Stop Using Our Kadodi In Your Funny Politics!! Bamasaaba Cultural Institution Warns Bobi Wine For Using Their Traditional Drums in His Campaigns

The Bamasaaba cultural institution has voiced concern over the use of its traditional musical heritage—particularly drums and the famous
Kadodi rhythms—by political actors without prior consultation or approval.

This development has sparked a new conversation about cultural appropriation and the protection of indigenous traditions in Uganda’s evolving political landscape.

Speaking to this publication, Steven Masiga, the spokesperson of the Bamasaaba cultural institution, revealed that the community is preparing to formally engage the National Unity Platform (NUP) and its presidential candidate regarding what they believe is unauthorized use of Bamasaaba cultural elements during campaign activities.

“As a cultural institution, we are planning to engage the NUP presidential candidate over the use of Bamasaaba traditional drums in his voter mobilization campaigns,” Masiga stated.

According to Masiga, it has become increasingly apparent that many of the beats and rhythms echoing across NUP political rallies are directly lifted from Bamasaaba musical traditions.

“It is common knowledge that the beats and rhythms used in NUP campaigns are purely Bamasaaba melodies,” he emphasized, adding that the community’s cultural expressions are not to be treated as mere entertainment props.

Masiga further revealed that the cultural institution has recently taken concrete steps to preserve and protect these traditions, including officially registering Imbalu—the traditional male circumcision ritual—and some of the ceremonial drums as both tangible and intangible cultural heritage.

“We recently registered Imbalu and some of these drums as both intangible and tangible cultural products. As a cultural institution and as the Bamasaaba community, we are entitled to protect these drums, and no one should think they are just lying fallow. We are custodians of our heritage, and we must protect what belongs to us,” he said firmly.

This move, according to Masiga, is not meant to stifle cultural appreciation but to encourage respect and responsibility in how Uganda’s diverse cultural identities are handled, especially in the political sphere. He hinted at the possibility of introducing a licensing model for those who wish to use Bamasaaba cultural symbols.

“We are considering charging a fee to anyone found using our drums and Kadodi style without the permission of the custodians of Bamasaaba culture,” he said.

Masiga went on to draw attention to the broader issue of cultural ownership and stewardship in Uganda, highlighting how various ethnic communities cherish and protect their unique traditions.

“Each community in Uganda controls and enjoys certain heritages, customs, and mores—and so do the Bagisu people,” he emphasized, adding that this respect must extend across political and social boundaries.

He also noted a growing trend among politicians from various parties who incorporate indigenous cultural expressions into their campaigns without seeking approval from the relevant cultural authorities.

“We have seen several politicians from different political shades using our cultural instruments without permission. Let this stop. Just as a sign of respect to our cultural institution, we request them to seek permission and, where necessary, accept the conditions we shall put forward,” he urged.

Masiga concluded by underlining the unique significance of drums in Bamasaaba tradition, contrasting their cultural function with how drums are used in other communities across Uganda.

“In Uganda, each tribe has certain practices that cannot just be taken over by others. It is not in dispute that *Kadodi* and the attendant beats are known to belong to the Bamasaaba. In this country, it is the Bamasaaba who use drums for celebrations. Many compatriots elsewhere use drums merely to invite people to meetings and that is all. We go an extra mile as a community and have used these drums for over 500 years,” he said.

As Uganda continues to grapple with the complex relationship between cultural heritage and national politics, the Bamasaaba cultural institution’s firm stand could serve as a precedent for other communities seeking to safeguard their traditional identities in the public sphere.