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In villages without doctors and hospitals in the remote eastern Ugandan district of Pallisa, traditional birth attendants and mothers are solving the most serious health problems through the teaching power of songs and stories. The village's rich oral tradition was enlisted as the principal means not only for transmitting these important health messages, but also for supporting their practice throughout the community. Utilizing existing community traditions such as songs and storytelling offers culturally appropriate ways of enhancing the communications component of the health care system to make it serve the poor majority in a readily comprehensible, credible, affordable, and accessible form. These non-formal active-learning methods are highly compatible with and promotive of the general principles of primary health care, especially for their empowering, participatory and sustainable qualities. It is only a natural extension for health educators to more fully employ the use of the time-honored oral traditions of songs and storytelling as a vehicle for communicating health messages. For students in the health professions, awareness of these proven principles for engaging people at the local levels will contribute to more effective training, strategic program design, and advocacy.

The first form of popular music to arise out of traditional music was the Kadongo Kamu style of music, which arose out of traditional Kiganda music. From the 80s till early 90s, Kadongo Kamu was influenced by musicians such as Peterson Mutebi, Dan Mugula, Sebadduka Toffa, Fred Ssonko, Livingstone Kasozi, Fred Masagazi, Baligidde, Abuman Mukungu, Gerald Mukasa, Sauda Nakakaawa, Matia Luyima, Herman Basudde, and Paulo Kafeero[3] music genres drew from Kadongo Kamu, making it the most influential style of music in Uganda. In the late 80s, the late Philly Lutaaya released his "Born In Africa' album that would later dominate the air waves. Lutaaya also released his "Merry Christmas" that consisted of 8 songs. This album is still popular to date, all Philly Lutaaya's songs are now anthems amongst Ugandan music lovers.

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In the early 1990s, a new music genre afro ragga locally called Kidandali formed by Rasta Rob, Kid Fox, Ras Khan, Messe, Shanks Vivid, Menton Summer, Ragga Dee, Bebe Cool and Jose Chameleone Bobi Wine and Steve Jean - who would later produce their songs. In 1997, Emperor Orlandoh and Menton Summer were the darlings after their "Sirikawo Baby" song becoming a national hit.

Uganda's nationalities are diverse and spread evenly throughout the country. Native music in Uganda, like in most African regions, is mainly functional. This means that most music and music activities usually have specific functions related to specific festivities like marriage, initiation, royal festivals, harvests and war among others. The music is performed by skilled tribesmen and women who are good at playing various traditional instruments, folk songs and traditional dances.

The Baganda are found in Buganda in the central region; they are the largest native nationality in the country.[5] The kingdom is ruled by a king, known as a Kabaka. The kabaka has traditionally been the main patron of the music of Buganda. Musical instruments include various forms of drums, making percussion an integral part of the music).[6]

To differentiate Eastern region from other regions. This region has several tribes namely Bagwere,basoga,banyoli,bagisu,jopadhola,iteso,sabin,basamya and each tribe has its kind of music. In the 90s these tribes used to produce music using their own made instruments like the Bagwere had an instrument called kongo ,basoga had xylophones (mbeire),Jopadhola and banyoli had fumbo,iteso had adungu so during that time their music was different in production and composition according to which tribe was singing. In the 20th century, many tribes have tried to adopt to modern production and still they make their songs in their native languages according to their tribes . There are many artist from several tribes like bagwere have waisana,benenego, rapper sky dee,area b, waikere ,bluzman etc, Bagisu have san sea,ben,nutty neithan etc, Basoga have crazy mc,racheal magola,maro etc. Most of these tribes have kings that have helped in the promotion of culture and music at large , the Bagwere king is called ikumbania,the Bagisu king is called omukuka,the Basoga king is called chabazinga,the iteso king is called emorimori. Lastly eastern region has several district.

Talents have developed from ages of Sister Charity, Chance Kahindo and Rasta Charz to the years of Ray G, Jolow, Allan Toniks, Seyo, T Bro, Emily Kikazi, Muzz Joe, T Paul, Rachael T, Mat Henry, CJ Champion to Penny Patra, Amani Amaniga, Carol Kay, Prettie Immaq and more of the new guys on block.After the success of a one "Omusheshe" song of Ray G & Spice Diana, Runyankole was embraced in major parts of Uganda. Central artists too teaming up with western Uganda's artists on songs like "True man hood" Allstars ft T Bro, "Tikikushemerire" of Gen Geeon ft Jose Chameleon, "Yeele" Geosteady ft Ray G, "Ninkukunda" Ray G ft Voltage music, "Mbarara boy" Mc Kacheche ft John Blaq, "Elevate" Rachael T ft Colifixe, "Sagala" T Paul ft Cosign. These too have boosted the industry to the national level.

Music promoters' impact. From Online and Offline, including Feezah music uganda Alpha Promotions, BantuHits,[12] Uganda Djs Online Radio Karen Promotions, D3 Promotions, Lala Promotions, Patra Promotions, JKG Promotions, MOK Alozius Promotions, individuals like Dely Derick, Mc Katala, Mr vybs live among many. Radio and Television are supporting talent too. The development of radio from the regions first radio "Voice of Tooro" to Radio West, Messiah Radio in Kasese, Voice of Kigezi to Endigyito, Voice of Kamwenge, Kasese Guide Radio, Rwenzori FM, BFM, Hits FM, and urban radios like Crooze FM, Boona FM, K Town Radio, Ngabu FM and Street Deejays Radio (Online Radio) has seen western Uganda's music grow fast.Television development has been slow thou the coming of TV West, and Bunyoro TV has also developed western Ugandas music.The two TVs have given platforms to the artists through playing their videos on visuals and bringing them to the public eye.Through radios and TVs, we saw the coming of Mc Kacheche, Kunana MC, Lithan MC, Mr Jay among others. Kacheche's coming is one of the reasons Western Uganda's music has been embraced in the central. The growth in music events, especially in bars of Mbarara, Rukungiri, Kabale, Fort Portal, Ishaka, Kasese and Kamwenge gives platforms to the starting artists to be heard of.

The word "Kadongo Kamu" is a term in the Luganda language that means "one guitar". The music is given this name because of the role played by the bass guitar, which most times is the solo instrument used in creation of the music. Perhaps the first well known artist of the genre was Fred Masagazi in the 1960s.[13]

Herman Basudde was a very popular kadongo kamu musician in the 1980s and 1990s. So was Bernard Kabanda. Dan Mugula is one of the few surviving pioneers of the genre. Fred Ssebatta and Paulo Kafeero made their mark in the 1990s. Today, the genre is marginalized in favor of more recent styles of music. But because the music is loved by cultural loyalists in the buganda region, it is certain that there will always be an audience for kadongo kamu.[14]

Dancehall music in Uganda is modeled after Jamaican Dancehall. It is among the most influential styles of music in the Ugandan pop music industry. The style of music is very similar to the Jamaican style and so like all imported genres, the only major difference is in language used. Although most dancehall artists will perform in their local language, in this case Luganda, many of them will every now and then try to mimic Jamaican patois. During the early to mid 1990s when Uganda's pop industry was just beginning to be formed, the first international music to make an impression on Ugandan artists was the Raggamuffin music in Jamaica at the time. Artists like Shabba Ranks and Buju Banton became the inspiration for Ugandan artists like Shanks Vivi D, Ragga Dee, Menton Krono and Rasta Rob. The predominant beat that was used by these artists was the Dem Bow beat which was created by Shabba Ranks. This beat became the foundation on which all of Ugandan dancehall was to be built on later, just like it did with Reggaeton. In the late 1990s new artists like Mega Dee and Emperor Orlando joined the fray.[15]

Hip Hop music in Uganda is modeled after American Hip Hop. There is really not much difference stylistically between Ugandan hip hop and the American version. Because of the digital revolution, there is access to modern production technologies in Uganda hence the "beats" that current local producers are creating are high quality and not far behind the American ones. The fundamental difference between the two genres is that in Uganda, as in most African countries, most artists will rap in their local language. In Uganda's case, the language is Luganda. This has created the synonym "Lugaflow" to further define Ugandan rap music.[18]

As with Hip Hop, R&B in Uganda is modeled after American R&B. There is not much history in Ugandan R&B, with Steve Jean being the first artist to practice the genre around the turn of the century. But it was Michael Ross who really begun the trend circa 2002 with songs like How Do You Love and Sinorita. It was not until circa 2008 that a number of musicians started to embrace the style, with Myco Chris and Baby Joe among those in Diaspora that must be credited. Blu 3 and Aziz Azion are notable practitioners. Recently, artists like Nick Nola, Richy, Pallaso, Woodz and Yoyo have spread the appeal of the genre further.[20]

Gospel, however, started having a notable impact on the music industry when Judith Babirye broke through circa 2007. Babirye, whose music was similar to Mukasa's, was an instant hit and her song "Beera Nange" was among the songs of the year in its year of release.[23] ff782bc1db