This document summarizes a research paper that evaluated approaches to post-conflict reconstruction in northern Uganda that incorporated creative arts like music, dance, drama, and visual art. The paper categorized the approaches into three groups: indigenous initiatives based on traditional Acholi arts, hybrid initiatives that blended local and international styles, and transplanted initiatives introduced by foreigners. It analyzed the cultural origins and resonance of the approaches, their appeal among the community based on factors like gender and location, and their sustainability. The paper concluded with recommendations for future arts-based programs in post-conflict regions.
A Study of Awareness of Cultural Heritage: Sivas Sampleinventionjournals
This study analyzed the awareness of the students at Cumhuriyet University toward the cultural heritage of the city of Sivas. The study set out from the result of another study carried out previously at the exploratory level and limited number of students1 . The findings of the previous study revealed that the cultural heritage of the city was not known enough by the university students. This study followed three-stage process. In the first stage, The Scale of Cultural Heritage Awareness applied in the previous study was developed, and a survey was applied to the students at Cumhuriyet University central campus. In this stage, students’ levels of awareness for the cultural values of the city were detected, and Mann Whitney U and Kruskal Wallis H tests were conducted to determine whether there were differences between various groups. In the second stage of the study, four separate focus groups were created in order to determine the reasons of the low levels of cultural heritage awareness of the students who were reached via pollsters and surveys. The focus-group studies dwelled on the suggestions students developed in an effort to improve students’ views and awareness of the cultural heritage. In the last section of the study, a focus-group meeting was held with the tourism representatives in Sivas, the results of this meeting were shared, and solution offers were developed in order to raise awareness 1 .
Population Growth – Trends, Projections, Future Plan And Developmentinventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online.
A Study of Awareness of Cultural Heritage: Sivas Sampleinventionjournals
This study analyzed the awareness of the students at Cumhuriyet University toward the cultural heritage of the city of Sivas. The study set out from the result of another study carried out previously at the exploratory level and limited number of students1 . The findings of the previous study revealed that the cultural heritage of the city was not known enough by the university students. This study followed three-stage process. In the first stage, The Scale of Cultural Heritage Awareness applied in the previous study was developed, and a survey was applied to the students at Cumhuriyet University central campus. In this stage, students’ levels of awareness for the cultural values of the city were detected, and Mann Whitney U and Kruskal Wallis H tests were conducted to determine whether there were differences between various groups. In the second stage of the study, four separate focus groups were created in order to determine the reasons of the low levels of cultural heritage awareness of the students who were reached via pollsters and surveys. The focus-group studies dwelled on the suggestions students developed in an effort to improve students’ views and awareness of the cultural heritage. In the last section of the study, a focus-group meeting was held with the tourism representatives in Sivas, the results of this meeting were shared, and solution offers were developed in order to raise awareness 1 .
Population Growth – Trends, Projections, Future Plan And Developmentinventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online.
Pacific Geographies (PG), ISSN 2196-1468, is a peer-reviewed semi-annual publication published by the Association for Pacific Studies (Arbeitsgemeinschaft für Pazifische Studien e.V., APSA) in co-operation with the Department of Human Geography of Hamburg University, Germany. The PG provides an interdisciplinary platform for an academic discussion of social, cultural, environmental, political and economic issues in the Asia-Pacific region. In order to uphold scientific standards, the PG is implementing a peer-review process. Articles marked as „scientific papers“ have been peer-reviewed by two external revie- wers. Articles marked as „research notes“ have been peer-reviewed by one external reviewer and a member of the editorial board. All other articles have been reviewed by the editorial board. APSA-Members receive the Pacific Geographies at no cost as a membership benefit.
Global Research Forum on Diaspora and Transnationalism (GRFDT) is a consortium of researchers and policy makers drawn from national and international universities, institutes and organizations. GRFDT is presently based in India and is shaping as the largest such group focusing specifically on the issues related to diaspora and transnationalism.
The GRFDT works as an academic and policy think tank by engaging national and international experts from academics, practitioners and policy makers in a broad range of areas such as migration policies, transnational linkages of development, human rights, culture, gender to mention a few. In the changing global environment of academic research and policy making, the role of GRFDT will be of immense help to the various stakeholders. Many developing countries cannot afford to miss the opportunity to harness the knowledge revolution of the present era. The engagement of diaspora with various platform need to be reassessed in the present context to engage them in the best possible manner for the development human societies by providing policy input at the national and global context.
www.grfdt.com
The Tibetans in India are considered an exile diaspora having unique strategy in their adapta-tion and livelihood in the alien land. Challenges relating to their roots as well as to the existen-tial socio-cultural and economic issues often make the Tibetan community unique. Based on both primary (qualitative observation) and secondary (existing literature) sources of data, the paper tries to map out various patterns and ways of social networking and livelihood promotion of Tibetan communities in Delhi. The paper tries to investigate how the Tibetans mobilise their economic capital through social networking. The social capital plays a very important role in the economic life of the Tibetans. Unlike natives, they have no established source of livelihood or access to public services owing to their refugee status. However, due to strong social net-working, they are able to engage in informal economic activities. Occupations such as handi-crafts, carpet making, woollen-making, traditional arteries, ethnic food-costumes and orna-ments businesses, travel and restaurant business etc. are the major sources for their liveli-hood. They face socio-economic and political deprivation in the absence of legal as well as other benefits that the permanent citizens are entitled to.
Bureaucracy and Citizen Journalism Issues and Challenges Imperative for Media...ijtsrd
Using the in depth interview research method, this study examines bureaucracy and citizen journalism by giving a cursory attention to the issues and challenges of the practice in Nigeria. A sample of 30 respondents who cut across the six geo political zones of the country was interviewed via online medium to give answers to the research objectives. Among the questions posed was to ascertain the influence of citizen journalism on professional media practice. Findings showed that bureaucracy is a constraint to efficient administration in media practice as well as altering the news content which has a damning effect on public interest. The study also discovered that adherence to bureaucracy in media practice can save the hot and exuberant reporter. Citizen journalism was also found to be unprocessed material, hence, unfit for public consumption. The study recommended the use of gate keeping in the practice of citizen journalism as well as adherence to rules and regulations. Raphael Abumchukwu Ekwunife | Helen Ijeoma Nwachukwu | Ikechukwu Ogeze Ukeje "Bureaucracy and Citizen Journalism: Issues and Challenges Imperative for Media Practice in Nigeria" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-5 | Issue-6 , October 2021, URL: https://www.ijtsrd.com/papers/ijtsrd46317.pdf Paper URL : https://www.ijtsrd.com/humanities-and-the-arts/journalism/46317/bureaucracy-and-citizen-journalism-issues-and-challenges-imperative-for-media-practice-in-nigeria/raphael-abumchukwu-ekwunife
An Assessment of Impact of Some Demographic Variables on Traveling Behavior o...inventionjournals
A logistic regression model has attempted for determining the potential determinants of traveling habit of Dhaka city dwellers. The regression parameters were estimated by Newton-Raphson iteration procedure. Occupation, Income, Age, Marital status, Sex, Family size and Education were found to have significant impact on traveling behavior.
Cultural continuity, Indigenous identity, language and education matters: A c...AJHSSR Journal
A history of public policies in Japan and Aotearoa New Zealand reveals similar effects on
cultural continuity, Indigenous identity, language and education matters for both Indigenous Ainu and Māori. In
both cases, such policies battered the identity and pride of their Indigenous people, took away their homelands,
endangered the survival of their languages,instigating significant grief over many generations. For decades, both
the Japanese and the New Zealand mainstream public remained largely unaware of the debilitating effect of
public policies on Indigenous language, cultural values and traditional ways of living. This article describes the
introduction of public policies which impacted heavily on education pathways and language survival for Ainu
and Māori, in each case resulting in cultural continuity crunch points. Consequences of these policies are
evaluated; this research advocates for more non-Indigenous researchers to embrace education research which
encourages social justice, reconciliation and restoration of Indigenous well-being and cultural rights.
Pacific Geographies (PG), ISSN 2196-1468, is a peer-reviewed semi-annual publication published by the Association for Pacific Studies (Arbeitsgemeinschaft für Pazifische Studien e.V., APSA) in co-operation with the Department of Human Geography of Hamburg University, Germany. The PG provides an interdisciplinary platform for an academic discussion of social, cultural, environmental, political and economic issues in the Asia-Pacific region. In order to uphold scientific standards, the PG is implementing a peer-review process. Articles marked as „scientific papers“ have been peer-reviewed by two external revie- wers. Articles marked as „research notes“ have been peer-reviewed by one external reviewer and a member of the editorial board. All other articles have been reviewed by the editorial board. APSA-Members receive the Pacific Geographies at no cost as a membership benefit.
Global Research Forum on Diaspora and Transnationalism (GRFDT) is a consortium of researchers and policy makers drawn from national and international universities, institutes and organizations. GRFDT is presently based in India and is shaping as the largest such group focusing specifically on the issues related to diaspora and transnationalism.
The GRFDT works as an academic and policy think tank by engaging national and international experts from academics, practitioners and policy makers in a broad range of areas such as migration policies, transnational linkages of development, human rights, culture, gender to mention a few. In the changing global environment of academic research and policy making, the role of GRFDT will be of immense help to the various stakeholders. Many developing countries cannot afford to miss the opportunity to harness the knowledge revolution of the present era. The engagement of diaspora with various platform need to be reassessed in the present context to engage them in the best possible manner for the development human societies by providing policy input at the national and global context.
www.grfdt.com
The Tibetans in India are considered an exile diaspora having unique strategy in their adapta-tion and livelihood in the alien land. Challenges relating to their roots as well as to the existen-tial socio-cultural and economic issues often make the Tibetan community unique. Based on both primary (qualitative observation) and secondary (existing literature) sources of data, the paper tries to map out various patterns and ways of social networking and livelihood promotion of Tibetan communities in Delhi. The paper tries to investigate how the Tibetans mobilise their economic capital through social networking. The social capital plays a very important role in the economic life of the Tibetans. Unlike natives, they have no established source of livelihood or access to public services owing to their refugee status. However, due to strong social net-working, they are able to engage in informal economic activities. Occupations such as handi-crafts, carpet making, woollen-making, traditional arteries, ethnic food-costumes and orna-ments businesses, travel and restaurant business etc. are the major sources for their liveli-hood. They face socio-economic and political deprivation in the absence of legal as well as other benefits that the permanent citizens are entitled to.
Bureaucracy and Citizen Journalism Issues and Challenges Imperative for Media...ijtsrd
Using the in depth interview research method, this study examines bureaucracy and citizen journalism by giving a cursory attention to the issues and challenges of the practice in Nigeria. A sample of 30 respondents who cut across the six geo political zones of the country was interviewed via online medium to give answers to the research objectives. Among the questions posed was to ascertain the influence of citizen journalism on professional media practice. Findings showed that bureaucracy is a constraint to efficient administration in media practice as well as altering the news content which has a damning effect on public interest. The study also discovered that adherence to bureaucracy in media practice can save the hot and exuberant reporter. Citizen journalism was also found to be unprocessed material, hence, unfit for public consumption. The study recommended the use of gate keeping in the practice of citizen journalism as well as adherence to rules and regulations. Raphael Abumchukwu Ekwunife | Helen Ijeoma Nwachukwu | Ikechukwu Ogeze Ukeje "Bureaucracy and Citizen Journalism: Issues and Challenges Imperative for Media Practice in Nigeria" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-5 | Issue-6 , October 2021, URL: https://www.ijtsrd.com/papers/ijtsrd46317.pdf Paper URL : https://www.ijtsrd.com/humanities-and-the-arts/journalism/46317/bureaucracy-and-citizen-journalism-issues-and-challenges-imperative-for-media-practice-in-nigeria/raphael-abumchukwu-ekwunife
An Assessment of Impact of Some Demographic Variables on Traveling Behavior o...inventionjournals
A logistic regression model has attempted for determining the potential determinants of traveling habit of Dhaka city dwellers. The regression parameters were estimated by Newton-Raphson iteration procedure. Occupation, Income, Age, Marital status, Sex, Family size and Education were found to have significant impact on traveling behavior.
Cultural continuity, Indigenous identity, language and education matters: A c...AJHSSR Journal
A history of public policies in Japan and Aotearoa New Zealand reveals similar effects on
cultural continuity, Indigenous identity, language and education matters for both Indigenous Ainu and Māori. In
both cases, such policies battered the identity and pride of their Indigenous people, took away their homelands,
endangered the survival of their languages,instigating significant grief over many generations. For decades, both
the Japanese and the New Zealand mainstream public remained largely unaware of the debilitating effect of
public policies on Indigenous language, cultural values and traditional ways of living. This article describes the
introduction of public policies which impacted heavily on education pathways and language survival for Ainu
and Māori, in each case resulting in cultural continuity crunch points. Consequences of these policies are
evaluated; this research advocates for more non-Indigenous researchers to embrace education research which
encourages social justice, reconciliation and restoration of Indigenous well-being and cultural rights.
Using a theoretical concept by combining linguistic relativity and linguistic determinism – the
structure of our language; a set of specific selected words influence man’s perception of the world and language
use determines thought and action, data was collected and analysed qualitatively. The aim of the paper is to
illustrate the pertinence of culture in language use and actions with emphasis to explore the contextual symbolic
meanings of specific words in Africa nation states’ quest for peace. Specifically, in this paper we examine
carefully selected and uttered lexis and their significant meanings in Cameroon, South Africa and Uganda. The
results of the study confirmed that words have unique significance in relation to the culture, history and identity
of a particular African people. Words used in the Cameroon context, ‘all is well’, are mostly words of hope and
assurance in a war-free nation. The interpretation of some words, ‘Rhodes must fall’, generate disputes and
lead to violent actions in the search for peaceful and prosperous co-existence in an apartheid ridden country
like South Africa. Certain words of greetings, ‘you still exist’, though a total recall of pain and torture in a
period of turbulence and massacre in Uganda, portray gratitude and delightedness among citizens.
Cultural Rationality andthe Igbo SocietyQUESTJOURNAL
ABSTRACT:Culture is complex. Each culture is clearly different. This is because of its unique historical evolution. This confers on it qualities that make it peculiar, original and an organic whole. Culture as the entire way of life of a people past and present, has dynamic interplay of factors promoting progress, adaptation and interaction. Global change constantly challenges people to maintain their identity in the face of new conditions. Notwithstanding culture is marked by stable and enduring elements as well as by changing and contingent factors. As a way of life, culture includes art, religion and religiosity, marriage and family, elders and ancestors, egalitarian societal values etc. The Igbo people have a profound religious sense in which the existence of the divine being and the invisible spirit world is natural. This study will examine some components of culture and highlights cultural erosion that affects the esteemed values vis-à-vis global changes. This leads to the trend to jettison original cultural authenticity by its sons and daughters. Hence the urgent challenge to engage the rest of the world within a composite framework situated in a purely African reality in spite of global change.
Department of History, National University of SingaporeConLinaCovington707
Department of History, National University of Singapore
Constructions of Nation and the Classicisation of Music: Comparative Perspectives from
Southeast and South Asia
Author(s): Pamela Moro
Source: Journal of Southeast Asian Studies, Vol. 35, No. 2 (Jun., 2004), pp. 187-211
Published by: Cambridge University Press on behalf of Department of History, National University
of Singapore
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187
Journal of Southeast Asian Studies, 35 (2), pp 187-211 June 2004. Printed in the United Kingdom.
? 2004 The National University of Singapore DOI: 10.1017/S0022463404000116
Constructions of Nation and the Classicisation of
Music: Comparative Perspectives from Southeast
and South Asia
Pamela Moro
This article compares how elite music was classicised or canonised as part of the
process of constructing national culture in India, Indonesia and Thailand. Issues
examined include the role of the middle class; homogeneity and heterogeneity in
national culture; the rise of mass education and innovative forms of musical trans
mission; the institutionalisation of music theory and music scholarship; dynamic
influences from the West; and transformations in the roles of musician, patron and
audience.
Introductory textbooks in ethnomusicology and record-store world music bins alike
would have us associate particular bodies of music with the bounded units we recognise
as cultures. In the case of the Asian musics we call 'classical', such music 'goes with'
the nation in a convenient homology so that, for example, classical Thai music is 'the'
music generally associated with Thailand, while the court gamelan traditions of Bali and
central Java often represent 'the' music of Indonesia. Such ...
People's lives tend to the outside world, leading to the waning of cultural preservation values due to the ease with which foreign cultural influences enter and threaten the existence of local culture. To avoid the decline of the younger generation's interest in traditional art, it is necessary to carry out an idea of preservation through education, in this case, social studies subjects at school. This study aims to analyze the relationship between traditional art and social studies as a learning resource. The traditional art discussed in this study is panting music which is traditional arts in South Kalimantan. This is done to get a pattern for preserving traditional arts through social studies subjects. The research method used is qualitative. Data collection is done through observation, interviews, and documentation. Informant this research panting music players, and social studies teachers. The various data obtained are then reduced, presented, and then concluded. The researcher triangulated and extended the observations. The study's results confirmed panting music performance activities could be packaged as social studies learning resources. This is done by integrating class VII textbooks on the theme of cultural and ethnic diversity in the Indonesian traditional musical.
Amazing Facts about Ethnomusicology - Anthropological Perspectivepratanubanerjee3
Here Pratanu Banerjee explores the amazing facts about ethnomusicology. Being a music teacher of keyboard, harmonica, flute guitar, he is interested to explore the amazing facts of ethnomusicology across the world. Check the presentation now!
2. 90 MCCLAIN [Vol. 1:1
2009 through the Minority Health International Research Training Program (MHIRT) at
Christian Brothers University, funded by the U.S. National Institutes of Health.
The methodology was largely participant observation, which included spending
hours in a Gulu youth center, watching music and dance practices and implementing an
art journal project in conjunction with the center’s art teacher. During this period, infor-
mal interviews with leading figures in the peace talks, politicians, religious leaders, teach-
ers, returnees, artists, child-mothers, youth, aid workers, and musicians were conducted,
as was the attending of concerts, performances, radio interviews, and workshops. While
working with MHIRT, an art therapy study was conducted at a Gulu primary school that
included formal qualitative interviews with 39 youth participants and the administration of
the “Impact of Events Scale — Revised” (Weiss and Marmar 1997) to measure levels of
Post-Traumatic Stress Disorder. The research presented here draws from qualitative obser-
vations made during the 2009 MHIRT study.
For over two decades, the people of northern Uganda have suffered from severe per-
secution and marginalization both at the hands of the government of Uganda and through
the brutality of rebel insurgencies, namely the Lord’s Resistance Army, or LRA. The con-
sequences of this instability are staggering. Millions were displaced by the violence, and
an estimated 60,000 people were abducted by rebels (Anwar 2007). Furthermore, northern
Uganda has some of the highest levels of Post-Traumatic Stress Disorder and depression
recorded anywhere, with an estimated 54 percent of the population suffering from PTSD
(Roberts, Bayard, et al. 2008:4). Although numerous ethnic groups suffered from this vio-
lence, this research focuses primarily on the Acholi, who are located at the heart of the
conflict in northern Uganda.
The central question guiding my overarching research has been: Can art play a role
in reversing the trauma and contribute to post-conflict reconstruction in the region? This
topic can be somewhat controversial, as there is an ongoing debate in Africa over the ap-
propriateness of forms of expression which do not have roots in the culture and history of
the specific population, as well as over the cross-cultural applicability of Western concepts
of suffering, trauma, and mental health (Roy 1999; Chilcote 2007; Dosamantes-Beaudry
1999).
This research encountered a wide variety of programs and individuals using the cre-
ative arts as tools of peace building, development, and reconciliation in northern Uganda.
While all of these programs were very different in regards to target audience, creative me-
dia, and project implementation, they were unified in at least one thing: the ability to foster
self-expression in individuals and/or communities. Through observation, this self-expres-
sion was found to be crucial to community building, and personal and collective healing.
The purpose of this paper is two-fold. First, several programs in northern Uganda,
rooted in the creative arts, will be compared and evaluated for their cultural origins and
resonance, community appeal, and sustainability. Second, based on this analysis, recom-
mendations for future creative interventions in other conflicts in Africa will be made.
While not all of the events and programs mentioned were designed explicitly with
peace building or reconciliation in mind, they are vital to the discussion because they have
all, whether intentionally or not, helped to foster a sense of community and reconciliation
in a social context that has been fragmented by war. Second, in this paper I purposefully
chose to analyze the applicability of these programs in relation to Acholi appeal and reso-
nance, rather than focus on the peace building work being done within these programs.
While arguments can be made about the effects of these programs, the purpose of this paper
is to focus primarily on the setting in which they were introduced.
Pursuit: The Journal of Undergraduate Research at the University of Tennessee
3. 2010] Conflict Resolution in Northern Uganda 91
Origins of Expression
Art interventions that increase healing and reconciliation can be analyzed for their cultural
relevance, or resonance, within a society because of parallels with long-standing patterns
of expression. In this section, I will examine the cultural relevance of different types of
creative expression in northern Uganda by exploring: 1) what is locally driven and based
on indigenous or long-standing arts within the Acholi culture, 2) what is locally driven but
explicitly integrated with forms of art understood to be foreign in origin, and 3) what is
coming from non-Acholi customs and traditions, or the “global” context. While these cre-
ative expressions have been categorized for ease of analysis, in reality and practice, there
is overlap, and naturally, not every example fits within these groupings.
Indigenous Initiatives
For the purpose of this study, indigenous initiatives are defined as any creative expression
that is locally driven and run and based on art forms associated with long-standing patterns
of expression in northern Uganda. Among the Acholi, these indigenous initiatives often in-
volve music and dance. Across the greater north, music, dance, and drama groups perform
Acholi dances and songs for community events. At times, they participate in competitions
at local, regional, and national levels. Primary school competitions may involve traditional
dances such as the bwola and dingi-dingi, wedding processions often include dancing and
singing, and musical performances in internally displaced persons (IDP) camps incorpo-
rate instruments made of local materials and foreign aid canisters. Performances involve
both males and females close in age. In primary school, children begin learning how to
craft and play the instruments, and to dance the routines, although there is a generation of
men and women who came of age during the war and missed the opportunity to learn these
indigenous performance arts due to the insecurity and instability. The indigenous creative
initiatives most commonly practiced today in northern Uganda are communal in nature and
join people together.
Although not as prevalent today as music and dance, poetry is a pre-war form of
indigenous expression that gained the Acholi worldwide recognition. In the 1960s and 70s,
Acholi poet and anthropologist Okot p’Bitek gained global fame for poems on African
rural life and westernization. His best-known poem is titled Song of Lawino. This research
did not encounter any individuals or initiatives attempting to reinvigorate this art of poetry
and creative writing, but sources in Uganda have stated that there are still a number of
adults who carry on this practice. Furthermore, the next section will discuss contemporary
music in northern Uganda and how musical artists have adopted a contemporized version
of poetry through their lyrics.
Hybrid Initiatives
The second grouping of creative expressions is categorized as hybrid initiatives and
can be defined as any creative expression that is locally driven and run, but articulated with
international, contemporary forms of art. Oftentimes, they are inspired by Western popular
culture. For example, Acholi vocalists have adopted a reggae, rap, and R&B fusion style.
They were inspired by American rappers of the 1990s like the Notorious B.I.G. and Tupac,
as well as “freedom fighters” and liberation artists like South Africa’s Lucky Dube and
Jamaica’s Bob Marley. When fused with Acholi beats, the result is often a high-energy
dance hall genre with lyrics discussing social issues such as stigma, children’s rights, jus-
tice, and defilement. During the later years of the war, this music had the unique opportu-
nity to reach vast audiences in northern Ugandan society through the radio, namely through
Pursuit: The Journal of Undergraduate Research at the University of Tennessee
4. 92 MCCLAIN [Vol. 1:1
the station Mega FM. Through strategic programming, people in the IDP camps enjoyed
the same music as the rebels in the bush and the government soldiers. This contemporary
Acholi music had the effect of creating a common creative referent among groups that were
otherwise engaged in conflict with one another.
Another hybrid form of expression that gained momentum in recent months is break
dancing. A group of men based in central Uganda formed a group called Break Dance
Project, Uganda that travels around the country and teaches vulnerable youth how to break
dance for social change. Like the contemporary Acholi music, break dancing allows peo-
ple to participate in a Western style of expression that is so popular among the youth in
Uganda, all while attaching positive messages. These new styles in northern Uganda have
both individualistic and communal qualities. With singing, often, it is a single performer
composing the songs and performing on stage, but he or she excites the crowd during
the show and creates a communal setting in which everyone is engaged with the music.
These styles are different than local, Acholi styles of dance and music because they offer
performers more flexibility to create new routines and write lyrics with messages relevant
to contemporary issues.
Transplanted Initiatives
The third grouping of creative expressions is categorized as transplanted initiatives. They
are based on non-Acholi customs and traditions and introduced and run by Westerners
often hoping to foster reconciliation and healing after the war. More frequently, these ini-
tiatives involve the visual arts. While there certainly are some Acholi who paint and draw
and sculpt, it is not generally a very common form of art in the region. According to in-
formal interviews conducted with youth in a primary school and at a youth center, visual
art requires a certain “God-given talent,” and if they feel as though they do not possess the
talent for it, they do not try to improve. This is coupled by the fact that materials for mak-
ing visual art are expensive and inaccessible to most. In 2008, I co-designed a small art
journal program for children at a Gulu youth center, and witnessed the students encounter
a large degree of difficulty using materials such as paint, crayons, and glue. Although,
in addition to dance and music programs, the center did run a small visual arts program
staffed by Acholi, most of the students had little exposure to the materials introduced for
the journals. Similar observations were made between June and August of 2009 during
an art therapy study at a primary school in Gulu. This school also had an art department
staffed by Acholi, but it was reserved for students with a demonstrated natural ability in
visual art. Consequently, most of the participants in the art therapy study had never used
the materials presented to them.
Furthermore, transplanted initiatives sometimes lack necessary sensitivity to soci-
etal norms of coping with trauma and war. For example, in the West, a drawing of a violent
encounter in war, or perhaps life as a child soldier, quickly and effectively resonates with
an audience otherwise unfamiliar with such circumstances. The drawing also holds added
emotional appeal having been created by a child. However, in Uganda and arguably any-
where, it is highly insensitive to expect a person to immediately share a traumatic experi-
ence, just because a pen or pencil is in front of him or her. Experiences in Uganda have
shown that the transplanted visual art initiatives are most likely to breach Acholi norms
pertaining to expression, especially of traumatic events, and prematurely request and ex-
pect visual depictions of such events.
Despite the observed predominance of transplanted projects involving the visual
arts, there are also foreign-initiated programs that focus on performance art. For exam-
ple, in 2008, the National Theatre in Uganda’s capital of Kampala presented a play titled
Pursuit: The Journal of Undergraduate Research at the University of Tennessee
5. 2010] Conflict Resolution in Northern Uganda 93
“Butterflies of Uganda.” The production was written and developed by Westerners and
first performed in the U.S. in California. The plot centered on the conflict in the north and
one young girl’s experience as an abducted child soldier. The cast was Ugandan, although
there were very few performers native to the north. To my knowledge, the play was not
performed elsewhere in the country.
Community Resonance & Appeal
The activities in these three categories of creative expression appeal differently to people in
northern Uganda. Although there are no absolutes in talking about individual preferences,
this analysis provides general observations about the appeal of creative expression accord-
ing to gender, age, and residential location in the north.
Gender
First, men and women show different interests in methods of creative expression, although
there are certainly forms of art that have widespread appeal among both genders. For ex-
ample, long-standing forms of Acholi dance seem to be enjoyed equally among males and
females, whereas observations in schools and youth centers showed that boys are more apt
to demonstrate an interest in drawing than girls. While conducting the aforementioned art
therapy study in Gulu, the girls expressed much more enthusiasm for drama skits involving
the acting of northern folktales, and requested more activities involving drama. The boys
also seemed to enjoy the dramas, but had a much longer attention span for activities involv-
ing drawing and painting than did the girls. Both boys and girls enjoyed a break dancing
workshop, and both showed relatively equal levels of frustration when they failed to learn
the steps.
The above-mentioned art journal project at a Gulu youth center revealed similar
trends regarding interest in visual art. The group started with an equal number of boys
and girls, but it was only the boys that continued with the voluntary program until the end
and showed genuine enjoyment during the activities. In both the art therapy and the art
journals, the girls participating often became discouraged and abandoned the directives,
instead drawing flowers and other items of their own choosing.
While both sexes may appreciate a particular form of expression, one may dominate
the profession. For example, in Acholi music, there are fewer female performers than male
performers, and it is readily acknowledged to be a male-dominated industry. During per-
sonal communication with Ugandan youth, no girls were encountered who aspired to be
well-known performing artists, whereas it was common for boys to think of top perform-
ers as their role models and aspire to perform and record albums like them. However, at
performances, relatively equal numbers of males and females compose the audience. Both
men and women listen to the radio programs, as well, although it is often men in the camps
who have the most time to gather around a radio.
Many social factors in Acholi society can help us in understanding these patterns.
Extensive research has been done by Jeannie Annan, et. al. (2008) on the status of women
after the war; there was, however, little to no mention of how Acholi social norms affect
girls’ behavior. Acholi women and young girls are often encouraged and sometimes forced
to assume roles as wives and mothers at a young age at the expense of a career or voca-
tion, and may view a career in the arts as interfering with domestic duties. In addition, in
schools it is often the boys who are encouraged in the arts. Like math and science, visual
art is a male-dominated study in Uganda. Girls’ affinity to drama can possibly be traced to
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6. 94 MCCLAIN [Vol. 1:1
long-standing Acholi patterns in which grandmothers were the storytellers of a family and
were responsible for telling folktales to the children. This practice has been largely lost
because of the war and mass displacement.
Age
In addition to gender affecting preferences of creative expression, age also influences how
one chooses to self-express in northern Uganda. As might be expected, older people tend
to hold fast to older, indigenous forms of dance and music, while youth embrace and fuel
artistic movements attuned to external influences. Projects such as Break Dance Project,
Uganda have faced some criticism for encouraging youth to pursue this new dance style,
fearing that it will be learned at the expense of indigenous dances.
The war has heavily affected the transmitting of indigenous, Acholi forms of knowl-
edge to the younger generations, and many of the older populations died during the con-
flict. Camp life also disrupted Acholi patterns of expression, many of which involved the
arts, like storytelling mentioned above. Now with the accessibility and appeal of Western-
originated art and music, both through media and the multitude of foreign aid workers
present in the major towns, youth in towns are exposed to pre-existing Acholi forms and
those derived from foreign sources. For example, the same youth center in Gulu where the
break dancers from the capital come to teach also offers children lessons in Acholi styles
of dance and music.
Place
In Acholi society, one’s physical location, or locality, also factors into preferences on cre-
ative expression. In rural areas, there is less exposure to foreign-originated styles and less
influence by foreign programs and aid workers; however, radio stations can now reach
everyone, even in the most remote of locations, and radio features contemporary Acholi
music as well as indigenous Acholi styles. In contrast, most performances of the contem-
porary and hybridized styles of expression are limited to Gulu, Lira, and Kitgum towns.
Christian churches are another haven for creative expression in northern Uganda,
and unlike the dance halls of the towns, churches are found in all communities, rural and
urban. Church groups were very active in the peace process and have been large proponents
of indigenous justice mechanisms, namely mato oput. Several youth and women reported
that church is a place to go and forget about the past, particularly through music and dance.
In Uganda, the worship portion of the service, complete with music, dance, and song, is
often very emotional and animated. Some churches offer multiple services, offering the
local language and English. At Christ Church in Gulu, the English service is more subdued
and features hymns. The local language service, and the Christ Church Luo Choir, offers a
more colorful worship experience by incorporating northern instruments and Acholi-style
songs. Observations have shown that churches are rooted in the communities and provide
a venue for self-expression.
Project Sustainability
The funding sources of these projects affect their short and long-term sustainability. In
recent years, northern Uganda has received an outpouring of foreign assistance and finan-
cial aid from both governments and non-governmental organizations (NGOs). In recent
months, with the worldwide economic recession and the international community’s short
attention span for conflicts and war, emergency relief and humanitarian efforts in northern
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7. 2010] Conflict Resolution in Northern Uganda 95
Uganda have been downsized or terminated altogether. The sustainability of post-conflict
arts programs varies, and the cessation of foreign funding forces a discontinuation of many
initiatives.
While the local initiatives may lack the large financial-backing of the foreign proj-
ects, their programs often have the highest degree of ownership and resonance within the
communities. Even if every foreign organization and funding source leaves tomorrow, the
Acholi will still be dancing and singing songs handed down through generations. The art-
ists singing in contemporary genres will continue singing and the break dancers breaking,
although if they lose funding from the NGOs to perform at events or go on tours around the
community, their dynamics in the community will certainly change. However, for trans-
planted initiatives, without strong community backing and belief in their ability to benefit
society, there is little chance for them to prevail. Yet, with little or no operating budget, as is
the case for many local initiatives, the indigenous arts often operate in more localized ways
than transplanted or even hybrid programs. Transplanted and hybrid organizations often
put on large competitions, exhibitions, or shows for which local initiatives do not have the
funding. (An exception is school music, dance, and drama competitions that attract stu-
dents from across the regions.) However, because the indigenous arts are so ingrained into
Acholi patterns of expression, there is little reason to believe they will not continue even at
the micro-level in the community.
Two dynamics are at work within the issue of sustainability. The first is the financial
support granted to foreign initiatives and the fact that many foreign initiatives vanish when
the international community decides to put money into resolving other conflicts and wars.
With money, transplanted initiatives have the funding to branch out across communities
and towns and reach more people. This funding offers a financial sustainability that many
of the Ugandan initiatives do not have. Therefore, the indigenous organizations cannot
expand at the same rate as the hybrid or transplanted programs. Second, community owner-
ship of the form of expression affects its ability to persevere even without funding or when
the foreign-implementers abandon the programs and leave the region.
This analysis is based on the assumption that foreign funding is primarily supporting
transplanted initiatives. While there are indigenous organizations that receive grants from
foreign sources, as a whole transplanted programs have resonance within foreign funding
sources, and therefore indigenous initiatives are less likely to receive the large sums that
hybrid or transplanted programs receive.
Recommendations
What can we take away from these insights on creative expression in post-conflict northern
Uganda? I offer the following recommendations when applying these observations to other
situations across the continent.
First and foremost, long-standing, indigenous norms and patterns of communication
and expression influence all facets of life. Without understanding the worldview and his-
torical context of a particular people, it is difficult to understand the impact that a particular
form of self-expression has or will have on healing and reconciliation of the community
and of individuals. So, first, I recommend that existing norms and patterns are recognized
as central to the identity of a people, and that organizations take local resonance into con-
sideration when implementing programs or designing peace building interventions. This
can be done by involving community members in project development, by conducting
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8. 96 MCCLAIN [Vol. 1:1
assessments, or by hiring community members for program implementation. Some may
consider this point trite, but many transplanted initiatives have been observed implement-
ing programs with little to no regard for Acholi norms of expression.
Second, the appropriateness of a particular intervention can be measured by iden-
tifying a target audience and sufficiently researching what appeals to them and what best
achieves the goals of the initiative. This can be as simple as interviewing potential partici-
pants to see what creative forms interest them the most. Using examples from northern
Uganda, this research shows that age, gender, and location affect the resonance of a par-
ticular art form. In northern Uganda, older populations as well as rural populations have
historically had more exposure to indigenous creative expression than those in the towns.
Although this is not to say that more contemporary or hybridized forms should not be used
with rural populations, one must remember that rural populations may not have had the
same level of exposure to outside influence as towns, and therefore, initiatives outside of
cultural patterns of expression may not resonate as much as those within long-standing
patterns.
Third, locally-rooted initiatives are generally the most sustainable. While they of-
ten lack the major funding of the foreign aid-backed programs, they tend to have more
resonance within the community, and therefore remain even when the outside funding
disappears. In addition to their financial sustainability, they often take into account how a
community will relate to a form of expression and know best what appeals to what sectors
of society. I suggest that more funding be directed toward these indigenous initiatives.
Fourth, one must exercise sensitivity when engaging in any of these programs that
may bring up painful reminders of the past. For example, it would be insensitive to give
someone a pencil and ask him or her to draw a scene of life in the bush. Creative expression
can induce dialogue on these issues, but should not be expected to be immediate channels
into someone’s psyche. A respect for a society’s method of coping with war and violence
must be considered, as well. In northern Uganda, people are often instructed to “forget and
forgive” by local counselors. Because this has been a widespread approach to peace build-
ing, one cannot expect people to immediately and openly express their feelings about the
past, nor that self-expression will take the form of reliving or revealing the past.
Fifth, a fusion of pre-existing cultural patterns, and more recently introduced ones,
can be successful, especially in appealing to youth culture. As evidenced by the youths’
admiration of both break dance and bwola dance, projects that include both foreign-origi-
nated forms of expression and Acholi styles can have a wide appeal. However, it is worth
noting again that in northern Uganda, performance arts, whether in the form of music,
dance, or drama, have much more resonance and mass appeal than the visual arts. In other
societies, where the legacy of visual arts or crafts is richer, this may not be the same.
Sixth, all of this is contextual. Each of the circumstances of reconciliation and peace
building are different, as are the specific patterns of expression and communication in any
location. Therefore, we must not assign universal assumptions about the specifics of cre-
ative expression as a force for peace building.
Lastly, the arts do matter. While each situation is different, and while this paper does
not delve into the individual and community impacts of these initiatives pertaining to peace
building and conflict resolution, we can agree that the arts and creative expression play a
large role in African societies, as they do globally, and that they historically have been used
as tools of peace building and conflict resolution because of their ability to unify people
within their own societies, as well as cross-culturally.
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9. 2010] Conflict Resolution in Northern Uganda 97
Conclusions
This research analyzes the origins, resonance, appeal, and sustainability of post-conflict
creative arts programs in northern Uganda and urges for added recognition of the role
of culture and tradition when implementing such programs. In a globalized world, long-
standing patterns of expression come into contact with foreign-originated forms of art and
create new dynamics of creative expression. In conflict and post-conflict situations, un-
derstanding and noting these dynamics can result in better-equipped and more successful
interventions and initiatives.
Analysis of this nature and other dialogue on the role of the arts in conflict resolution
and post-conflict reconstruction need to increase not just in Uganda, but also worldwide.
Although communities have been using the arts to aid in reconciliation and healing for
centuries, the topic is largely overlooked and underrepresented in scholarship.
As a whole, I call for more quantifiable data on the power of art in community and
individual reconciliation and healing. I also urge the international community to better
support local initiatives and local forms of creative expression, for they best represent the
values and beliefs of a society. While we cannot ignore the changes to societies that global-
ization brings, programs that come from within a society are best able to identify its needs.
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About the Author
Lindsay McClain is a 2009 graduate of the College Scholars Honors Program at the
University of Tennessee, where she studied creative approaches to peace building and de-
velopment in Africa. In 2008, she was awarded UT’s prestigious “Volunteer of the Year”
award for her commitment to service both on her campus and in war-affected northern
Uganda. She is a core leader of the Jazz for Justice Project, an organization that promotes
music and the arts for psycho-social healing in conflict zones. Lindsay has traveled ex-
tensively and recently relocated to Gulu, Uganda to pursue employment in the non-profit
sector. Since 2007, she has traveled five times to Uganda, where she noticed how instru-
mental the arts are in encouraging peace and unity among a population traumatized by over
two decades of war. Last year, she finished a book called Bed Ki Gen: Northern Uganda’s
Creative Approaches to Peace and Healing that explores the power of the creative arts in
conflict and post-conflict zones.
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13. 2010] Conflict Resolution in Northern Uganda 101
About the Advisor
Dr. Rosalind I. J. Hackett is professor and head of the Department of Religious Studies
and an adjunct/associate in anthropology, Africana studies, and at the Howard H. Baker, Jr.
Center for Public Policy. She has published widely on religion in Africa, notably on new
religious movements, as well as on art, media, gender, conflict, and religious freedom in
the African context. Following a visit to the war-torn north of Uganda in 2004, she began
organizing jazz concerts, talks, and conferences to raise funds for and awareness of this ne-
glected region. With the help of many talented UT undergraduates and local musicians, the
Jazz for Justice Project took shape, spawning a number of peace and community-building
activities in Northern Uganda. Professor Hackett received the Lorayne W. Lester Award for
Outstanding Service from the College of Arts and Sciences in 2008.
Pursuit: The Journal of Undergraduate Research at the University of Tennessee