Marriage and Affinity". Africa. 28 (1): 1–22. doi:10.2307/1156570. ISSN 1750-0184. JSTOR 1156570. S2CID 143976875.
  16. ^ Cimardi, Linda (2023). Performing Arts and Gender in Postcolonial Western Uganda. Boydell & Brewer. ISBN 978-1-64825-032-3.
  17. ^ Mabingo, Alfdaniels (2019-09-02). "'African dances are valid knowledge': Dance teachers' de/construction of meanings from cultural heritage dances in Uganda". Research in Dance Education. 20 (3): 311–330. doi:10.1080/14647893.2019.1631271. ISSN 1464-7893. S2CID 202245646.
  18. ^ Mabingo, Alfdaniels (2017), Barton, Georgina; Baguley, Margaret (eds.), "Pedagogies of Adaptation: Teachers' Reflections on Teaching Traditional Ugandan Dances in Urban Schools in Kampala, Uganda", The Palgrave Handbook of Global Arts Education, London: Palgrave Macmillan UK, pp. 285–304, doi:10.1057/978-1-137-55585-4_18, ISBN 978-1-137-55585-4, retrieved 2024-01-09
Retrieved from "https://wiki.riteme.site/w/index.php?title=Orunyege-Ntogoro&oldid=1249938727"