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“Disco Dreads” “Disco Dreads” Self-fashioning through Consumption in Uganda’s Hip Hop Scene Image-making, Branding and Belonging in Fragile Sites Simran Singh Department of Music, Royal Holloway, University of London Dissertation submitted for the degree of Doctor of Philosophy September 2017 1 TABLE OF CONTENTS Declaration of authorship ……………………………………………………………….5 Abstract ………………………………………………………………………………….6 Acknowledgements………………………………………………………………………8 List of figures…………………………………………………………………………….7 Chapter 1 Introduction to thesis “The chick with the kicks” ………………………………………………………………9 Self-fashioning through consumption: theoretical frames………………………………21 Thesis outline……………………………………………………………………………38 Chapter 2 Music in Uganda Patronage to persecution: a brief overview of Uganda’s music…………………………42 Global influences, the birth of a music industry and an FM revolution: 1986 onwards………………………………………………………………………… …45 Imagining the popular: 1950s – 1980s…………………………………………………...51 Investigating the traditional……………………………………...………………………57 Music as message in the 21st century…………………………...………………………..61 Chapter 3 Method A Porsche’s place………………………………………………………………………..69 Friendship and the Field………………………………………………………………....73 The epistemic community……………………………………………………………….76 Ethnographic phenomenology…………………………………………………………..78 2 Web 2.0 or social networking………………………………………………………………81 Visualising hip hop…………………………………………………………………………83 Practical tools and concerns in the field……………………………………………………87 Chapter 4 Image-making and the Ugandan hip hop ‘mogul’ The mogul’s visual density…………………………………………………………………..90 “fake-ass bling” - the image of excess……………………………………………………….92 “never did crime, never did time” - the gangsta image………………………………………99 “give them a food programme, everyone got you a programme” - the image of emancipation………………………………………………………………...107 Social formations, simulation and the mogul……………………………………………….114 Diasporic imaginings and global self/s……………………………………………………..118 Multiplicities of consciousness …………………………………………………………….124 Chapter 5 Branding hip hop in Uganda “the infernal noise of music from discotheques and bars” ………………………………127 Rogue Elephant…………………………………………………………………………..129 Hip hop Monday hosted by Atlas at Deuces……………………………………………..140 The Annual Uganda Hip Hop Summit…………………………………………………...149 A Ugandan hip hop brand and culture …………………………………………………...163 Chapter 6 Hip hop and belonging in Uganda Networks of the image-world……………………………………………………………170 Galaxy Breakdance………………………………………………………………………174 Knowledge of self/hood………………………………………………………………….179 3 Hustling….……………………………………………………………………………….194 Imaginings and reimaginings…………………………………………………………….203 Chapter 7 Hip hop Spectacular The Music Video…………………………………………………………………………205 Party Tonight…………………………………………………………………………….207 Sober……………………………………………………………………………………..215 Crash and Burn…………………………………………………………………………..220 Wish-images of plenitude………………………………………………………………..222 Playing to the ghetto sublime…..………………………………………………………..225 Chapter 8 Conclusion Self-fashioning through consumption in Uganda’s hip hop scene…………..…………232 The place of the hip hop mythic…………..…………………..……………..…………239 “an antidote to the dark vision of the postcolonial novelist” …………..……………....243 Emergence…………..…………………………………………………..………………248 REFERENCES………………………………………………………………………..255 4 DECLARATION OF AUTHORSHIP I, Simran Singh, hereby declare that this thesis and the work presented therein is entirely my own. Where I have consulted the work of others, it is clearly stated. I confirm that the word length of: 1) The thesis, including footnotes is 94961 words 2) The bibliography is 3613 words Signed: Simran Singh…………………………………. Date: 2/9/2017 (Candidate) Signed:. ....... Date: 2/9/2017 (Supervisor) 5 ABSTRACT This thesis explores interactions between self-fashioning and consumption in the hip hop scene in Uganda. In the performances of musical and social life, hip hop reveals first, tactile interactions between ideas and objects, subjective and relational to processes of consumption and production. Second, these interactions find expression through enactments of activism and hedonism, aspects which hip hop as global cultural product consistently and problematically engages with. This acts as a critical space to contemplate wider social formations and historical processes. In this thesis, such interactions are interrogated through aspects of self-fashioning, mapped through the visual in the form of image and brand showing how these preoccupations, while a first glance divergent, come from a place of belonging, which is wanting a better life. This project is an interdisciplinary one. Choosing a visual focus with which to engage with this sonic culture, I rely on ethnographic data gathered in the field combined with digital ethnography. I draw on scholarship from ethnomusicology, popular music studies, media and cultural studies and perspectives from post-colonial studies to reveal a dialogue between plenitude and paucity. This is a conversation informed by the images and imagery of hip hop, its music, its media narratives and mythologies, set against a backdrop of deep socio- economic inequity and thus, profound fragility. 6 ACKNOWLEDGMENTS This thesis is for my mum and dad, Alka and Billy, thanks for giving me everything. This research has been the result of several years of study, travel, more music than I could dream of, and the time and kindness of both friends and strangers. My gratitude to you all is immense. It has been a privilege to be at Royal Holloway, University of London. Thank you for providing me with a tremendously rewarding research environment and academic home, and for the generosity of the Reid Scholarship and the Overseas Research Fund. Professor Tina K. Ramnarine, my supervisor and Dr Julia Gallagher, your kind advice, superb guidance and unwavering support made this possible. My thanks - to the Departments of Music and Politics and International Relations, for the opportunities to teach and learn; the Popular Music research cluster at the University of Limerick for encouraging my contribution to your volume; the Society for Ethnomusicology for the opportunity to contribute as staff writer. Dr Martin Scott and Professor John Street at the University of East Anglia, for guiding me though my MA and after, years after I promised myself I would never take another exam in my life. My Ugandan Family - Pam, Billy, Ruby, Jack, Joey and Magic Gran, thank you. To Ugandan hip hop - Shem, without whom there would have been no ‘Party PhD’; Baba, Gilbert and Spyda, One Love; Nelly, kikola sense. My thanks to all the people mentioned in this text and many who are not, from the nightclubs and the ‘ghettos’ of beautiful Kampala, to the tea gardens of Fort Portal and the views of Kidepo, and to Rajab, superlative boda- boda rider, and Abdullah, for wise logistical support. In England, and occasionally elsewhere, Olessia, Viv, Dave, Matt, Andrew, Stephen, Amy, Winnie, Kate and Josh. 6A Willow Lane. Off the Cuff, London’s best music venue. Will, Christine, and family, in Penge. Una Bua and Poonam Masi, both for your beautiful mind. The Institute for Race Relations. Arjun Sawhney, and the Communication Council/Green Goose Design. Boomri, Roopakh, Mandira and Mrig. 4S. My friends and family in Delhi and the Indian subcontinent, and everywhere around the world. Finally, my thanks to Springhealth Kickboxing Club, for reminding me that I was strong when it counted most. 7 LIST OF FIGURES Figure 1: Near Nakumatt Supermarket, Kampala .................................................................... 13 Figure 2: A busy market on the outskirts of the city ................................................................ 13 Figure 3: A View from a boda-boda, near Muyenga, Kampala ............................................... 17 Figure 4: Driving into the city. Note the brand new highway and shanty towns alongside .... 17 Figure 5: My street cred ........................................................................................................... 21 Figure 6: The entrance to Deuces ............................................................................................ 69 Figure 7: Nelly's album artwork .............................................................................................. 84 Figure 8: The single artwork .................................................................................................... 84 Figure 2: Gasuza in his signature 'swag' .................................................................................. 95 Figure 3: Babaluku on stage at the hip hop summit ............................................................... 108 Figure 4:The bar at Deuces .................................................................................................... 142 Figure 5: Atlas' video launch ................................................................................................. 142 Figure 6: Sabrina's pub .......................................................................................................... 151 Figure 7: Gilbert rigging up sound and light for the show .................................................... 152 Figure 8: Setting the stage ...................................................................................................... 155 Figure 9: the cypher ............................................................................................................... 155 Figure 10: at the summit gig. From left, EazyTex, GNL, a friend, Lyrical GMC ................
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