Independence Day in Uganda

Ugandans may not have much to celebrate under President Yoweri Museveni's now 25 year rule, but the music must go on.

Image credit Slum Dwellers International via Flickr CC.

Today’s Ugandan Independence Day. Over to the very popular Radio and Weasel and “Toko Toko” (Talk And Talk). Sample lyric: “They can do thee talk / But I will do thee walk.” Not sure if they’re talking politics as people–well opponents of Life President Yoweri Museveni have been walking a lot in Uganda these days to show their dissatisfaction with the state of the nation. As for Radio and Weasel, by the end of the video they fly.

No celebration happens without Bobi Wine. Here he has a verse on Pastor Wilson Bugembe’s latest.

Angella Kalule is an exponent of the breezy style that Ugandan musicians own. Here’s her tune “Katikitiki.”

And so is Iryn Namubiru. The video is a bit ridiculous.

BTW, what’s with the overwhelming pop (and bling) sensitivity of Ugandan hip hop music? It’s like Puffy took his shiny suits and migrated to Kampala. Exhibit no. 1,000,003: Mun J’s “Gira Tugire,” above.

Finally, more hip hop courtesy of Baboon Forrest (yeh, that’s the group’s name) with “Sesetula

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The sound of revolt

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O som da revolta

No seu terceiro álbum, o artista afro-português Scúru Fitchádu funde a sabedoria ancestral com a revolta urbana, transformando memória e militância em uma trilha sonora para a resistência.

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After the uprising

Following two years of mass protest, Kenya stands at a crossroads. A new generation of organizers is confronting an old question: how do you turn revolt into lasting change? Sungu Oyoo joins the AIAC podcast to discuss the vision of Kenya’s radical left.

Redrawing liberation

From Gaza to Africa, colonial cartography has turned land into property and people into populations to be managed. True liberation means dismantling this order, not redrawing its lines.

Who deserves the city?

Colonial urbanism cast African neighborhoods as chaotic, unplanned, and undesirable. In postcolonial Dar es Salaam, that legacy still shapes who builds, who belongs, and what the middle class fears the city becoming.