China is changing traditional dance and music in Uganda

The relationship between China and Africa is a topic that has dominated political, economic and cultural discourse globally. China’s increased participation in Africa’s affairs has attracted criticism and optimism almost in equal measure.

Questions have been raised with regard to China’s non-interventionist approach to economic and political engagement with Africa, and what it means for a number of African countries, which are yet to demonstrate respect for human rights, democracy, rule of law, and ability to provide public goods and services. This criticism notwithstanding, China’s trading relations with Africa has continued to grow.

While China’s trade has tended to focus on retail, logistics and mineral resources, increased diversification into areas such as cultural sector is visible. One of the areas that commentators and pundits of Sino-Africa relations have not critically paid attention to is the role China is playing in changing the landscape of traditional dance and music sector in Uganda.

Since 2009, the number of traditional music and dance artistes leaving Uganda for China has skyrocketed, with more than 60 getting contracted each year to perform and teach Ugandan traditional dances and music in schools, recreation centres, and other cultural and entertainment sites.

This exportation of traditional artistry has come at a time when youth unemployment in Uganda, estimated at 85 per cent, is at its record highest. Joblessness and underemployment is even more prevalent in the performing arts sector due to inadequate support from government, limited investment from the private sector and absence of clear-cut policy framework to guide the industry and inspire productivity.

Exportation of traditional music and dance works existed before the current massive exodus of dance and music artistes to China. Previously, traditional dance and music performances were commonly staged in Europe and North America for charity. Under this framework, dance troupes – that, in most cases, doubled as orphanages – were invited to Western countries to stage concert and festival performances and conduct artistic workshops to raise money through donations to support performers who came from disadvantaged backgrounds.

Notably different from the Western method, the Chinese model treats traditional music and dances as purely commercial commodities, and dancers and musicians as entrepreneurs.

To tap into the Chinese growing middle class, Ugandan performers are hired on short term and long term contractual basis by Chinese investors, proprietors and promoters to provide entertainment services in the booming leisure, tourism, hospitality and entertainment industries, in cities and provinces such as Beijing, Chenzhen, Shanghai, Guangdong, Sichuan.

Access to Chinese market has spurred innovation within the performing arts industry. Artistes have been enthused to advance their knowledge in conducting negotiation for contracts, identifying potential clients, and engaging in research about music and dance forms to inform their cultural re/production.

Moreover, the increased demand for Ugandan cultural commodities has challenged artistes to devise means to package, market, price, and brand their products in a bid to situate their artistic work in China’s growing market.

With this emerging market for traditional art forms, traction of individuals to the performing arts industry is expected to increase. This will go a long way in creating employment for youths, instigate reforms within the performing arts sector, and contribute to the national economy.

The Monitor

UM– USEKE.RW