Uganda boasts a rich array of traditional musical instruments, including drums, amadinda, adungu, and entongooli, found throughout the country’s diverse regions.
However, as modern instruments gain popularity, the adaptation and upgrading of these traditional tools have become increasingly rare.
One notable exception is the Janzi, an instrument that produces a distinct sound that seamlessly fits various music genres, often leading people to mistake it for a guitar.
James Ssewakiryanga, known as Ssewa Ssewa, created the Janzi to carry on the tradition of instruments used in both joyful and sorrowful occasions.
Ssewa shared the inspiration behind the Janzi and the significance of its name.
“I was on tour in Germany, and while visiting a store, a gentleman asked what I played. I told him the Adungu, but he had never heard of it, so we had to Google it,” Ssewa recalled.
While the Janzi features a new design, Ssewa Ssewa integrated modern techniques with traditional elements to ensure it meets global standards.
His most recognized instrument, the Adungu, is often used to entertain audiences, particularly abroad.
However, transporting the Adungu, especially on airplanes, posed significant challenges, prompting him to develop the Janzi as a more practical alternative.
“We were heading to Switzerland and had trouble bringing the Adungu on board because of the nails in it. The authorities deemed it a security risk, and while they were right, it was embarrassing,” Ssewa explained.
The Adungu is crafted so that the smallest version functions like a guitar’s solo or soprano. In contrast, obtaining the bass requires a much larger instrument, which can necessitate two people to carry it, complicating transportation.
The Janzi, however, is significantly more portable.
“I looked at the Adungu and thought, ‘I want to create something with two sides, but distinct from the Kora.’ The Janzi is different because each side is tuned differently,” Ssewa elaborated.
Ssewa believes that refining traditional instruments will facilitate sales both locally and internationally, where demand is rising.
There is also a growing interest among Ugandans in these innovations. He envisions local artists, such as Chameleone and Bebe Cool, utilizing these instruments to create or remix songs, which would help promote Uganda’s cultural heritage.
“My dream is to see our artists using these instruments,” he expressed.
However, he recognizes that the journey ahead is challenging.
“No one from abroad will do this for us; it’s up to us. That’s why we are stuck on playing guitars, thinking they are superior—that’s the mindset we need to change,” he noted.
A significant hurdle is that local instrument makers have yet to embrace the concept of enhancing their craft, which stifles innovation. “Have you ever considered how we could redesign a drum to improve its tuning? Our drums are bulky, and tuning them is difficult.
People are reluctant to purchase them, especially when they need to transport them internationally,” Ssewa added.
This initiative extends beyond just the Janzi. Ssewa Ssewa and his team are also focused on other instruments.
They have recently upgraded the Namaddu drums from Bugweri, enhancing their design and quality while maintaining the original sound.
“We made seven drums, all amplified. The tuning and sound remain the same,” he said.
Ssewakiryanga dedicates much of his time to refining these traditional instruments, operating a small workshop to pursue his vision. He remains optimistic that other Ugandan innovators will join him in this endeavor.
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