NEXT-MOMENT-PERSON R E V I E W Hen I Was in High Easy
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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 -
Media and Corruption Page 1 MEDIA and CORRUPTION
Media and Corruption Page 1 MEDIA AND CORRUPTION Editors John Baptist Wasswa Email: [email protected] [email protected] Micheal Kakooza Email: [email protected] Publisher Uganda Media Development Foundation P.O.Box 21778, Kampala Plot 976, Mugerwa Road Bukoto Tel:+256 414 532083 Email: [email protected] Website: www.umdf.co.ug UMDF President John Baptist Wasswa Email: [email protected] Project Manager Gertrude Benderana Tel: +256 772 323325 Email:[email protected] Photo Credit All Pictures courtesy of the New Vision Group and Konrad Adenauer Stiftung. Copyright We consider the stories and photographs submitted to Review to be the property of their creators, we supply their contacts so that you can source the owner or a story or photograph you might like to reprint. Our requirement is that the reprint of a story should carry a credit saying that it first appeared in the Uganda Media Review. Funding Special thanks to Konrad Adenauer Stiftung for their immense financial assistance. Page 2 Uganda Media Review Contributors Media and Corruption Page 3 Table of Contents 5. Editorial 6. Corruption and the media 9. The scourge of the brown envelope 18. Young audiences drive change in media 13. content Using new media to fight corruption 23. Digital migration in Uganda 27. Media in era of advertiser recession 33. Community radio in the age of a commercialized media system 40. Framing the Libyan war in Uganda’s vernacular tabloids 46. (Project Briefs) 46. Journalists as bearers and promoters of human rights in Uganda 48.47. Kampala Bracing journalists declaration to fight corruption 50. -
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. -
'Reviving' Tradition Through Digital Technologies
Philomusica on-line – Numero monografico (2017) ‘Reviving’ tradition through digital technologies Traditional repertoires and neo-traditional songs in Western Uganda. Linda Cimardi Università di Bologna – PhD / Alumna [email protected] L’articolo tratta l’utilizzo delle The article deals with the use of digital tecnologie digitali nelle musiche di technologies in traditional musics and tradizione e nei brani neo-tradizionali in neo-traditional pieces from western dell’Uganda occidentale. La discussione Uganda. The discourse follows the segue i diversi filoni di impiego delle various lines of employment of digital tecnologie digitali e descrive realtà technologies and tries to describe musicali e mediatiche in rapido musical and media realities which are mutamento: dalla musica riprodotta rapidly changing: from played back che segna il soundscape delle cittadine music marking the soundscape in ugandesi, al ruolo di Internet e di Ugandan towns, to the role of the YouTube nel promuovere gli artisti e le Internet and of YouTube in promoting loro canzoni, fino al rapporto delle artists and their songs, up to the musiche neo-tradizionali con la popular relationship of neo-traditional musics music e alla produzione musicale with popular music and to in-studio digitale in studio. Particolare attenzione digital musical production. Special viene dedicata alla produzione di un attention is devoted to the production musicista tooro, esemplificativa delle of a Tooro musician, which exempli- possibilità creative nel filone della fies the creative possibilities in the tradizione e tuttavia in dialogo con le track of tradition, though in dialogue tecnologie digitali, in una prospettiva with digital technologies, in a saldamente ancorata al territorio di perspective strongly anchored to his origine ma pur aperta ad orizzonti più native territory but also opened to vasti. -
Copyright by Fred Jenga 2020
Copyright by Fred Jenga 2020 The Dissertation Committee for Fred Jenga Certifies that this is the approved version of the following Dissertation: “Selling God in Uganda”: A Critical Cultural Study of Persuasion in Mediatized Neo-Pentecostalism Committee: Barry Brummett, Supervisor Sharon Jarvis Scott Stroud Oloruntoyin Falola “Selling God in Uganda”: A Critical Cultural Study of Persuasion in Mediatized Neo-Pentecostalism by Fred Jenga Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2020 Dedication This work is dedicated to the Late Reverend Robert Hesse, CSC. A dedicated long term missionary to Uganda ~ He “loved tenderly, acted justly,” and deeply cared for the poor. Acknowledgments I would like to thank the Congregation of Holy Cross for giving me the opportunity, the time, and the needed resources to pursue graduate studies in the United States. I am grateful to the members of the Holy Cross communities where I lived in Berkeley California, St Joseph Hall in Austin, and Brother Vincent Pieau Residence in Austin. Special thanks go to the community directors (Harry Cronin, CSC; Harold Hathaway, CSC; and William Nick, CSC) who saw to it that I am comfortable, and lacked nothing. I also thank my dissertation committee that included Professors Barry Brummett (advisor and chair), Sharon Jarvis, Scott Stroud, and Falola Toyin. All my encounters with the committee were highly engaging and academically stimulating. Thank you too to other Professors who have been part of my studies in the field of Journalism and Communication such as Monica Chibita, Goretti Linda Nassanga, George Lugalambi, Gust Yep, Karen Lovaas, Amy Kilgard, Samuel McCormick, Mindi Golden, Roderick Hart, Josh Gunn, and Madeline Maxwell. -
Music and the Politics of Participation
Title Page AUDIBLE PUBLICS: POPULAR MUSIC AND THE POLITICS OF PARTICIPATION IN POSTCOLONIAL UGANDA by Charles Lwanga BA (Music), Makerere University, 2003 MA (Composition/Theory), Makerere University, 2006 Post-graduate Diploma in Education, Kyambogo University, 2006 Diploma in Law, Law Development Center, Kampala, Uganda, 2007 Doctor of Philosophy (Composition/Theory), University of Pittsburgh, 2012 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2020 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Charles Lwanga It was defended on March 2, 2020 and approved by Committee Member: Dr. Kofi Agawu, Ph. D, Professor of Music Committee Member: Dr. Shalini Ayyagari, Ph. D, Assistant Professor of Music Committee Member: Dr. Adriana Helbig, Ph. D, Associate Professor of Music Committee Member: Dr. Gavin Steingo, Ph. D, Associate Professor of Music Dissertation Advisor: Dr. Andrew Weintraub, Professor of Music ii Copyright © by Charles Lwanga 2020 iii Abstract AUDIBLE PUBLICS: POPULAR MUSIC AND THE POLITICS OF PARTICIPATION IN POSTCOLONIAL UGANDA Charles Lwanga, Ph. D University of Pittsburgh, 2020 This dissertation project is a historical and analytical examination of how popular music has participated in the transformation of Uganda’s public sphere into a more participatory space since the early 1990s. Popular music has rendered previously marginalized publics audible and visible. By marginalized, I refer to the trivialization of the social aspirations of collectivities by the state or the dominant public. By publics, I refer to collectivities that exchange information, debate ideas, and advocate for change in physical and virtual spaces.