Notes - Springer978-1-137-54697-5/1.pdfmodern Uganda’s borders, Buganda, Bunyoro, Ankole, and...
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Notes
Introduction Dance Promotion in the Marketing Era
1 . The Ugandan branch of this company is known as Uganda Breweries
Ltd. (UBL), and this is how informants often referred to it. To avoid
confusion, I use “EABL” throughout.
2 . Performance arts events, shaped by new intensive modes of corporate
sponsorship, have been the focus of studies by Arlene M. D á vila,
Sponsored Identities: Cultural Politics in Puerto Rico (Philadelphia,
PA: Temple University Press, 1997), David Guss, The Festive State:
Race, Ethnicity and Nationalism as Cultural Performance (Berkeley:
University of California Press, 2000), and Jesse Weaver Shipley,
“‘The Best Tradition Goes On’: Audience Consumption and the
Transformation of Popular Theatre in Neoliberal Ghana.” In
Producing African Futures: Ritual and Reproduction in a Neoliberal
Age, ed. B. Weiss (Leiden: Brill, 2004).
3 . Luganda is the most widely spoken of some 40 different Ugandan lan-
guages, and the one with which I became most familiar. Words/concepts
that appear in Luganda often appear in other Bantu-family languages
spoken in the southern half of the country, but not necessarily in the
Nilotic- and Sudanic- family languages spoken in the northern half.
4 . “Okutumbula” has a second, seemingly unrelated, meaning in some
Bantu languages. In Tshiluba and Kiswahili, it means “to punc-
ture” (Luise White, Speaking with Vampires: Rumor and History in
Colonial Africa [Berkeley: University of California Press, 2000]).
5 . For further discussion of impetuses to “sincerity” in the imperial
encounter, see Keane 2002.
1 The Senator Extravaganza as a Marketing Project
1 . The complex social meanings of industrially produced bottled beer to
urban African consumers have been explored by Michael Schatzberg,
Politics and Class in Za ï re: Bureaucracy, Business, and Beer in Lisala (New
York: Africana, 1980) and Justin Willis, Potent Brews: A Social History of
Alcohol in East Africa, 1850–1999 (Oxford: James Currey, 2002).
2 . See Anne Kelk Mager, Beer, Sociability, and Masculinity in South
Africa (Bloomington: Indiana University Press, 2010) for a discus-
sion of SABMiller and its corporate culture.
178 NOTES
3 . In 2006, the Karimojong region of the Northeast was deemed too
difficult and dangerous for travel.
4 . See, for example, Pierre Englebert, “Born-Again Buganda or the
Limits of Traditional Resurgence in Africa.” Journal of Modern
African Studies 40, no. 3 (2002): 345–368, and Pierre Englebert,
“Patterns and Theories of Traditional Resurgence in Tropical Africa.”
Mondes en développement 2, no. 118 (2002): 51–64, on Uganda;
Carolyn Logan, “Selected Chiefs, Elected Councillors and Hybrid
Democrats: Popular Perspectives on the Co-existence of Democracy
and Traditional Authority.” Journal of Modern African Studies 47,
no. 1 (2009): 101–128; and Frasier G. McNeill, AIDS, Politics and
Music in South Africa (New York: Cambridge University Press, 2011)
on traditional resurgence elsewhere in Africa. The Great Lakes region
was home to a number of precolonial kingdoms, including, within
modern Uganda’s borders, Buganda, Bunyoro, Ankole, and Toro.
5 . The term “culture broker” was f irst introduced by Eric Wolf,
“Aspects of Group Relations in a Complex Society: Mexico,”
American Anthropologist 58 (1956): 1005–1078, though anthro-
pological interest in specialized roles that mediate between distinct
cultures of “tradition” and “modernity,” “rural” and “urban,”
predates this coinage (e.g., Lloyd Fallers, “The Predicament of
the Modern African Chief: An Instance from Uganda” American
Anthropologist 57, no. 2 (1955): 290–305).
2 “Discover Our Land, Our Cultures”: The Musical Imagination of a Multiethnic Nation
1 . The notion of rural Africa being composed of distinct autochtho-
nous ethnic groups—“autochthonous” meaning “springing from
the soil”—has become especially prevalent as competition for
land has heated up in recent decades (Peter Geschiere, The Perils
of Belonging: Autochthony, Citizenship, and Exclusion in Africa
and Europe [Chicago: University of Chicago Press, 2009]).
2 . This was, presumably, the African American singer George Johnson’s
1895 minstrel show hit “The Laughing Song.”
3 . Arthur Musulube, whom I interviewed about the history of music
competitions, recalled a somewhat later date, 1929, for the first
Namirembe Church Music Festival, and said that it was started by
the Reverend G. M. Duncan.
4 . Taylor gives intriguing indications of the kinds of artistic innovations
European missionaries were trying out in collaboration with Africans.
For example, he suggests that indigenous dramatic styles from another
part of the British Empire, India, could be translated onto African
stages. He mentions kirtan , a “traditional Tamil song-sequence telling
the tale of some religious hero, with tableaux interspersed between the
songs, and also bajana , as Indian forms that would be most suitable for
African relaxed participatory sensibilities” (Taylor 1950, 294).
NOTES 179
5 . In a conversation about the application of European forms to Ugandan
traditional music, Akram Kintu suggested that such large-form struc-
tures were already implicit in indigenous Ugandan styles. This could
be an example of a twentieth-century musical innovation being nat-
uralized as “tradition,” or it may genuinely point to a dimension of
Ugandan indigenous musical style that deserves further investigation.
6 . “The spirit of the words may indicate that some parts should be sung
louder than others. A good crescendo leading to the climax of the
song is often most effective but it will certainly demand good control
of the breath” (Graham H. Hyslop, “Choice of Music for Festivals in
Africa.” African Music 1, no. 2 (1955): 53–55).
7 . The recordings made by Wachsmann at the museum and in the field
are now available online ( http://sounds.bl.uk ), and the collection of
Ugandan musical instruments he helped to assemble is still installed
at the Uganda Museum.
8 . In addition to being a path-breaking music scholar, Kyagambiddwa
was also a composer, whose Uganda Martyrs Oratorio is still per-
formed today. He was eventually expelled from the Catholic church,
having become involved in a Indian-religion–inspired movement
known as Butebenkevu Buteefu , “Serene Peace.”
9 . Katana’s first opera, Omuwalajjana Kintu , was based on a folkloric
fable; the second was a satire on the evangelical Christian balokole
movement then spreading in Uganda; the third was called Kabiito
and was about a historical war (McGregor 2006). The ethnic battles
of this war were represented musically by clashing traditional styles
(K. Wachsmann 1956). No traces of these operas were available to me
at the time of this writing.
10 . Since the lyrics were printed in their diverse original Ugandan lan-
guages, often neither the teacher nor the students would have a native
speaker’s understanding of the words they were repeating.
3 Women’s Groups and Their Politics of Musical Promotion
1 . In 2015, I encountered this same group on the Internet site
GoFundMe.com, under the new name Kulu Laundry Collective.
This demonstrates the typical f lexibility of group identity, and the
ongoing work this group was doing to reach out to potential spon-
sors through American and European intermediaries. (The creator of
the website was an American.)
2 . To my ear, the rubbing of the calabashes has a sexual sound, which
would make sense within the context of this dance, in which, tra-
ditionally, girls were allowed to be sexually demonstrative in ways
they ordinarily could not (Mark Benge Okot, “Ethnopoetics and
Gender Dynamics: Identity Construction and Power Relations
in Acoli Song Performance” [PhD diss., University of the
Witwatersrand, 2007]).
180 NOTES
3 . A link videorecording of Mon Pi Dong Lobo’s myel lyel may be
accessed here: http://www.brandedarena.com.
4 . In her speech, Opolot emphasized that “we are not women alone; we
have men among us.” I took this as an attempt to preempt a backlash that
had recently been raised by indignant Ugandan men in media discourse
about “gender.” ( We men have “gender” too, what about our rights? some
resentful Ugandan heterosexual men have been complaining.)
5. While Amin prohibited women’s organizations, the economic disrup-
tions of the Amin years actually opened up work opportunities for
women, and kindled an entrepreneurial spirit among them, which
would find new outlets under the Museveni regime. See Alicia C.
Decker, In Idi Amin’s Shadow (Athens: Ohio University Press, 2014).
6 . Karlstr ö m is drawing upon the anthropological theorization of gifts
inaugurated by Marcel Mauss, The Gift , translated by W. D. Halls
(New York: Routledge, [1950] 2002); see also Brad Weiss, The
Making and Unmaking of the Haya Lived World (Durham, NC:
Duke University Press, 1996) for a discussion of obugenyi in the
nearby Haya culture.
7 . Eating has been noted by many scholars as a highly symbolic act
in the African traditional hierarchical ordering (Bayart 1989), and
it felt significant, and not a little awkward, that my small act of
patronage would culminate in a meal, which I was meant to enjoy
in solitude.
4 The Music of a Senator Performance
1 . Marius Schneider’s pioneering studies of variable leader-and-chorus
relationships in African music helped attune ethnomusicologists to
call and response as a socially significant rhythmic parameter (Marius
Schneider, “ Ü ber die Verbreitund afrikanischer Chorformen.”
Zeitschrift f ü r Ethnologie 69 (1937): 78–88).
2 . Some of the explicit and implicit rules of this melodic system have
been worked out by Gerhard Kubik, Theory of African Music, Volume
2 (Chicago: University of Chicago Press, 2010b). In my own xylo-
phone lessons, I learned, for example, that repeating the same note
too many times in succession results in a pattern that expert Basoga
musicians do not consider well formed. Once the instrumentalists
have settled into workable patterns, they turn to improvising varia-
tions, in collaboration with their fellow instrumentalists, always with
the song in mind. Improvisation is valued in Kisoga traditional MDD,
not least because it further distinguishes Kisoga from Kiganda tradi-
tion which gives less license to improvise, in keeping with the latter
ethnicity’s reputation for reserve and stately formality (cf., Gerhard
Kubik, “Embaire Xylophone Music of Samusiri Babalanda (Uganda
1968).” World of Music 34, no. 1 (1992): 77).
3 . Interlocking performance by ensembles of end-blown flutes is found
from Ethiopia to South Africa. The Venda of South Africa are known
NOTES 181
for interlocking on sets of panpipes (Andrew Tracey, “The Nyanga
Panpipe Dance.” African Music 5, no. 1 (1971): 73–89).
4 . Actual tunings vary considerably, even within the same ensemble.
Tugezeku’s xylophone was tuned as follows:
Tuning of Tugezeku’s embaire xylophone
5 . Kubik has theorized that the existence of this roughly “equidistant”
pentatonic scale likely has to do with the deep historical preference
for xylophones in this region. Xylophones, which can be tuned only
roughly, do not lend themselves to aural explorations of the harmonic
series—as do, for example, musical bows. Without a culturally ingrained
strong sensitivity to the harmonic series, such as is found in other parts
of Africa, southern Ugandan musicians had little incentive to seek out,
in their tunings, pure intervals from the upper reaches of that series,
such as major and minor thirds, and major seconds (Gerhard Kubik,
Theory of African Music, Volume 1 [Chicago: University of Chicago
Press, 2010a]).
5 Beyond the Senator Extravaganza: Marketing Ugandan Music to International Not-for-Profits
1 . For “triage,” see, for example, Vinh-Kim Nguyen, The Republic
of Therapy: Triage and Sovereignty in West Africa’s Time of AIDS
(Durham, NC: Duke University Press, 2010), Peter Redfield,
Life in Crisis: The Ethical Journey of Doctors without Borders
(Berkeley: University of California Press, 2013); for “technoc-
racy” or “techno-politics,” see, for example, James Ferguson,
The Anti-Politics Machine: “Development,” Depoliticization, and
Bureaucratic Power in Lesotho (New York: Cambridge University
Press, 1990), Arturo Escobar, Encountering Development: The
Key Frequency in Hz Pitch class in the
pentatonic scale
Interval in cents between
adjacent keys
1 1148 3
2 1000 2 239
3 856 1 269
4 764 5 197
5 664 4 243
6 556 3 307
7 484 2 240
8 416 1 262
9 360 5 250
10 308 4 270
11 272 3 215
12 220 2 367
13 192 1 235
182 NOTES
Making and Unmaking of the Third World (Princeton, NJ:
Princeton University Press, 1995), Timothy Mitchell, Rule of
Experts: Egypt, Techno-politics, Modernity (Berkeley: University of
California Press, 2002).
2 . The ancient, complex, richly documented performance genre of
Japanese n ô gaku is an example of an intangible, yet still “monumen-
tal,” heritage.
3 . Abaswezi play tiny, side-blown trumpets in their healing dances, in
the course of which acolytes become possessed by spirits.
4 . Ugandan reconstructions, since the 1990s, of traditional kingdoms
may be compared to parallel trends elsewhere in Africa, for example
the musical reconstructions of royalty in the traditionalist “African
Renaissance” in South Africa, discussed by Frasier G. McNeill, AIDS,
Politics and Music in South Africa (New York: Cambridge University
Press, 2011).
5 . Singing Wells’s visit to the ebigwala players is documented on their
excellent website, http://www.singingwells.org/stories/central-uganda
-day-4-jinja/
6 . Kadongo kamu is a guitar-based genre, dating to the 1950s, which
deals especially with issues of class, “tradition,” and the rural–urban
divide. See Sam Kasule, “Popular Performance and the Construction
of Social Reality in Post-Amin Uganda.” Journal of Popular Culture
32, no. 2 (1998): 39–58 , Sylvia Nannyonga-Tamusuza, “Gender,
Ethnicity, and Politics in Kadongo-Kamu Music of Uganda: Analysing
the Song Kayanda.” In Playing with Identities in Contemporary Music
in Africa, ed. M. Palmberg and A. Kirkegaard (Uppsala: Nordiska
Afrikainstitutet, 2002).
7 . See, for example, the Nigerian drummer Tony Allen’s discussion of
the industry pressure he felt, as an African musician, to either go
electronic or go “traditional” (Tony Allen with Micheal E. Veal,
Tony Allen: The Autobiography of the Master Drummer of Afrobeat
[Durham, NC: Duke University Press, 2013]).
8 . “Luga” is a shortening of “Luganda,” though Luga flow can be in
other vernacular languages as well, in which case it may be referred
to, more inclusively, as “Uga flow.”
9 . One artist, for example, asked why beating out a kick drum pattern
on a particular MIDI keyboard sounded “stronger” than simply pro-
gramming it in. This was, from one perspective, a legitimate question
about what makes some musical gestures seem “stronger” than oth-
ers, which would have to be answered with reference to the subtleties
of embodied rhythmic articulation. In the context of the conversa-
tion, however, it seemed to betray a lack of understanding about how
music is digitally encoded: a MIDI keyboard cannot make attacks that
are “stronger,” in a technical sense, than those available by program-
ming alone. A fixed range of “velocity” values, from 0 to 127, cannot
be exceeded by any input device.
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Index
Page numbers in italics indicate photos, figures, and tables.
abaswezi traditional religion, 149,
182n3
Acholi funeral dance (myel lyel), 91,
180n3
Acholi people, 92
Adorno, Theodore, 5
adungu bow harps, 54–5, 57
Africa
colonial history of, 67–8
concepts of ethnic identities in,
67, 178n1
imperative to perform, 6–7
postindependence nationalism in,
66, 73–4
sincerity demanded from, 21
technocratic narrative about,
166–7, 169
See also Global South
African Music from the Source of the
Nile (Kyagambiddwa), 72
afrobeat, 164–5
Agamben, Giorgio, 147
Agawu, Kofi, 124
agency, 6
aid sector. See international
humanitarian aid sector
AIDS awareness event, 97–8
airtime (cell phone minutes), 15
alcohol abuse, 39. See also beer;
waragi (local gins)
Alibatya, Godfrey
background of, 80–1
as broker of rural culture, 79–80
on capitalist culture, 140
on corporate sponsorship, 140
effect of UNESCO ebigwala
recognition on, 154
introduction to, 23, 26, 43, 66
and marketing, 51
meeting with EABL brand
manager, 44–6, 47–50
personal MDD archive, 82
relationship with EABL, 32,
46–7, 50–1, 80, 139–40
in Schools competitions, 81–2
and Selam, 156, 158, 159
and UNESCO ebigwala project,
140–1, 143–4, 149–51, 151–3,
155
views on Extravaganza, 47, 65,
82, 83
views on Ugandan traditions, 73,
81, 82, 83, 148, 154
Allen, Tony, 182n7
Alvesson, Mats, 20
amandinda (xylophone), 121. See
also xylophone
Amin, Idi, 11, 93
Anderson, Lois, 125
Applbaum, Kalman, 4
artist brands, 19, 161
artistic professionalism, 87–9,
101–3, 111–12, 113
attention economy, 172
baaba, 132
Baganda people. See Buganda
Bakerebe people, 67
196 INDEX
Bakibinga, Jessica, 93, 98, 106.
See also Tugezeku women’s
group
Bakwesegha, Michael, 107
Baligenda, Edgar, 44, 45–6, 48
Baraka, Amiri, 174
bare culture, 147
Barz, Gregory, 118
Basoga. See Busoga
Baudrillard, Jean, 6
Becker, Howard, 24
beer
bottled, 31–2, 33
home-brewed, 32–3, 34, 53
See also alcohol abuse; Senator
Extra Lager; waragi (local
gins)
Birungi By’ensi women’s group, 37,
93–4
Blue Ocean Strategy (Kim and
Mauborgne), 41, 42
bluffing, 8, 20–1, 22
Boltanski, Luc, 38, 42
Bonna Bagaggawale program, 12
Borgmann, Albert, 166
Brand Bubble (Gerzema and
Lebar), 42
branded arena, 175–6. See also
marketing; marketing era;
promotion
brands
acceptability of, 21–2
artist brands, 19, 161
and bluffing, 8, 20–1, 22
brands as persons, 40–1
critiques of, 20
as flexible signifiers, 15
in Global South, 20, 21–2
loyalty to, 19, 173
nation brands, 22
among young urban east
Africans, 19–20, 21
ubiquity of, 5, 8, 19
See also marketing; promotion
British folk dances, 69
Brown, Michael, 153
Buganda
under British colonial rule, 67
Hamitic hypothesis on, 72
musical politics of, 66–7
and Namirembe festival, 78
and ng’oma, 17
traditional music of, 120–1, 125,
180n2
welcoming (bugenyi) practices,
18, 86–7, 96
bugenyi (welcoming practices), 18,
86–7, 96–8, 99–100, 110–11,
112–13
Busoga
and Buganda court, 66
musical reputation of, 81
revival of kingdom, 149, 152, 153
traditional music of, 120–1, 123,
124–5, 126, 130–1, 180n2,
181nn4–5
Butebenkevu Buteefu (“Serene
Peace”), 179n8
calabashes, 91, 179n2
call and response music style, 124,
180n1
capitalist culture, 66, 81, 140
casual Friday, 38
cell phone minutes (airtime), 15
Chiapello, Eve, 38, 42
clave rhythmic pattern, 135
Comaroff, John and Jean
Ethnicity, Inc., 20, 22
commercial marketing. See
marketing
Congolese bands, 107
Cooke, Andrew, 125
Cooke, Peter, 117, 137, 149
corporate culture, international, 38
corporate sponsorship, 13–14, 50,
51–2, 140, 141, 175
cultural diversity, 174
culture, bare, 147
culture brokers, 43, 50–1, 66,
80, 178n5. See also Alibatya,
Godfrey; Kintu, Akram
INDEX 197
Debord, Guy, 5–6
dependency, 7
development. See NGOs;
participatory development;
workshops, development
Diageo, 11, 38–9. See also East
African Breweries Ltd.
digital music production, Ugandan,
144, 160–1, 163–4
digital music technology, 144,
157–8, 163, 166, 167, 182n9
digital pop music, 144, 158–9,
182n7
digital pop music, Ugandan, 159,
162, 164–5, 175. See also
kadongo kamu pop music
dynamics, in traditional MDD, 58,
135–6, 165
EABL. See East African Breweries
Ltd.
Eagle Lager, 33, 49
East African Breweries Ltd. (EABL)
attitude towards Extravaganza
expenses, 46–7
brand managers for
Extravaganza, 38
and culture brokers, 43, 44,
46–7, 50–1
detachment of from
Extravaganza, 43, 50
goals for Extravaganza, 1, 35–6,
50, 84
government relations, 39, 139
marketing as viewed by, 40–1,
42–3, 45–6, 47–9
meeting between brand managers
and culture brokers, 25, 44–6,
47–50
ownership by Diageo, 11, 38–9
peri-urban target consumer of,
34–5, 46
pollution in Lake Victoria, 39
in Ugandan beer market, 33, 34,
35, 41–2
website, 39
See also Senator Extra Lager;
Senator National Cultural
Extravaganza
eating, 180n7
ebigwala trumpets
application for UNESCO
recognition, 143–4, 150,
151–3
description of, 148–9
effect of UNESCO recognition
on, 151, 153–4
reasons for seeking UNESCO
status, 26, 140–1, 149, 155
embaire (xylophone), 121. See also
xylophone
endingidi fiddle, 121–2
enduumi (small drum), 130
Englund, Harri, 95
enkwanzi panpipes, 120–1, 122,
125
Environmental Awareness Day
workshop, 94–5
ethnic identities, 67, 178n1
Ethnicity, Inc. (Comaroff and
Comaroff), 20, 22
Evans-Pritchard, E. E., 17
Fall of Public Man (Sennett), 21
Fallers, Lloyd, 80
Festival Mondial des Arts Négres,
73–4
Fires of Hope troupe, 29–30
Fortune at the Bottom of the
Pyramid (Prahalad), 2
Fulbright US Student Program, 158
Gabriel, Peter, 158
gbofe side-blown trumpet, 151
gender
in traditional MDD, 26, 88–9,
92, 102–3, 108, 113, 120,
179n2
Ugandan men on, 180n4
in Ugandan society, 103–4, 108
Gerzema, John
The Brand Bubble, 42
198 INDEX
Geschiere, Peter, 10–11
Global North, 6, 145
Global South
branding in, 20, 21–2
and hip hop, 158
imperative to perform, 6–7
in marketing era, 4
sincerity demanded from, 21
and “urgent safeguarding”
list, 146
See also Africa
globalization. See neoliberalism
Great Lakes region, 178n4
Guinea, 74
Gulu, Uganda, 92
Habermas, Jürgen, 5
Hartwig, Gerald, 67
Heartbeat of Africa troupe, 74, 101
Hip Hop Canvas CDs, 159
hip hop music, 158–9. See also
digital pop music
Horkheimer, Max, 5
humanitarian aid sector. See
international humanitarian aid
sector
Hyslop, Graham, 70–1, 72, 179n6
imperative to perform, 6–7
Indian traditional music, 178n4
instruments, traditional
adungu bow harps, 54–5, 57
calabashes, 91, 179n2
endingidi fiddle, 121–2
enduumi (small drum), 130
enkwanzi panpipes, 120–1, 122,
125
lamellophones, 121
xylophone, 103, 121, 125, 133,
180n2, 181nn4–5
See also ebigwala trumpets
interlocking
approach to, 26, 117
description of, 116–17
of ebigwala trumpets, 152–3
of enkwanzi panpipes, 122, 125,
134
musical and social effect of, 137,
153, 173
in other African traditions, 148,
180n3
and vocal parts, 117–18, 137
of xylophone, 121, 125, 135
international corporate culture, 38
international humanitarian aid
sector, 5, 15, 141–2, 148,
154–5. See also NGOs;
participatory development;
Selam; technocracy;
triage; UNESCO “Urgent
Safeguarding” status;
workshops, development
Isabirye, James, 122–3
Ivory Coast, 20–1, 151
Japan, 145, 146, 182n2
Jeanes School, 68, 69–70
Kabonero, Michael, 160–1
kadongo kamu pop music, 156,
182n6
Kakoma, George, 71
Kalema, Richard, 38, 40–1, 42, 46
Karimojong region, 178n3
Karlström, Mikael, 18, 86–7, 96,
180n6
Katana, Solomon Mbabi-. See
Mbabi-Katana, Solomon
Kenya Music Festival, 78
kidandali (dancehall) music, 164–5
Kierkegaard, Søren, 172
Kiganda. See Buganda
Kiluba language, 10
Kim, W. Chan
Blue Ocean Strategy, 41, 42
Kintu, Akram
background of, 80–1
as broker of rural culture, 79–80
on European forms and Ugandan
traditional music, 178n5
INDEX 199
introduction to, 43, 66
and marketing, 51
meeting with EABL brand
manager, 44–6, 47–50
relationship with EABL, 32,
46–7, 50–1, 80, 139–40
in Schools competitions, 81–2
views on Extravaganza, 47, 82,
83
views on traditional MDD, 65,
81, 82, 83
See also Source Sound Artists
Kisoga. See Busoga
Kisongye language, 10
Klein, Naomi, 20
Kubik, Gerhard, 123, 135, 180n2,
181n5
Kulu Laundry Collective, 179n1.
See also Mon Pi Dong Lobo
women’s group
Kuteesa, Shadrack, 159
Kwetu Fest, 83, 102
Kyagambiddwa, Joseph
African Music from the Source of
the Nile, 72
on interlocking, 117
religious affiliation of, 179n8
Uganda Martyrs Oratorio, 179n8
lamellophones, 121
Last King of Scotland (film), 101
Lebar, Ed
The Brand Bubble, 42
Leopold, Mark, 67
Les Ballets Africains, 74
living museum concept, 72
Local Councils (LCs) system,
11–12
Lortat-Jacob, Bernard, 87, 88
Luga flow, 159, 182n8
Luganda language, 10, 55, 177n3
Lugbara people, 67
Lugolole Ebigwala Troupe, 148,
149, 152. See also ebigwala
trumpets
Lugungu language, 10
Lusoga language, 124
Madi people, 67
magono musical ornamentation,
132, 135
Makerere University, 38, 82–3
Malangali school, 68–9
Mali, 159
marketing
anxiety within, 42
Baligenda’s performance of, 45–6
Blue Ocean Strategy, 41, 42
as career, 38
in colonial Africa, 31
and colonialism, 25, 51–2
critiques of, 20, 172
and international aid, 15–16
international culture of, 31, 32
participation emphasis in, 7–8,
15, 30, 171
as reducing issues to essences, 41
self-understanding of, 31
theoretical frameworks for, 5–6
ubiquity of, 5, 171–2
in Uganda, 14–15
vision in, 42
and women, 175–6
to world’s poor, 2
See also bluffing; brands;
marketing era; participatory
development; promotion
marketing era
approach to, 6, 30
beyond the, 176
and branding, 8, 21, 22
definition of, 4
as globally heterogeneous, 19
as imperative to perform, 6–7
and promotion, 23, 113–14,
141–2, 172
ubiquity of, 16
See also marketing
Marriage of Nyakato
(Mbabi-Katana), 72, 75
200 INDEX
Mauborgne, Renée
Blue Ocean Strategy, 41, 42
Mazzarella, William, 8
Mbabi-Katana, Solomon
early operas of, 179n9
The Marriage of Nyakato, 72, 75
and Ugandan traditional music,
74–6
Mbale Cultural Fires of Hope
troupe, 29–30
MDD. See traditional music, dance,
and drama
Médecins Sans Frontières, 147, 169
Meintjes, Louise, 167
Micklem, James, 125
MIDI keyboard, 182n9
Mobutu Sese Seko, 74
Modernity Bluff (Newell), 20–1
Mon Pi Dong Lobo women’s
group, 90–2, 93, 99–100,
179n1, 180n4
MTN Uganda, 15
MTV, 158
Mugisu people, 40
Muhindo, Christine, 106
Mumford, W. Bryant, 69
Museveni, Yoweri, 11–12, 15, 93
music. See digital pop music;
instruments, traditional;
interlocking; music education;
music professionalism; ng’oma
(dance ritual); southern
Ugandan musical traditions;
traditional music, dance, and
drama (MDD)
music competitions. See Kenya
Music Festival; Kwetu Fest;
Namirembe Church Music
Festival; Omuvangano
traditional MDD festival;
Senator National Cultural
Extravaganza
music education, 75–6, 79,
179n10
music professionalism, 87–9, 101–3,
111–12, 113
Musulube, Arthur, 178n3
Mutesi, Esther, 104–6, 107. See also
Twekembe women’s group
Muungano troupe, 74
myel lyel (Acholi funeral dance), 91,
180n3
Nahabi, Jessica, 106
Nairuba, Rebecca, 76, 93, 98–9,
100, 106, 108. See also
Tugezeku women’s group
Nakyanzi, Miriam, 106
Namirembe Church Music Festival,
68, 71, 76, 78, 178n3
Nannyonga-Tamusuza, Sylvia, 76
nation brands, 22
Nawangwe, Connie, 94
Nbembu culture, 10
Ndere Troupe, 82, 101, 102. See
also Kwetu Fest
neoliberalism, 7, 9, 11, 13–14, 22–3
networking modes. See ng’oma
(dance ritual)
Newell, Sasha
The Modernity Bluff, 20–1
Ngobi, James, 134
ng’oma (dance ritual)
in Buganda politics, 17
changing sameness of, 173, 174
and Extravaganza, 10–11, 18–19,
115, 173
future hope for, 175–6
and okutumbula (to promote),
118
purpose of, 10, 16, 17–18, 115,
116
See also patronage politics
NGOs (nongovernment
organizations), 12–14, 15–16,
87, 92. See also international
humanitarian aid sector;
participatory development;
Selam; technocracy;
triage; UNESCO “Urgent
Safeguarding” status;
workshops, development
INDEX 201
Nketia, J. H. K., 116
nôgaku, Japanese, 146, 182n2
Ohinata, Fumiko, 151
okutomboka, 10
okutumbuka, 10
okutumbula (to promote), 10, 118,
172, 177n4. See also promotion
“Olwaleero, leero” (“Today,
Today”) song, 135
Omuvangano traditional MDD
festival, 82
omwenge (beer), 131–2
“Omwenge Senator Mulungi” song
analysis of, 119
approach to, 26, 116, 117, 136–7
assertion of modernity in, 135–6,
137
clave rhythmic pattern in, 135
gender roles in, 136
instrumentation for, 120
linguistic-melodic construction
in, 130–2
lyrics of, 126, 127–8, 128
as medley, 119
recordings of, 119
refrain melodies of, 128, 129
Song #1, 128, 130–2, 133, 134
Song #2, 134
Song #3 “Olwaleero, leero,” 135–6
Song #4, 136
Song #5, 136
tamenhaibuga drum patterns in,
130, 136
tone bank in, 132, 133, 134, 136
transcription of, 128
One Day I Will Write About This
Place (Wainaina), 19–20
Opolot, Esther, 90–1, 92, 180n4.
See also Mon Pi Dong Lobo
women’s group
Paley, Julia, 11
participation, 9, 11, 16, 23. See
also marketing; participatory
development; promotion
participatory development
as aid strategy, 2, 4, 13, 15–16
in Extravaganza, 1–2, 8,
109–10
in marketing, 8
uncertainty of, 13–14
and women’s development
groups, 86, 95–6, 112
See also marketing;
promotion
paternalism, 165, 168, 169
patronage politics, 18, 86–7, 98,
111, 180n7. See also ng’oma
(dance ritual); welcoming
practices
p’Bitek, Okot
Song of Lawino, 173–4
peri-urban target consumer,
34–5, 46
Perullo, Alex, 160, 165
Phelps-Stokes Commission, 69
pop music. See digital pop music
Potent Brews (Willis), 32
Prahalad, C. K.
The Fortune at the Bottom of the
Pyramid, 2
professional artist status, 87–9,
101–3, 111–12, 113
promotion
approach to, 4, 171
author’s involvement in, 24
basis of, 30, 113–14, 141–2
critiques of, 20, 172
Fires of Hope example of, 30
modern notions of, 9
and ng’oma, 10, 23, 172–3
as okutumbula, 10, 172
reasons for engaging in, 3–4
traditional mode of, 9–11
ubiquity of, 171–2
See also marketing; ng’oma
(dance ritual); participatory
development
pseudonyms, use of, 24
Redfield, Peter, 147
202 INDEX
SABMiller, 33. See also Eagle Lager
scale, Kisoga traditional, 126,
181nn4–5
Schneider, Marius, 180n1
Schoenbrun, David, 17
Schools competition. See Uganda
National Schools Competition
Selam
and aesthetic differences, 165
and Alibatya, 156, 158, 159
approach to, 26–7, 141, 155–6
critique of, 167–8
and devaluation of traditional
MDD, 156
and fetishization of “creative”
technological use, 156–7
goals of, 158, 160
and Kampala’s hip hop scene, 159
overview of, 158
paternalism of, 165, 168
prescription of for Ugandans,
164–5, 166
and technocracy, 144, 155–7, 169
and technological inequality,
157–8, 166–7
workshop run by, 144, 161–4,
165–8
See also technocracy
semi-professional, 101
Senator Extra Lager, 33–4, 35, 49
Senator National Cultural
Extravaganza
admission to, 56
advertisement for, 64
agency in, 6
appeal of, 169–70
approach to, 4, 5, 24, 25, 31, 32
and artistic professionalism,
88, 102, 111–12
audience participation in,
58–9, 60
cancellation of, 3, 26, 139
creative items in, 58, 118–19, 137
critique of, 22–3
development salvation
narrative in, 95
diversity of performances in,
36–7, 53–4, 54–5, 58
and “dynamics,” 58, 135–6, 165
fieldwork on, 23
Fires of Hope winning
performance, 29–30
folk dances in, 59–60
folk songs in, 58
format of, 1, 35–6, 53, 57, 118
goals for, 1, 35–6, 50, 65, 84,
109
instructions given to performers,
34, 36
and intellectual rights, 37
judges of, 56–7
lack of promotion on Diageo and
EABL websites, 39
ng’oma sociality of, 10–11,
18–19, 115, 173
origins of, 82
parade at start of, 55–6, 110–11
as participatory development,
1–2, 8, 16, 109–10
political potential in, 173–4
prizes, 2, 35, 47, 59, 60, 110
and promotion, 3–4, 9, 14, 22
props used in, 55, 58
reasons for participating in, 3,
55, 89
and Schools competition, 76
“Senator” as patron, 99–100, 111
slogans for, 36, 65, 172
and Source Sound Artists, 60,
102
target audience of, 54
and welcoming practices, 110–11
women performing at, 120
See also Alibatya, Godfrey; East
African Breweries Ltd.; Kintu,
Akram
Sennett, Richard
The Fall of Public Man, 21
Sharp, Cecil, 69
Shipley, Jesse, 158
sincerity, 21
Singing Wells project, 154, 182n5
INDEX 203
Song of Lawino (p’Bitek), 173–4
songscape aesthetics, 162
Source Sound Artists, 60, 82, 101,
102, 109, 111–12
South Africa, 167
South Korea, 145
southern Ugandan musical
traditions, 117–18, 126, 137.
See also Buganda; Busoga;
interlocking
Speke, John Hanning, 17, 67, 72
splintering, politics of, 17, 107
sponsorship, 13–14, 50, 140, 141,
174, 175
Steiner, Christopher, 80
sustainable development, 13
tamenhaibuga dance, 122–3
tamenhaibuga drum patterns, 130
tastes, 16. See also marketing
Taylor, John, 70, 72, 178n4
technocracy, 27, 142, 143, 155–7,
168, 169, 175.
See also Selam
telecommunications, Ugandan, 15
Théberge, Paul, 167
Throw Down Your Heart
(documentary), 101
tone banks, 125, 132, 134
traditional folk dances, 59, 71
traditional folk songs, 71
traditional instruments. See
instruments, traditional
traditional music, dance, and drama
(MDD)
approach to, 24, 25, 52,
61, 144
and artistic professionalism, 101
assertions of modernity in, 119
and awareness raising, 95–6
call and response music style,
124, 180n1
as career, 81
colonial attitudes towards,
68–71, 178n4
contemporary, 79, 84
and culture brokers, 79–80
and digital pop music, 159–60,
175, 182n7
downstepping in, 124–5
and European musical forms,
70–1, 135–6, 165, 178n5,
179n6
fluidity of scene, 107
gender roles in, 26, 88–9,
92, 102–3, 108, 113, 120,
179n2
innovation in, 36
and intellectual rights, 37
learning, 79
and Mbabi-Katana, 74–6
medley form, 137
mid-century scholarly approaches
to, 71–3
political dynamism of, 173–4
postindependence nationalism
and, 66, 73–4
precolonial approach to, 66–7
rhythmic cycle within, 123–4
and rural Uganda, 65–6, 79–80,
82, 83
and Schools competition, 68,
76–9
as “social revealer,” 116
and technocracy, 156
tone banks in, 125
and triage, 154–5, 174–5
and Ugandan multiethnic
self-image, 64–5, 78, 83–4
See also Alibatya, Godfrey;
Buganda; Busoga;
interlocking; Kintu, Akram;
Senator National Cultural
Extravaganza; Uganda
National Schools
Competition
triage, 27, 142–3, 146–8, 154–5,
168–9. See also UNESCO
“Urgent Safeguarding” status
Tribal Crafts of Uganda (Trowell
and Wachsmann), 73
Trowell, Margaret, 72, 73
204 INDEX
Tugezeku women’s group
embaire of, 121
incorporation of men into, 103,
106, 107–8
introduction to, 23, 93
leadership of, 93, 106–7
and welcoming practices, 98–9
See also “Omwenge Senator
Mulungi” song
tuning, Kisoga system of, 126,
181nn4–5
Twekembe women’s group, 23,
97–8, 103, 104–6, 107
Uga flow, 182n8. See also Luga flow
Uganda
alcohol abuse in, 39
colonial history of, 67–8
cultural geography of, 25, 53, 63,
65–6, 80, 83–4
demographic shift in, 35
ethnic identities in, 67
gender roles in, 103–4, 108
marketing saturation in, 14–15
maximum security in, 44
and NGOs, 12–14
postindependence nationalism,
73
See also Ugandan politics
Uganda Breweries Ltd., 11, 39,
177n1. See also East African
Breweries Ltd.
Uganda Herald (newspaper), 68
Uganda Martyrs Oratorio
(Kyagambiddwa), 179n8
Uganda Museum, 72, 73, 179n7
Uganda National Schools
Competition
Alibatya and Kintu in, 81–2
bureaucratic and academic nature
of, 78–9, 102
creative items in, 118, 137
format of, 36, 78
innovation in, 76–8
and moral decency, 77, 103
origins of, 68; purpose of, 78, 102
Uganda Telecom, 15
Ugandan music. See digital music
production, Ugandan;
digital pop music, Ugandan;
instruments, traditional;
southern Ugandan musical
traditions; traditional music,
dance, and drama (MDD);
Uganda National Schools
Competition
Ugandan politics
Bonna Bagaggawale
program, 12
and cell phone services, 15–16
ethnic politics in, 63–4, 65
leadership in, 63
Local Councils (LCs) system,
11–12
and marketing, 15, 172
under Museveni, 11–13, 93
rural distrust of, 98
traditional kingdoms
reconstructed in, 36, 182n4
and welcoming practices, 98;
women in, 93
UNESCO “Urgent Safeguarding”
status
and Alibatya’s career, 154
approach to, 26–7, 174–5
documentation required for, 153
establishment of, 144–6
goals of, 153
and triage, 143–4, 146,
147–8, 169
See also ebigwala trumpets;
triage
United States of America, 158
urgent safeguarding.
See UNESCO “Urgent
Safeguarding” status
Veal, Michael, 162
Venda people, 180n3
vision, in marketing, 42
voice, in traditional MDD, 117–18,
124–5, 137
INDEX 205
Wachsmann, Klaus, 71, 72–3, 179n7
Wainaina, Binyavanga
One Day I Will Write About This
Place, 19–20
waragi (local gins), 34, 35, 53, 109.
See also alcohol abuse; beer
War/Dance (documentary), 78
wealth-in-people, 17–18
welcoming committee, 86–7, 99–100.
See also welcoming practices
welcoming practices (bugenyi), 18,
86–7, 96–8, 99–100, 110–11,
112–13
White, Bob, 107
Willis, Justin
Potent Brews, 32
WOMAD, 158
women
in branded arena, 175
in politics, 93
See also gender; women’s
development groups
women’s development groups
approach to, 26, 85–6, 90,
113–14
and artistic professionalism, 87–9,
101, 108, 113
critique of, 87
and government microfinance
initiatives, 12, 93
history of in Uganda, 92–3
inclusion of men into, 103–4,
108
inclusiveness of, 101
leadership in, 95
overlapping motives for, 87, 89,
108–9
and participatory development,
86, 93–6, 108, 112
purpose of, 103
and welcoming practices, 86–7,
98–100, 108, 112–13
See also Birungi By’ensi; Mon
Pi Dong Lobo; Tugezeku;
Twekembe
workshops, development, 13, 86,
94–5, 97–8, 167
xylophone, 103, 121, 125, 133,
180n2, 181n5
Yúdice, George, 6
Zaïre, 74