The Royal Danish Embassy
Kampala
Danida
Uganda Youth Cultures Project
2010 - 2013
PROJECT DOCUMENT
December 2010
File Number: 104.Uganda.101.10.07.
Uganda Youth Cultures Project, 2010-2013
List of Content
COVER PAGE ___________________________________________________________________ 4
Description _____________________________________________________________________ 4
List of Abbreviations _____________________________________________________________ 5
1
Introduction ________________________________________________________________ 6
2
National Sector Context ______________________________________________________ 6
2.1
Background ____________________________________________________________ 6
2.1.1 Danish Culture and Development _________________________________________ 7
2.2
3
Cultural Policy __________________________________________________________ 8
Key Cultural Areas in Uganda __________________________________________________ 9
3.1
Film___________________________________________________________________ 9
3.2
Music _________________________________________________________________ 9
3.2.1
Hip Hop____________________________________________________________ 9
4.
3.3
Dance _________________________________________________________________ 9
3.3
Theatre ________________________________________________________________ 9
3.4
Electronic Media _______________________________________________________ 10
Description of the Project ____________________________________________________ 11
4.1
Introduction __________________________________________________________ 11
4.1.1 Considerations on Gender Issues_________________________________________ 11
4.2
5.
Project Objective _______________________________________________________ 11
Description of Components ___________________________________________________ 11
5.1
Youth & Film __________________________________________________________
5.1.1 Introduction _________________________________________________________
5.1.2 Immediate Objectives _________________________________________________
5.1.2.1 A brief background on film and television culture in Uganda _________________
5.1.3 Strategy behind the component and the scope of work _______________________
5.1.4 Major Outputs _______________________________________________________
5.1.5 Component Budget ___________________________________________________
5.1.6 Management and Organisation __________________________________________
5.1.7 Indicators and means of Verification ______________________________________
5.1.8 The Partners in Uganda ________________________________________________
5.1.9 The Partners in Denmark _______________________________________________
11
11
12
13
14
14
18
19
19
20
23
5.2
Youth & Hip Hop _______________________________________________________ 25
5.2.1 Introduction _________________________________________________________ 25
2
5.2.2
5.2.3
5.2.4
5.2.5
5.2.6
5.2.7
5.2.8
5.2.9
5.2.10
History of hip hop in Uganda ____________________________________________
Immediate Objectives _________________________________________________
Strategy behind component and scope of work _____________________________
Major Outputs _______________________________________________________
Component Budget ___________________________________________________
Management and Organisation __________________________________________
Indicators and means of verification ______________________________________
The Partners in Uganda ________________________________________________
The Partners in Denmark _____________________________________________
26
26
27
27
29
30
31
32
33
5.3
Youth & Theatre _______________________________________________________
5.3.1 Introduction _________________________________________________________
5.3.2 Immediate Objectives _________________________________________________
5.3.3 Strategy behind component and scope of work _____________________________
5.3.4 Major Outputs _______________________________________________________
5.3.5 Component Budget ___________________________________________________
5.3.6 Management and Organisation __________________________________________
5.3.7 Indicators and means of Verification ______________________________________
5.3.8
The partners in Uganda ______________________________________________
5.3.9
The partners in Denmark _____________________________________________
33
33
34
34
34
35
35
35
35
36
6
Minor Fund for Culture Events – or activities _____________________________________ 37
6.1
Objectives of the Fund __________________________________________________ 37
7
Overall Budget _____________________________________________________________ 37
8
Overall Management and Organisation ________________________________________ 39
9.
Overall Implementation Plan _________________________________________________ 41
10.
Monitoring, Reporting, Reviews and Evaluations _______________________________ 42
11.
Key Assumptions and Risks _________________________________________________ 42
Annex A - Proposed format for output-based budget presentation _______________________ 44
Annex B - Proposed format for project budget by component and by calendar year _________ 46
Annex C - Terms of Reference _____________________________________________________ 47
Annex D - List of people met ______________________________________________________ 53
Annex E - A job description for DCCD local consultant _________________________________ 62
Annex F -ToR for the Advisory Board _______________________________________________ 66
3
COVER PAGE
Country
Sector
Title of Project
Duration
Starting Date
Overall Support
:
:
:
:
:
:
Uganda
Culture
Uganda Youth Cultures Project
3 years
January 2011
DKK 5,6 million (including DKK 3 x 200,000 in the
years 2011 – 2013 from the Danish Centre for Culture and
Development).
The development objective of the Uganda Youth Cultures Project to be implemented under the
Uganda Denmark Culture and Development Programme is: To enhance youth in Uganda
participate in innovative arts as a way to achieve social cohesion and economic empowerment.
The main target group for the overall project is young people, age 13-23.
Description
The Project has been designed in accordance with recently revised Danish Aid Management
Guidelines. The project consists of 3 components.
1. Youth & Film;
2. Youth & Hip Hop;
3. Youth & Theatre.
The support is provided at several levels and within a variety of cultural areas to achieve the
greatest impact.
The Youth & Film component aims to empower the young generation through film education, to
develop a film culture for young people, and to use film as a tool in the development process in
Uganda. The main target group for this component is young people, age 13-19.
The Youth & Hip Hop component aims to improve and bridge the socio-cultural and economic gap
between youth in Uganda. The youth will be supported to acquire arts as well as development and
leadership skills that can enhance socio-cultural and economic transformation across diversities.
The Youth & Theatre component aims to give young girls and boys the opportunity to express
themselves in a professional theatrical form through dance, hip hop, singing, rap, lyrics and small
plays.
4
List of Abbreviations
BPU
DCCD
DFI
DKK
GG
GoU
LDPG
MAK
MoU
NDP
NGO
NURD
PAP
PEAP
RDE
PRDP
PRSP
STF
TfD
ToT
UNESCO
USD
ZIFF
Break Dance Project Uganda
Danish Center for Culture and Development
Danish Film Institute
Danish Kroner
Ghetto Gourmet
Government of Uganda
Local Development Partner Group
Makerere University
Memorandum of Understanding
National Development Plan
Non Governmental Organisation
Northern Uganda Recovery and Development
Process Action Plan
Uganda's Poverty Eradication Action Plan
Royal Danish Embassy, Kampala
Peace, Recovery and Development Plan for Northern Uganda
Poverty Reduction Strategy Papers
Straight Talk Foundation
Theatre for Development
Trainer of Trainers
United Nations Educational, Scientific and Cultural Organisation
United States Dollar
Zanzibar International Film Festival
5
1
Introduction
This project covers the period from the end of 2010 to 2013. The Embassy of Denmark (RDE)
tasked the Danish Center for Culture and Development (DCCD) to assist in formulating a three year
Culture and Development Project. The mission was completed in the period 14–22 June 2010 and
was conducted by Team leader Ms. Vibeke Munk Petersen, Head of Projects, DCCD, Charlotte
Giese, Head of Unit/Children and Youth, Danish Film Institute, Mr. Joseph Mbida, Head of Ghetto
Gourmet Hip Hop Project, DK and national consultant Mr. Fred Musisi.
The overall aim of the mission is to prepare a draft project document for a Uganda – Denmark
Culture and Development Project, 2010 – 2013, with particular focus on Youth Culture in Uganda,
as youths form the largest segment of Uganda’s population. The geographical focus will mainly be:
Kampala, Gulu, Karamoja, Mbale, Jinja, Arua and Mbarara. Other geographical areas can be
included with the perspective of bringing the North and other regions together (creating cultural
understanding and conflict prevention). Themes within film, dance and music will be the focus for
three partnership projects between Danish and Ugandan partners.
An overall aim of the project is through cultural approaches to unify youths in Uganda: Uganda has
had many political conflicts through years and each geographical areas usually has its own songs
and dances. Using a new approach as for instance hip hop, which is new for all and not bounded
up to geographical ownership, it is the hope that it might enable youth in Uganda to get unified
through various activities within hip hop.
The components are outlined in general terms in this document. Key partners will, in co-operation
with the Royal Danish Embassy (RDE), detail the implementation schedules and activities for each
intervention as part of the inception at the end of 2010.
2
National Sector Context
2.1
Background
Uganda became a programme country for Danish bilateral development assistance in 1987.
Uganda was – and still is - one of the poorest countries in the world, and the population is very
young, and the country has been marked by political tensions for years. The Ugandan government
has demonstrated an ability and commitment to reduce poverty and has formulated an ambitious
strategy for poverty reduction. Poverty reduction remains the overriding objective of the Danish
engagement in Uganda.
Denmark focuses its development efforts around Uganda's National Development Plan (NDP).The
NDP has changed focus from poverty eradication to wealth creation. NDP focuses on growth,
employment creation, improved agriculture, trade and infrastructural development.
Update with the NDP (see attachment to e-mail). There is a part on culture from p. 280 (section
661)
6
Denmark is actively implementing the Paris Declaration on Aid Effectiveness and amongst many
other things, stressing the need for better harmonisation.
The Government of Uganda (GoU) launched a Peace, Recovery and Development Plan for
Northern Uganda (PRDP) in October 2007 and began implementation on 1 July 2008. The PRDP is
a commitment by the GoU for the stabilisation and recovery of Northern Uganda over a three year
period through a set of coherent programmes in one organising framework.
All stakeholders are expected to align their programmes in the region to this framework.
Development partners supporting recovery and development in Northern Uganda contribute to
the implementation of the PRDP and its joint mechanism by co-ordinating with each other through
the Development Partners Group for Northern Uganda Recovery and Development (NURD), a
subgroup of the Local Development Partner Group (LDPG).
The Uganda National Cultural Policy: “A Culturally Vibrant, Cohesive and progressive Nation” seeks
to promote and strengthen the cultural diversity of the country by encouraging the participation
of every citizen in cultural life, as well as community level cultural actions that help sustain human
dignity. Other goals are the protection and promotion of Uganda’s tangible and intangible heritage
and the stimulation of creativity on various levels.
2.1.1
Danish Culture and Development
The Danish Strategy for Culture and Development from 2002 sets the overall priorities and
principles for the work with culture as an integrated part of Danish development assistance. It
applies a wide understanding of culture, encompassing not only artistic expression but also the
complexity of mental structures and shared values, beliefs and knowledge that underpin
behaviour and characterise a society or a social group. The strategy outlines three lines of cultural
support: 1: Promotion of the cultural dimension in development programmes
(integration/mainstreaming), 2: Culture as a tool to strengthen the poor (empowerment, social
capital, creative industries etc), and 3: Promotion of cultural diversity on the basis of human rights
and pluralism (for example through strengthening of media and civil society). Hence, this is in line
with the overarching principles for Danish development assistance.
The Danish strategy for culture establishes the mandate of the Danish Centre for Culture and
Development (DCCD), an independent institution linked to the Ministry of Foreign Affairs and
Ministry of Culture, to work within three major areas – 1: Culture and development aid, 2: Images
festivals, and 3: Project support for exchange projects between Denmark and developing
countries.
In March 2008 an earlier mission was carried out in Uganda. Due to the shift of the Ambassador
and staff at the Embassy, the follow-up to the mission was delayed. However, based on a good
ongoing dialogue, the focus for the Project 2010-2013 was chosen - “Youth Culture in Uganda”
with a target area primarily in Northern Uganda.
7
2.2
Cultural Policy
The Government of Uganda (GoU) recognises that culture has an important role to play in
Uganda’s national development. Achievements like the launching of Uganda’s national policy on
culture and the policy on the introduction of local languages as a medium of instruction in primary
schools should be applauded.
The restoration of “institutions of traditional cultural leaders”, a constitutional requirement placed
upon Parliament to gazette national cultural heritage sites and to provide for their ownership and
management and the creation of an environment that has allowed the growth of private sector
involvement in culture, especially private theatres and recreational facilities, should also be noted
as important achievements.
However, culture and cultural affairs are often marginalised. Cultural affairs command a low
priority in spending, with 0.03% of the national budget. There is no approved plan to implement
the National Cultural Policy and resources are grossly inadequate. This often results in a negative
attitude towards the arts and other cultural area's, with the influx of foreign materials (such as in
the media). Mechanisms to promote positive cultural values are missing.
The prevailing laws are often obsolete and inadequate; relevant international conventions are not
ratified and/or applied (e.g. UNESCO Conventions on cultural diversity of cultural expressions).
It is important that the Government appreciates the potential economic value and development
function of culture. Having culture as a sub-department in the Ministry of Gender, Labour and
Social Development, not clearly linked to sister departments (such as the Department of Museums
and Monuments), has led to a marginalisation of culture. In addition, decentralising the role of
culture (under Community Development) without supplying adequate resources has compromised
a vital aspect of the society and its development.
Culture and arts are developing and shaping a society. Uganda has a potential to develop arts and
creative arts industries in Uganda, which can contribute to social and economic development.
The aim of the hip hop Uganda Component is to bridge the gap between youth in Uganda and to
promote a positive social change, and to engage young people in a positive youth culture that will
develop their skills. To give youth a possibility to inspire each other, create social responsibility
and have a social gathering with other youths through activities that are not associated with any
political, ethnic or religious relationship, and to become active leaders and positive role models.
Music and arts are some of the most powerful mediums in the modern world, through which
people, not least youth, can express and construct an identity and vision as well as generate an
income. With this as the common ground and with the many conflicts in mind in Uganda, the
component aims to bridge the gap between regions and ethnicities in various parts of Uganda.
8
3
Key Cultural Areas in Uganda
3.1
Film
See chapter 5.1.2.1
3.2
Music
The music industry has come a long way; right now it’s the most economically viable cultural field.
From the 1960s – 80s foreign music, especially Congolese, dominated the market. In the 80s –
90sSouth African music hit the market, which was already dominated by other foreign artists from
USA, Europe, etc. For the last two decades the Ugandan musicians have struggled a lot to gain
recognition and acceptance in their own country. This has resulted in local artists getting into all
sorts of music genres like country music, R&B, dance hall music, reggae, hip hop, raga, etc. As of
now musicians are doing fairly well in terms of generating money from their work, but the biggest
challenge is lack of organisation. The musicians are so fragmented to the extent that they can’t
even benefit from the policies/legislation put in place to protect them, like Copyright Law. The
organisations in place are not strong or well organised enough to mobilise and build the capacities
of the artists. Upcoming musicians still have a challenge in getting their music recorded,
promoted, distributed and played on radio and TV.
3.2.1
Hip Hop
See chapter 5.2.1
3.3
Dance
Modern dance is one of the least liked and most misunderstood art disciplines in Uganda. Despite
there being an institution at Makerere University (Department of Music and Dance), very few
people go there to learn dance. Besides, very few parents/guardians are willing to pay school fees
for a student to learn dance at the University. Given the tradition that everybody does some kind
of dancing, either communally or in school, it is difficult for most people to appreciate the power
of dance beyond the conservation of cultures. There is a prevailing perception and attitude that
one goes to school to acquire knowledge and find a job. People don’t see dance as a field that can
provide employment. As a result of this, there are very few dance groups doing
modern/contemporary dance in the country. Most troupes perform traditional dances during
functions like weddings, introduction ceremonies and national celebrations. There are very few
who use dance for social change. There is need to promote dance as an art form in its own right
and profile it as a tool for interaction, good health etc. Apart from the “dance week” that happens
once a year we hardly see an independent dance performance.
3.3
Theatre
The Uganda National Cultural Centre and National Theatre is established by an Act of Parliament
giving it the mandate to preserve, practice and promote cultural activities in Uganda. It includes
9
the National Theatre and the Nommo Gallery, where visual artists do their exhibitions. The
performing arts have been more visible at the Cultural Centre than other art forms, hence the
commonly known name “The National Theatre.” There is a need for government to reconsider the
financial support towards the institution to enable the centre to play a capacity building role for
the different arts.
Theatre (drama)
Formal theatre in Uganda can be traced back over 50 years ago to the colonial period. The
National Theatre for example was the reserve of the Europeans. The few theatre groups that
existed then would perform in places like Mengo Social Centre and some night clubs like Suzan
etc. In the fifties and early sixties theatre was dominated by Europeans and Indians. After
independence Ugandan groups started to emerge, and in the seventies, after the expulsion of the
Indians who were running the cinema halls, theatre became a very big business. However, it also
attracted many frivolous and unprofessional people into the industry. When the economy got
liberalised, theatre got competition from other entertainment forms and now there are very few
surviving commercial theatre companies with just one theatre (National Theatre) and a few halls
turned into theatres in Kampala and other larger towns.
Theatre for Social Change got popularised after 1986 when Uganda started the road to recovery
and many development workers came into the country with various programmes and approaches.
Theatre was taken on as one of the participatory approaches by some development partners.
Many organisations used Theatre for Development (TfD) to involve community members in
problem solving processes.
Forum theatre in particular has been championed by International Anti-Corruption Theatre
Movement (IATM) as an appropriate tool in enhancing beneficiaries’ participation in the
development, implementation and evaluation of projects/programmes in society. Issues like
corruption, democracy, human rights (prisoners’ rights), environmental conservation and health
related themes (HIV/AIDS, malaria prevention, etc) have all been discussed using forum theatre,
and the results are impressive. Now the challenge is branding and selling forum theatre to the
business world for organisational development/change.
3.4
Electronic Media
There are over one hundred (100) FM radio stations in the country and ten (10) Television
stations. The challenge with the radio stations is that many of them lack development
programmes and spend most of their airtime entertaining people through music and comedy skits.
The other challenge is that two or three radio stations are needed to achieve a wide coverage.
With Television the challenge is that the percentage of local content compared to imported
material is still not fair on many stations. A number of development programmes are however
aired on many radio and TV stations, so there should be greater possibility for development work
within these fields.
10
4.
Description of the Project
4.1
Introduction
As the population in Uganda is very young, and marked by many years with political tensions, the
key rationale for the Uganda Youth Cultures Project is:
To unify the young generation through new cultural approaches;
To target the youth;
To manage diversities;
To support cultural exchange and understanding, etc.
Each of the components is described in chapter five with specific objectives and focus on a limited
and continued number of partners.
4.1.1
Considerations on Gender Issues
According to the question of gender, thorough considerations have been made to incorporate this
important aspect of cultural development into the project. In terms of recognition it is an essential
aim of the overall project to ensure a free and equal access to the different projects for both
sexes. This strategy not only aims at securing women’s social mobility and democratic
development as such. It is important that the youth in Uganda through this project experience an
artistic sphere where gender biased demarcations are minimised. The focus on both sexes’ joint
activities constitute a key element in terms of a successful completion of the project.
4.2
Project Objective
The development objective of the Project is:
To enhance youth in Uganda participate in innovative arts as way to achieve social
cohesion and economic empowerment.
5.
Description of Components
5.1
Youth & Film
5.1.1
Introduction
To experience, to understand and to create film is a valuable and educational tool for young
people all over the world. Youth in Uganda also has the right to access knowledge and artistic
11
reflections about their own life, about other people’s lives, and about the local as well as global
society – through the art of film.
The overall goals of the project are:
To empower the young generation in Uganda through film education;
To develop a film culture for young people in Uganda;
To use film as a tool for the development process for youth in Uganda;
Film and film education has the potential to positively influence key development issues for youth,
such as:
democracy;
reunification among youth groups;
human rights awareness;
education/literacy/analytical and artistic skills;
self esteem and realisation of own potential among youth;
storytelling from the perspective of the youth;
conflict reduction among youth;
sustainable positive-valued youth cultures;
employment and equal opportunities (social, economic, religious and gender);
poverty reduction among youth.
The main target group for the project is youth from 13-20 years. The audience and participants we
aim to target is a compound group of disadvantaged as well as advantaged youth from both rural
and urban areas, male as well as female genders and of different religious observations. We will be
operating in five towns/regions: Kampala, Gulu, Karamoja, Mbale and Mbarara.
5.1.2
Immediate Objectives
Children and youth in Uganda do not have access to films that are suitable for them and made for
them. Films that are made from a child/youth perspective, with topical issues of concern for youth
and with children/youth as the main characters are very few. Furthermore there is no, or only very
limited, experience and practice within the field of film education and film culture for youth in
general.
Generally the children and youth cannot afford going to cinema and cannot access films. In a few
instances some few youths access local video halls but the films are as well not suitable for them.
The immediate objectives related to the overall goal are as follows:
to enable young people access art and a diversity of films in terms of content, genres and
cultural origin;
to facilitate young people’s dialogue and critical analysis of films;
to let young people create films from their own point of views and realities – to let them
tell their own stories with their own voices;
to target youth in different regions of Uganda and with diverse social backgrounds;
12
to build up capacity within film festivals, film organisations and the film industry to target
youth;
to build up capacity within youth organisations to use film and media for development
to gain and share experience, within the professional film industry, about producing films
for and about youth;
to strengthen the relationship between Uganda and Denmark through partnerships, cooperation and study-tours;
to research the effect of film and film education used as a tool for development.
Youth will see themselves reflected on the screen and they will acquire a critical awareness about
film. Creating as well as seeing film and analysing and understanding the content, message and
the artistic effects of film will support young people’s self esteem and strengthen their capacities
and skills. Using film and film education as tools for development has the potential to positively
affect the process within youth communities – and also link this process to the overall
development process for communities and society in Uganda.
Films of local origin and with local content are essential for a vivid film industry and film culture in
Uganda. Therefore, the project also aims to be part of building up capacity in the field of
professional film production for young people – be it documentary or fiction films, short films or
feature films. Here it makes sense to comment on the present situation for film and television in
Uganda.
5.1.2.1
A brief background on film and television culture in Uganda
The film industry in Uganda is in its infancy. From the few statistics that are available for the visual
medium, it emerges that television currently has only a maximum of 30-40% reach and very
negligible content for children and youth. Television stations do not have the necessary funds to
commission local content. Very few large corporate companies actually make TV commercials thus
revenue generation is an issue. Most of the content is usually free “tele-novas”, and if a
producer/director/organisation would like to give content to the TV stations, they actually have to
pay for the airtime or get sponsorship for it.
At present Kampala has only one (1) formal cinema, Cineplex, which is inaccessible to the majority
of Ugandans due to the prohibitive cost of USD 6 per show. The people who can afford the rates at
the Cineplex are the middle and upper classes. Most Ugandans go to local Video Halls to watch
movies. These venues provide TV on a screen, and in most cases the repertoire consists of
Hollywood action movies along with Nollywood movies. These films are popular and they come
free of charge to the halls. Furthermore the audience at these venues are adults, who can afford a
ticket and a drink at the cinema. So here too children and youth are left without access to films
that are suitable for them – except for maybe a few - even at their local video halls.
The majority of productions that are shot in Uganda are done in the “Nollywood” style, meaning
that they have low production values and a script that often is not well written. There is local
demand for film industry to reflect on local stories with indigenous actors in a local setting. A
13
success story in the present and future film market is the film “Imani” by Carol Kamya that was
recognised as winner at the International Film Festival 2009/10.
A major challenge faced by filmmakers is the lack of government support given to the filmindustry. At present, Uganda does not have a Film Commission. TV stations do not have the
incentive to commission local productions and there are no production funds available and no
support to access international co-production funds. Furthermore, even though Uganda has
updated its copyright law, this is not enforced. Piracy is a big issue for artists in general including
filmmakers. There are also no formal infrastructures for distribution of films, neither at a
commercial or a non-commercial level.
Another challenge faced by the filmmakers is the lack of formal accredited education in film, such
as a Film School. Various organisations do work in film training through workshops and labs.
Filmmakers earn their “bread and butter” through making NGO edutainment films and message
driven films. The large NGO community in Uganda is able to keep a number of production houses
busy with this type of work. The second area of work for filmmakers is doing corporate videos,
either commercials or events. Many also work in shooting weddings on weekends.
5.1.3
Strategy behind the component and the scope of work
The present strategy is, through a concerted and many-sided effort, to gather experience through
the 3 year project. The results and the outcome can, by the end of the day, serve as a contribution
to a future strategy concerning film as a tool for youth development AND the development of a
film culture for youth.
The scope of the project is ambitious in as much as it covers a range of activities from filmproduction to film- exhibition and to film-education, all linked together as a unified whole. It also
targets audiences across Uganda. The experiences from Denmark and from projects in other parts
of the world, i.e. Tanzania, will be exchanged, but the goal is to find out what model can serve as
best-practice within the context of Uganda.
The project, or a part of the project, does have the potential to be sustainable in the future
through the continuous leadership of our professional key partner organisations in Uganda and
eventually with future support from other donor countries in the North, who are engaged within
the same field of culture & development as DCCD and DFI. Film and film education for children and
youth are key priorities in Scandinavia and to some extent also within the European context.
5.1.4
Major Outputs
The 3 year film project that is being proposed will contain five sub-components with a phased
approach:
1: Mobile cinema for youth;
2: Film festivals for youth;
3: Film labs for youth;
14
4: Master classes on film Production for youth;
5: DOX LAB/production of documentaries for and about youth.
1+2: Mobile Cinema for youth and film festivals for youth
The idea is to present one (1) film every second month. The screening will be overseen by a
facilitator who will engage the young audiences in critically analysing and debating the content of
the film – its form, its style and its aesthetics. The argument for proposing bi-monthly events
(instead of an annual event) is our ambition to create continuity and sustainability for the project.
The young people will become accustomed to the screenings and they will (hopefully) look
forward to the next event (after 2 months).
The facilitator will be trained especially for this key role in Denmark. Certain capacities are
required in order to facilitate fruitful and critical dialogues about the content of film – and about
film as a medium and an art form.
In year 1, the Mobile Cinema for Youth will begin in Kampala and Gulu (2 x 6 film screenings). In
year 2 Karamoja and Mbale will be included (4 x 6 film screenings), and in year 3 Mbarara will join
in the project as the 5th location (5 x 6 film screenings). We propose 2 Danish, 2 African and 2
International feature films for each annual film package/program. We may replace 1 of each of the
feature films with short films, potentially up to 3 short films in all.
We will select films for a target group of young people between the ages of 13 and 19 years.
The facilitator will be trained on a professional level by professionals in film education in Denmark
– and can also learn from the year long experience what Straight Talk Foundation has achieved
when it comes to communication with young people. We will produce study guides for each film
(1 page pr. title) to be used by the facilitator – and at a later stage, also by teachers in schools.
The facilitator will acquire the rights to present the films on a non-commercial basis and to have
the films dubbed by using VJ-recording/dubbing.
Mobile Cinema for Youth will continue outreaching in cooperation with Amakula Mobile Cinema.
They are at present sponsored by Cinetoile and Cinemareno (Italy). Furthermore the film packages
(and the facilitator) will be used in Film Festivals for Youth, which will be new sections within the
Amakula International Film Festival, Bayimba Arts and Cultural Festival and the Maisha African
Film Festival.
The facilitator will assist the youth in disseminating their acquired knowledge to the general youth
community via radio, articles and the internet.
The resources required:
Research and the acquisition of the film rights for the annual programme – DFI will serve
as programme consultants and acquire the rights for the Danish films;
Hiring and training of a facilitator, including the visit to Denmark;
Study guides for the facilitator for each of the 6 films per year;
15
Make sure, that the films are dubbed or VJ’ed in local languages – Amakula will assist;
Create PR materials and purchase radio airtime for festival events and a monthly movie
critic;
Purchase of mobile cinema equipment along with generator – including maintenance;
Documentation of the screenings and discussions.
Maisha will contribute in kind to this component though access to its library of over 300 DVS,
scripts and books to the youth for further development of the film culture.
The experience that DFI has from the 3 year partnership in Tanzania with ZIFF, Zanzibar
International Film Festival, developing a film festival for young audiences within ZIFF called
Children & Film Panorama, will be drawn upon and included.
The content of the films will in many ways, directly or indirectly, relate to important development
issues i.e. democracy, unification, gender roles, positive relationships, health and sexuality,
generation gaps, conflict resolution – and the dialogue will nourish the self esteem of the young
audience, their critical awareness and analytic skills and furthermore strengthen (film) literacy
among them.
3: Film labs for youth
The idea is to organise 2 annual Film Labs for Youth, each lasting 5 days. A 5 day lab will allow the
young participants to create and produce their own stories using the language of film. In these 5
days they will write a short script, shoot, edit and screen their film to their peers in their
community. The selection will be made via an application process in partnership with Maisha,
Straight Talk and Station Next. We are looking to shoot up to 3 shorts during these 5 days with up
to 21 participants in each lab.
Year 1, we will work closely with Station Next to develop a curriculum that will be adapted and
modified to the Ugandan context and to oversee the training of the Ugandan mentors from the
professional film industry. This includes a visit by Maisha Film to Station Next and DFI in Denmark,
and Station Next (2 employees) coming to Uganda for the 2 labs (held back to back).
Year 2 and Year 3, Station Next will oversee this process from a quality assurance perspective,
which means that 1 employee will participate in the 2 annual labs (held back to back).
The location of the Film Labs will be in Kampala and Gulu Town. The National Theatre will be the
venue in Kampala, and in Gulu Town we will use either TAKS, Gulu Police Primary School or a
hotel.
We also anticipate showing these shorts on Youtube and Vimio, film festivals for films made by
youth and produce a DVD compilation of this work for donors and other interested parties.
The resources required:
Curriculum;
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Stations Next and Professional Ugandan mentors;
Equipment for the shoot;
Materials for shooting, i.e. mini HDV tapes, lights, DVD’s for printing etc;
Confirm location and casting for shorts;
Clearance of all necessary government permissions;
Potentially sub-title in English if shot in local language;
Create PR materials to solicit applications;
Documentation of the labs for future training purposes.
Maisha will contribute its equipment for this lab.
The pedagogical and educational methods of the film labs will in many ways, directly or indirectly,
relate to important development issues i.e. democracy, gender roles, positive relationships, telling
young people’s stories (that were never told before), conflict resolution and co-operation skills.
This process will nourish the self esteem of the young participants, their critical awareness and
analytic skills, the realisation of their own potential and strengthen (film) literacy among them.
A quote from our research in Gulu: “We are rich in culture, but it is poorly documented”.
4: Master classes on film production for youth
We will organise 1 annual Master Class within the Amakula Film Festival that is held in Kampala in
November each year. The 1 day Master Class will include a presentation of Danish experience in
the field of (primarily) production of films for children and youth. Another focus could be
distribution and film education for the young audiences.
We will present clips from a range of Danish films for young audiences in order to explore the
potential within this field. It’s also possible to bring a director from Denmark with his/her film and
let the director share his/her experience and artistic process with the participants. Finally, we will
also invite a Director from Uganda, if we can identify professional filmmakers with experience
within the field.
The location of the Master Class will be in Kampala at the National Theatre.
The resources required:
Films and power point presentations;
Danish Director;
Create PR materials to register participants;
Documentation of the process for archive purposes;
Also here, the experience that DFI has from the 3-year partnership in Tanzania with ZIFF, Zanzibar
International Film Festival, will be drawn upon and included. Master Classes for the professional
film industry is a key component at ZIFF, as well as in other partnerships, that DFI has had with
different countries around the world (i.e. South Africa, Brazil and Greece).
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The Master Classes, as well as the DOX:LAB mentioned below, will open up the eyes and minds of
the producers and creators of film to the huge unexplored potential in film production (and
distribution) for the new generation. Furthermore these projects will highlight the fact that in
order to develop a film culture in Uganda, there must be a volume of film and a developed
audience!
5: DOX:LAB/CPH:DOX: Production of documentary films for and about youth
DOX:LAB is a project by Copenhagen International Documentary Film Festival (CPH: DOX). 12
directors from Denmark/Scandinavia are working together with 12 directors from developing
countries – which results in 12 creative documentary films per year. We want to support, within
the frame of Youth & Film, that 1 film a year (in the 3 year period) is produced within this context
and ensure that the films be created from a youth point of view (by professionals). In 2009/2010
Ugandan Film Director Carol Kamya (IVAD Productions) is working together with Danish Director
Boris Bertram. After the 3 years we hope to see 3 films, all of them with Ugandan content/about
young people in Uganda, and include the experience from this project within the master classes.
DOX:LAB is a talent development and production programme - a laboratory where filmmakers in
teams of two are challenged to think differently and find new approaches to the process of
filmmaking - aesthetically as well as economically.
This sub-component will most likely result in sustainable relationships and networks between film
professionals in Denmark and in Uganda and also between these teams and all the other
international participants in DOX:LAB. The teams will shoot in Uganda and do the preparatory
work and the editing in Denmark.
5.2
Component Budget
Components and outputs
YOUTH & FILM UGANDA 2010-2013
Budget in DKK
Component 1 & 2: Mobile Cinema for Youth / Film Festival for Youth
Maisha Foundation
Danish Film Institute
In total 5% contingency included
Component 3: Film Labs for Youth
Maisha Foundation
Danish Film Institute
In total 5% contingency included
Component 4: Master Class for the professional Film Industry
Maisha Foundation
Danish Film Institute
In total 5% contingency included
Component 5: Production of documentary films, CPH:DOX / DOX:LAB
Maisha Foundation
Maisha Foundation: Overall project co-ordination – component 1-4
Danish Film Institute: Overall consultancy – component 1-5
SUB TOTAL
796,236
5,383
801,619
303,867
490,392
794,259
10,766
163,644
174,410
358,867
222,147
102,533
2.453,835
*The budget posts include administration, contingencies and auditing
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5.1.6
Management and Organisation
Danish Film Institute (DFI) and Maisha Film Foundation will be the overall responsible partners
with DCCD, for Youth & Film. The primary key partner in Uganda is Maisha Foundation (Maisha),
with DFI as the primary key partner in Denmark. DFI will make a sub contract / MoU with Station
Next in Denmark . Maisha will make a sub contract / MoU with Amakula Film Festival and Straight
Talk Foundation in Uganda as well as with CPH:DOX /CPH:LAB Denmark.
From Maisha the key responsible person is Musarait Kashmiri, Program Director;
From Amakula the key responsible persons are Sarah Nsigaye, Mobile Cinema Co-ordinator
and Alice Smits, Festival Director;
From Straight Talk Foundation the key responsible person is Catharine Watson, President;
From DFI the key responsible person is Charlotte Giese, Head of Children & Youth;
From Station Next the key responsible person is Ulrik Krapper, CEO;
From CPH:DOX / DOX:LAB the key responsible persons are Mette Sø, Head of DOX:LAB and
Tine Fischer, CEO.
Maisha shall deliver half-yearly reports including scores / accounts and indicators / evaluations to
DFI, who shall comment on them and finally approve. Thereafter, the reports will be forwarded to
DCCD and the RDE in Kampala.
5.1.7
Indicators and means of Verification
1+2: A MOBILE CINEMA FOR YOUTH MODEL / A FILM FESTIVAL FOR YOUTH MODEL
Number of participants who attend the Mobile Cinema Screenings
(6 titles /screenings per year in each region) and the Film Festival Screenings (3
film festivals each presenting 6 titles/screenings per year). The screenings are
facilitated and targeted at an audience no bigger than 100 young people:
Year 1: Mobile Cinema/ Kampala and Gulu: 2 X 6 X 100 = 1200 (facilitated screenings)
Film Festivals / Amakula, Maisha, Bayimba Cultural Foundation: 3 X 6 X 100 =
1800 (facilitated screenings)
Year 2: Mobile Cinema/ Kampala, Gulu, Moroto and Mbale:
Film Festivals / Amakula, Maisha, Bayimba Cultural Foundation:
Year 3: Mobile Cinema/ Kampala, Gulu, Moroto, Mbale and Mbarara:
Film Festivals / Amakula, Maisha, Bayimba Cultural Foundation:
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Yearly Report evaluating the process, the number of participants, the feedback, the
challenges – and the sustainability perspectives.
3: A FILM LAB FOR YOUTH MODEL
Number of participants who attend the Film Labs:
Year 1: Film Lab / Kampala and Gulu: 2 X 21 = 42
Year 2: Film Lab / Kampala and Gulu: 2 X 21 = 42
Year 3: Film Lab / Kampala and Gulu: 2 X 21 = 42
Yearly Report evaluating the process, the number of participants, the feedback, the
challenges and the sustainability perspectives.
4: A MASTER CLASS FOR FILM PROFESSIONALS MODEL ABOUT FILM FOR CHILDREN & YOUTH
Number of participants who attend the master class:
Year 1: Master class / Kampala: 50
Year 2: Master class / Kampala: 50
Year 3: Master class / Kampala: 50
Yearly Report evaluating the process, the number of participants, the feedback, the
challenges and the sustainability perspectives.
5: PRODUCTION OF DOCUMENTARY FILMS FOR AND ABOUT YOUTH - A SMALL VOLUME OF FILMS
One film per year
Yearly Report evaluating the production process, the marketing and distribution
process, the audience feedback, and the perspectives for future production of
documentary films for and about youth in Uganda.
A note: Throughout the 3 year project period, it shall be discussed, as a part of the yearly reports,
whether the different sub-components can be taken over and sustained by the established
partners by using their own infrastructure, when the project comes to completion.
5.1.8
The Partners in Uganda
The Maisha Foundation
The Maisha Foundation is the primary key partner in Uganda. Maisha (meaning "life" in Kiswahili)
provides screenwriters, directors, sound recorders, editors, cinematographers, actors and
producers from East Africa (Uganda, Kenya, Tanzania and Rwanda) with access to the professional
training and production resources necessary to articulate their visions. Maisha works in both the
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narrative and documentary format. Founded by acclaimed filmmaker Mira Nair in 2004 Maisha
aims to preserve, cultivate and unleash local voices from these regions, and to become one of the
first targeted programmes to offer structured and accessible resources to these emerging
filmmakers. Our belief is that “if we don’t tell our own stories, no one else will.”
Maisha strives to:
Empower visionary artists from East Africa and South Asia by giving them the tools to tell
their stories through film;
Enrich world cinema by providing a platform for new and yet-unheard voices to participate
in the global discourse;
Establish roots of a self-sustaining film industry in East Africa and South Asia that can cater
to and represent the interests of local audiences.
Since 2005, the Maisha Film Lab has trained nearly 300 students in the disciplines of directing,
screenwriting, acting, producing, cinematography, editing, and sound design. Our students have
created over 30 short films that have been screened all over the world.
Maisha Main Programmes/Maisha Film Lab. Maisha has become a year round programme with 8
Labs per annum. The central piece of Maisha’s programme is an annual 25 days Lab. During the
annual Lab, Maisha also holds 10 public workshops and starting in 2010, Maisha will host a 2.5 day
African Film Festival. In 2009, Maisha Film Lab partnered with four regional East African film
festivals for four 8-day screenwriting labs. Maisha Film Lab held its first ever 10-day documentary
lab in October of 2009. In partnership with Columbia University, 4 Maisha Alumni are selected to
work with mentors from the University for a period of 8 months to revise and polish their feature
film scripts.
Maisha’s Advisory Board. Maisha’s Advisory Board includes accomplished individuals from the
North American, Indian, European and African Film Industries. They include Sofia Coppola, Spike
Lee, Michelle Satter (Sundance), Karen Cooper, Raoul Peck, Peter Chappell, Mumbi Kaigwa, Eric
Kabera and Amandina Lihamba.
Maisha Arts and Cultural Centre. The Maisha Arts and Culture Centre (MACC) is a future project. It
is an educational facility specialising in the visual arts, providing the East African community with
libraries and resources that are completely absent in the local context. The MACC is a place for the
local community and schools to write, get training and visualise, imagine, create and absorb. The
MACC is designed to directly address the East African community’s needs.
The Youth & Film project fits into Maisha’s long term mission. Maisha will be working with children
and youth through school programmes and general attendance of this community who will come
to MACC – and who will attend Maisha's outreach activities. Maisha strongly believes that the
programmes beginning in partnership with DFI can be sustainable after the project comes to an
end in 3 years time if the MACC is up and running.
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The Amakula International Film Festival / Amakula Mobile Cinema
Amakula is another important partner in Uganda when it comes to exhibition of films via film
festivals and mobile cinema activities, and when it comes to hosting the Master Classes. For the
last 6 years Amakula has been an annual event in Kampala and since 2006 a mobile cinema event
in many regions of Uganda. They have presented films and made workshops for communities and
general audiences.
Their experience in the field of targeting young audiences is, until now, limited. They have lowscale experience but no specific policy and strategy concerning children and youth. They are
enthusiastic to be a partner in Youth & Film and earnest about the potential of opening up to a
larger – and younger – audience, with a more youth oriented repertoire of films. They are also
inspired by the experiences from Children & Film Panorama at ZIFF (Zanzibar International Film
festival) in Tanzania that was established in 2008 in partnership between ZIFF and DFI.
The first Amakula Kampala International Film Festival was inaugurated on May 21, 2004. The
success of the first festival has secured it a place as an annual event in Kampala. The festival will
continue to showcase world cinema both classical and contemporary, with a special focus on
African cinema, while bringing international and regional filmmakers together to help create an
inspiring and conducive environment for cinema culture.
The Amakula Kampala Mobile Cinema was established in 2006. Since its establishment it has
covered the country in order to bring the annual festival films to a broader audience which has no
chance of attending the event in Kampala. The mobile cinema creates custom programmes for
each community, for which it collaborates with local representatives from these regions to
organize translations into local languages, appropriate venues and publicity. The Mobile Cinema
travels every year to locations with which it has built up a solid relationship while regularly adding
new communities and languages to its roster.
The vision of Amakula: “We believe that film has become one of the most direct means of
collecting images of shared reality and can express and construct a unique cultural voice. Film is
the most communicative manner of spreading ideas, exchanging views and altering perceptions.
The cinema is that unique zone in our times that offers the possibility to create new perspectives
and broader understanding of the issues that are close to us.”
Straight Talk Foundation
Straight Talk Foundation is also an important partner in Uganda. Their task is to mobilise the
children and youth for the Mobile Cinema for Youth, in Kampala, Gulu, Moroto, Mbale and
Mbarara and for The Film Labs for Youth in Kampala and in Gulu. The organisation has already
established successful relationships with the formal education structures and local communities in
general by having Youth Centres, and they are engaged in community cultural projects such as
Break Dance Uganda. Straight Talk is a trusted organisation within the general community and we
can seek their expertise on how best to communicate and present ourselves to the children and
youth. Furthermore, their expertise in mobilisation and communication will enable us to focus on
our core competency, which is film and film education. The Foundation is very open-minded and
cutting edge with its programmes. This will be an asset to Youth & Film due to the fact that we will
be able to show films with a high level of diversity in content.
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In addition, we hope that other organisations in Uganda involved in developing activities for youth
and in film can take advantage and participate in the project. To mention just a few: CRY Uganda,
YuNet, VODAP and Slum Cinema, Youth Council, IVAD Productions and UAMA, Acholi, Makerere
University and Red Cross.
5.1.9
The Partners in Denmark
Station Next
Station Next is a key partner in Denmark who work closely with Maisha Film Lab. Station Next is a
film school for young people between the ages of 13 and 18 from all over Denmark. They have
many years experience in the field and the quality of their work with film literacy and film
production is highly appreciated by the school system in Denmark, by film professionals and by
the youth themselves. Station Next will share their experience with Maisha Film Lab and with the
mentors, who in turn will train the young participants on location. A few notes on what Station
Next stands for:
Students get hands-on experience and responsibility for their own productions;
Professional filmmakers are used as teachers/coaches;
The students work in a realistic film environment, and they work in crews as they would
on a professional production;
The focus is on the final product – this improves the production process;
Students get the experience of a typical film production in order to improve their skills and
improve their future productions;
Students increase their awareness of the wide variety of jobs involved in film making and
are encouraged to train and find jobs within the film industry.
About the Film camps
The classes work in the same way as professional teams throughout pre-production, production
and postproduction;
The classes receive material and start the scriptwriting process;
Producers visit the classes and initiate the pre-production process;
The classes spend four days at Station Next going through the production and postproduction
processes;
The classes show their films at a premiere in our cinema;
The school class works in the same way as a film crew.
Station Next is based in The Film Town in Copenhagen, in Aarhus (Jutland) and Faaborg (Funen) –
all in Denmark.
DOX:LAB (CPH:DOX)
DOX:LAB is another key partner in Denmark. DOX:LAB is a new talent development and production
programme commissioned by CPH:DOX, the highly acclaimed international documentary film
festival in Copenhagen, Denmark.
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In the spirit of supporting new talent, CPH:DOX in 2009 launched an exclusive talent workshop
DOX:LAB, handpicking a small number of young, international filmmakers and artists to participate
in an experimental documentary laboratory Filmmakers, in teams of two, are challenged to think
differently and find new approaches to the process of filmmaking - aesthetically as well as
economically. The core of the concept is an actual and equal meeting between different cultures,
film histories, narrative traditions and methods of and access to production. The filmmakers
represent the up-and-coming talent in their countries, they are in their early years of their
professional careers and the laboratory-like setting, with very limited commercial business
constraints, will hopefully encourage a personally devoted and free thinking cinema.
DOX:LAB will work closely together with 3 selected film professionals during the 3 year project
period.
Danish Film Institute
The Danish Film Institute (DFI) is the primary key partner in Denmark.
DFI is the governmental agency responsible for supporting and encouraging film and cinema
culture and for conserving these in the national interest.
DFI operations extend from participation in the development and production of feature films,
short and documentary films, over distribution and marketing, to managing the national film
archive and the cinematheque.
The DFI Film House, open to the public, is also an entertainment and edutainment facility, with its
cinemas, videotheque, restaurant and café, bookshop and interactive filmmaking studio FILM X.
Located in central Copenhagen, the Film House also provides a vibrant meeting place for cinemagoers, filmmakers and film buffs alike.
Denmark traditionally places a high priority on films for children and youth and acknowledges a
child's right to experience artistic reflection on the realities of life: The best of cinema stirs and
moves the heart and mind.
Danish film policy consistently aims to develop a film culture for children. Since 1982, the Danish
Film Act has dedicated at least 25% of all government film subsidies to films for children and
youth. This has had an enormous impact – on output, consistency and quality. Storytelling from a
child’s perspective, solid production values and original stories are keywords.
Important dates: children, youth and film in Denmark
1913: The National Censorship Board is founded to monitor violent and immoral content in
films;
1925: The National School Film Board is founded;
1932: Dansk Kulturfilm (Danish Cultural Film) starts producing primarily short films for children;
1939: The National Film Board initiates nation-wide distribution to schools;
1972: The National Film Act introduces subsides for significant foreign children's films;
1982: Reform of the National Film Act earmarks 25% of government film subsidies for films for
children and youth;
1989: Reform of the National Film Act includes the creation of new positions: two children's
film commissioners, one for feature films, the other for short fiction and documentaries;
1997: The National Film Board merges with the Danish Film Institute;
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1998:
education
film
2000:
2002:
2008:
Festival,
2008:
2009:
The Centre for Children & Youth Film is founded. The key activities being film
activities for schools, pre-school children, festivals and seminars for the professional
industry;
BUSTER Copenhagen International Film Festival for Children & Youth is founded;
FILM-X, the interactive film studio for children and youth, is established;
CHILDREN & FILM PANORAMA is established at ZIFF, Zanzibar International Film;
in partnership between DFI and ZIFF;
FILM-X On the Road debuts at BFI in London;
FILM-X On the Road debuts in Damascus in Syria.
More about DFI Children & Youth (department)
In 1998, Danish Film Institute established the DFI Children & Youth unit to consolidate the strong
position of Danish children's films at home and abroad. The units tasks include film education,
teacher training, distribution, regional screening programmes for schools and pre-school children,
and an ongoing dialogue with the professional film industry as well as the Danish school system.
DFI initiatives for children and youth
Support for producing and launching feature films, short films and documentaries;
Purchase of and support for the import of films with artistic value;
Non-commercial distribution of films to libraries and schools: 2000 short fiction, documentary and
feature films, 500 of which are in the school distribution system;
Film festivals for children;
A regional school cinema scheme;
Educational materials and study guides;
Courses, seminars and conferences for teachers and media instructors;
Seminars and conferences for the professional film industry;
General consultancy services for teachers and the film industry on media education and films for
children;
The DFI-run Cinematheque in Copenhagen shows a wide variety of cinema classics and new films.
There are free screenings for pre-school children;
The Cinematheque also houses FILM-X — a computer-based, interactive film studio where
children can explore the world of film and experiment with the various aspects of film production;
Support for organisations and activities in the field of films for children and youth.
On www.dfi.dk you can read more about DFI, Danish films for children and young people, film
education, pre-school activities, film festivals and other relevant information.
5.2
Youth & Hip Hop
5.2.1
Introduction
Hip hop is a cultural movement, best known for its impact on music in the form of the musical
genre of the same name. It has its origins in the Bronx, New York City, during the 1970s, mostly
among African Americans, with some influence from the Latin American population of the area as
well. The culture of hip hop has gone from being a relatively underground style to being a major
style throughout the world, and it has been commercialised and popularised, especially in the
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United States. Also in Africa, hip hop culture has been popular since the early 1980s due to
widespread American influence. During the late 1980s-early 1990s rap started to escalate all over
Africa. Each region had a new type of style of hip hop, as a characteristic for hip hop culture is that
it is a neutral culture that nobody owns - and thereby hip hop can create a great bridge between
ethnic groups, tribes, regions and states. It is a culture open for interpretation and innovation.
The four traditional pillars of hip hop are:
Rap
Break dance
Graffiti art
DJing/music production
Other pillars, such as hip hop fashion, beat boxing, street knowledge and street entrepreneurship,
are sometimes added.
5.2.2
History of hip hop in Uganda
Uganda’s hip hop scene began in the early to mid 1990s. The Bataka Squad pioneered the scene
and were the originators of the Lugaflow style, using the native Luganda language. Their vision of
using music to inspire the youth to get involved in activities of positive change in their community
has brought new hope for the ghetto youth in Uganda. Their aim is to support young talented
youth of Uganda gain confidence in promoting their culture on a global scale. Other artists such as
Young Vibrations, MC Afrik, DJ Berry and Kaddo have participated in building the foundation of the
hip hop scene in Uganda. In recent years groups such as Klear Kut, Lyrical G and GNL have
introduced a more western inspired style called Ugaflow. Klear Kut were nominated for the Kora
All Africa Music Awards in the “Most Promising African Group” and “Revelation of the Year”
categories. Recent happenings such as Hip Hop Canvas, Hip Hop Therapy project, hip hop at
Sabrina’s Pub and The Bonfire hip hop nights at the National Theatre have empowered the hip hop
scene in Uganda.
Hip hop has been a powerful tool for attaining positive social change, but, as is the case for most
artists in Uganda, hip hop artists can barely earn a living from being an artist. Although there may
be many upcoming talented youngsters, they most often face a lack of basic opportunities to
move their music and dance in the right direction or have no idea how to commercialise their
projects. Recording music and producing CDs and videos is still very much a dream for them, leave
alone making a living out of it.
5.2.3
Immediate Objectives
The aim of Youth & Hip Hop project is to further develop the hip hop scene in Uganda and use its
potential to contribute to social change. On the one hand, the project aims at contributing to
spreading the message of positive social change; to bridge the gap between the advantaged and
disadvantaged, bring (young) people of different religious, tribal and social backgrounds together;
and to unify Ugandan youth from the North, South, East and West. On the other hand, the project
seeks to generate employment opportunities for Ugandan youngsters and to enhance career
26
chances for young talented Ugandan hip hop artists. As such, the project will contribute to cultural
and social development in Uganda.
The immediate objectives of the project are:
to continue to organise regular hip hop activities for youngsters in Kampala and Gulu;
to start organising hip hop activities in selected other regions (Mbarara, Mbale, Jinja,
Arua);
to build leadership skills and self-esteem of the youth;
to showcase hip hop talent at regular events/festivals;
to connect youth within Uganda and with the wider world;
to make collaborations between performing artists from different regions;
to develop innovation amongst young people;
to generate employment opportunities for youngsters;
to enhance career chances of talented young hip hop artists.
5.2.4
Strategy behind component and scope of work
The strategy of the project is to build upon the work and activities of Bayimba Cultural Foundation
(such as the regional Festivals and workshops for artists) as well as various hip hop initiatives. On
the one hand, the project seeks to strengthen existing hip hop activities (e.g. in Kampala and Gulu)
by ensuring that all elements of hip hop culture (breakdance, music, rap, graffiti) are represented
and existing hip hop initiatives are encouraged to collaborate. On the other hand, the project
seeks to expand similar hip hop activities to other regions (i.e. Mbarara, Mbale, Jinja, Arua).
Bayimba Cultural Foundation will closely work with and build on the work of various existing hip
hop initiatives (such as Breakdance Project Uganda, Bonfire, Jericho Breakers, Bayimba Cultural
Foundation’s Hip Hop and graffiti workshops). By building upon already existing hip hop activities
and initiatives, it is expected that the main elements of the project can be sustained in the future
through the (Ugandan) organisations involved in the project.
5.2.5
Major Outputs
The 3 year project will be composed of the following components:
1: Hip hop sessions for youth in various regions;
2: Mentorship and skills development training for youth;
3: Hip hop performances at various events/festivals;
4: Set-up of a production company/record label;
5: International co-operation between artists;
1: Hip hop sessions for youth in various regions
A number of organisations, such as Breakdance Project Uganda, Bonfire, are already organising hip
hop activities in Kampala while Breakdance Project Uganda is also already organising break dance
sessions in Gulu. The project will support and further develop existing hip hop initiatives in
Kampala and Gulu and aims at ensuring that the various existing initiatives come together and that
other hip hop elements are also represented.
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The project will start similar sessions in other regions. These sessions will be held in those regions
were Bayimba Cultural Foundation is already is active (through its regional activities programme),
i.e. in Mbarara, Mbale and (under development) Jinja and Arua. The first sessions will be held in
conjunction with (and prior to) the Bayimba regional Festivals that will be held in these regions.
After these first sessions, follow-up sessions will be planned and organised together with the local
Bayimba committees that have been set up to assist in organising artistic activities in their region.
As it is vital for the success of the project that it is sustainable and carried out in a positive
atmosphere in the communities, a special co-ordinator will be added to the Bayimba Cultural
Foundation team who will be responsible for planning and overseeing implementation of the hip
hop activities in all regions.
Activities under this component are:
Regular hip hop sessions in Kampala, Gulu, Mbarara, Mbale, Jinja, Arua
2: Skills development training workshops for youth
Next to developing artistic (hip hop) skills of participating youngsters, the project aims at
empowering them within and outside their communities by building their leadership skills and
self-esteem. Youngsters will receive skills development training during hip hop sessions with a
view to become positive role models in their society/community. They will gain skills to become
working artists and socially conscious community members. Bayimba Cultural Foundation will
closely work with various civil society organisations, with a focus on e.g. education/vocational
training, entrepreneurial skills, HIV/AIDS awareness, to achieve this goal while it also intends to
involve prominent hip hop artists to join for the sessions (and act as hip hop “ambassadors”).
Where needed, tutors/trainers, will also receive additional training.
Activities under this component are:
Skills development training for youngsters in selected regions.
3: Hip hop performances at various events/festivals
To give a platform to the newly trained hip hop artists, (small) hip hop events will be organised in
the selected regions. They are aimed at influencing the young public by the social positive
messages that are conveyed through hip hop. Selected talented hip hop artists will also have a
chance of being selected to perform at the Bayimba regional Festivals in Gulu, Mbarara, Mbale,
Jinja and Arua as well as the annual Bayimba International Festival of the Arts in Kampala (held in
the third weekend of September every year). Talented hip hop artists will also have a chance to
participate in the live performance workshops that Bayimba Cultural Foundation organises to
develop live performance skills of musicians in Uganda. Bayimba Cultural Foundation will also
promote the inclusion of talented hip hop artists of the project in the programming of other
events/festivals.
Activities under this component are:
Organisation of events for hip hop artists in selected regions to showcase their skills;
28
Participation of selected hip hop artists in Bayimba Cultural Foundation (live performance)
workshops;
Quality performances by hip hop artists at Bayimba regional Festivals, Bayimba
International Festival and, where possible, other major events/festivals.
4: Set-up of a production company/record label
In the music industry, a record label is a brand and a trademark associated with the marketing of
music recordings and music videos. Most commonly, a record label is the company that manages
such brands and trademarks, co-ordinates the production, manufacture, distribution, marketing
and promotion, and enforces copyright, the protection of sound recordings and music videos and
maintains contracts with recording artists and their managers. A production company scouts
talent and develops new artists and produces and records music and videos.
It is vital for artists to be organised in order for them to be able to sustain themselves financially
through their art. Copyright laws already exist, but are not in any way enforced. The project will
support therefore Bayimba Cultural Foundation in starting up a production company/record label
on which they can sign and protect artists involved in the project (and other artists in the future)
to support their growth and ensure their legal rights. The project will record rap and produce
videos while final recordings in professional studios. Through the production of music videos,
commercials and TV spots, participating hip hop artists will have an opportunity to commercialise
their art and reach out of Uganda.
Activities under this component are:
Quality music and video production of young performing hip hop artists;
Establishment of well-equipped and sustainable non-profit production company/record
label (incl. necessary training for staff).
5: International co-operation between artists
Selected youngsters from Uganda and youngsters from Denmark will be brought together to work
on/record an album and shoot a video that will be promoted, marketed and distributed in both
countries. As such, the project will give Ugandan hip hop artists a chance for international
recognition.
Activities under this component are:
Two rappers and two breakers to travel to Denmark together with one facilitator from
Bayimba Cultural Foundation;
Recording an album between Uganda and Denmark hip hop artists followed by
international CD release;
Recording a music video with rappers and breakers from Uganda and Denmark.
5.2.6
Component Budget
Components and outputs
Budget in DKK
29
Bayimba Cultural Foundation
Straight Talk (mobilisation) – to be
Channelled
through
Bayimba
Cultural Foundation
Ghetto Gourmet (travel, per diem,
accommodation etc)
Production studio equipment- to be
channelled
through
Bayimba
Cultural Foundation
Denmark visit – to be channelled
through
Bayimba
Cultural
Foundation
Total Project Costs*
514,500
60,000
256,000
55,500
114,000
1,000,000
*The budget posts include administration, contingencies and auditing
5.2.7
Management and Organisation
Bayimba Cultural Foundation will, as the primary partner in Uganda, be responsible for the overall
co-ordination of the project. Straight Talk Foundation will be sub-contracted. Ghetto Gourmet will
be the Danish partner of Bayimba Cultural Foundation: a MoU will be concluded between them
and between Bayimba Cultural Foundation and Straight Talk. A TA contract will be signed between
GG and the Danish Embassy as well as an agreement will be signed between Bayimba Cultural
Foundation and the Danish Embassy.
The organisations involved, i.e. Bayimba Cultural Foundation, Straight Talk and Ghetto Gourmet,
will develop common half-yearly work plans and reports. Bayimba Cultural Foundation and Ghetto
Gourmet will be responsible for their own budgets.
From Bayimba Cultural Foundation the key responsible person is Faisal Kiwewa, Director;
From Straight Talk Foundation the key responsible person is Catharine Watson, President;
From Ghetto Gourmet the key responsible person is Joseph Mbida, Artistic Co-ordinator.
Bayimba Cultural Foundation will be responsible for planning and implementing the hip hop
activities in terms of logistics and finance; a special co-ordinator will be added to the team for that
purpose. For the artistic execution of the activities, it will identify and involve relevant hip hop
initiatives/artists and recruit tutors for the implementation of the activities. A selection team will
be set up for the selection of the hip hop artists for performances in Uganda and participation in
the international visit, guaranteeing equal opportunities to perform and join the visit. In setting up
the production company/record label, it will be assisted by Ghetto Gourmet. Bayimba Cultural
Foundation will be responsible to deliver joint (developed with Straight Talk and Ghetto Gourmet)
six-monthly reports, including part scores/accounts, part indicators/assessments and
documentation (photos and video), to DCCD/RDE, that shall comment and finally approve.
Straight Talk Foundation will be responsible for the mobilisation of youngsters for the hip hop
activities in all regions. Hip hop activities will take place at the Straight Talk Youth Centres in the
regions.
30
Ghetto Gourmet will support the tutors that carry out the hip hop activities. It will be actively
involved in the arrangements of master classes within hip hop music production and the set up of
a production company/record label. It will release and distribute a CD and a music video produced
with the selected (2) rappers and (2) break dancers from Uganda with rappers/breakers from
Denmark and arrange performances and workshops in Denmark with the (4) selected Ugandan hip
hop artists. It will visit Uganda on a bi-annual basis.
5.2.8
Indicators and means of verification
The project will be measured and evaluated with both quantitative and qualitative criteria.
Activities and performances will be video filmed and documented with photos on existing web
pages.
1: Hip hop sessions
Counting the number of youth who attend the hip hop sessions;
Feedback from participants through questionnaire;
Assess the level of a positive impact in the local society;
Photos and video;
Bi-annual reports/budgets.
2: Skills development training workshops
Number of youth attending the regional workshops;
Asses the skills acquired and test the participants;
Photos and video;
Bi-annual reports/budgets.
3: Performance of hip hop artists
Number of performances;
Number of audience for events/festivals;
Number of youth who attend;
Assess quality and skills;
Live recordings, photos and video;
Bi-annual reports/budgets.
4: Production company/record label
Number of (locally produced) sold CDs and downloads;
Number of YouTube hits;
Radio airplay time;
Feedback from artists about the production company/record label;
Audit;
Bi-annual reports/budgets.
5: International visit
31
Photos and video;
Report from exchange co-ordinators (GG and Bayimba Cultural Foundation).
5.2.9
The Partners in Uganda
The Ugandan Partners in the project – Bayimba Cultural Foundation and Straight Talk Foundation
– are already making extraordinary effort to promote cultural and social development in Uganda,
reason why they have been identified as Partners in this project.
Bayimba Cultural Foundation (BCF)
BCF (registered as a non-for-profit company with limited guarantee) recognises the relevance of
culture and arts in developing and shaping society. It also recognises the potential of the arts and
creative arts industry in Uganda and believes that they offer viable options for self-realisation by
individual artists as well as arts organisations, and that they contribute to social and economic
development in Uganda. BCF has therefore been dedicated to making Uganda a significant hub for
music and arts on the African continent. During the past years it has sought to organise a wide
range of activities to develop the creative arts industry in Uganda.
In 2008, the Foundation introduced the Bayimba International Festival of the Arts, the first of its
kind in Uganda. The Festival was preceded by a series of workshops for artists, aimed at
stimulating creativity and artistic collaborations. In 2009, the Foundation initiated a successful
series of debates about the role of culture and arts in society while the second edition of the
Festival and a wide range of new workshops and activities for artists were organised, amongst
others a workshop for musicians to enhance their live performance skills. In 2010, the Foundation
introduced the concept of regional Festivals, aimed at developing the arts sector at local level and
enhancing artistic exchanges and collaborations between various regions. The first set of such
Festivals were held in Gulu, Mbarara and Mbale and in 2011 Jinja and Arua will be added to the
calendar.
The activities of the Foundation have had a profound effect on the state of arts in Uganda and
have catalysed important changes for individual artists and actors in the arts sector. To leave a
lasting mark on the arts sector and society at large, BCF wishes to further invest in the
development of the arts and creative arts industry in Uganda. It is resolved to do so in conjunction
with its ever growing international, regional and national network of artists and arts supporters.
Vision: A vibrant creative arts industry in Uganda that is professional, creative, viable and
contributes to social and economic development in Uganda and East Africa.
Mission: Stimulate and promote a sustainable creative arts industry in Uganda, thus contributing
to making East Africa a significant hub of music and arts on the African continent.
Objectives: 1. Develop the creative arts industry in Uganda by stimulating creativity and
professionalism as well as promoting inter- and intra-disciplinary artistic collaborations; 2.
Stimulate public demand for quality arts and improve access to arts by confronting a wider
audience with all disciplines of the creative arts industry; and 3. Assert the role of Bayimba
Cultural Foundation as a relevant cultural organisation in Uganda that is contributing to
transforming and shaping society.
32
Values: Creative, Innovative, Supportive, Professional, Relevant, Co-operative, Participative,
Transparent and Accountable.
Straight Talk Foundation (STF)
STF is a non-governmental organisation that aims to foster safer sexual and reproductive health
practices among in- and out-of-school adolescents through newspapers, radio programmes,
outreach and training. The STF objective is to contribute to the improved mental, social and
physical development of Ugandan adolescents aged from 10-19 and young adults aged 20-24. The
programme aims to keep its audience safe from sexually transmitted infections (STIs) and
HIV/AIDS, as well as to prevent early/unwanted pregnancy. In addition, STF works to help young
people manage challenging circumstances such as conflict and deprivation through its
communications projects. The Foundation's main communication tools are its newspapers and
radio show, which are primarily for its intended audience. However, it also strives to forge other
communication links by distributing its publications to other NGOs and community-based
organisations (CBOs) working in related areas.
STF works with and for adolescents in an attempt to keep them safe from STIs and unwanted
pregnancies by producing behavioural change communication (BCC) materials for them, as well as
for the adults in their lives. Information is communicated through print communication, radio
programmes, and outreach and training. As a mobilisation partner, Straight Talk has a wellestablished network and trust in the various regions and has already supported BPU in Gulu.
5.2.10
The Partners in Denmark
Ghetto Gourmet (GG)
GG is a Danish organisation targeting socially challenged youth using hip hop as a tool of
engagement to build up self esteem, democratic values and integration in active society. GG has
been active since 2006 and have throughout the years produced more than 80 songs, 5 music
videos, several concert recordings, 10 short documentaries and released 1 CD.
One of GG key functions is to educate rap instructors and set up hip hop education units in
Denmark. Furthermore GG has specialised in carrying out hip hop workshops in schools as a part
of the mandatory poetry curriculum. In 2010, GG officially launched their record label.
5.3
Youth & Theatre
5.3.1
Introduction
The Youth and Theatre Project is first and foremost with and for the young people in Uganda. The
project aims to give young girls and boys the opportunity to express themselves in a professional
theatrical form through dance, hip hop, singing, rap, lyrics and small plays. This should happen, in
collaboration with the local partners, whom are experienced in working with the young people
and their culture, and performing artists from Denmark and the young people involved will create
a joint theatre on the basis of workshops focusing on the dreams, fears, hopes and stories of the
young generation.
33
5.3.2 Immediate Objectives
The overall project seeks to enhance and develop the artistic skills of the Ugandan youth through
performance using different modes of expression. Experience from similar projects shows the
incredibly positive impact theatre and performing arts can have on the participants as well as the
spectators.
The art of dancing, singing and acting can deliver the participants important insights on how
different kinds experiences, dreams, thoughts and stories can be told and expressed in a new and
constructive manner.
The immediate objectives concerning the Youth and Theatre component through workshops and
performance is as follows:
To make the participating young people able to implement the intermediate links
necessary in a joint creative process;
To perform specific workshops in dancing, singing, lyrics and plays;
To inspire the participants through artistic expression to co-operate to achieve a common
goal;
To provide an ability to share one’s thoughts etc. in an atmosphere of disciplined
awareness, which helps create a proper art framework in which the actors are given
reassurance and can build self-respect;
The production of a professional performance played several times in front of an audience
is the final immediate product of the project. The final performances will end up having
duration of approx. 35-40 minutes.
5.3.3 Strategy behind component and scope of work
A maximum of 12 -14 young people are optimal for each workshop in order to achieve profound
confidentiality and close relationships. In performing arts, trust and mutual respect are important
if one wants to incorporate the young performer's own stories into an expressive art product. That
means that they will end with up with of a group of approximately 30 performers.
5.3.4 Major Outputs
The entire Youth and Theatre component will consist of the following 3 sub-components:
The construction of a number of artistic workshops including different genres of
performance;
The development of a manuscript and play;
The final product of a mixed-genre performance performed in front of an audience.
34
5.3.5 Component Budget
Components and outputs
PTP
MAK, Department of Music,
Dance and Drama, canalised
through Bayimba Foundation
(with a MOU)
Budget in DKK
326,401
173,599
Total Project Costs*
500,000
*The budget posts include administration, contingencies and auditing
5.3.6 Management and Organisation
The MAK, Department of Music, Dance and Drama will be responsible for the overall co-ordination
of the Project in Uganda, but funding will be canalised through Bayimba Cultural Foundation with
an internal MoU between the two institutions. A co-operation will take place with the hip hop
project and an MoU will be made between PTP and MAK, Department of Music, Dance and Drama,
and Bayimba Cultural Foundation. PTP will be a Danish partner with the University and will have
the overall responsibility to facilitate the process. It is expected that PTP and the University will
develop common half-yearly work plans and reports, but that they will be responsible for their
own budgets.
From the University of Makerere, Department of Music and Dance the key responsible
person is Dr. Patrick Mangeni;
From Passepartout Theatre Production PTP, the key responsible person is Jacques
Matthiessen.
5.3.7 Indicators and means of Verification
Indicators and means of verification will be developed within the first 3 months of the Project, as
the partners have not had chance to meet with each others, and the initial phase will be started
up with a short preparation visit by PTP.
The project will be measured and evaluated through quantitative as well as qualitative procedures
and methods through midterm reports and final evaluation reports.
5.3.8
The partners in Uganda
Makerere University, Department of Music and Dance, headed by Dr. Patrick Mangeni with
funding canalised through Bayimba Cultural Foundation.
35
5.3.9
The partners in Denmark
PTP, International theatre organisation based on North – South culture exchange
Purpose
The main purpose of this organisation is to create a framework or ”Passepartout” for crosscultural theatre productions;
The framework or “Passepartout” will be based on a national and international network, whose
main focus is to establish possibilities for production, finance and performance;
It is the primary goal for the organisation that the productions are of a professional artistic
quality;
However, the organisation strives for rich diversity in means and forms of expression in the work,
and for an integration and exchange between cultures within the collaboration itself;
It is important to stress that the cultural collaborations will be based on principles of respect and
equality for all partners, where the Nordic/European cultures will learn as much from foreign
cultures as Ugandan/African cultures will learn from Nordic/European culture. Cultural
imperialism cannot continue in cultural collaborations of today. We will strive for developing a
synergy effect between the diverse cultures – and thereby hopefully create a better cross-cultural
understanding.
Contact: [email protected]
Jacques S. Matthiessen (born 1960). Danish-French director, dramatist, dramaturge and
actor. Trained with Etienne Decroux (Paris), Potlach (Italy), Iben Nagel Rasmussen's Farfa and
dancer Ann Crosset. Free-lance director since 1986.
Artist Profile
Jacques Matthiessen’s theatrical style can best be characterised by its figurative universal
language. Taking the body as a starting point and with very Spartan means, he communicates his
art as a feathery, subtle poetry with social weight for the large and the small.
Matthiessen knows that stringency and precision create space for the viewer’s imagination and
individual experience, and this is his aim. Whether it is to be achieved with one or more actors,
with or without puppets, with or without words, at a dining table, a large stage, or in the middle of
a large, open square in Iran, it is all the same to him.
Matthiesen likes to work with many different cultures. He likes to develop himself and his craft
abroad, where theatre gets things churning and feels important. Especially in the Third World –
most recently, in Burkina Faso, where he will also be working in the coming year.
Dancer: Marlene Smith
Singer: Donna Codogan
36
6
Minor Fund for Culture Events – or activities
Part of the overall budget is set aside as a minor grant facility to support relevant culture events or
activitites with seed money for activities in Uganda that might occur.
DCCD has the administration of this Fund for the Embassy. Project proposals will be supported
with signature from both the Embassy and DCCD (DCCD to have first screening and make the
substantive quality control and the Embassy to endorse.) The activities of the funds will be
reported on in the annual report that goes to the Advisory Board.
6.1
Objectives of the Fund
To enable support to strategic activities and events that promote culture and development
in Uganda, promote Ugandan culture and/or support the partnership and exchange of
culture.
7
Overall Budget
The total budget for the 36-month project period amounts to 5,600,000 DKK of which the RDE
provides 5,0 mill DKK and 0,6 mill DKK will be provided by DCCD. The financial support from DCCD
is conditional on the continued availability of framework funding from the Danish Ministry of
Culture. An agreement to this effect will be entered between DCCD and the RDE.
A service contract will be entered with DCCD of DKK 800,000 for administration of the Project The
service contract will include a plan and budget as indicated in table, the overall organisational set
up as well as the specific roles and functions described herein.
DCCD will also be administrating the project contingency of DKK 500,000 as well as the fund for
cultural events- or activities of DKK 500,000 and the auditing of the Project of DKK 0, 070.
However, payment for these three things will be paid directly from the Danish Embassy.
The timing for the commitment of the funds for the respective components of the three years is
expected to be November 2010.
Component
1. Youth & Film
2. Youth & Hip hop
3. Youth & Theatre
4. Local cultural fund for events or
activities
5. Administration/DCCD
Mill. DKK
2,453,835
1,000,000
500,000 (including DKK 173,599 to be
transferred through Bayimba Cultural
Foundation
276,165
800,000
37
co-ordination, 4 days monthly
local consultant (20 hours a week)
yearly follow-up travels to Uganda
Reporting/budgeting /one semiannual and one (larger) annual
report
6. Auditing
7. Contingency
8. DCCD Contribution
Grand total
-
70,000
500,000
(600,000)
5,600,000
38
8
Overall Management and Organisation
Funds from the RDE will come from the country framework budget. DCCD will be contracted by
RDE to be responsible for the overall quality assurance of the project and to overview the
implementation and administration of the Project. The overall contract will be signed with Maisha
Foundation and Bayimba Cultural Foundation, who will be economical and project responsible for
their own componts in Uganda and to sign MoU with respective partners as mentioned in
component descriptions. However, Bayimba Cultural Foundation will also be economical
responsible for the Ugandan Theatre Component carried out by Makerere, Department of Music
and Dance with Dr. Patrick Mangeni as the key responsible person.
DCCD HQ will:
Prepare all contracts for RDE and service provision of all Danish and Ugandan partners;
Provide support to Danish and Ugandan partners for the formulation of project
proposals/budgets;
Together with the main Partners prepare subcontracts, MoU and budgets for secondary
partners;
Ensure plans of actions and budgets are made by the partners;
39
Provide semi-annual and annual reports, plans and an overview of budgets and
expenditure to the RDE and the Advisory Board;
Provide daily supervision, management, co-ordination and facilitation for implementation
of the various components with the assistance of locally contracted consultants;
Initiate the three components;
Undertake a mission once a year to Uganda;
Prepare and supervise all contracts for RDE;
Monitor progress of the individual components and recommendations to the Advisory
Board on strategic considerations for improvements, where necessary;
Provide all necessary supporting documents to the Advisory Board; including:
-
Annual work plan for each component;
Annual budget and cash-flow for each component;
Bi-annual and annual reporting of progress and accounts;
Proposals for strategic considerations on culture development and exchange;
Provide advice to RDE whenever necessary in regard to project implementation and in
regard to mainstream cultural initiatives in sector programmes.
The overall contract will be signed with Maisha Foundation ltd (MF) and Bayimba Cultural
Foundation (BCF) for the Ugandan Youth Cultures Project. However, MF will only be responsible
for the project that concerns them BF will only be responsible for the projects that concern them
according to the signed agreement (the Youth and Hip Hop Component plus the Youth and
Theatre Component). The organisations will sign a MoU with DCCD that spells out these more
specific management structures. The Danish Center for Culture and Development (DCCD) will be
responsible for the management and administration of the Uganda Youth Cultures Project on
behalf of RDE. This includes contracts with partners, support to partners in designing and
implementing the projects, monitoring of projects, financial management as well as reporting to
RDE.
The contracts and agreement will be between the RDE and the following main partners:
DCCD, Administration of the Project; (International TA-contract)
Youth & Film (DK), Danish Film Institute; (International TA-contract)
Youth & Hip Hip (DK), Ghetto Gourmet; (International TA-contract)
Youth & Theatre (DK), Passe Partout Theatre Production; (International TA-contract)
Youth & Film (UG), Maisha Film Foundation (incl. Dox:Lab); (Project Agreement)
Youth & Hip Hop plus Youth and Theatre (UG), Bayimba Cultural Foundation; (Project
Agreement)
Maisha Film Foundation will be responsible for the Film Project in relation to the Ugandan
partners, i.e. Amakula and Straight Talk and work in close partnership with DFI. Furthermore,
Maisha Film will make a sub-contract with Dox:Lab. Maisha Foundation will sign a MoU with both
DFI and DCCD and be responsible for delivering half-yearly reports, half-yearly plans of action and
budgets as well as an annual report to RDE and the Advisory Board through DCCD. Besides this,
40
Maisha Foundation will also be responsible for the local running of the activities related to the film
component.
Bayimba Cultural Foundation will be responsible for both the Hip Hop Project and the Theatre
Project. For the last mentioned it will in practice be administrated through a MoU by Makerere
University with Dr. Patrick Mangeni, Department of Music and Dance. Bayimba Cultural
Foundation/Makerere University will also sign a MoU with Passe Partout Theatre Production and
with DCCD and be responsible for delivering half-yearly reports, half-yearly plans of action and
budgets as well as an annual report to RDE and the Advisory Board through DCCD. Besides this,
Bayimba Cultural Foundation will be responsible for the local running of the activities related to
the Hip Hop component, in close co-operation with the Danish Partner, Ghetto Gourmet.
Passepartout and the Makerere University, Department for Music and Dance will be responsible
for the Youth and Theatre Project with a MoU with Bayimba Cultural Foundation. Passepartout
will facilitate the establishment of a performance in close co-operation with the Department of
Music, Dance and Drama. Bayimba Cultural Foundation will be consulted regarding the
participation of youth joining the Youth & Hip Hop Project.
RDE will be consulted on strategic issues, but day-to-day implementation of the project will be the
responsibility of DCCD. Besides employing a local consultant in Uganda for 15-20 hours (per week),
DCCD will allocate a DCCD HQ Programme Head for 7,4 hours a week and have a student assistant
attached to the project. The DCCD HQ’s Programme Head will travel to Uganda for one week
annually to follow up on the Project.
Apart from the partnership projects involving collaboration between partners in Uganda and
Denmark, a small fund will be established and administered by RDE to support minor upcoming
projects.
A contingency budget will be administrated by DCCD as well as a budget for auditing the Project.
An Advisory Board consisting of 5 or 7 persons will be elected by RDE/DCCD to support/advice the
implementation of the project. RDE will be a member of the Board. The local consultant will act as
secretary to the Board.
9.
Overall Implementation Plan
The project implementation is planned to start in November/December 2010. An inception phase
of 6 months will be used to develop the Process Action Plans (PAPs), which include budgets for the
full three-year period and a detailed PAP for the first year. An Advisory Board will be appointed by
RDE/DCCD during the inception phase. After the inception phase the following key dates should be
observed:
41
Key Dates
Proposed Schedule
Request for funds by individual components
Advisory Board Meetings
Progress reporting and annual reporting/auditing
Completion reporting
10.
Date
October, January, April, July
Twice a year
One month before Advisory Board
meeting is scheduled
September 2013
Monitoring, Reporting, Reviews and Evaluations
DCCD will be responsible for preparing bi-annual [or annual] progress reports for the Advisory
Board/RDE. The person in charge of each component will be responsible for preparing the annual
progress report to be submitted to DCCD. The progress reports will be based on the reports from
the three components, but supplemented with selected monitoring visits from a local consultant
employed by DCCD. There will be an annual visit from the HQ of DCCD, which will also monitor
component implementation as required.
The indicators for successful implementation, as well as the outcomes of the project described
under each component, will be reported on as part of an evaluation at the end of the project
period.
As far as reporting from the Minor Fund for Culture Events – or activities is concerned reporting
will be made directly from beneficiaries to the Embassy, which will also be responsible for
monitoring and financial reporting.
Representatives from the Ugandan partners of the three components will be invited to meet by
DCCD to share experiences at regular intervals (e.g. on a yearly basis). It is hoped that this will
encourage synergy and mutual learning between the components. Danish partners will take part
in these meetings whenever possible. In addition meetings will be held between Danish Partners
in Copenhagen with a similar purpose.
11.
Key Assumptions and Risks
Youth & Film
There is an awareness regarding the risk factors, but the risks can most likely be avoided by proper
communication in every detail of organising the project - and selecting the content of the project.
Especially in regard to the content of the films screened. They must be selected in co-operation
with the partners, who have local knowledge about the different locations and communities. The
aim is to present films with local/Ugandan as well as Danish, African and International content –
and these will be selected carefully. The themes and subject matters of the films can be
development-related, and stories related to youth in general: different aspects, different issues
and different ways of story-telling.
42
The Mobile Cinema will be travelling to very different areas of Uganda, and the partners are aware
that, for instance, going to Karamoja is a risk factor in some ways. The Danish Film Institute and
Maisha Film Lab will co-operate with Straight Talk Organisation, who help in mobilising the
participants and communicating to the community, the elders, the parents and the Regional
Offices. All will do their best to follow up themselves when they are on location.
Film is a new media and a new culture many places in Uganda. It is therefore part of the task to
make sure that film is presented in the very best way – and that positive attitudes and
expectations will be linked to Youth & Film. The general impression is that many people do not
have much knowledge and experience within this field, but that they are very curious to learn
more – and to open up their eyes and minds to the huge diversity of content and styles that film
represents.
Youth & Hip Hop
The main issue for the Hip Hop Project is to start up new activities in 4 new regions (Mbarara,
Mbale, Jinja, Arua) – 6 in all with Kampala and Gulu.
Their number one concern is the need to establish sustainable projects. By using this staggered
approach they can ensure that each new project receives the sufficient attention in the first year
and make sure that it is properly established, after which their support can be reduced on a step
by step basis and subsequent visits can be delegated to other members.
Further details will be established in the three month inception phase between Bayimba Cultural
Foundation and Ghetto Gourmet, this includes MoUs, a detailed work plan and reporting
procedures, as well as a detailed budget for each organisation.
Youth & Theatre
An inception phase of three months will be used to establish further details between PTP and
MAK, Department of Music, Dance and Drama. No major risks are foreseen, and funding will be
canalised through Bayimba Cultural Foundation with a MoU with MAK.
43
Annex A - Proposed format for output-based budget presentation1
International TA-Contracts
Danish Film Institute:
Ghetto Gourmet:
Passe Partout Theatre Production:
DCCD:
DKK 761,952
DKK 256,000
DKK 326,401
DKK 800,000
National Contracts
Maisha Foundation:
DKK 1,691,883
Bayimba Cultural Foundation (including DKK 173,599 for MAK): DKK 917,599
Components and outputs
Youth & Film
Immediate objectives:
Budget in DKK
To enable young people access art and a diversity of films in terms of
content, genres and cultural origin;
To facilitate young people’s dialogue and critical analysis of films;
To let young people create films from their own point of views and
realities – to let them tell their own stories with their own voices;
To target youth in different regions of Uganda and with diverse social
backgrounds;
To build up capacity within film festivals, film organisations and the film
industry to target youth;
To build up capacity within youth organisations to use film and media for
development
To gain and share experience, within the professional film industry, about
producing films for and about youth;
To strengthen the relationship between Uganda and Denmark through
partnerships, co-operation and study-tours;
To research the effect of film and film education used as a tool for
development.
Maisha Film Foundation
International TA-Contract with the Danish Film Institute
SUB TOTAL
Youth and Hip Hop
Immediate objectives:
2,453,835
To continue to organise regular hip hop activities for youngsters in
Kampala and Gulu;
To start organising hip hop activities in selected other regions (Mbarara,
Mbale, Jinja, Arua);
To build leadership skills and self-esteem of the youth;
In this presentation, ‘outputs’ are to be aggregated to a level where the number per sub-component does not usually
exceed five. More details can be provided in component descriptions.
1
44
Showcase hip hop talent at regular events/festivals;
To connect youth within Uganda and with the wider world;
To establish collaborations between performing artists from different
regions;
Develop innovation amongst young people;
To generate employment opportunities for youngsters;
To enhance career chances of talented young hip hop artists.
Bayimba Cultural Foundation
International TA- Contract with Ghetto Gourmet
744.000
256.000
SUB TOTAL
Youth and Theatre
( A detailed M&E framework will be developed by the partners at the project start)
1,000,000
Immediate objectives:
To make the participating young people able to implement the
intermediate links necessary in a joint creative process;
To perform specific workshops in dancing, singing, lyrics and plays;
To inspire the participants through artistic expression to co-operate
to achieve a common goal;
To provide an ability to share one’s thoughts etc. in an atmosphere of
disciplined awareness, which helps create a proper art framework in
which the actors are given reassurance and can build self-respect;
The production of a professional performance played several times in
front of an audience is the final immediate product of the project. The
final performances will end up having duration of approx. 35-40
minutes.
International TA-Contract with the Danish Passe Partout Theatre Production
Bayimba Cultural Foundation with an MOU with Makerere University, Department
of Music and Dance
SUB TOTAL
500,000
International TA-Contract with DCCD
SUB TOTAL
800,000
800,000
Contingency for the Project (RDE)
Minor fund for the Project (RDE)
Audit (RDE)
SUB TOTAL
Detailed budgets will be prepared in inception phase and budget overheads for
components and contracts should not exceed 7%.
Grand total
500,000
276,165
70,000
846,165
45
326,401
173,599
5,600,000
Annex B - Proposed format for project budget by component and by calendar year 2
2010
Component Youth and
Film
Danish Film Institute –
Denmark (DFI, Station
Next)
Maisha Foundation –
Uganda (Maisha, Amakula,
Straight Talk and COP:DOX)
Subtotal
2011
2012
2013
Total
326,966
217,543
217,443
761,952
198,590
591,880
478,303
423,110
1,691,883
198,590
918,846
695,846
640,553
2,453,835
86,000
248,000
86,000
248,000
84,000
248,000
256,000
744,000
334,000
334,000
332,000
1,000,000
163,201
163,200
326,401
Component Youth and Hip
Hop
Ghetto Gourmet
- Bayimba Cultural
Foundation
Subtotal
Component Youth &
Theatre
(Will be developed by the
partners at the project
start)
- Passe Partout Theatre
Production
Bayimba Cultural
Foundation/Makerere
University, Department of
Dance and Music
Subtotal
86,800
86,799
173,599
250,001
249,999
500,000
DCCD Administration
Subtotal
267,000
267,000
267,000
267,000
266,000
266,000
800,000
800,000
250,000
250,000
500,000
92,055
92,055
92,055
342,055
70,000
92,055
412,055
70,000
276,165
846,165
200,000
200,000
200,000
(600,000)
5,600,000
Contingency for the Project
(RDE)
Audit (RDE)
Minor Fund (RDE)
Subtotal
Support from DCCD
TOTAL
2
The budget must also be presented according to the partner country’s fiscal year, if this differs from the calendar year.
46
Annex C - Terms of Reference
TERMS OF REFERENCE
Formulation of Project Document
Uganda – Denmark Culture and Development Project
“Youth Cultures in Uganda”
2010 – 2013
1.
Background
Uganda became a project country for Danish bilateral development assistance in 1987. Uganda
was – and still is - one of the poorest countries in the world. The Ugandan government has
demonstrated an ability and commitment to reduce poverty, and has formulated an ambitious
strategy for poverty reduction. Poverty reduction remains the overriding objective of the Danish
engagement in Uganda.
Denmark focuses its development efforts around Uganda's Poverty Eradication Action Plan (PEAP),
which will, by the next fiscal year, be replaced by the National Development Plan (NDP) which is
presently under its final stages of development. It is designed to facilitate Uganda's growth and
poverty reduction for the next 5 years. The NDP will change focus from poverty eradication to
wealth creation. NDP will focus on employment creation, education, improved agriculture, trade
and infrastructural development. The revised PEAP, or Uganda's PRSP, placed a greater emphasis
than the 1997 document on the actions which contributed indirectly to poverty reduction, such as
the promotion of private sector development. Its strategic public action was established on the
following four pillars:
Creating a framework for economic growth and transformation;
Ensuring good governance and security;
Directly increasing the ability of the poor to raise their incomes;
Directly increasing the quality of life of the poor.
The PEAP consists of 5 pillars, with the Danish support being concentrated around the following
three:
(i) Production, competitiveness and income;
(ii) Good governance;
(iii) Human development.
Denmark is actively implementing the Paris Declaration on Aid Effectiveness, amongst many other
things stressing the need for better harmonisation.
The Government of Uganda (GoU) has launched a Peace, Recovery and Development Plan for
Northern Uganda (PRDP) in October 2007 and began implementation on 1 July 2008. The PRDP is
a commitment by the GoU to stabilise and recover Northern Uganda over a three years period
through a set of coherent projects in one organising framework.
47
All stakeholders are expected to align their projects in the region to this framework. Development
partners supporting recovery and development in Northern Uganda contribute to the
implementation of the PRDP and its joint mechanism by co-ordinating with each other through the
Development Partners Group for Northern Uganda Recovery and Development (NURD), a
subgroup of the Local Development Partner Group (LDPG).
The Uganda National Cultural Policy: “A Culturally Vibrant, Cohesive and progressive Nation” seeks
to promote and strengthen the cultural diversity of the country by encouraging the participation
of every citizen in cultural life as well as community level cultural actions that help sustain human
dignity; other goals are the protection and promotion of Uganda’s tangible and intangible heritage
and to stimulate creativity on various levels.
2.
Danish Culture and Development
The Danish Strategy for Culture and Development from 2002 sets the overall priorities and
principles for the work with culture as an integrated part of Danish development assistance. It
applies a wide understanding of culture, encompassing not only artistic expressions but also the
total complex of mental structures and shared values, beliefs and knowledge that underpin
behaviour and characterise a society or a social group. The strategy outlines three lines of cultural
support: 1) Promotion of the cultural dimension in development projects
(integration/mainstreaming), 2) Culture as a tool to strengthen the poor (empowerment, social
capital, creative industries etc), and 3) Promotion of cultural diversity on the basis of human rights
and pluralism (for example through strengthening of the media and civil society). Thus, this is in
line with the overarching principles for Danish development assistance.
The Danish strategy for culture establishes the mandate of the Danish Centre for Culture and
Development (DCCD), an independent institution linked to the Ministry of Foreign Affairs, to work
within three major areas – 1) Culture and development aid, 2) Images festivals, and 3) Project
support for exchange projects between Denmark and developing countries.
In March 2008 an earlier mission was carried out in Uganda. Due to the shift of the Ambassador
and staff at RDE, the follow-up to the mission was delayed. However, based on a good ongoing
dialogue, the focus for the Project 2010-2013 was chosen - “Youth Culture in Uganda” with a
target area primarily in Northern Uganda.
3.
Objectives of the Mission
The overall objective of the mission is to prepare a draft project document for a Uganda –
Denmark Culture and Development Programme, 2010 – 2013, with a particular focus on Youth
Cultures in Uganda, as youths form the largest segment of Uganda’s population. The geographical
focus will mainly be Northern Uganda, including Karamoja. Other geographical areas can be
included, but with the perspective of bringing the North and other areas together (creating
cultural understanding and conflict prevention). Themes within film, dance and music will be in
focus for two to three partnership projects between Danish and Ugandan partners.
4.
Outputs
48
Following the visit to Kampala, and on the basis of discussions with RDE, of information gathered
through meetings prior to and during the visit, and from perusal of relevant documentation the
consultant will produce:
A debriefing note with preliminary findings, conclusions and recommendations for submission
and discussion in RDE prior to departure
Draft programme document setting out:
1. The national and sector context;
2. The themes, development objective and output;
3. Organisation, management and administration of the programme and the components;
4. The implementation structures and implementation strategies;
5. The total program budget, broken down by components and outputs;
6. Financial management;
7. Monitoring, reporting and review;
8. Assessment of key assumption and risks;
9. Implementation plan;
10. Description of the components;
The draft programme will be ready by 21 May, 2010. The final programme document for appraisal
will be ready three weeks after receiving comments on the draft programme.
RDE will support the program for a three-year period, with an expected start being August 2010.
RDE is the overall responsible partner for the implementation of the program in regard to the
Government of Denmark. The components of the programme will have their individual partners
and will be tied together by DCCD as the implementing facilitator. DCCD will in agreement with
RDE carry out i) the daily supervision of implementation, ii) co-ordination, iii) administration and
iv) monitoring of the programme implementation with assistance from a Ugandan based
consultant.
To oversee programme implementation an Advisory Committee will be established. The Advisory
Committee will advise on strategic issues and endorse annual work-plans and budgets and
approve annual reports and accounts. The Advisory Committee is expected to meet twice per year
and, with the advisory nature of the committee, remuneration of members is not foreseen.
RDE, in consultation with DCCD, will appoint the Advisory Committee. The Committee will have 46 members. The chair of the Advisory Committee would ideally be a person with a recognised
public profile and a passion for contemporary art. DCCD (through the local consultant) will act as
Secretary to the Advisory Committee.
The Advisory Committee will receive annual reports with accounts, implementation plans and an
overview of budget and expenditure, prepared by DCCD.
RDE and DCCD will enter an agreement to cover the entire programme period. DCCD will enter
agreements with the Ugandan and Danish component partners for their commitment to
undertake the relevant components.
49
DCCD’s responsibility will include:
o Initiation of the components;
o Daily supervision, management, co-ordination and facilitation of component
implementation, to which a contracted local consultant will assist;
o Facilitate contract and service provision of all Danish an Ugandan partners;
o Monitoring of progress of the individual components and recommend to the Advisory
Committee, where necessary, strategic considerations for improvements;
o Provide all necessary supporting documents to the Advisory Committee; including:
o Annual work plan for each component
o Annual budget and cash-flow for each component
o Bi-annual and annual reporting of progress and accounts
o Proposals for strategic considerations on culture development and exchange
o Provide advice to RDE whenever necessary in regard to programme implementation and in
regard to mainstream cultural initiatives (?) in sector programmes.
The different components will have different management set-ups. All component partners will be
responsible for the implementation of their own component and will be held accountable for the
funds transferred to operate their components. DCCD will oversee and supervise to ensure that
the components are implemented as intended and described in the component descriptions, and
according to inception reports and work plans.
5.
Activities/Scope of Work
The activities of the assignment will include, but not necessary be limited to, the following:
An analysis of the artistic needs of the youth in the Northern part of Uganda, including
Karamoja.
A short assessment of Maisha Film as a Ugandan partner for the potential Danish partner “the
Danish Film Institute;”
Identification and assessment of a Ugandan partner organisation/group/s, preferably from the
Northern part of Uganda or/and Karamoja, that is used to working with youths, for instance
within music and dance. Ghetto Gourmet would be a potential Danish partner, as they have a
good experience of including various groups of youth and individuals in projects within
music/rap, etc.;
Identify a local Ugandan organisation that can be the organisation the RDE can enter into
agreement with. Develop the flow of funds, the responsibilities of the organisation etc.
Consult with relevant Danish and Ugandan stakeholders;
Based on fact finding activities and analysis, propose strategic choices regarding partners,
target groups and intervention areas for the programme;
Assess sustainability of the interventions in the areas proposed;
Establish the proposed budget;
Propose implementation and management mechanisms, including monitoring, reviews and
evaluation;
50
Prepare a draft programme document and final programme document including component
description. The final programme document should be ready for appraisal.
Prior for the mission, the team will
Study relevant background documents;
Prepare a detailed programme for stay in Uganda and propose meetings with Danish and
Ugandan stakeholders;
Identify a Local Consultant to participate at the mission;
Identify and engage Ugandan interpreters if needed. (Possibly engage the Community
Development Officers in districts or sub-counties visited.)
During the mission, the team will
Upon arrival to Uganda hold briefing with the Embassy and relevant Ugandan authorities [the
Embassy to guide on this];
Consult with relevant ministries, agencies, donors, etc, relevant for the project;
Meeting with relevant potential stakeholders for the programme:
Before departure from Uganda, prepare a debriefing note to be presented to the Embassy
giving the main findings of the mission and a time line leading to full development and
implementation of the programme
6.
Timing and input
The assignment will be undertaken in Uganda from April 19-29 2010, starting with a briefing at
RDE April 19.
A debriefing note will be presented to RDE and relevant partners at the end of the mission and a
draft Programme Document will be submitted no later than four weeks after the mission.
After receiving comments from the Embassy, the final Programme Document will be prepared by
DCCD.
The team will prepare a draft mission programme together with the local consultant to be
approved by RDE. The programme should be with the Embassy no later than 21 May.
Additional meetings will be included during the mission.
7.
Team
As a former mission was undertaken in March 2008, this mission will be able to be much more
focused. As we have already zoomed into two focus areas – film and music – it will be possible for
the two Danish experts from the Danish Film Institute and Ghetto Gourmet together with the
Ugandan partners to discuss the set-up of a programme in detail, and perhaps even kick-start the
process of making an action plan/budget.
Ms. Vibeke Munk Petersen, DCCD, Team Leader;
Ms. Charlotte Giese, Head of Unit for Children and Young, the Danish Film Institute;
Mr. Joseph Mbida, Arts Co-ordinator for Ghetto Gourmet;
51
Mr. Fred Musisi, Local Consultant.
Mr. Jens Kaare Rasmussen, Development Aid specialist and Centre Director, DCCD, for quality
control and peer-review (not part of contract and not participating in the mission).
Embassy contacts:
Ms. Karina Hedemark, First Secretary/Development, RDE, Kampala and
Mr. John F. Olweny, Programme Officer (Agriculture), RDE, Kampala
52
Annex D - List of people met
1.
Last name-Family name
Drani, Emily
Position – Organisation
Director, Cross Cultural Foundation of
Uganda
Address
Off-Bativa Road, Makerere
Tel/Fax
+256 752 622 543
Email
[email protected]
Webpage
www.crossculturalfoundation.or.ug
2.
Last name-Family name
Position – Organisation
Address
Tel/Fax
Email
Webpage
3.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
4.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
5.
Last name-Family name
Position – Organisation
Address
De Coninck, John
Deputy, Cross Cultural Foundation of
Uganda
Off-Bativa Road, Makerere
+256 312 294 675/ Mob: +256 772 462 480
[email protected]
www.crossculturalfoundation.or.ug
Omona, Richard
Ass. Head of engineering, 102 MEGA FM
Head office: Plot 11/13, Independence
House, Olya Road, P.o. Box 358, Gulu
+256 4714 32211/32770/1
Cell: +356 772 592 229/751 592 229
[email protected]
www.megafm.co.ug
Laker, Santa Joyce
Director, TAKS (Through Art Keep Smiling)
P.O. Box 1220, Gulu
+256 471 433 906
Cell: +256 77 2498 650
[email protected]
www.takscentre.org
Lenin, Simon Peter Anyanzo
Co-ordinator, Uganda Red Cross Society,
URCS Gulu Branch
Plot 3/11, Otemma Alimadi Rd, Gulu
53
Tel
Email
6.
Last name-Family name
Position – Organisation
Tel
7.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
8.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
9.
Last name-Family name
Position – Organisation
Address
Tel
Municipality, P.O. Box 517, Gulu
+256 776 312 100/782 636 593
[email protected] and
[email protected] and
[email protected]
Nsigaye, Sarah
Director, Amakula Film Festival
Mobile: +256 752 942 694
Okello, Geoffrey
Programme co-cordinator, Gulu District
NGO Forum
Plot 6, Princess Road, P.O. Box 1, Gulu
+256 471 432 323
Cell: +256 712 379 820
[email protected] and
[email protected]
www.humanrightsuganda.org/www.justice
andreconsiliation.com
Mukwaya, Shaft Nasser
Executive Secretary, National Youth
Council
Plot 1, George Street, Simbamanyo House,
5th Floor, P.O. Box 7136 Kampala
+256 414 257 860/414 575 776
Cell: +256 772 412 156
[email protected]
www.nycuganda.org
Hjortdal, Niels
Head of Programmes, Danida Human
Rights and Good Governance
Programmes
Danida GG Liaison Office, 1st Floor EADB
Building, Plot 4, Nile Avenue, P.O. Box
8772, Kampala
+256 414 349 312/3
54
Email
10.
Last name-Family name
Position – Organisation
Address
Tel
Email
11.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
12.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
13.
Last name-Family name
Position – Organisation
Address
Tel
Email
+256 312 264 325
Cell: +256 414 341 856
[email protected]
Okello, David R
Programme Officer, Conflict, Acholi,
Danida Human Rights and Good
Governance Programmes
Danida GG Liaison Office, 1st Floor EADB
Building, Plot 4, Nile Avenue, P.O. Box
8772, Kampala
+256 392 349 312/3
+256 312 264 325
Cell: +256 772 749 320
[email protected]
Feinberg, Nathalia
Ambassador, Royal Danish Embassy
Plot 3, Lumumba Avenue, P.O. Box 11243,
Kampala
+256 772 221 399
Cell: +256 772 221 399
[email protected]
www.ambkampala.um.dk
Hedemark, Karina
First Secretary, Royal Danish Embassy
Plot 3, Lumumba Avenue, P.O. Box 11243,
Kampala
+256 312 263 211
[email protected]
www.ambkampala.um.dk
Olweny, John Fabian
Programme Officer, Royal Danish Embassy
Plot 3, Lumumba Avenue, P.O. Box 11243,
Kampala
+256 312 263 211
Cell: +256
[email protected]
55
Webpage
14.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
15.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
16.
Last name-Family name
Position – Organisation
Tel
17.
Last name-Family name
Position – Organisation
Tel
18.
Last name-Family name
Position – Organisation
Address
www.ambkampala.um.dk
Etabu, Peter
Country Manager, Right to Play, Uganda
Country Office
Plot 78, Old Kira Rd, P.O. Box 33098,
Bukato, Kampala
+256 414 531 313
Cell: +256 772 855 844
[email protected]
www.righttoplay.com
Tadeo, Atuhura
Regional & Country Communications Coordinator, Right to Play, Uganda Country
Office
Plot 78, Old Kira Rd, P.O. Box 33098,
Bukato, Kampala
+256 414 531 313
Cell: +256 782 321 808
[email protected] and
[email protected]
www.righttoplay.com
Kitara, Makmot
Local Council V, Vice Chairperson, Gulu
District Local Government
Mobile: +256 772 451 556
Oluba, Alfred
Mass Mobiliser/Resident District
Commissioner’s Office, Gulu
Mobile: +256 772 512 728
Walugembe, Joseph
Artistic Director, Uganda National Cultural
Centre/National Theatre & Nommo
Gallery
Plot 2,4 & 6, De-Winton Road, P.O. Box
56
Webpage
3187, Kampala
+256 414 254 567
Cell: +256 772 449 262
[email protected] and
[email protected]
www.ugandanationalculturalcentre.org
19.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
Kashmiri, Musarait
Programme Director, Maisha Film Lab
P.O. Box 72145, Kampala
+256 712 639 904
[email protected]
www.maishafilmlab.com
Tel
Email
20.
Last name-Family name
Position – Organisation
Tel
Email
Webpage
21.
Last name-Family name
Position – Organisation
Tel
Email
Webpage
22.
Last name-Family name
Position – Organisation
Tew, Amy
Programme Assistant, Breakdance Project
Uganda (BPU) [Programme Manager for
African Revival]
+256 718 243 008
[email protected]
www.myspace.com/breakdanceprojectuganda
Abraham (Abramz) Tekya
Founder/Programme Director, Breakdance
Project Uganda (BPU)
+256 712 816 617
[email protected]
www.myspace.com/breakdanceprojectuganda
www.youtube.com/abramzt
www.youtube.com/bpu06
Lagedo, Dehora Emmanuel
Research and Documentation officer,
Acholi Education Innitiative, Gulu
Address
Tel
Email
+256 774 078 441
[email protected]
23.
Last name-Family name
Falal, Rubanga Faith
57
Position – Organisation
Address
Tel
Email
24.
Last name-Family name
Position – Organisation
Centre Manager, Straight Talk Foundation,
Gulu Youth Centre, Gulu Health Cent and
Information Centre
Plot 6, Onono Road, P.O. Box 752, Gulu
+256 471 329 17
Cell: +256 782 603 202
[email protected] and
[email protected]
Address
Tel
Email
Opiro, Godfrey Binaisa
Accountant/Administrator, Straight Talk
Foundation, Gulu Youth Centre, Gulu
Health Cent and Information Centre
Plot 6, Onono Road, P.O. Box 752, Gulu
+256 471 329 17
[email protected]
25.
Last name-Family name
Position – Organisation
Tel
Email
Webpage
McClain, Lindsay
Exchange Officer, Music for Peace, Gulu
Cell: +256 783 300 103
[email protected]
http://musicforpeace.wordpress.com
26.
Last name-Family name
Position – Organisation
Tel
Email
Webpage
Korondo, Jeff
Northern Artiste, Music for Peace, Gulu
+256 777 500 138
[email protected]
http://musicforpeace.wordpress.com
27.
Last name-Family name
Position – Organisation
Tel
Email
Okwera, Jahria
Singer, Music for Peace, Gulu
+256 772 925 545
[email protected]
28.
Last name-Family name
Position – Organisation
Address
Agula, Joseph
Programme Co-ordinator, Conflict
Resolution for Children (CRY)
Najjanakumbi (on Entebbe Highway), P.O.
Box 11612, Kampala
58
Tel
Email
Webpage
29.
Last name-Family name
Position – Organisation
+256 414 560 568
[email protected]
www.cryuganda.org
Email
Webpage
Akiteng, Marion
Programme Officer, Conflict Resolution for
Children (CRY)
Najjanakumbi (on Entebbe Highway), P.O.
Box 11612, Kampala
+256 414 560 568
Cell: +256 772 698 051
[email protected]
www.cryuganda.org
30.
Last name-Family name
Position – Organisation
Tel
Email
Okiring, Helena
Director, Uganda Youth Network
+256 773 251 861 and 0256 791 076 354
[email protected]
31.
Last name-Family name
Position – Organisation
Tel
Email
Kitamirike, Emmanuel
Co-ordinator, Uganda Youth Network
+256 773 251 861 and 0256 791 076 354
[email protected]
Address
Tel
32.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
33.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
Kiwewa, Faisal
Director, Bayimba Cultural Foundation
P.O. Box 34806, Kampala
+256 414 591 670
[email protected] and
[email protected]
www.bayimba.org
Asio, Brenda
Finance and Administrator, Bayimba
Cultural Foundation
P.O. Box 34806, Kampala
+256 414 591 670
[email protected]
www.bayimba.org
59
34.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
35.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
36.
Last name-Family name
Position – Organisation
Address
Ahaeebwa, Alexander
Logistic/Communication, Bayimba Cultural
Foundation
P.O. Box 34806, Kampala
+256 414 591 670
[email protected]
www.bayimba.org
Catharine Watson (Cathy)
President/Director, Straight Talk
Foundation
Plot 4, Acacia Avenue, Kololo, P.O. Box
22366 Kampala
+256 31 262 030 and +256 31 262 031
[email protected]
www.straight-talk.or.ug
Krapper, Ulrik
CEO, Station Next
Fægtesalsvej 7
2650 Hvidovre
Tel
+45 3677 4940 and +45 2083 3832
Email
[email protected]
Webpage
www.station-next.dk
37.
Last name-Family name
Position – Organisation
Address
Tel
Email
Webpage
Sø, Mette
Head of CPH:LAB, CPH:DOX
TAGENSVEJ 85 F
DK 2200 COPENHAGEN N
+45 3393 0734
[email protected]
www.cphdox.dk
38.
Last name-Family name
Position – Organisation
Fischer, Tine
Festival Director, CPH:DOX
60
Address
Tel
Email
Webpage
39.
Last name-Family name
Position – Organisation
Address
Tel
Email
40.
Last name-Family name
Position – Organisation
Tel
Email
Webpage
41.
Last name-Family name
Position – Organisation
Email
TAGENSVEJ 85 F
DK 2200 COPENHAGEN N
+45 3393 0734
[email protected]
www.cphdox.dk
Bertram, Boris Benjamin
Film Director, Denmark
+45 3113 88 44
[email protected]
Kamya, Caroline
Film Director, Uganda
+256 782 327 878
[email protected]
www.imanimovie.com
Mangeni, Dr. Patrick
Director/Head, Department of Music and
Dance. Makerere University, Uganda
[email protected]
61
Annex E - A job description for DCCD local consultant
Xxxxxx (Name of the local consultant)
DCCD
Project Name:
Nytorv 17
DK-1450 K
Denmark
Organisation:
DCCD
Tel +45 33 17 97 00
Fax +45 33 17 97 01
www.dccd.dk
Date
Xxxx December, 2010
Our ref.
Local Consultant for the
Danish-Ugandan Culture and
Development Programme,
2010-2013/VMP
LETTER OF EMPLOYMENT
This "LETTER OF EMPLOYMENT" (LOE) dated “xxx December 2010", constitutes the
employment agreement (the Agreement) between DCCD (Danish Centre for Culture
Development) - the Employer - and the consultant xxx
The Employer and the Expert have agreed as follows:
1 Position and station
1.1 The position will as local consultant for DCCD in Uganda for the Danish-Ugandan Culture and
Development Programme, 2010-2013, and the services shall be carried out in accordance with
the attached TOR for the technical support to the implementation and administration of the
culture and development programme in Uganda carried out by DCCD on behalf of the Danish
Embassy in Uganda;
1.2 The work will take place over the period of November 2010 – October 2013, both months
inclusive
1.3 The station of employment shall be in Uganda
1.4 The consultant will be responsible for:
Ensuring that project descriptions and budgets for the projects are being made and
being implemented in praxis, and that partners are informed about procedures
(payment, monitoring, accounting and auditing);
Ongoing monitoring of the three components of the Programme;
62
Elaborating monthly working plans and budgets;
Elaborate quarterly progress reports, that will contain a narrative and a financial part.
Elaborating a draft annual report and draft annual accounts overview of the Programme
components;
Every second week to have a talk with DCCD Programme Manager about possible
upcoming issues concerning the Programme;
Elaborating draft annual reports/budgets and final accounts and final report;
Supporting DCCD missions, which includes monitoring of projects;
Participating as Secretary for the overall Advisory Board, and keep them updated;
Supporting Danish partners, especially when they are in Uganda, but also to support
with required information and follow-up.
Within Media contact and public diplomacy
Make press releases about events to attract local and regional electronic and written
media;
Proactively engage selected media and “contacts” on a personal basis to entice them to
cover the events Offering exclusive interviews, meetings with the artists etc.;
Offering special shows for Radio/Television;
Writing small, but interesting articles with photos before and after events that may be
offered on an exclusive basis to various newspapers;
Developing visual material for the press;
If relevant, making a specific press launch.
Develop and nurture contacts to select representatives of the local and regional media
based on positive responses (“contacts”, cultural correspondents);
Ensure that the individual projects do carry out public diplomacy activities and support
them in this effort as well as complement them where they show weakness or lack of
experience;
Develop concepts for how events can become vehicles for promoting “cultural
dialogue”, cultural exchange and for broadening understanding between peoples;
63
Document lessons learned during the project implementation.
2
Duration of employment and working hours
2.1 The Agreement shall commence upon 1 November 2010 and without any notice expire on 30
October 2013, unless a formal written extension of agreement has been made before that date.
2.2 The working hours shall be 15-20 hours per week. Overtime shall not be paid for.
2.3 Either the consultant or DCCD may terminate the contract with one months written notice. In
case of breach of contract DCCD may terminate the contract with immediate effect.
3
Remuneration
3.1 The Employer shall pay a salary in arrears of (need for consistency with the Danida
programmes/project employment and salary scales in Uganda, the Embassy has current rates
and reviews these periodically information to be availed as separate file for your attention)
xxxUGX a month for a total input of 15-20 hours a week. (Overtime will not be paid,
and time needs to be managed by the consultant according to periods of time pressures)
3.2 This rate includes holiday allowance.
3.3 The rate also includes all logistical costs related to the assignment (transport, computer,
telephone etc) except for travel outside Kampala.
3.4 Travel outside Kampala will be reimbursed by DCCD up to a maximum of UGX 230. Proof of
payment shall be forwarded to DCCD.
3.5 All personal taxes in the Expert’s home country or elsewhere, if any, shall be at the Expert’s
own account.
3.6 The fee will be paid on a monthly basis.
4
Termination
4.1 This Agreement can be terminated by one month's notice from either party. In case of
misconduct by the Expert with immediate effect. (Provide details on what constitutes
misconduct for clarity as there is no other clear reference to this elsewhere in this contract).
5
Insurance
The consultant is not covered by DCCDs insurance agreement.
6
General terms
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6.1 The consultant shall comply with the quality management system of DCCD.
6.2 Throughout the assignment the consultant shall avoid involvement in partisan politics or
religious matters in the country of station.
6.3 The consultant shall not, either during the term or within two years after the expiry of the
assignment, disclose any proprietary or confidential information relating to the services, this
Agreement or the Client's business or operations without the prior written consent of the
Employer.
6.4 The consultant shall practice and exhibit multicultural understanding and sensitivity due to the
diversity of partners and stakeholders.
7
Arbitration
7.1 Please note herein the terms and conditions of the local employed project staff in Uganda states
that they are governed by Ugandan law.
7.2 are This Agreement is governed by Danish Law. The courts of Denmark shall have exclusive
jurisdiction to settle any dispute, which may arise out of or in connection with this Agreement.
8
Amendments
8.1 Any amendments and changes to the above conditions and stipulations shall be valid only
when put in writing.
On behalf of the Employer - Read and agreed to by
Date:
Date:
Signature:
Signature:__________________
Jens Kaare Rasmussen
Name---------------------------------
Director, DCCD
Local Consultant
65
Annex F -ToR for the Advisory Board
Terms of Reference and Rules of Procedure for the Advisory Board for the Danish – Uganda
Youth Cultures Project, 2010-2013
1.
Introduction
The Advisory Board (AB) for the Uganda Youth Cultures Project, 2010-2013 is established to
oversee project implementation. The Terms of Reference and Rules of Procedure for the Advisory
Board are designed to guide and facilitate the work of the Board articulating:
The responsibilities of the AB
The structure and composition of the AB
Mechanisms and procedures for decision-making
2.
The responsibilities of the AB
The AB is established to advise the Embassy/DCCD on project implementation. (Present
detailed description)
3.
The structure and composition of the AB
The members of the AB is selected and appointed by the Danish Center for Culture and
Development, which is responsible for project implementation on behalf of the Danish Embassy in
Uganda. 5-6 members of the AB will be appointed. Members are appointed in their personal
capacity for the duration of the present project – until end 2012. DCCD (mainly through videoconferences) and the Danish Embassy will participate as an observer at the Board meetings, and
DCCD’s local consultant will act as secretariat to the AB.
The AB will from its own midst select a chairperson who will lead the proceedings of the AB.
4.
Mechanisms and procedures for decision making
The AB will strive to reach decisions by consensus as advisors, but should the need arise decisions
will be made by simple majority. Quorum shall consist of at least 50 percent. of the members.
The Chairperson will convene meetings as required. However, two meetings per year is foreseen.
The agenda of each meeting will be prepared by DCCD in consultation with the Chairperson. The
agenda and supporting material shall be forwarded by e-mail to the AB members and observers at
least 7 days prior to the AB meeting.
The decisions of the AB shall be reflected in written minutes. Draft minutes shall be forwarded to
AB members not later than 7 days after the AB-meeting. Any objections or corrections to the
minutes should be forwarded to DCCD within 7 days of receiving the minutes.
66
Paradigms for e.g. applications and narrative and financial reporting will be developed and
presented to the AB during project implementation.
67