Uganda Local Content Development Strategy 2020-2025 Executive Summary

Disclaimer
The circulation and use of the contents of this report is limited to the Uganda Communications Commission and any parties they may
expressly authorize or intend this report for use. Any analysis and interpretation of the contents must be made within the context
of the TORs.
III THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

ACKNOWLEDGEMENTS.
The assistance of the Uganda Communications Commission Representatives, Content Development team, together with the was
key in the effective collection and coordination of the data used in the development of this strategy. Their combined efforts are
greatly appreciated. Special thanks are in order for the Head of Multimedia Content at the UCC – Meddie Kaggwa for your immense
support through this process, and the UCC strategic planning committee, for your invaluable information and coordinative support.
The audio visual content development strategy has been compiled by a team from Steadman Global Consulting Limited, headed
by Diana Nabukenya Katto (Strategy, policy and Institutional Development Expert), Robert Kirunda (Legal Specialist) and Jacqueline
Nkurunziza (Legal Specialist). Thanks are also due to a number of people who helped in quality assurance and publishing of the
report. They included: Rachel Dumba, Nancy Katushabe and Tadeo Karumba who gave valued assistance with various aspects of
the report.
IVTHE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

ACRONYMS AND ABBREVIATIONS
AV Audio Visual
ADB African Development Bank
CAGR Compound Annual Growth Rate
FGD Focus Group Discussion
FM Frequency Medium
FTA Free to Air
GDP Gross Domestic Product
GNI Gross National Income
HIV Human Immune Deficiency Virus
ICT Information and communication Technology
KII Key Informant Interviews.
MDA Ministries, Departments and Agencies
MoGLSD Ministry of Gender Labour and Social Development
MoICT Ministry of Information and Communication Technology and National Guidance.
MoTI Ministry of Trade and Industry
MOTWA Ministry of Tourism and Wildlife Antiquities.
MSME Micro Small and Medium Enterprises.
NCHE National Council for Higher Education
SDG Sustainable Development Goals
SWOT Strengths, Weaknesses, Opportunities and Threats
PESTEL Political Economic Social Technological Environmental and Legal
TOR Terms of Reference
TV Television
UCC Uganda Communications Commission
UFC Uganda Film Council
UFF Uganda Film Festival
UGX Uganda Shillings
UNCTAD United Nations Conference on Trade and Development (UNCTAD)
URSB Uganda Registration Services Bureau
USD United States Dollars
WB World Bank
V THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

Since the advancement of the new Millennium, several countries (Uganda inclusive) seeking to diversify their economies have
opted to significantly invest and develop non traditional service sectors to complement production within traditional industries. The
non-traditional sectors, many of which are highly resilient to economic shocks promise relatively high returns for economic growth,
development and high potential for employment creation and labour productivity, especially for the youth demographic. Uganda
through the National Development Plan has a goal to attain middle-income status by 2020, through strengthening the country’s
competitiveness, sustainable wealth creation, employment and inclusive growth. Advanced by the convergence of skills, content
digitization and the internet, the audio-visual (AV) sector as espoused under the culture and creative arts industry was identified as
a key driver for job creation, investment and export.
The AV sub-sector potential remains untapped but with great capacity to improve the country’s national development goals and
vision 2040. Although actual figures for each subsector are currently un-ascertained, the major economic impact of the culture and
creative arts industry has been its direct and indirect contribution to GDPand employment.The mapping of cultural and creative
industries services in Uganda (UNESCO, 2009), showed that the culture sector in the country fosters economic growth, job creation,
exports earnings (valued at $20 million between 2004 and 2008) and promotes culture preservation and pluralism.
Over the years, the audio visual industry in Uganda as considered under the culture and creative arts industry has been growing
steadily, flaunted by a rise in local content production and consumption. In the film industry, although the actual size and structure of
the industry remains uncertain, there is an estimated 1474 self-profiled film producers, 1769 Micro small and medium (MSME) film
production companies, about 97 international fixers or production fixers and 1189 production managers, an estimated 40,000 music
producers and renowned musicians, majority of whom are youth with high productive potential.Overall,Uganda’s AV industry is still
informal and fragmented into numerous micro and small individually owned production firms, professional groups and students.
AV businesses are mainly involved in content production and trade (local films, music, performing arts and new media content),
education and training but with majority undertaking the full range of activities along the production and distribution value chains
with a goal of increasing production, competitiveness and profitability.
While some initiatives have been implemented in the past to boost industry growth, a number of constraints still inhibit achievement
of the above goals and require alignment with relevance to the needs of the industry. Particularly, local content production and
distribution, as key components of the value chain are constrained by a number of factors. To mention, industry growth has mainly
been inhibited by inadequate investment and regionalization of AV distribution infrastructure, systems and platforms, slow market
adaptation to new technologies, limited distribution of well-equipped and regionally diversified production and content distribution
infrastructure, e.g. well-equipped filming studios, new media incubation labs, music recording studios, theatres and performing
arts infrastructure and very low uptake of AV industry quality standards,. While distribution chains remain structurally constrained,
the inadequacy of funding, hands-on skills, experience and training opportunities in scientific sectors such as creative film and
new media production (gaming), inadequate access to advanced technology, infrastructure and equipment to support innovation
EXECUTIVE SUMMARY
VITHE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

1
According to www.productionhub.com
and production further widen the gap in the production of quality content that can compete favorably on the local, regional and
international market.
The enabling environment for Uganda’s Audio Visual regulatory framework, in its three main components - music, cinema and
television, is in existence and has undergone significant transformations over the years including; the Constitution of the Republic
of Uganda, the stage plays and public entertainment Act, Cap 49, the Uganda Communications Act, 2013, the Copyright and
Neighboring Rights Act, 2006, Uganda Broadcasting Corporation Act, 2005. Sector growth however requires strengthening of the legal
and regulatory framework with specific regulations is however important diverse aspects to mention; institutionalization of sector
support activities, intellectual property protection, competition policy, taxation, telecommunications regulation, the regulation of
several categories of professional service providers, temporary movement of service providers and key personnel across borders,
distribution service regulation, as well as the design of fiscally sustainable and culturally efficient domestic support measures.
At the policy level, it is laudable to note a number of policies, recently developed with relevance to the industry. Some existing
policies with relevance to the AV industry include; The Uganda National Culture Development Policy, December 2006, Local content
policy for Uganda, February, 2019, The ICT Sector strategic and Investment Plan, 2015/16- 2019/20, National Broadcasting Policy,
2018, The National Communication Policy and the National Electronic Media Policy, 2019,The Press and journalists Act. While the
above policies and related interventions are commendable, there is need for deliberate efforts to harmonize and coordinate policies
across all AV related MDAs. Most importantly, the need to address industry policy gaps such as access to finance and credit, MSME
development, access to markets, human capital skills development and training, and content digitization and commercialization
requires a dedicated AV industry policy and strategy in support of increased industry productivity, competitiveness and revenue
maximization.
The above status quo undermines the potential for the industry to contribute to National Development. Therefore, this AV industry
strategy is thrust with a vision of, ‘’A formal, vibrant and predictable local content industry that contributes to socio-economic
development, employment and economic transformation’’, and a mission to ‘’ Enhance creativity, innovation, productivity and
competitiveness of the local content industry’’. Specifically, this strategy provides a framework to facilitate industry growth,
development and competitiveness with two main goals and four objectives as illustrated in the table below;
VII THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

Specific Objectives. Specific Interventions.
i. Enhance institutional
Capacity to provide
leadership and deliver
quality and efficient services
in AV industry related fields
and, to ensure the visibility
of the AV industry in Uganda.
• Support the establishment and alignment of functional AV Institutional
arrangements.
• Increased industry visibility at the national level.
• Establish and Strengthen new existing industry Legal, policy Effectiveness
• Establish proper industry databases and information systems.
• Undertake an institutional review of existing Institutional functions and
Structures to streamline existing institutional roles and responsibilities, and to
improve industry coordinative arrangements.
• Design a public relations plan that will institutionalize a robust system of internal
communication within UCC and outreach to external audiences.
• Create a structure to facilitate sectoral management of the communication
function and stakeholder engagement.
ii. Facilitate the transition
of the industry from the
informal to the formal
economy, ensuring
opportunities for income
security, livelihoods and
entrepreneurship.
• Foster industry and MSME formalization, Registration, Business and Enterprise
Development initiatives.
• Promote the creation, preservation and sustainability of enterprises and decent
jobs in the formal economy andthe coherence of macroeconomic, employment,
social protection and other social policies;
• Strengthen AV industry Business and Enterprise Capacity towards formal and
structured systems. E.g. trainings in business management skills etc.
• Strengthen existing industry self-regulating and self-governing systems e.g.
streamlining of industry associations and coordinative mechanisms between all
associations and memberships.
• Promote social-economic inclusion and facilitate the creation of new
employment opportunities, for the youth and women in the media and
entertainment industry.
Goal 1: To motivate a paradigm shift from an informal to a formal and more predictable industry.
Specific Objectives. Specific Interventions.
iii. Enhancing local content
quality and industry
productivity.
• Deepen industry capacity-building initiatives for enhance sector productivity,
professionalism, quality and competitiveness of Uganda’s film industry locally
and internationally.
• Facilitate and support increased access to production infrastructure and
Equipment
• Facilitate and promote the establishment and strengthening of industry
Business and inter-sectoral linkages to boost production.
• Facilitate Access to Finance and Credit.
• Facilitate Access to quality, skilled, and professional Human Capital and AV
industry Training and Capacity Building opportunities.
Goal 2: Enhancing local content quality, industry productivity and Market Competitiveness at the local
and international level.
VIIITHE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

This strategy will thus complement, promote and strengthen the overall development goals of the country by
addressing strategic areas central to increasing industry funding and investment, supply of skilled professional
personnel, materials and equipment, increasing access to markets for local content products, increasing adaptation to
new technology, improving coordination and implementation of policy legal and regulatory enforcement mechanisms,
and improving industry perceptions to spur industry growth and development.
iv. Increasing industry and
market Competitiveness,
Profitability and Revenue
Maximization.
• Supporting Industry Brand Building and Local Brand Identity.
• Facilitate Industry Market Research, Monitoring and Evaluation.
• Support Local Consumer Market Development Initiatives.
• Facilitate and support access to Local, Regional and Global Markets.
• Facilitate and support industry and local content promotion initiatives.
• Facilitate and Support the development and establishment structured local
and international content distribution system.
• Support for the establishment and strengthening of facilitative regional
platforms e.g. the EACCO to promote the AV industry development agenda.
• Promote Revenue Maximization strategies for local industry actors e.g.
utilization of digital monetization schemes etc.
IX THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

TABLE OF CONTENTS
ACRONYMS AND ABBREVIATIONS v
1 Background And Context 1
1.1 Rationale Of The AV Strategy 1
1.2 Overview Of The AV Industry 2
1.2.1 The Film Industry 2
1.2.2 The Music And Performing Arts In Uganda 3
1.2.3 New Media (Gaming) Industry 4
1.3 Socio-Economic Contribution And Significance Of The AV Sector 5
2 METHODOLOGY/APPROACH TO THE ASSIGNMENT 9
2.1 The Assessment Framework 9
2.2 Data Collection And Synthesis 9
2.3 Sampling Framework 11
2.4 Data Analysis And Synthesis 14
3 SITUATIONAL ANALYSIS 16
3.1 Industry Market Analysis (Local, Regional And International Markets) 16
3.1.1 Local Content Production Capacity 16
3.1.2 Local Content Promotion And Distribution Systems 19
3.2 THE ENABLING ENVIRONMENT 26
3.2.1 The Legal And Regulatory Framework 26
3.2.2 Institutional And Governance Arrangements For AV Industry 30
3.2.3 AV Industry Policy Arrangements 32
3.2.4 Cross Cutting Issues 48
4 The AV Strategy 53
4.1 Industry Strategic Orientation 2020/21 – 2025/26 53
4.1.1 Industry Vision And Mission 53
4.1.2 Sector Specific Goals And Objectives 53
5 STRATEGY IMPLEMENTATION MECHANISMS 56
5.1 Governance And Institutional Arrangements 56
5.1.1 Financing, Resource Mobilization Strategies 57
5.2 Critical Success Factors 58
5.3 Monitoring And Evaluation Framework 59
5.3.1 Industry Development Log Frame 60
5.3.2 Institutionalizing Monitoring And Evaluation 62
5.3.3 Evaluation Of The Implementation Of The Strategy 62
Appendix. 64
Appendix 1: The AV Strategy Implementation Plan And M&E Matrix 64
XTHE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

TABLE OF TABLES
Table 1: Performance Comparison of the culture and Creative Arts 5
Industry to other Sectors in the Economy.
Table 2: Outline of Tasks, Activities, Applicable Tools and Methods 9
for the Assessment.
Table 3: List of Focus Groups for Consultation. 9-10
Table 4: Key Informants met During the Data Collection Process. 10
Table 5: Categories of industry Actors Interviewed. 11
Table 6: Sample Size and Distribution of AV and Creative Arts content 11-12
Consumers by District.
Table 7: Distribution of Respondents by Age Group. 12
Table 8: Marital Status of Respondents. 13
Table 9: Rural Vs Urban Location/Residence of Consumers. 13
Table 10: Highest level of Education Attained 13
Table 11: Average Income per Month. 13
Table 12: Summary of SWOT analysis findings in Local AV content production. 19
Table 13: Cinema and Video Halls in Uganda by Location. 20
Table 14: Number of Operational TV Stations (2011 - 2017) 21
Table 15: Number of Operational Radio Stations in Uganda 2011 - 2017 23
Table 16: Summary of SWOT analysis findings in Local AV content 24-25
Promotion and Distribution.
Table 17: AV Industry Stakeholder Categories, Roles and Responsibilities. 56-57
Table 18: Partnerships Results Matrix. 58
Table 19: Expected Programme Impact and Indicators. 59
Appendix 1: The AV Strategy Implementation plan and M&E Matrix. 64-72
XI THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

TABLE OF FIGURES
Figure 1: Value of the global video games market from 2012 to 2021 5
in billions of US Dollars.
Figure 2: The Average Film Production and Commercialization lifecycle. 18
Figure 3: An Illustration of a Local Make-shift Cinema Hall (Kibanda) in 23
Nateete Ku-Taano, Kampala district.
Figure 4: Most preferred means of accessing local content. 24
Figure 5: Historical and Forecasted Music Revenue in Nigeria, 26
2013 – 2022
Figure 6: Trends in Individual Access and Utilization of ICTs 45
in Uganda. (2008- 2014)
XIITHE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

Chapter1:BackgroundandContext
XIII THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

Since the advancement of the new Millennium, several countries (Uganda inclusive) seeking to diversify their economies have
opted to significantly invest and develop non-traditional service sectors to complement production within traditional industries. The
non-traditional sectors, many of which are highly resilient to economic shocks promise relatively high returns for economic growth,
development and high potential for employment creation and labour productivity, especially for the youth demographic. Uganda
through the National Development Plan has a goal to attain middle-income status by 2020, through strengthening the country’s
competitiveness, sustainable wealth creation, employment and inclusive growth. Vision 2040, which is aligned with the African
Union Agenda 2063, sets out the aim of achieving lower-middle-income status by 2032 and upper-middle-income status in 20 years.
National Development Plan II (2015/16–2019/20) (NDP II) envisages a competitive economy, gender equality, high employment
and inclusive growth. 26 Priority sectors for investment include agriculture, tourism, minerals, infrastructure and human capital
development with equitable outcomes regarding age, gender and locality.
Advanced by the convergence of skills, content digitization and the internet, the audio-visual (AV) sector as espoused under the
culture and creative arts industry has great potential for job creation, employment and export. Development of responsive strategies
as well as maximization of the sectors potential is important in ascending the country’s national development goals as well as the
achievement of Vision 2040.
1.1 Rationale of the AV Strategy
Over the years, the audio-visual sector has been growing steadily, flaunted by a rise in local content production and consumption.
The notion of the audio-visual (AV) sector includes the “creative (or content) industries” defined as industries in which the product
or service contains a substantial amount of artistic or creative endeavor. However, the definition of the industry in context of this
strategy covers only, “activities which have their origin in individual creativity, skill and talent and which have a potential for wealth
and job creation through the generation and exploitation of intellectual property”. Such sectors as described by the commission
are limited to visual arts (films, animations), broadcasting (television and radio), video and multimedia industries (video games and
software development), music and performing arts (theatre, concerts, and dance) and other new electronic media (TV Programmes,
radio Programmes, feature films, video Programs and music).
A new elevation of the role of intellectual capital in Uganda has bolstered the birth of‘’Uganda’s creative economy’’. However, growth
and investment in the AV industry has been very haphazard, fragmented, multi-dimensional and complex. There has been hardly any
structured initiatives to develop and maximize the industry’s growth, potential contribution to GDP and national development goals.
This strategy was therefore developed to;
Stimulate growth of the local audio-visual production sector;
Increase competitiveness of the Ugandan audio-visual sector both locally and internationally;
Attract and build businesses, business activities, skills and investment in the Ugandan audio visual sector;
Increase the number and scale of Ugandan audio-visual production companies;
2
https//https://www.worldbank.org/en/news/press-release/2019/10/09/global-uncertainty-continues-to-slow-growth-in-africas-economies.fh8v-rxyk, https://scholarworks.sjsu.edu/
etd_theses/3892 pedia.org/wiki/Cinema_of_Uganda#cite_note-2
3
According to www.productionhub.com, A local online registry platform that encourages registry and active engagement of people in the Film industry.
1 Background and Context
1 THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

• Establish objectives for the Ugandan audio-visual sector in Uganda at a macro level;and
• To detail the infrastructure, regulatory, legislative, public support and private enterprise initiatives to achieve the above
objectives.
1.2 Overview of the AV industry
In Uganda, audio-visual content production started as early as the pre-colonial era in the 1960’s, following the establishment and
works of the colonial Department of Information, mainly for and with colonial supported interests. Local films and documentaries
were shown to schools and local communities using large projector screens casted on mobile vans. In 1961, shortly before
independence, the government of Uganda established the first radio station, ‘’Radio Uganda’’. The first television broadcaster,
‘’Uganda Television’’ was then established in 1963, with modern production and recording studios designed along the BBC studio
model. The AV content industry has five sub sectors all of which encompass production of creative arts and culture products for
information, entertainment, edutainment, culture preservation, and advertising. For the scope of this strategy, however, the AV
industry essentially covers film, music and performing arts (live shows and theatrics) and new media production, particularly, the
local gaming industry.
1.2.1 The Film Industry
Films made in Uganda are commonly known as ‘’Ugawood’’ or ‘’Kina Uganda’’ by the locals. Since the emergence of the category
of ‘’Kina-Uganda’’, the film and movie industry in Uganda has been growing steadily albeit at a very slow rate, with a stream of
films released between 2005 and 2019. The film Industry value chain is comprised of different players from content production
to its delivery via cinema, TV channels, Internet portals or other content delivery platforms. Among these players include; content
producers, script writers, actors, directors, producers, sound and lighting technicians, location scouts, musicians, costume designers,
makeup artists, camera men, ,right-holders, content distributors.
Although the actual size and structure of the industry remains uncertain, there is an estimated 1474 self-profiled film producers ,
1769 micro small and medium (MSME) registered film production companies , about 97 international production fixers and 1189
production managers, majority of whom are youth. By October 2019, the estimated number of animation companies in Uganda
was at least 10-registered with the URSB. Equally so, the ‘’Ubuntu association of animators in Uganda’’ had registered 10 animation
production companies including, ‘’Tonda Animations’’, ‘’Creative Republic Ug’’, ‘’Kalidad images’’ and ‘’K trident’’.
To date, the categories of films produced in Uganda vary from short to feature films including; Movies (consist of the largest number
of productions), documentaries and animations. In the movies genre, the industry has produced action films, comedies, romantic
films, rom-coms , adventure such as ‘’who killed Captain Alex’’, musicals e.g. ‘’Bella, 2016’’, real life films e.g. ‘’veronicas wish’’,
dramas, period films or historical dramas, horrors, war films e.g. ‘’27 guns’’ and science fiction. Documentary production in Uganda
is also on the rise with production of Poetic Documentaries , Expository Documentaries , and Observational Documentaries e.g. the
popular‘’NBSinvestigates’’documentaries,participatorydocumentaries,reflexivedocumentaries andperformativedocumentaries.
Although the number of local films produced annually remains low and unjustified, there is recognizably, steady improvement in
production and quality of local films within the industry, from barely any feature Films in 2000, to an average 205 at the November
2018 Uganda Film Festival. Among these included over 150 film submissions, 20 documentaries, 5 Animations, 10 student films,
10 TV Drama Series and 10 short films exhibited locally and at various international film festivals in 2018 alone. Compared to other
countries such as Nigeria and South Africa, there is even wider potential for growth as in the Nigerian film industry (Nollywood),
which today produces about 50 movies per week from 50 a year in 2006.
2THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

The industry’s competitiveness, however, remains low compared to other countries within the region. There is aggressive competition
(locally and internationally) from foreign content; estimated at 26% FTA; 10% Radio dominated by western and West African Music
in all East African Countries; over 90% foreign film; and animation at an estimated 95% following the advent of foreign content since
the 1960’s . Despite its low competitiveness, Uganda’s film industry has great potential for growth and awaits development and
exploitation to realize its true value and contribution to the economy.
1.2.2 The Music and Performing Arts in Uganda.
Music is a multi-billion dollar industry and one of the highest paid industries in the World. The music and performing arts industry in
Uganda has a long and proud history. The music industry encompasses the production, reproduction and dissemination of recordings,
live performances, broadcasts, transmission via cable or satellite and the internet among others. While music preference is diverse
across the country, there are perceivable patterns based on locations, demographics, and cultures. The industry’s products consist
of products that take the form of physical artifacts, services and intellectual property characterized by a global flow of revenues.
Music genres produced in Uganda include ‘’traditional or cultural music’’, ‘’popular music’’, ‘’kandongo-kamu’’, ‘’Kidandali’’, ‘’dance
hall’’, ‘’hip-hop’’, ‘’jazz’’, ‘’gospel’’, and ‘’classical music’’, although barely known. Increasingly, all genres have a homegrown character,
often sung in local languages.
Uganda has an estimated 40,000 music producers and renowned musicians, majority of whom are youth. Similar to the film industry,
the music industry still operates informally but vibrant in the socio-economic lives of many Ugandans. There are some medium sized
music companies; however, the industry mainly constitutes fragments of small and micro businesses involved in music production,
education and training and live performances, but with majority undertaking the full range of activities along the music production
and distribution value chains.Other categories of industry actors include composers, artistes or songwriters, musical performers, as
well as agents, managers, promoters, music publishers, record companies, copyright collection societies, distributors, retailers as
well as individual music consumers .
In November 2019, Uganda ranked third among top 10 countries in music production and entertainment in Africa, with a significant
number of outstanding and internationally renowned music creators, performers and artistes in with enduring careers both locally
and abroad. With a small population base to continental and global population, it is fair to say that Uganda’s music has had a tangible
impact on the international music and performing arts scenes with musicians such as ‘’Eddy Kenzo’’, ‘’Jose chameleon’’ and ‘’Bobi-
wine’’, music having fair demand on the international scene. Music industry revenue is made through endorsements, albums sales,
tours and concerts as well as other business ventures. Insights from some platforms reported that Uganda’s top 10 highest paid
music artists are estimated to earn a combined monthly income of over Ugx 600 million ($162,000), of both legendary and new
musicians largely in live performance fees. This figure excludes earnings from other hard to establish platforms such as celebrity
endorsements, private/corporate functions, royalties by radio stations, discotheques, revenue from online streaming platforms e.g.
YouTube, amazon Spotify iTunes or telecom call back tunes.
In 2019 popular music concerts, live music shows and comedy nights were the most popular and had the highest attendance rate
as cultural activities. An estimated 25% of Ugandans aged 15 years and over attended at least one concert or show in a 12-month
period . Both sectors attract the highest levels of attendance, with popular music shows and comedy events consistently selling
the largest number of tickets than any other category in performing arts and the largest categories by gross revenue and total
attendance, estimated to represent 36.7% of the performing arts industry by revenue.

A ticket attendance and revenue survey of live performances between June and December 2019 found that gross revenue for some
popular shows in Kampala increased in both quarters from an estimated $120,000 in quarter 3 and grossed over $300,000 dollars
equivalent in December 2019 . While categories such as live music performance and comedy nights are flourishing, some sectors,
particularly theatre practice are experiencing a declining trend despite years of vibrant performances as some industry structures
remain under developed and untargeted to support holistic music and performing arts industry growth.
Whilst being a final product in itself, local music and performing arts transcend a number of traditional sector boundaries, micro,
small and medium enterprises (MSME) products and industries, including film, television, radio, advertising, retailing, and games,
mobile and other new technologies to enhance product satisfaction. The ease in conversion of music and performing arts from
live productions to digital and Monetizable online productions further enabled the success and sustainability of the industry’s
productions. While converged networks, markets and technologies become less and less confined to national borders, development
of responsive strategies that embrace the role of music and performing arts industries, as well as maximization of the sectors
potential is important, in ascending the country’s national development goals, and achievement of Vision 2040.
1.2.3 New Media (Gaming) Industry.
New Media production takes up the factions of software development, video game production and any other digitized content. The
Gaming Industry, as is the core faction of this component, can be broken down into three main segments: Mobile, PC and Console.
In Uganda, the industry is still in its infancy and nascent stages (development stage). Although the number of functional video games
produced in Uganda over the years is still uncertain, some known video game developers such as Kola Studios had at least five
games selling internationally by 2019.The first known Ugandan game was the Android iOS powered mobile game titled, ‘’Matatu,
produced in 2010 . In 2019, the game ‘’Matatu’’, was listed among Africa’s top ten video games in 6th place after South African and
Kenyan games . By August 2019, the game had accumulated over 500,000 downloads by users in Africa, Asia and the Middle East,
suggesting the existence of ready demand and a high potential for market penetration of Ugandan video game products on the
world global gaming market.
Nearly 100% of local video game developers in Uganda are youth. There is a growing number of gaming businesses in the country,
currently estimated at seven – including ‘’Kola Studios’’, ‘’Klan of the Kings’’, and a number of individual un-registered developers.
Majority of the gaming businesses are small and youth owned, employing at least 2 – 5 young independent and flexible millennials,
skilled in application development.
Globally, the future of the video game market looks promising with opportunities in the smartphones, tablets, PCs, and consoles
market . Mobile devices, including cellular phones is the fastest growing part of the market and currently accounts for 51% of global
gaming sales . The global demand for video games is on an all-time high estimated at $131 billion in 2019 with mobile gaming
outpacing revenue made by pc and console gaming as illustrated in the figure below. The market is expected to rise between $179
- $300 billion by 2025, with the growth of mobile gaming and innovative technology offerings, like cloud gaming and virtual reality
according to a new report from Global Data.
4
Uganda Registration Services Bureau, November 2019.
5
Short form for romantic comedies e.g. the popular TV series ‘’Entununsi’’.
6
Their main aim is to focus on experience, images and shows people the world from a different set of viewpoint. They are mainly loose and abstract depicting a kind of feeling rather than
the truth. It is individualistic and experimental in form.
7
Expository documentaries intend to persuade or inform. It is bereft of ambivalent or poetic eloquence
8
Observational Documentaries focuses to observe the world and the surroundings
9
Participatory has common characteristics of both observational and expository. They involve the filmmaker with the narrative.
10
Reflexive Documentaries are familiar to participatory documentaries in a way that they also comprise the filmmaker with the particular film. However, they make no effort to investigate
an outside subject, unlike the participatory documentaries.
11
A unique and inventory combination of styles used to share a poignant message to the world as well as to stress on subjects with experience. They often affix personal accounts and
experience placed closed together with the prodigious historical and political concerns.
12
UCC, 2018.
13
https://bigeye.ug/full-list-ugandas-musicians-music-artistes/ includes old and new musicians as at October 2019
14
AUDIOVISUAL SERVICES: IMPROVING PARTICIPATION OF DEVELOPING COUNTRIES UNCTAD secretariat, 2002.
Figure 1: Value of the global video games market from 2012 to 2021 in billions of USDollars.
Source: https://www.statista.com/statistics/246888/value-of-the-global-video-game-market/

15
AV industry consumer survey, a statistical overview by Steadman 2019.
16
17
Kola Studios Production, Daniel Okalany, 2018. The only Ugandan video games developer on the African top 10 list of Video game Developers, Kola Studios develop mobile games for the
Android and iOS operating systems. They also believe that they have a secret formula for making successful video games: Talented people, freedom to think and a passion for their products.
“We work out of an incubator, which is true to our core — we love working in a very relaxed and free environment, participating in the community and interacting with the budding tech
community in Kampala.”
18
https://www.itnewsafrica.com/2013/10/top-10-african-game-developers/
19
https://www.prnewswire.com/news-releases/the-global-video-game-market-is-expected-to-reach-an-estimated-179-1-billion-by-2024-with-a-cagr-of-6-4-from-2019-
to-2024--300857007.html
20
https://newzoo.com/insights/articles/global-games-market-reaches-137-9-billion-in-2018-mobile-games-take-half/
21
https://www.statista.com/statistics/246888/value-of-the-global-video-game-market/
The global video games and sports industry continues to grow across all segments and markets, with traditional (console and PC)
gaming experiencing a transition to online-focused revenues. According to PwC’s Global Entertainment & Media Outlook, 2019-
2023, the video games and e-sports sector, which topped US$118bn in 2018, continues to grow across all segments and markets.
E-sports remains the fastest-moving area of the video games markets with 18.3% annual growth rate through 2023 . The e-sports
category remains the smallest, but fastest-growing, sector.The PWC global entertainment and media outlook report projects that all
four major categories of revenue in this segment traditional gaming, social and casual games, video games advertising and esports,
will experience continued growth. Although they are declining steadily, physical games are holding up surprisingly well. Recognizably,
a lot of potential lies in new media production and if supported, the sector can inspire growth and contribute considerably to the
economy.
1.3 Socio-Economic Contribution and Significance of the AV Sector.
The mapping of cultural and creative industries in Uganda (UNESCO, 2009), showed that the culture sector in the country fosters
economic growth, job creation, exports earnings and promotes culture preservation and pluralism . Although actual figures for each
subsector are currently un-ascertained, the major economic impact of the culture and creative arts industry has been its direct and
indirect contribution to GDP and employment. Although a lot of the AV sub-sector potential remains untapped, It is estimated that
between 2004 and 2008 Uganda’s exports of cultural goods and services were valued at $20 million (about Shs50b).
In terms of employment, copyright industries employ about 100,000 people countrywide, with 10- 12 people employed in every
1,000 in the central region and 0 – 1 in 1,000 in the northern region, according to a mapping survey commissioned by Uganda
National Commission (UNATCOM) for UNESCO in 2009 .. In 2017, Uganda generated an estimated UGX 12.6 Billion in revenue
and exported approximately, UGX 427 Billion worth of creative arts goods and intellectual Property (IP) services . This made up
approximately 3% of Uganda’s total GDP of USD $27.6 Billion dollars as estimated in 2017, which however does not compare to
Nollywood’s impressive $590 million annually . In the FY 2017 and FY 2018, collections from the creative industry in license and
registration fees were estimated at approximately UGX 2.6billion and UGX 1.8billion respectively.
While the unemployment rate in Uganda are estimated at 2.1%, the culture and creative arts sector has employed over 12,460 SMEs
and over 1,000,000 youth since 2013 in various sectors and roles including the audio-visual sector. The World Bank jobs diagnosis
and strategy report and the International Monetary Fund (IMF) country economic reports, 2018, state that Uganda needs at least
600,000 new jobs each year. This figure is expected to rise up to 1,000,000 million new jobs annually by 2030. Given its great
potential to answer some of the country’s employment needs, this number has most likely increased over the last six years with
more youth willing to create and seek employment in music, theatre and drama, film and cinema production, media, photography,
fashion houses, stage plays, comedy and related performing arts, than other industries in Uganda.
Breakdown of Economic Activity By
Sector, 2015.
Culture and creatives
industry.
Agriculture Industry Services
Employment by Sector (in % of Total
Employment)
1.4% 68.4% 7.0% 24.1%
Value Added (in % of GDP) 3% 24.5% 20.3% 47.1%
Value Added (Annual % Change) (Unknown?) 1.6% 3.4% 5.9%
Table 1: Performance Comparison of the culture and Creative Arts Industry to other Sectors in the Economy.
Source: World Bank, Latest Available Data. Because of rounding, the sum of the percentages may be smaller/greater than 100%.
Globally, copyright industries account for over 7% of the World’s GDP. In 38 countries surveyed by UNCTAD, creative services
represented an average portion of 18%, growing from 17.3% in 2011 to 18.9% in 2015 . Digital animation today is one of the fastest
growing creative industries with an annual growth rate of 5 per cent. In 2015, the global animation industry recorded output value
of approximately USD 244 billion . In Africa, creative industries represent about 3% of the continents GDP, also higher than Africa
has combined in total trade ratios to Global Trade (which is just about 1%). Still in 2013, trade for culture and creative goods and
services was estimated at USD 624 Billion. While the growth rate of this sector annually was estimated at 8.8% in 2013, developing
countries exports for creative goods and services has been growing at a rate of 12.1 per cent annually since 2002. Although the
global Entertainment and Media industry was affected by the recession in dollar terms, the market rose year on Year, to US$3.6
billion in 2016, and increased at a 12.2% Compound Annual Growth Rate (CAGR), reaching US$6.4 billion in that year. This proves
the industry and related sectors to be resilient to a number of economic shocks.

22
Global Entertainment and Media Outlook Report 2019 – 2023.
23
For this scope The industry is described to comprise five core sub-sectors including; film and video industry (Includes films, documentaries, animated movies and short films), music
production, performing arts (music and theatre) and mew media productions, particularly gaming (Video games production).
24
UNESCO National Commission of Uganda in 2009
25
UNESCO National Commission of Uganda in 2009
26
The daily monitor, 7 June 2017.
27
https://www.un.org/africarenewal/magazine/may-2013/nigeria%E2%80%99s-film-industry-potential-gold-mine
28
Uganda House Hold Survey, UBOS 2013.
Box 1: Contribution of the Creative Arts Sector (Film and Music to Nigeria’s Economy).
Each year, Nollywood generates more than US$7 billion for the national economy. According to an IMF report in the
summer of 2016, the industry accounted for 1.4% of GDP. Nigerian cinema is on the rebound. With new theatres
opening and production quality increasing, box office revenue will increase steadily in Nigeria over the forecast
period. Total cinema revenue is set to reach US$22 million in 2021, rising at an 8.6% CAGR over the forecast period
as Nigerian films gain international recognition and investment increases. Total music revenue in Nigeria rose 9.0%
in 2016 to reach US$39 million, and is set to rise at a 13.4% CAGR to US$73 million in 2021. Nigeria has a relatively
small video games market, valued at just US$41 million in 2016. Nigeria’s video games market is set to expand
at a similar CAGR of 15.8% over the next five years, largely driven by Social/casual revenue. Although Nigeria’s
economy will grow by 7% this year, according to the African Development Bank, insufficient jobs for a growing
youth population continue to be a huge concern. Believing that if the industry is properly managed, a million
more jobs could be created in the sector, the World Bank is currently assisting the Nigerian government to create
a Growth and Employment in States project to support the entertainment industry, along with other industries.
In 2013, the European Union (EU) exported over $150 billion of creative goods and $120 billion in services in alone. In the United
States of America (USA), music and film contribute over 40% of GDP while Hollywood alone had 157 self-made billionaires in
2018, majority of whom are directly involved in the entertainment industry.In Uganda, a few indirect indicators show the recent
development of various sectors, sub-sectors and segments directly and indirectly related to the copyright industry. For instance, the
creative arts industry is partly responsible for the existence and productivity of some MSMEs in other industries and sectors such as
broadcasting, advertising, tourism, telecommunications and other premium services, attracting a considerable part of net industry
revenues, fees, royalties and taxes. In addition, many components of the sector facilitate social transformation, communication,
community mobilization, and culture promotion, infusion (e.g. story telling), preservation and social inclusion in various ways.
More so, the sector or industry promotes the preservation of many Indigenous communities, cultures and languages of Indigenous
communities, which play an important role in shaping national Identity.
The media entertainment has not only contributed to the economic growth of Uganda, but is also playing a major role in the
rebranding and laundering of the country’s image abroad. Theatre and performing arts have the potential to boost social service
delivery, community mobilization, politicking, matters of social inclusion, emotive learning, development of new
partnerships and new economies. “They are supporting the physical and mental development of citizens and open people’s minds
and horizons.
The creative industry and culture sensitize people to be aware of what is happening around them and give impulses on life
perspectives. Arts and culture enhance the quality of life, through a creative perspective on life. Culture is the connecting part
in society which makes us understand each other and working on common development of a society.” Performing arts such as
theatre also have the potential to contribute to poverty alleviation through widespread promotion of human rights awareness,
good governance, accountability, work ethics, acceptable morals, good cultural practices and positive cultural heritage. This further
strengthened in 2015 with the ratification of the 2005 Convention on the Promotion and the Protection of the Diversity of Cultural
Expressions and Exploration of horizontal partnerships with other industries such as tourism, cultural diversity and human resource
development. Several projects aimed at exploiting local culture and content have also come up with positive results exhibited
through the increased exportation and appreciation of Ugandan culture and strong impact on tourism promotion through local
creative arts brands such as ‘’Anne Kansiime’’ and ‘’Eddy Kenzo’’.
Big economies and successfully developed nations are leading in trade and exports for creative/ culture goods. In Nigeria, the
local film hub produces a minimum of 2,500 films a year, a huge figure that makes it the second-biggest global production hub
behind India. The local film industry is undoubtedly helping create jobs in a country with an economy that relies mainly on oil and
agriculture. Over a million people are currently employed in the ‘’Nollywood’’ industry, making it the country’s largest employer
after agriculture.
PWC Entertainment and Media Outlook report, 2017 – 2019.

To date, the audio-visual industry presents enormous opportunities and potential for growth and development, considering a myriad
of advantages accruing to the economy on an incremental basis, as a ‘’Sustainable Knowledge based sector’’ with significant spill-
over potential”. Despite its high growth potential, Uganda’s AV content industry still falls short of its potential and competitiveness
in all facets, impeded by various gaps in local content demand and supply chains, locally, regionally and internationally, while the
net contribution of some audio-visual sectors to primary products, production, investment or exports remain insignificant. There is
reason to embrace and support the creative economy’s growth. By offering economic insight into the trade in creative goods and
IP services, the government will understand the creative economies, leverage gaps and amplify areas of industry performance and
competitiveness.
29
https://unctad.org/en/pages/PressRelease.aspx?OriginalVersionID=499
30
Research and Markets, “Press release of the Global Animation Industry Strategies Trends & Opportunities Report 2017”, 25
October 2017. Available from https://globenewswire.com/news-release/2017/10/25/1153106/0/en/Global-Animation-IndustryStrategies-Trends-Opportunities-Report-2017.html.
31
China, India, Jamaica and Nigeria lead the developing countries.
32
Compound Annual Growth Rate

Chapter2:Methodology/ApproachtotheAssignment

2 METHODOLOGY/APPROACH TO THE ASSIGNMENT
In line with the Terms of Reference (ToR), theassignment consisted of two critical tasks including; a) the data collection phase and b)
the analysis and reporting phases. Our approach and methodology in relation to the AV strategy entailed three phases:
Phases Key tasks Summary of Activities. Applicable Methods.
Phase 1 • Review of
documentations
• Initial planning and preparation
• Preliminary literature reviews
• Inception meeting and field work
planning meetings
• Development of data collection
tools
• Desktop research on specific AV
industries and value chains.
• Review of existing national
documentation on specific creative
industries
• Checklist development
• Stakeholder Mapping.
Phase 2 • Field Engagements/ data
collection
•
• Diagnostic study at the national
level (Policy makers, training
institutions and specific creative
industry producer groups.
• Diagnostic study at the district
level (content producers and
developers)
• Diagnostic study at the local level
(Consumers)
• Linkages and coordination among
and between institutions
• Sector-specific diagnosis
• Key informant interviews local
content producers in all facets of the
AV industry
• (sector departments, agencies and
non-governmental organizations
involved with the AV industry)
• Focus group discussions at district
levels.
• Consumer engagements
Phase 3 • Data analysis, and report
writing
• Data Analysis and Report Writing
• Findings validation workshop
• Consolidating Final Reports.
• Primary and secondary data analysis.
• Qualitative and quantitative data
analysis and reporting
• Validation workshops
Table 2: Outline of Tasks, Activities, Applicable Tools and Methods for the Assessment.
Category AV sector. Targeted Key Informants
• Specific Audio Visual
content develop-
ment Value chains
• Film and Videos (film,
Documentaries, animations,
Video games)
• Film Festivals/Markets
• Film Makers, other rights holders,
• Producers/Content Creators/Composers, translators,
Publishers, Animators.
• Selected Producers and Content creators. Media actors
• Performers, Artistes, Musicians and Conductors, Actors and
Actresses etc.
• Music Industry
• Media Houses
• New Media-Video Games
• Training Institutions • Tertiary Institutions
• Vocational Institutions
• Training Agencies
• Students, Lecturers, Heads of Institutions
• Lecturers and Tutors
• Service providers
• Film Festivals
Table 3: List of Focus Groups for Consultation.
2.1 The Assessment Framework
The assessment applied a mixture of guiding instruments, most importantly, the SWOT analysis, the PESTEL analysis and the burke-
litwin model of institutional assessment. In preparation for the next phase of the assignment, a comprehensive review of relevant
documents was undertaken. The consultant also scrutinized a number of pertinent documents to inform the industries strategic
drivers including documentation from various key stakeholders (UCC, MICT, MOGLSD, and Uganda Media Council among others),
new papers, books on the subject and the internet. The document review further harmonized and created a broad understanding
of situational concepts and open discussions from each key stakeholder institution involved with the AV industry. (The list of
documents reviewed is contained in Appendix 4).
2.2 Data Collection and Synthesis
The consultant undertook a detailed data collection processes analysis and synthesis with an aim of deriving relevant information
to inform the objectives of the assignment as outlined. This stage involved the following:
Focus Group Discussions (FGD): As part of key inputs in the preparation of the various documents required under this assignment,
selected FGD’s with key stakeholders to ascertain opinions on relevant industry policies and strategies. FGD’s were scheduled and
agreed with all stakeholders based on the required input requirements as per the TORs.

KII Interviews: Certain tasks in the scope of work required administering KII’s to obtain primary data for use in preparation of
the expected outputs, especially to inform the industry SWOT analysis, skills gaps, stakeholder expectations, needs and capacity
assessment as well as competitiveness improvement needs. Customized institutional specific quantitative assessment data
collection tools were prepared and administered to all key stakeholders to determine the challenges, gaps as well as their needs
and expectations (See appendix 5 for the questionnaire tool). Selected key informant interviews were also undertaken with critical
stakeholders including key staff in critical stakeholder entities involved with the creative’s arts and AV industry. The interviews
provided detailed information to enable triangulation of information obtained from document reviews and the FGD’s.
Table 4: Key Informants met During the Data Collection Process.
Category Targeted Key Informants Entity.
State Actors
Ministries,
Departments,
Agencies)
Policy Makers MICT, NPA
Regulatory and Licensing
Agencies
UCC, URSB, Uganda Media Council, Gaming Board of Uganda, URA, KCCA,
Uganda Police, NEMA
Implementing Agencies. NITA, UIA, UNBS, MOGLSD, MTTI, MoTWA, MOFA, MoLG, UBOS
Civil Society Actors Collecting Society
Copyright Society
Uganda Performing Rights Society (UPRS)
Uganda Journalist Association
Uganda Music Producers Association
Uganda Film Council
National Benchmark
Institutions
Nigeria • Nigeria Film Commission.
• (Some were Literature Reviews South Africa, Kenya, Ghana, Botswana,
European Union, United States, and Asia.
• Enterprise Level benchmarking. I.e. international firms and enterprises
that have been successful in the development, production, marketing
and distribution of AV content globally.
Supply Side
Stakeholders
• Content Pre- and
Post-production and
Development
• Content Marketing
and Distribution
• Production and Record Companies
• Studios and recording manufacturers
• Public and Private Distribution agents.
• Broadcasters Digital, Satellite, Cable and Terrestrial Media Houses
Various Media Houses (Among others)
• DSTV, GOTV, NTV, UBC
• Radio Stations
• Local and International Distribution and Record Companies
• Training and
Development
Institutions
• Kampala Film School, University-School of Performing Arts,, UMCAT, The
National Theatre, German Cultural center, Alliance Francaise
• DSTV, Innovation village, Maisha Lab the Training Institution and Other
potential Service providers
Demand Side
Stakeholders.
• Local AV content
consumers.
End users and
consumers.
• Urban Content Consumers
• Content Consumers within the Regional and Rural areas across the
country
• Selected End Users across selected Regions and Districts e.g. Kampala,
Mbarara, Fort portal, Gulu, etc.
Development
Partners
AV Interested Partners. ADB, WB, EIF, EC.
• Distributors • Cinemas
• Industry Distributors and
promoters
• Cinema Managers (two within Kampala)
• Promoters and Distributors
• (Both Local and International Agents, Managers and
Promoters
• End Users or
Consumers
• All Media
•
• End Users/Consumers e.g. Kibanda or Cinema attendees,
Record Players, Media Charts, Live Music audiences, Listeners.
A stakeholder workshop was held on 23 August 2019 at Kati-Kati Restaurant, Lugogo bypass. The workshop gathered stakeholders
from various facets of the AV sector including (Film, Music, Performing Arts, Gaming, training institutions and key policy implementing
agencies and regulatory bodies). Key industry actors engaged include

Targeted Key Informants Frequency
AV Content Producers • Film Producers 10
• Music Producers 3
• New Media Content Producers 3
AV Content Distributors and Promoters • Film Promotion and Distribution 3
• Music Promotion Agencies 1
• Media House Representatives 1
• Cinema Managers 0
Performers, Artistes, Musicians, Actors and
Actresses etc.
• Film Actors 3
• Musicians 3
Training Institutions. • Students, Lecturers, Heads of Institutions
• Lecturers and Tutors
7
7
AV industry Associations Music Associations 2
Film Associations 2
Performing Arts Association 1
Table 5: Categories of Industry Actors Interviewed.
The views of various stakeholders were captured describing challenges, needs, opportunities and recommendations for future
initiatives to support key actors and development of the AV sector.
2.3 Sampling Framework.
2.3.1 AV industry Consumers
Given a total population size (N) of 6,789,814 in the 8 selected districts (UBOS 2014) the calculated sample size (n) using the above
formula was = 385 respondents. Given a non-response rate of 15%, the adjusted sample size included = 443 respondents.
Table 6: Sample Size and Distribution of AV and Creative Arts content Consumers by District.
Region District Population
size (N)
(UBOS 2014)
Rural-urban
distribution
(UBOS 2014)
Proportion of
the
population
Sample size
distribution
(rural-urban)
Sample
size
distribtion
(per
district)
Central Kampala 1,507,080 Rural= 0 0% 0 98
Urban= 1,507,080 22% 98
Wakiso 1,997,418 Rural= 814,517 12% 53 130
Urban= 1,182,901 17% 77

Eastern Iganga 504,197 Rural= 411,460 6% 27 33
Urban= 92,737 1% 6
Tororo 517,082 Rural= 444,937 7% 29 34
Urban= 72,145 1% 5
Northern Arua 782,077 Rural= 720,131 11% 47 51
Urban= 61,946 1% 4
Gulu 436,345 Rural= 286,545 4% 19 28
Urban= 149,800 2% 10
Western Hoima 572,986 Rural= 467,021 7% 30 37
Urban= 105,965 2% 7
Mbarara 472,629 Rural= 277,471 4% 18 31
Urban= 195,158 3% 13
Total 6,789,814 6,789,814 100% 443 443
This report gives a diagnostic assessment of the current views that stakeholders generally have about the challenges faced by the AV
sector in Uganda, causes of the said challenges and potential solutions to the same.
2.3.2 Profile of Consumer Market Respondents.
A survey was conducted among 418 consumers. Customized stakeholder specific quantitative assessment data collection tools
were prepared and administered to all consumers and producers to determine the specific gaps and needs of both producers and
consumers in eight districts countrywide. (See appendix 5 for the questionnaire tool). Majority (51%) of the respondents were
male, over 60% were urban residents, and majority of the respondents earned ≤ 300,000 Ugx (Table 1).
2.3.3 Age of Respondents.
The average age of the respondents was 31.7 ±10.6, while the minimum age of respondents was 15 years.
Table 7: Distribution of Respondents by Age Group.
Age groups Frequency Percentage
• 15- 19 19 5%
• 20- 24 83 20%
• 25- 29 111 27%
• 30- 34 83 20%
• 35- 39 46 11%
• 40- 44 34 8%
• 45- 49 14 3%
• 50- 54 10 2%
• 55- 59 6 1%
• 60+ 12 3%
418 100%
2.3.4 Gender of Consumer Respondents
Male
52%
Female
48%
Male
Female

Category. Frequency Percentage.
Married 149 (37.06%)
Cohabiting 57 (14.18%)
Divorced 7 (1.74%)
Separated 41 (10.20%)
Widowed 20 (4.98%)
Single 126 (31.34%)
Other 3 (0.50%)
Table 8: Marital Status of Respondents.
The respondents were distributed between rural and urban areas, with 33.2% residing in the rural areas and 66.1% residing in urban
areas.
Table 9: Rural Vs Urban Location/Residence of Consumers.
Category Frequency Percentage.
Rural 138 (33.82%)
Urban 270 (66.18%)
2.3.5 Educational level attained of Consumer Respondents
The respondents, 12.9% said they completed high school. 6.23% indicated that they had attained post high school qualifications
such as certificates, diploma, degree, masters. Around 2.9% had attained no formal education and never went to school or had not
completed their schooling while 5.74% had completed up to primary school level. The greater majority over 50% indicated to have
at least ‘’A’’ level education. The table below presents the findings on the level of education attained by the respondents.
No formal education 12 (2.99%)
Incomplete primary 24 (5.99%)
Complete primary 23 (5.74%)
Incomplete O’ Level 50 (12.47%)
Complete O’ Level 52 (12.97%)
Incomplete A’ Level 25 (6.23%)
Complete A’ Level 51 (12.72%)
Vocational Education 55 (13.72%)
University- Graduate 93 (23.19%)
University- Higher degree 13 (3.24%)
Other 3 (0.75%)
Table 10: Highest level of Education Attained
2.3.6 Respondents Income Threshold.
The respondents (30.75%) indicated to have earned less than or up to 100,000 Ugx a month. 36.29% of the respondents indicated
to earn between Ugx 100000 – 300,000. Around 16.34% indicated earnings between Ugx 300,001 - 600000, 9.7% indicated to
earn between 600,001 – 900,000 and the rest above 900,001 per month. Understanding the income status of audiences assists in
developing a suitable pricing strategy. Income levels generally define lifestyle and spending habits. However, these results should be
interpreted with caution, as generally, there is a tendency for some to overstate or understate their monthly income levels. Some
simply refused to answer the question.
Table 11: Average Income per Month.
<100,000 111 (30.75%)
100,001- 300,000 131 (36.29%)
300,001- 600,000 59 (16.34%)
600,001- 900,000 35 (9.70%)
900,001- 999,999 11 (3.05%)
1000,000 > 14 (3.88%)

2.4 Data Analysis and Synthesis.
Prior to the analysis stage, all data collected was subjected to intensive cleaning using both computer-aided visual checks, to identify
and rectify any errors, missing cases, outliers and extremes. Given that the bulk of the data collected was qualitative, this data
required transcribing, organizing into key themes, coded descriptively and into relevant concepts and patterns, before it could
be analyzed. Qualitative data from the in-depth literature review, focus group discussions and KIIs was analyzed using thematic,
discourse and content analysis methods. The transcripts were read to extract the emerging themes. Coding of themes using MS-
Word 2013 and physically using flip charts and themes narrowed down into main themes.
Determination of the strategic objectives and undertook a participatory design method with an aim of identifying and aligning the
goals and vision of all relevant stakeholders. KIIs and FGDs covered observations and insights from the staff and officers of: The
Uganda communications commission and other key stakeholders including relevant line ministries, and departments responsible
for the creative arts and AV industry will be involved in a validation workshop to agree on the futuristic and strategic orientation of
the sector. Finally, cost and investment options were developed and assessed, and overall fiscal implications for (industry investment
were provided to address the development objectives of the sector.

3 SITUATIONAL ANALYSIS
3.1 Industry Market Analysis (Local, Regional and International Markets).
The success of the AV and entertainment industry locally, regionally and globally is tied to production (supply side factors) and
discretionary spending by consumers locally, regionally and globally (Demand side), making economic stability key for profitability
and industry growth. Achieving this goal, however, requires the alignment of a number of factors, with relevance to the growth
needs of the local AV industry. The sections below discuss more in details
3.1.1 Local Content Production Capacity.
3.1.1.1 Film Production Capacity.
Film production within the industry is associated with the film production and commercialization life cycle, which emphasizes
value creation, commercialization and revenue optimization. The pre-production or development stage involves the initiation stages
of AV products e.g. scripting development of budget estimates for the AV production and screenplays. It is also at this stage that
producers acquire rights on original screenplays, identify artistic and financial partners and gather all human (production crew,
casting), technical (shooting schedules, selections of locations) and financial resources (budgets and funding) necessary for the
film or production. The Postproduction phase of the AV product covers film editing, introduction of soundtracks and special effects
(among others), all skewed towards enhancing the quality of the production. This lifecycle is further illustrated in figure 2 below.
Figure 2: The Average Film Production and Commercialization lifecycle.
Completion of the film cycle requires proper production infrastructure, effective legal and policy arrangements between agencies
and actors, skilled human capital, well-developed markets and distribution chains.
As the industry in Uganda is still developing, access to proper film production infrastructure, facilities e.g. well-equipped filming
studios to support the transition to digital production and distribution is still limited, especially in the rural areas.Nearly 70% of
film producers interviewed (7/10) opt to rent production facilities and equipment, while emerging or small enterprises apply‘’Do-
It-Yourself’’ equipment. This lowers the quality of local films and negatively influences the industry’s growth rate and production
potential. Producers attributed this to inadequate access to funding, high taxes on filming equipment and high access fees and
stringent laws hindering the utilization of reserved natural sceneries. The need to expand and regionally diversify production
infrastructure and equipment is critical to meet the growing need for efficient and quality film production. In the UAE, South Africa
and Kenya, governments in partnership with the private sector established film cities and facilitated the set up a content production
studios or film incubation labs, which solutions, Uganda can adopt.
There has been an exponential growth rate in film production as a function of increased capacity building initiatives, experience and
exposure. However, film sub-sectors such as animation, with a high global proportion of net revenue remain very embryonic or nearly
inexistent. There are barely any structures to support growth of such subsector genres such as traditional animations, stop-motion
animations and computer animations. While the capacity and interest to produce such content exists within the country, the need
for targeted subsector investment schemes is important to induce their growth. Furthermore, facilitating innovation, collaboration
between local film producers, and increased investment in dedicated innovative film laboratories and media production technology
is important to advance innovation and access to modern film production infrastructure.
A large proportion of local films still do not meet local, regional and international quality standards mainly due to inadequate skills,

experience, exposure and familiarity to some classification systems and standards. This further downplays the ability of locally
produced films to release in cinemas and limits their performance at the box office, locally and internationally. Initiatives such as the
Uganda Film Festival (UFF) in 2013 fostered visibility, growth in production and improvement in the quality of local films and movies
since 2013. However, the need for more concerted efforts to improve capacity, access and accelerated local film certification is
essential for production and quality improvement. Deepening the existing capacity-building initiatives for the film sector is important
to enhance sector productivity, quality and competitiveness. Furthermore, development of a strong film review and critic culture
and an effective feedback mechanism e.g. ‘’the online rotten tomatoes platform’’ can help promote and available movies and foster
continuous quality improvements in local film production.
Regional and international co-production agreements, opportunitiesand linkages provide local firms a chance to produce more and
obtain higher stakes in their own intellectual property. However, the concept as practiced still devolves to foreign conceptualization
and ownership of the intellectual property, with fewer individuals within the industry pursuing the practice. Enhancing production
and value out of co-produced film works will require strengthening of existing laws and regulatory systems to protect local
content producers at the conceptual or post-production stages, development of local skills and experience in the management of
coproduction opportunities.
The availability of favorable laws and policies particularly, the digital migration policy and the local content quota promoted increased
local content production with assurance of ready market locally on local media television and radio platforms. Implementation of
the quota forced an increase in local demand and market availability, production and distribution of local content. Television stations
such as pearl magic have particularly attracted a number of submissions for film content, following a series of awareness and
capacity building Programmes for local content producers.
3.1.1.2 Music and Performing Arts Production Capacity.
Inadequate access to production studios, infrastructure and equipment continues to limit the quality and production of digital music
in Uganda .In the past, some artistists and musicians travelled across the region and the world to access more sophisticated recording
studios, infrastructure and sceneries. Although the number of recording studios and music production infrastructure has improved
over the last two decades , the distribution of such infrastructure and facilities across the county is still poor, with very limited access,
especially in rural areas. Where in existence, some studios visited had poor or obsolete equipment and soundcards, which often
compromised quality and local production standards.Expansion of access to proper production facilities and infrastructure across all
regions as well as facilitation of producer access to funding and credit to acquire new equipment is important in advancing quality
and sector productivity.
Performing arts infrastructure across the country remains limited and undistributed which further limits production. There are
about five performing arts theatres all located within the central region. Among these, only one meets professional standards for
performing arts theatres and auditorium capacity i.e. the National theatre. Other theatres include; the Ebonies spectrum theatre,
Afri-talent, Diamonds ensemble and Ndere center theatres.Public theatres in Uganda have in the past been poorly managed while
access to other well-equipped performing arts theatres has been limited due to limited group schedules and high rental fees.
This kills local talent,quality, sector productivity and revenue maximization. Increased investment in well-equippedperforming
arts infrastructure e.g. theatre halls, practical spaces and provision of appropriate equipment is important. This can be achieved
through promotion of Public private partnerships, government incentives and subsidies to facilitate the establishment of appropriate
performing arts infrastructure.
3.1.1.3 New Media Production Capacity.
Innovation and creativity remain the major driving forces underpinning the production of unique, quality and market competitive
new media products. This follows the quest to create the most compelling, engaging, and intuitive user experiences in particularly
software and video games. However, access to advanced technology and equipment to support innovation and production is still
limited. In 2018, the NISP under the incubator fund and ASIA established an ICT platform and ICT innovation and incubation labs
as well as the National incubation fund. This initiative supported increased innovation in the industry with more youth producing
competitive ICT based solutions and products. However, local developers are still challenged by a general inadequacy of technological
infrastructure, inadequate legal and regulatory frameworks including cyber security systems. Although plans are underway to scale
up access to ICT innovation centers countrywide, it is important to note the uneven distribution of existing innovation hubs and the
need to expedite their implementation countrywide.
The pace of innovation in new media fields, particularly gaming, new trends and features are challenging to predict, while adaption
to some fundamentals is critical if local gamers are to continue production. The emergence and convergence of new technologies
such as virtual reality (VR), artificial intelligence (AI), and robotics have further raised the need for more sophisticated industry
skills and training and production infrastructure with relevance to future gaming needs. Establishment of enabling platforms and
infrastructure, human capital skilling and development, curriculum review and developmentis expected to stimulate innovation,
adaptation and production.
Forward and backward linkages and partnerships can advance production and inclusiveness of new media content in Uganda.
However, there has been limited initiatives to promote and exploit existing partnership opportunities. Exploitation of cross AV sector
opportunities for fusion between traditional music, performing arts, traditional culture e.g. sounds video and animation places
opportunities for increased production and creation of uniquely identifiable video games on the market.

33
The UFF initiative, attracted industry stakeholders and key market actors within the local, regional and international market, creating a growing opportunity for an economically and socially
lucrative industry that also preserves national cultural values.
34
James Propa, July 2015. https://www.musicinafrica.net/magazine/recording-and-video-industries-uganda
35
The recording and video industries in Uganda, Beth Akitsa, July 2015. ‘’Between 1940 and early 2000’s, musicians in Kampala had to go to Nairobi, Kenya to get their songs recorded with
no recording equipment in Uganda. Nearly all songs were recorded live, with the artist playing the solo guitar and singing at the same time’.

Table 12: Summary of SWOT analysis findings in Local AV content production.
Strengths Threats
Local Content
Quality and
Production.
(Film, Music and
Performing Arts)
and new media
production.
• High growth rate in film production
• Ready industry experience and exposure.
• Interest and ability to produce a variety
of film categories including; movies,
animations etc.
• Improved structures and quality of
music production studios and recording
companies
• ICT platforms and incubation labs to drive
innovation in new media production.
• Favorable laws and policies to induce
production.
• Unfavorable economic situations. Covid-19
• Political insurgencies.
• Inadequate capacity of local films to meet existing
quality and classification standards
• High taxes on filming equipment
• High access fees and stringent laws hindering film
producer’s utilization of natural sceneries & reserves.
Opportunities Weaknesses
• Beautiful natural scenery remains under-
exploited.
• Rich history and culture heritage offers
great potential for filming and video
content creation.
• Regional and international co-production
opportunities.
• Skills development, capacity building
initiatives.
• Existence of the National incubation fund.
• Forward and backward linkages with other
local, regional and international new
media production partners.
• Increased no. of TV and Radio platforms.
Ready market for local content locally
through the local content quota and
• Limited distribution and access to proper and well
equipped and regionally diversified production
infrastructure, e.g. well-equipped filming studios,
new media incubation labs, music recording studios,
theatres and performing arts infrastructure among
others.
• Inadequate AV policies, regulations e.g. co-production.
• Inadequate skills, development, training opportunities
and experience in creative film and new media
production genres.
• Inadequate sector funding to support production.
• Limited access to funds and credit facilities.
• Inadequate access to advanced technology,
infrastructure and equipment to support innovation
and production of new media products.
• Inadequate legal and regulatory frameworks to
support new media production.
3.1.2 Local Content Promotion and Distribution Systems
3.1.2.1 Film Promotion and Distribution Systems.
Globally, the most instrumental system for recouping film investments and profit maximization is the ‘release windows’ system.
Films are released in a particular sequence and on different platforms, over an established timeframe. This sequence facilitates the
exploitation of films on the global market through different secured platforms including – cinema release at the top, followed by
video/DVD/BluRay, via Video on Demand (VoD) e.g. Netflix and Iflix, pay-tv and finally free-to-air TV, live music concerts, video shops/
libraries and lastly, theatre. The process also renders access to markets through the promotion, distribution and exhibition of films
to the local, regional and international markets by distributors with library rights to finished AV products. The producers package,
promote and distribute the content to the audience while ensuring profit maximization.
Although Uganda has some unique film distribution systems characteristic of its own market and culture, some film distribution
systems are still under developed and have not fully adapted or utilized a number of robust film release windows systems, particularly,
promotion, distribution, exhibition or marketing systems. With limited focus on cinematic product promotion and film quality, only
a handful of movies and films make it to local cinemas or box office. Thus, recouping film investments in Uganda takes to employing
either one or a combination of release methods including; airing the films locally on television, online platforms such as YouTube,
select movie nights at a local bars, local makeshift video halls, or selling DVDs by way of street vendors (Marshfield & van Oosterhout,
2013). This limits revenue optimization.
Physical film distribution chains are most-affected by the inadequacy or lack of well-distributed exhibition infrastructure. The findings
revealed that nearly 95% of existing urban exhibition cinemas are concentrated in the central region with the exception of modern
2D and 3D cinemas in Mbarara and Gulu. There are at least seven operational exhibition cinemas across the country serving a total
population of 49 million potential cinema going Ugandans. The available cinemas include (Mbarara, Ham towers, Naalya, Need Max,
Cinemagic, Century Max and Kamwokya and only one licensed video hall – Mengo (New Line Cinema), as illustrated in the table
below. Maximization of local content demand requires increased investment and regionalization of modern cinemas to other regions
and districts.

While physical film distribution systems in Uganda remain inefficient and underdeveloped, digital technology has substantially
changed the film distribution systems. Digital release patterns e.g. Netflix and Iflix have accelerated in many countries and digital
platforms have provided new distribution windows requiring subscription and transactional video-on-demand and digital, although
the threat of piracy as in certain markets prevails. Uganda needs to develop and establish its own online film distribution platforms
to induce an increase in film submissions, content access and demand for locally produced films. Film industry Influencers can also
be engaged to increase publicity and promote movies with various online media platforms. Local producers need to adopt and
adapt to digital based platforms such as video-on-demand (VOD) and pay-per-view as alternative distribution and consumption
platforms which is more cost-effective, allows copyright retention and revenue maximization.
Cinema-going behavior mostly remains an urban phenomenon with a large portion of the rural populace settling for other film
viewing platforms, including Pay TVs, live streaming, mobile phones, DVDs, makeshift video halls and the least populations in
Cinemas. This pattern was mainly attributed to the lack of regionalized and quality cinematic infrastructure, especially in unserved
rural townships, where cinemas are hardly in existence. Before the introduction of modern cinema halls, local makeshift cinemas
loosely dubbed “bibanda” or the ‘’slum-man’s cinema hall’’, were part of the culture of accessing film content at the community
level. To date, majority of these structures still exist in various communities. While only two of numerous video halls countrywide
(located in Jinja and Mbarara), were licensed to operate by their respective local councils, nearly 98% of structures visited across
the country were still characterized by poor fabric and makeshift structures, contrary to the 2017 video hall standardse.g. health,
occupational safety and building infrastructure standards. (See figure 3 below).
Table 13: Cinema and Video Halls in Uganda by Location.
Figure 3: An Illustration of a Local Make-shift Cinema Hall (Kibanda) in Nateete Ku-Taano, Kampala district.
Source: Steadman 2019.
District/Location No. of Modern Operational
Cinema Halls
No. of Licensed
Video halls
Central Kampala 4 1
Entebbe 1 0
Wakiso 1 0
Western Mbarara 1 1
Hoima 0 0
Eastern Jinja 0 1
Tororo 0 0
Northern Gulu 1 0
Arua 0 0
Total 8 2

The inadequacy of proper and licensed distribution and exhibition infrastructure, especially cinemas and video halls implies that,
a lot of audience capacity remains untapped. Although initiatives to roll out these standards have been implemented in the past,
standards adoption and uptake in all regions was slow requiring more reputable benchmarks for practical and demonstrable learning
methods, increased sensitization, access to finance or credit for video hall operators and stronger law enforcement mechanisms and
deliberate policies to advance the uptake of video hall standards.
Notably, promotion of investment in small community cinemas or video halls is much more likely to yield results in building cinema
going culture and behavior in both rural and semi-urban areas in the country. Existing infrastructure such as old cinemas, and unused
town or community halls could also be re-purposed for film exhibition purposes to develop and nurture a national cinematic culture
and increased demand for local film content.Clustering of regions with local video halls would also lend itself toward targeted
interventions, e.g. the establishment of creative special economic zones as a policy tool to bolster existing industry momentum.
Over the last decade, Uganda experienced a sharp increase in the number of visual distribution platforms across local and regional
African Markets. The number of media distribution channels increased from (2) of two Free to Air FTA channels and one (1)
monopolistic media house in 1990, to 292 FM Radio stations, 42 Free to Air (FTA) and Pay TV stations countrywide , expanding local
content distribution channels and creating new market opportunities locally. This was mainly attributed to the design of favorable
laws and policies particularly, the media liberalization policy, accelerated by digital migration policy and increased investment in the
sector. The figure below further illustrates the growth in media production houses in Uganda between 2011/12 – 2017/18;
2011/12 2012/13 2013/14 2014/15 2015/16 2016/17 2017/18
Operational Digital/Terrestrial TV Stations 3 3 3 3 3 2
Operational Digital Satellite TV Stations 1 1 2 2 2 2 4
Cable TVs 1
Operational Digital Terrestrial FTA 30
0
5
10
15
20
25
30
35
Table 14: Number of Operational TV Stations (2011 - 2017)
Source: UCC annual Market Industry Report FY2016/17.
In rural areas, however, access to digital and cable television services remains limited. While survey respondents in urban areas
preferred consumption by Pay Tv (26%), it was also noted that majority of media broadcasting services remain limited to major
urban and semi-urban locations across the country. The need to expand and support access to these services is expected to increase
promotion and distribution opportunities as well as market access and broaden local demand at the local level.
2, (1%)
7, (2%)
10, (3%)
27, (7%)
41, (10%)
67, (17%)
101, (26%)
141, (36%)
0% 5% 10% 15% 20% 25% 30% 35% 40%
Others
In person
Cinema
Internet(web
Free to air TV
Mobile Phone
Pay TV
Radio
percentage
Meansused
Figure 4: Most preferred means of accessing local content.
3.1.2.2 Music Promotion and Distribution Systems.
In Uganda, music promotion and distribution systems remain mostly informal. In most instances, the music industry mostly ‘’self-
markets’’ and ‘’self-promotes’’.Forced volunteerism (media house DJs) as well as some meaningful collaborations with FMCGs take
up most aspects of music promotion. The lack of well-organized and formal music promotion structures and platforms means that
as artists are pushed into promoting their own music and ‘’promotional shows’’, productivity, profitability and efficiency are equally
affected. In the past, some platforms to promote the industry were established e.g. Music awards such as the PAM Awards, and the
HIPIPO Music awards as attempts to make use of an underutilized local market.

Investment in local music promotion and distribution has been very low with only a few companies e.g. ‘’Bayimba’’, known to have
actively promoted music locally. This trend is attributed to the informal nature of the existing distribution system, limited capital
investment in the local distribution chain, high levels of piracy and a general lack of incentives. In the past, music distribution
depended on individuals with some organized structures such as the defunct ‘’Kasiiwukila’’. High levels of piracy and the lack the
capacity to protect the rights of music owners further downplays the efficacy of existing structures. The lack thereof effective music
distribution structures suggests there are no genuine record labels, with most of the companies that are referred to as labels being
merely artist management companies. It is important to drive increased investment in the establishment of authentic distribution
structures, channels and distribution chains for local musicians. This should increase the revenue potential of rights holders within
the music industry and reduce the strain for the profitability and sustainability of music as a business.
Within the region and internationally, there are hardly any formal arrangements for the promotion of Ugandan Music, despite its
ever-increasing international demand. While some countries such as Nigeria have invested significantly in international partnerships
and collaborations to advance their music across borders, there has been hardly any initiatives to support, promote and distribute
Ugandan music internationally. However, there have been some known international partnerships and collaborations with large
music agencies e.g. ‘’Keko and Sony Records’’ which suggests a high potential for interest, engagement and partnerships for local
artistes internationally. Perhaps the establishment and strengthening of formal music promotion and distribution platforms at the
local, regional and international level could assist improve promotion and distribution systems ofUgandan Music globally. Likewise,
empowering and supporting local artists in building strategic business partnerships could propel industry growth farther.
Music promotion and marketing are not detachable from ‘’music personalities’’ and personal brands. While local personalities
contribute in shaping attitudes and values, artists also create conventions of style and behavior and share a heavy moral responsibility
to inspire and affirm and not just to entertain. Increased popularization of local artistes by entertainment news platforms and
mainstream media increases demand for daily information and keeps the local audience linked to the artiste’s music. Brand building
for local musicians or personalities locally, regionally and internationally through media engagement could well promote and sustain
local and regional demand for local music businesses and brands.
Furthermore, there has been slow market adoption and adaptation to new technologies, in music promotion, distribution,
consumption, access and delivery. Today, mobile music formats globally, account for virtually all of digital revenue over Monetizable
online platforms such as iCloud and YouTube exist. Online distribution and the globalization of promotion and marketing channels
have made it possible for global audiences to access a wider range of music far more quickly and easily than was the case a decade
ago. New and emerging technologies are challenging traditional markets, yet at the same time, new approaches to distributing
and exploiting intellectual property in music are being taken up. While these advancements offer challenges and potential threats
to the industry, they also offer significant opportunities for expansion and growth. In countries such as Nigeria, digital music
overtook physical music revenue by 2019 (See figure below). In Uganda, however, a very small proportion of local musicians are
aware or utilizing some digital platforms for commercial purposes. Capacity building of key industry players in technology based
distribution systems should increase consumption and adaptation Initiatives to encourage the local music industry players to digitize
their content and utilize core promotion and distribution platforms, including downloads and physical products guarantees higher
revenue streams.

Figure 5: Historical and Forecasted Music Revenue in Nigeria, 2013 – 2022
Operational radio stations in Uganda as key distribution platforms also increased to 275 from 229 in 2011, providing additional
opportunities for advertising and promotion of local music and live performances (See figure below). The survey conducted among
local music consumers revealed that radio was still the most preferred platform for accessing local audio-visual content with (36%)
indicating this result in the rural areas, especially music. Although the various radio platforms have commercially benefited many
music businesses, the need for effective policies and regulations to encourage fair play and incentives for new and upcoming
musicians is important.
DEVELOPMENT OF THE AUDIO-VISUAL CONTENT STRATEGY.
UGANDA COMMUNICATIONS COMMISSION - PROCUREMENT REFERENCE NUMBER: UCC/SRVCS/17-18/000102
DRAFT STRATEGY, DECEMBER 2019
benefited many music businesses, the need for effective policies and regulations to encourage fair play and incentives for new
and upcoming musicians is important.
Table 15: Number of Operational Radio Stations in Uganda 2011 - 2017
3.1.2.3 Other Performing Arts.
Although there have been recognizable efforts to market and promote performing arts, some facets such as theater remain
under developed. Since the quality of performance is the selling factor and more significant to audience satisfaction, support to
strengthen the capacity of theatrical and performing artists in Uganda is important to enhance both quality and demand for
performing arts.
The continual convergence between digital media and traditional broadcast, with over-the-top (OTT) and video on demand (VOD)
services, there are greater opportunities for performing artists to further monetize their content through digitization. However,
there is seemingly low industry awareness and access to these opportunities. Support in the digitization and commercialization
of performing arts through skills development and training, should supplement the promotion and distribution of local
performing arts production and offer solutions to maximize business viability and access to new market platforms.
3.1.2.4 New Media Content Promotion and Distribution.
The future of the new media economy in the next 20 years is singularly artificial intelligence, Blockchain technology/Digital
Currencies, Virtual Reality (Video Games Industry). Today, the world faces one of the most rapidly changing periods of global
development driven by rapid technological advances. As a result, customer needs, marketing and distribution are shifting with
changes in technology, tools of production, demand and consumption. Increased investment in the adoption of and utilization
of digital Internet protocols, new technology devices, over the top delivery mechanisms and platforms, new distribution
platforms will therefore be critical to drive content production, distribution, promotion and monetization. Harness technology
to understand consumers and how technologies can be used to meet consumer needs in a timely and competitive fashion. With
2011/12 2012/13 2013/14 2014/15 2015/16 2016/17 2017/18
Operational FM Radio Stations. 229 250 251 257 292 292 275
0
50
100
150
200
250
300
350
Table 15: Number of Operational Radio Stations in Uganda 2011 - 2017
Although there have been recognizable efforts to market and promote performing arts, some facets such as theater remain under
developed. Since the quality of performance is the selling factor and more significant to audience satisfaction, support to strengthen
the capacity of theatrical and performing artists in Uganda is important to enhance both quality and demand for performing arts.
there is seemingly low industry awareness and access to these opportunities. Support in the digitization and commercialization of
performing arts through skills development and training, should supplement the promotion and distribution of local performing arts
production and offer solutions to maximize business viability and access to new market platforms.
Although there have been recognizable efforts to market and promote performing arts, some facets such as theater remain under
developed. Since the quality of performance is the selling factor and more significant to audience satisfaction, support to strengthen
the capacity of theatrical and performing artists in Uganda is important to enhance both quality and demand for performing arts.
there is seemingly low industry awareness and access to these opportunities. Support in the digitization and commercialization of
performing arts through skills development and training, should supplement the promotion and distribution of local performing arts

Uganda Local Content Development Strategy 2020-2025 Executive Summary

Uganda Local Content Development Strategy 2020-2025 Executive Summary

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