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