It is a type of traditional ceremonial dance and music of the Busoga Kingdom.
This music and dance form is a cultural practice of the Basoga people in Uganda that is performed during royal celebrations in recent decades.
Bigwala trumpets have such a long history because they are made from a long-necked gourd. The trumpets have a pleasing tone while their simplicity is stunning. They are simply rustic gourds that are glued together.
The term "Bigwala" in local Lusoga refers to the gourds (a set of five trumpets blasted in a hocket that produces a tune) and the accompanying dance as well as the music itself. It is commonly known that gourds were used for drinking water, storing beer, and preserving cereals, but they were also considered a royal emblem.
Normally a solo trumpet is accompanied by four or more other trumpets, which play in hocket together; these are accompanied by singers and dancers who circle the instrumentalists while swaying. Women spectators ululate as the performance nears its climax. Singers and dancers move in a circular formation around the five drummers, gently swaying their waists and raising their hands during the performance.
Likewise Bigwala, the music is both elite and democratic. While associated with the king, it provides a sense of selfhood for the Basoga, and ordinary people also can hire performers for weddings and housewarmings.
Bigwala plays a significant role in strengthening the unity of the Basoga people. The song's lyrics remind people of the history of the Basoga people, focusing specifically on the king. This symbolically reasserts their identity and provides a means of addressing issues like leadership, marriage problems, and acceptable social practices.
Currently, there are only four remaining older master bearers with the skills of making and playing Bigwala, which originally took place during royal celebrations like coronations and funerals, and are performed less frequently during social occasions. Also, the recent attempts to transmit this have been frustrated by financial obstacles, which threaten the survival of the art form.
However, Bigwala is primarily a story of history and national identity, with lyrics narrating stories about the King (a symbol of Busoga identity) as well as other social issues addressed. Godfrey Alibatya, who helped promote Bigwala to the UNESCO list, noted that there may be an extinction of Bigwala, which will weaken the kingship and kingdom. In contrast to many items on the list, which are cherished by the local community, David Pier argues that Alibatya is helping preserve the genre despite its obscurity.
References
(https://ich.unesco.org/en/USL/bigwala-gourd-trumpet-music-and-dance-of-the-busoga-kingdom-in-uganda-00749) (https://en.wikipedia.org/wiki/Bigwala) (https://www.atlasobscura.com/articles/ugandan-music-bigwala)