One evening while my host family and I were sitting around pulling dried groundnuts from their roots, Lopei, the shepherd boy, began talking to me. Lopei doesn’t speak any English besides, “Yes, Annali, very good!” (He says that regardless of what I’m doing or saying.) One of the family members who does speak English began translating.
“Lopei wants to take you to a harvest dance tomorrow night.”
I was ecstatic. I am rarely allowed outside the compound at night because it is pitch black and I would most certainly become lost. Also, like anywhere, some people don’t make very good decisions at night and I could be hurt; and my host family is sensitive to my “inexperience” in Karamoja. Regardless, I readily agreed to go with Lopei to the dance and he responded, equally enthusiastically, “Very good, very good!”
The next day Lopei had very bad malaria and couldn’t take me but some of my other siblings were equally eager to show me true Karamajong culture. So we headed out around dusk and weaved our way through shepherds taking their herds home, fields of sorghum and groundnuts, and sunflower patches with drooping heads ripe with seeds.
When we were still a long way from the dancing site we could hear the crowd clapping and singing. The songs that are sung at harvest are sung to one God (Akuj, meaning mystery) having blessed the community with food and wealth for another year. The dances are structured in a circle: the men make up the inner most circle and the women and children scatter around the outside. One or two at a time, the men will enter the inside of the circle and begin jumping, when each is tired he allows another participant to take his place. Around the outside the women and children jump whenever they feel like it. Typically the women hold hands and jump three times as high as they can, regroup and then start again. Everyone is singing and the women add high trilling screams(ululation) when they become overwhelmed with excitement.
I have absolutely no framework for a display of thanksgiving and praise performed with such abandon, but to see it danced out here in Kotido was both meaningful and sacred. As we walked home through the blackness of the night with only the stars to light our way I learned how to trill (ululate) like the Karamajong women. When Lopei heard my new talent, he said, “Yes, Annali, very good!”
The men's dance circle
Women around the perimeter