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Pearl of Africa Music (Pam) Awards: Political Construction of Popular Music in Uganda

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Pearl of Africa Music (Pam) Awards: Political Construction of Popular Music in Uganda PEARL OF AFRICA MUSIC (PAM) AWARDS: POLITICAL CONSTRUCTION OF POPULAR MUSIC IN UGANDA by Anita Desire Asaasira BA Music (MAK) 2007/HDO3/11055U A Dissertation Submitted to the Department of Music Dance and Drama, Faculty of Arts, in Partial Fulfillment of the Requirements for the Award of the Degree of Master of Arts in Music of Makerere University November, 2010 i DECLARATION I, Anita Desire Asaasira, hereby declare that this is my original research and it has not been submitted anywhere for any academic award. Anita Desire Asaasira Reg. No. 2007/HDO3/11055U Signature ……………………………………………. Date …………………………………………….. Supervisor Dr. Sylvia Nannyonga-Tamusuza Assoc. Prof. of Music (Ethnomusicology) Signature ………………………………………………… Date ………………………………………………….. ii DEDICATION To Assoc. Prof. Steinar Sætre, his wife Jorunn, and their children Odin, Johann and Yria iii ACKNOWLEDGEMENTS To begin with, I thank NORAD Arts and Cultural Education (ACE) Program for the scholarship that enabled me study at the University of Bergen (Norway) and Makerere University. This research would not have been possible without the grant. Further, I am indebted to NORAD for also giving me the funds to carry out fieldwork and buy all the necessary materials necessary for the write up. I am greatly indebted to Dr. Sylvia Nannyonga-Tamusuza, my lecturer, principal supervisor and Coordinator for the ACE Program at Makerere University for believing that I could actually become an ethnomuscicologist even when I had doubts. Her intellectual input in this work, the time, effort and dedication to ensure that this work reached this intellectual level and ready in time, can never be repaid. I really appreciate your patience and constant encouragement. You used your expertise and experiences to advise and encourage me. I pray that God will richly reward you. I would also like to extent my appreciation to all the NUFU and NORAD lecturers for the preparatory course I attended before going out to Norway. Therefore, I thank Dr. Justinian Tamusuza, Dr. Susan Kiguli, Dr. Patrick Mangeni, Dr. Jessica Kahwa, Dr. Mercy Mirembe Ntangare, Dr. Wotsuna Khamalwa and Dr. Abasi Kyimba for their effort to ensure that I was intellectually ready to begin this MA in Music (Ethnomusicology) program. Through sharing your experiences and knowledge, you made me want to be a better scholar, which I hope I have achieved. I am also grateful for the intellectual development I acquired from lecturers at the University of Bergen. I am therefore greatly indebted to Assoc. Prof. Tom Solomon, Dr. Sigbjorn Apeland, Prof. Annemette Kirkegaard, Assoc. Prof. Erik Steinskog, and Prof. Paul Berliner for their contribution towards my scholarship. I also thank Kathryn Bousman, the NORAD Project Coordinator, for the concern and support she accorded me while I was undertaking part of my studies at the University of Bergen. In the same vein, I thank Sigrid Blindheim, who assisted me to settle in Bergen. To Assoc. Prof. Steinar Sætre and his family, I extend my heartfelt gratitude for their love and support. I thank themyou very much for giving my colleagues and me a ‗family away from home‘. May God bless you like you have blessed me. I cannot forget my classmates that I went iv with to Bergen. In a special way, I thank Dominic Makwa, Stella Wadiru, Nichola Ssempijja, David Basoga and Pamela Mbabazi for their contribution to the successful completion of this course. Further, while writing this dissertation, your willingness to read and constructively criticize this work contributed to its successful completion. Those discussions have helped my intellectual development too. I also thank Jenitha Kameli for her for her friendship and academic support she rendered to me in the course of accomplishing this study. I am greatly indebted to my family for their love and support in the course of this study. Thank you for your encouragement and prayers. I thank my sisters Brenda, Charlotte, and Annette as well as my brothers Emmy and Herbert. Mom and Dad, may God bless you for loving, nurturing and educating me. This research would not have been possible without the contributions of all the informants to this research. I thank all my informants for going out of their ways to give me their time and for agreeing to share their knowledge with me. In a special way, I thank Isaac Mulindwa, the Chairman of the PAM Awards Organizing Committee, for your invaluable assistance in accessing PAM Awards materials. I also thank the musicians, media personnel, PAM Awards judges, the audience, and music producers for their invaluable information. May the Lord bless you all. I also thank the Almighty God to whom I owe my life and opportunities. May your name be praised and may you bless all who have assisted me in this research. v TABLE OF CONTENTS DECLARATION ............................................................................................................................ ii DEDICATION ............................................................................................................................... iii ACKNOWLEDGEMENTS ........................................................................................................... iv LIST OF FIGURES ........................................................................................................................ x ABBREVIATIONS ....................................................................................................................... xi ABSTRACT .................................................................................................................................. xii CHAPTER ONE: INTRODUCTION ............................................................................................. 1 1.1 Introduction ...................................................................................................................... 1 1.2 Background to the Study .................................................................................................. 1 1.3 Statement of the Problem ................................................................................................. 3 1.4 Objectives of the Study .................................................................................................... 4 1.4.1 General Objective ..................................................................................................... 4 1.4.2 Specific Objectives ................................................................................................... 4 1.5 Definition of Key Terms .................................................................................................. 4 1.6 Scope of Study ................................................................................................................. 6 1.6.1 Geographical Scope .................................................................................................. 6 1.6.2 Content Scope ........................................................................................................... 6 1.7 Hypothesis ........................................................................................................................ 7 1.8 Significance of the Study ................................................................................................. 7 1.9 Dissertation Outline.......................................................................................................... 8 CHAPTER TWO: REVIEW OF LITERATURE ......................................................................... 10 2.1 Introduction .................................................................................................................... 10 2.2 Competition in Music Awards ....................................................................................... 11 2.3 Construction of Popular Music in Uganda ..................................................................... 13 vi 2.4 Popular Music and Politics ............................................................................................. 16 2.5 Theoretical Framework .................................................................................................. 19 2.6 Conclusion ...................................................................................................................... 21 CHAPTER THREE: RESEARCH METHODOLOGY ............................................................... 22 3.1 Introduction .................................................................................................................... 22 3.2 Research Methodology and Design................................................................................ 22 3.3 Sampling......................................................................................................................... 23 3.4 Tools of Research ........................................................................................................... 25 3.4.1 Interviews ................................................................................................................ 26 3.4.2 Participant Observation ........................................................................................... 26 3.4.3 Focused Group Discussions .................................................................................... 27 3.4.4 Library Research ..................................................................................................... 28 3.4.5 Mediated data .........................................................................................................
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