Music in peace process in Uganda
The article “ Sounding the War: Acholi Popular Music in the Peace Process in Northern Uganda “ by Stella Wadiru discusses how musicians use Acholi popular music to expose the war situation in northern Uganda and to campaign for peace. The author also conducts ethnographic research in Internally Displaced Persons (IDP) camp.
War in Acholi-sub region of Northern Uganda between rebel groups and the Ugandan Government has claimed many lives, destroyed property and led to abduction of children. Concurrent growth of media and recording studios has led to development of popular music. Although most of the infrastructure growth has been restricted to Kampala, musicians from the northern part of the country have also participated by moving to Kampala and making it the base for their creative activities. Moreover, the author argues that listeners may also respond to music differently. Thus while Acholi music articulates war situation in Northern Uganda, the music itself is shaped by the circumstances under which war has thrived.
The author emphasizes that people displaced and victimized by war use music use music as platform of communicating views and creating awareness that cannot be expressed through speech.
The author discusses about 3 songs: Too Paco by Lucky Bosmic Otmin, Nene con by BSG Labango and “But We Don’t Care” by Mater Loketo Lee. The first two songs showcase Ugandan culture by describing the terrible conditions in the IDP camps. The article highlights the hardships faced by the people who are forced to leave their homes and live in IDP camps where the huts are cramped, children are malnourished, men engage in alcohol and gambling, etc.
The third song appeals to people of other
War in Acholi-sub region of Northern Uganda between rebel groups and the Ugandan Government has claimed many lives, destroyed property and led to abduction of children. Concurrent growth of media and recording studios has led to development of popular music. Although most of the infrastructure growth has been restricted to Kampala, musicians from the northern part of the country have also participated by moving to Kampala and making it the base for their creative activities. Moreover, the author argues that listeners may also respond to music differently. Thus while Acholi music articulates war situation in Northern Uganda, the music itself is shaped by the circumstances under which war has thrived.
The author emphasizes that people displaced and victimized by war use music use music as platform of communicating views and creating awareness that cannot be expressed through speech.
The author discusses about 3 songs: Too Paco by Lucky Bosmic Otmin, Nene con by BSG Labango and “But We Don’t Care” by Mater Loketo Lee. The first two songs showcase Ugandan culture by describing the terrible conditions in the IDP camps. The article highlights the hardships faced by the people who are forced to leave their homes and live in IDP camps where the huts are cramped, children are malnourished, men engage in alcohol and gambling, etc.
The third song appeals to people of other