There is a popular prevailing assumption that when you make a hit song, you break through and achieve lots of success. The reality is very sobering. Every music artist must have a side hustle or alternative streams of income other than recording and performing music. Acaye Elizabeth Pamela dives into the Ugandan music industry and speaks to some key players to investigate where the money is in music.
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This petite and easy read is a testament to the importance of telling our own stories. We usually talk about this in reference to being African; outsiders have been telling our stories since before the days of Heart of Darkness, a book published more than a hundred years ago that continues to define the continent in the minds of many. Today we have movie stars like George Clooney, Angelina Jolie and Ben Affleck, testifying in front of American Congress or on CNN as “African experts”. It is no wonder that we continue to feel misrepresented or invisible, that millions of dollars are spent annually on aid programs that are later found to not work.
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The small community that patronises our art, usually constituting diplomats, expatriates and tourists, is not sustainable. They have set for us a standard formula to use in order to satisfy their appetites.
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There are many new ways for Ugandans to be exposed to the arts. Startjournal wanted to find out if all the art that is permeating the air had actually seeped through the skins of the people. We posed the following question to working class Ugandans: Please tell us — what is ART to you?
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The current generation of recording artists and performers of Ugandan music is one that has not been talked about much. This could be in fact, that there is very little in terms of music to speak of. You could summarize an entire decade of music in just a few sentences; very little music has been produced in the last 20 or so years which has gotten the entire country talking about an issue, an epidemic or even a political regime. Serubiri Moses analyses originality.
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