BOOK REVIEWS | 77 http://www.africa.ufl.edu/asq/v18/v18i4a4.pdf dejection” (p. 40). However, this marginalizing and sometimes cruel experiences do not necessarily trigger a feeling of nostalgia and an unsurmountable desire to return home because home, in fact, remains for the “migrant… a place of ambivalences” (p. 209). Therefore, the contributors in African Migration Narratives call us to rethink: first, a simplistic definition of home in a time when “migration functions not through a binary opposition of places and spaces, but rather through an interpenetrating and multiaxial spatial network (p. 145), and second, the overt notion of nostalgia and loss in the conception of home by migrants. Altogether, Cajetan Iheka and Jack Taylor’s edited collection is a refreshing addition to the scholarship on African migration. Not only does it privilege and represent the dynamics of African migration across different countries in Africa, through its representation of migration from different cultural productions, it emphasizes that to adequately understand an issue that has seemingly defined a people, all systems and genres of cultural production and means of self- representation should be assessed. However, arguments about the possible merits of African migration to the African continent—which may be beneficial in further understanding how migration continues to strengthen the transnational ties of states within the continent—are not explicitly articulated in the book. Notwithstanding, the way several articles in the volume complicate the notion of migration and oscillate between a celebratory and pessimistic perspective to the phenomenon offers a direction that can be adopted for subsequent research on African migration. Theophilus Okunlola, Mississippi State University Damascus Kafumbe. 2018. Tuning the Kingdom: Kawuugulu Musical Performance, Politics, and Storytelling in Buganda. Rochester: University of Rochester Press. 151 pp. Powerful social institutions of ancient origin are alive in East Africa today. In Tuning the Kingdom: Kawuugulu Musical Performance, Politics, and Storytelling in Buganda (2018), ethnomusicologist Damascus Kafumbe documents the nexus of music and politics of the Kingdom of Buganda. The Kawuugulu drum, song and dance (ngoma) ensemble of the Butiko Clan sustains complex connections and social hierarchies of kinship, clanship and kingship. Through musical performances, social nuances of politics, and multimodality (p. 8) of storytelling, all narratives weave together relationships between individuals, families, and clans to sustain Buganda’s kingship today. Damascus Kafumbe, a Muganda himself, documents well the Kawuugulu musical ensemble’s status in a postcolonial world. Kafumbe’s patriline lies with the Ndiga clan, and his matriline lies with the Butiko clan, providing unusual access to the music and politics of this ngoma institution as a mujjwa— one who is neither insider, nor outsider. As their mother’s children, mujjwa occupy a socially liminal space in the Butiko Clan and its Kawuugulu ensemble, not unlike Kafumbe’s position as an ethnomusicologist. The book begins with a preface describing Buganda’s inner history, and placing the Baganda themselves into the chronological and historical context of modern Uganda. Colonial and postcolonial politics of the mid-twentieth century in fact led to the demise of Buganda’s political power, sending the Kawuugulu ensemble into a deep sleep for nearly three decades. When Buganda’s formerly abolished kingdoms rose again (restored by Museveni’s government) in a postcolonial context in 1993, so did the Butiko Clan’s Kawuugulu ensemble rise again with many of its original members. In the first chapter, Kafumbe introduces the Kawuugulu Clan-Royal Music and Dance Ensemble and their performance paraphernalia, drums, and each drum’s history (p. 26). This is the most important nexus of human and non-human, because the Kawuugulu ensemble’s drums are venerated as living beings with supernatural powers. Kafumbe illustrates how components of the