Uganda Audio Visual Content Strategy 2020 / 2025

Disclaimer
The circulation and use of the contents of this report is limited to the Uganda Communications Commission and any parties they may
expressly authorize or intend this report for use. Any analysis and interpretation of the contents must be made within the context
of the TORs.
III THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

ACKNOWLEDGEMENTS.
The assistance of the Uganda Communications Commission Representatives, Content Development team, together with the was
key in the effective collection and coordination of the data used in the development of this strategy. Their combined efforts are
greatly appreciated. Special thanks are in order for the Head of Multimedia Content at the UCC – Meddie Kaggwa for your immense
support through this process, and the UCC strategic planning committee, for your invaluable information and coordinative support.
The audio visual content development strategy has been compiled by a team from Steadman Global Consulting Limited, headed
by Diana Nabukenya Katto (Strategy, policy and Institutional Development Expert), Robert Kirunda (Legal Specialist) and Jacqueline
Nkurunziza (Legal Specialist). Thanks are also due to a number of people who helped in quality assurance and publishing of the
report. They included: Rachel Dumba, Nancy Katushabe and Tadeo Karumba who gave valued assistance with various aspects of
the report.
THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 IV

ACRONYMS AND ABBREVIATIONS
AV Audio Visual
ADB African Development Bank
CAGR Compound Annual Growth Rate
FGD Focus Group Discussion
FM Frequency Medium
FTA Free to Air
GDP Gross Domestic Product
GNI Gross National Income
HIV Human Immune Deficiency Virus
ICT Information and communication Technology
KII Key Informant Interviews.
MDA Ministries, Departments and Agencies
MoGLSD Ministry of Gender Labour and Social Development
MoICT Ministry of Information and Communication Technology and National Guidance.
MoTI Ministry of Trade and Industry
MOTWA Ministry of Tourism and Wildlife Antiquities.
MSME Micro Small and Medium Enterprises.
NCHE National Council for Higher Education
SDG Sustainable Development Goals
SWOT Strengths, Weaknesses, Opportunities and Threats
PESTEL Political Economic Social Technological Environmental and Legal
TOR Terms of Reference
TV Television
UCC Uganda Communications Commission
UFC Uganda Film Council
UFF Uganda Film Festival
UGX Uganda Shillings
UNCTAD United Nations Conference on Trade and Development (UNCTAD)
URSB Uganda Registration Services Bureau
USD United States Dollars
WB World Bank
V THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

EXECUTIVE SUMMARY
Since the advancement of the new Millennium, several countries (Uganda inclusive) seeking to diversify their economies have
opted to significantly invest and develop non traditional service sectors to complement production within traditional industries. The
non-traditional sectors, many of which are highly resilient to economic shocks promise relatively high returns for economic growth,
development and high potential for employment creation and labour productivity, especially for the youth demographic. Uganda
through the National Development Plan has a goal to attain middle-income status by 2020, through strengthening the country’s
competitiveness, sustainable wealth creation, employment and inclusive growth. Advanced by the convergence of skills, content
digitization and the internet, the audio-visual (AV) sector as espoused under the culture and creative arts industry was identified as
a key driver for job creation, investment and export.
The AV sub-sector potential remains untapped but with great capacity to improve the country’s national development goals and
vision 2040. Although actual figures for each subsector are currently un-ascertained, the major economic impact of the culture and
creative arts industry has been its direct and indirect contribution to GDPand employment.The mapping of cultural and creative
industries services in Uganda (UNESCO, 2009), showed that the culture sector in the country fosters economic growth, job creation,
exports earnings (valued at $20 million between 2004 and 2008) and promotes culture preservation and pluralism.
Over the years, the audio visual industry in Uganda as considered under the culture and creative arts industry has been growing
steadily, flaunted by a rise in local content production and consumption. In the film industry, although the actual size and structure of
the industry remains uncertain, there is an estimated 1474 self-profiled film producers, 1769 Micro small and medium (MSME) film
production companies, about 97 international fixers or production fixers and 1189 production managers, an estimated 40,000 music
producers and renowned musicians, majority of whom are youth with high productive potential.Overall,Uganda’s AV industry is still
informal and fragmented into numerous micro and small individually owned production firms, professional groups and students.
AV businesses are mainly involved in content production and trade (local films, music, performing arts and new media content),
education and training but with majority undertaking the full range of activities along the production and distribution value chains
with a goal of increasing production, competitiveness and profitability.
While some initiatives have been implemented in the past to boost industry growth, a number of constraints still inhibit achievement
of the above goals and require alignment with relevance to the needs of the industry. Particularly, local content production and
distribution, as key components of the value chain are constrained by a number of factors. To mention, industry growth has mainly
been inhibited by inadequate investment and regionalization of AV distribution infrastructure, systems and platforms, slow market
adaptation to new technologies, limited distribution of well-equipped and regionally diversified production and content distribution
infrastructure, e.g. well-equipped filming studios, new media incubation labs, music recording studios, theatres and performing
arts infrastructure and very low uptake of AV industry quality standards,. While distribution chains remain structurally constrained,
the inadequacy of funding, hands-on skills, experience and training opportunities in scientific sectors such as creative film and
new media production (gaming), inadequate access to advanced technology, infrastructure and equipment to support innovation
THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 VI

and production further widen the gap in the production of quality content that can compete favorably on the local, regional and
international market.
The enabling environment for Uganda’s Audio Visual regulatory framework, in its three main components - music, cinema and
television, is in existence and has undergone significant transformations over the years including; the Constitution of the Republic
of Uganda, the stage plays and public entertainment Act, Cap 49, the Uganda Communications Act, 2013, the Copyright and
Neighboring Rights Act, 2006, Uganda Broadcasting Corporation Act, 2005. Sector growth however requires strengthening of the legal
and regulatory framework with specific regulations is however important diverse aspects to mention; institutionalization of sector
support activities, intellectual property protection, competition policy, taxation, telecommunications regulation, the regulation of
several categories of professional service providers, temporary movement of service providers and key personnel across borders,
distribution service regulation, as well as the design of fiscally sustainable and culturally efficient domestic support measures.
At the policy level, it is laudable to note a number of policies, recently developed with relevance to the industry. Some existing
policies with relevance to the AV industry include; The Uganda National Culture Development Policy, December 2006, Local content
policy for Uganda, February, 2019, The ICT Sector strategic and Investment Plan, 2015/16- 2019/20, National Broadcasting Policy,
2018, The National Communication Policy and the National Electronic Media Policy, 2019,The Press and journalists Act. While the
above policies and related interventions are commendable, there is need for deliberate efforts to harmonize and coordinate policies
across all AV related MDAs. Most importantly, the need to address industry policy gaps such as access to finance and credit, MSME
development, access to markets, human capital skills development and training, and content digitization and commercialization
requires a dedicated AV industry policy and strategy in support of increased industry productivity, competitiveness and revenue
maximization.
The above status quo undermines the potential for the industry to contribute to National Development. Therefore, this AV industry
strategy is thrust with a vision of, ‘’A formal, vibrant and predictable local content industry that contributes to socio-economic
development, employment and economic transformation’’, and a mission to ‘’ Enhance creativity, innovation, productivity and
competitiveness of the local content industry’’. Specifically, this strategy provides a framework to facilitate industry growth,
development and competitiveness with two main goals and four objectives as illustrated in the table below;
According to www.productionhub.com
1
VII THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

Goal 1: To motivate a paradigm shift from an informal to a formal and more predictable industry.
Specific Objectives. Specific Interventions.
i. Enhance institutional • Support the establishment and alignment of functional AV Institutional
Capacity to provide arrangements.
leadership and deliver
quality and efficient services • Increased industry visibility at the national level.
in AV industry related fields
• Establish and Strengthen new existing industry Legal, policy Effectiveness
and, to ensure the visibility
of the AV industry in Uganda. • Establish proper industry databases and information systems.
• Undertake an institutional review of existing Institutional functions and
Structures to streamline existing institutional roles and responsibilities, and to
improve industry coordinative arrangements.
• Design a public relations plan that will institutionalize a robust system of internal
communication within UCC and outreach to external audiences.
• Create a structure to facilitate sectoral management of the communication
function and stakeholder engagement.
ii. Facilitate the transition • Foster industry and MSME formalization, Registration, Business and Enterprise
of the industry from the Development initiatives.
informal to the formal
economy, ensuring • Promote the creation, preservation and sustainability of enterprises and decent
opportunities for income jobs in the formal economy and the coherence of macroeconomic, employment,
security, livelihoods and social protection and other social policies;
entrepreneurship. • Strengthen AV industry Business and Enterprise Capacity towards formal and
structured systems. E.g. trainings in business management skills etc.
• Strengthen existing industry self-regulating and self-governing systems e.g.

streamlining of industry associations and coordinative mechanisms between all
associations and memberships.
• Promote social-economic inclusion and facilitate the creation of new
employment opportunities, for the youth and women in the media and
entertainment industry.
Goal 2: Enhancing local content quality, industry productivity and Market Competitiveness at the local
and international level.
iii. Enhancing local content • Deepen industry capacity-building initiatives for enhance sector productivity,
quality and industry professionalism, quality and competitiveness of Uganda’s film industry locally
productivity. and internationally.
• Facilitate and support increased access to production infrastructure and

Equipment
• Facilitate and promote the establishment and strengthening of industry

Business and inter-sectoral linkages to boost production.
• Facilitate Access to Finance and Credit.
• Facilitate Access to quality, skilled, and professional Human Capital and AV

industry Training and Capacity Building opportunities.
THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 VIII

iv. Increasing industry and • Supporting Industry Brand Building and Local Brand Identity.
market Competitiveness,
Profitability and Revenue • Facilitate Industry Market Research, Monitoring and Evaluation.
Maximization. • Support Local Consumer Market Development Initiatives.
• Facilitate and support access to Local, Regional and Global Markets.
• Facilitate and support industry and local content promotion initiatives.

• Facilitate and Support the development and establishment structured local
and international content distribution system.
• Support for the establishment and strengthening of facilitative regional

platforms e.g. the EACCO to promote the AV industry development agenda.
• Promote Revenue Maximization strategies for local industry actors e.g.
utilization of digital monetization schemes etc.
This strategy will thus complement, promote and strengthen the overall development goals of the country by
addressing strategic areas central to increasing industry funding and investment, supply of skilled professional
personnel, materials and equipment, increasing access to markets for local content products, increasing adaptation to
new technology, improving coordination and implementation of policy legal and regulatory enforcement mechanisms,
and improving industry perceptions to spur industry growth and development.
IX THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

TABLE OF CONTENTS
ACRONYMS AND ABBREVIATIONS v
1 Background And Context 1

1.1 Rationale Of The AV Strategy 1
1.2 Overview Of The AV Industry 2
1.2.1 The Film Industry 2
1.2.2 The Music And Performing Arts In Uganda 3
1.2.3 New Media (Gaming) Industry 4
1.3 Socio-Economic Contribution And Significance Of The AV Sector 5
2 METHODOLOGY/APPROACH TO THE ASSIGNMENT 9

2.1 The Assessment Framework 9
2.2 Data Collection And Synthesis 9
2.3 Sampling Framework 11
2.4 Data Analysis And Synthesis 14
3 SITUATIONAL ANALYSIS 16
3.1 Industry Market Analysis (Local, Regional And International Markets) 16
3.1.1 Local Content Production Capacity 16
3.1.2 Local Content Promotion And Distribution Systems 19
3.2 THE ENABLING ENVIRONMENT 26

3.2.1 The Legal And Regulatory Framework 26
3.2.2 Institutional And Governance Arrangements For AV Industry 30
3.2.3 AV Industry Policy Arrangements 32
3.2.4 Cross Cutting Issues 48
4 The AV Strategy 53
4.1 Industry Strategic Orientation 2020/21 – 2025/26 53
4.1.1 Industry Vision And Mission 53
4.1.2 Sector Specific Goals And Objectives 53
5 STRATEGY IMPLEMENTATION MECHANISMS 56

5.1 Governance And Institutional Arrangements 56
5.1.1 Financing, Resource Mobilization Strategies 57
5.2 Critical Success Factors 58
5.3 Monitoring And Evaluation Framework 59
5.3.1 Industry Development Log Frame 60
5.3.2 Institutionalizing Monitoring And Evaluation 62
5.3.3 Evaluation Of The Implementation Of The Strategy 62
Appendix. 64
Appendix 1: The AV Strategy Implementation Plan And M&E Matrix 64
THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 X

TABLE OF TABLES
Table 1: Performance Comparison of the culture and Creative Arts 5

Industry to other Sectors in the Economy.
Table 2: Outline of Tasks, Activities, Applicable Tools and Methods 9
for the Assessment.
Table 3: List of Focus Groups for Consultation. 9-10
Table 4: Key Informants met During the Data Collection Process. 10
Table 5: Categories of industry Actors Interviewed. 11
Table 6: Sample Size and Distribution of AV and Creative Arts content 11-12
Consumers by District.
Table 7: Distribution of Respondents by Age Group. 12
Table 8: Marital Status of Respondents. 13
Table 9: Rural Vs Urban Location/Residence of Consumers. 13
Table 10: Highest level of Education Attained 13
Table 11: Average Income per Month. 13
Table 12: Summary of SWOT analysis findings in Local AV content production. 19
Table 13: Cinema and Video Halls in Uganda by Location. 20
Table 14: Number of Operational TV Stations (2011 - 2017) 21
Table 15: Number of Operational Radio Stations in Uganda 2011 - 2017 23
Table 16: Summary of SWOT analysis findings in Local AV content 24-25
Promotion and Distribution.
Table 17: AV Industry Stakeholder Categories, Roles and Responsibilities. 56-57
Table 18: Partnerships Results Matrix. 58
Table 19: Expected Programme Impact and Indicators. 59
Appendix 1: The AV Strategy Implementation plan and M&E Matrix. 64-72
XI THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

TABLE OF FIGURES
Figure 1: Value of the global video games market from 2012 to 2021 5
in billions of US Dollars.
Figure 2: The Average Film Production and Commercialization lifecycle. 18
Figure 3: An Illustration of a Local Make-shift Cinema Hall (Kibanda) in 23
Nateete Ku-Taano, Kampala district.
Figure 4: Most preferred means of accessing local content. 24
Figure 5: Historical and Forecasted Music Revenue in Nigeria, 26
2013 – 2022
Figure 6: Trends in Individual Access and Utilization of ICTs 45
in Uganda. (2008 - 2014)
THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 XII

Chapter 1: Background and Context
XIII THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

1 Background and Context
Since the advancement of the new Millennium, several countries (Uganda inclusive) seeking to diversify their economies have
opted to significantly invest and develop non-traditional service sectors to complement production within traditional industries. The
non-traditional sectors, many of which are highly resilient to economic shocks promise relatively high returns for economic growth,
development and high potential for employment creation and labour productivity, especially for the youth demographic. Uganda
through the National Development Plan has a goal to attain middle-income status by 2020, through strengthening the country’s
competitiveness, sustainable wealth creation, employment and inclusive growth. Vision 2040, which is aligned with the African
Union Agenda 2063, sets out the aim of achieving lower-middle-income status by 2032 and upper-middle-income status in 20 years.
National Development Plan II (2015/16–2019/20) (NDP II) envisages a competitive economy, gender equality, high employment
and inclusive growth. 26 Priority sectors for investment include agriculture, tourism, minerals, infrastructure and human capital
development with equitable outcomes regarding age, gender and locality.
Advanced by the convergence of skills, content digitization and the internet, the audio-visual (AV) sector as espoused under the
culture and creative arts industry has great potential for job creation, employment and export. Development of responsive strategies
as well as maximization of the sectors potential is important in ascending the country’s national development goals as well as the
achievement of Vision 2040.
1.1 Rationale of the AV Strategy

Over the years, the audio-visual sector has been growing steadily, flaunted by a rise in local content production and consumption.
The notion of the audio-visual (AV) sector includes the “creative (or content) industries” defined as industries in which the product
or service contains a substantial amount of artistic or creative endeavor. However, the definition of the industry in context of this
strategy covers only, “activities which have their origin in individual creativity, skill and talent and which have a potential for wealth
and job creation through the generation and exploitation of intellectual property”. Such sectors as described by the commission
are limited to visual arts (films, animations), broadcasting (television and radio), video and multimedia industries (video games and
software development), music and performing arts (theatre, concerts, and dance) and other new electronic media (TV Programmes,
radio Programmes, feature films, video Programs and music).
A new elevation of the role of intellectual capital in Uganda has bolstered the birth of‘’Uganda’s creative economy’’. However, growth
and investment in the AV industry has been very haphazard, fragmented, multi-dimensional and complex. There has been hardly any
structured initiatives to develop and maximize the industry’s growth, potential contribution to GDP and national development goals.
This strategy was therefore developed to;
Stimulate growth of the local audio-visual production sector;

Increase competitiveness of the Ugandan audio-visual sector both locally and internationally;
Attract and build businesses, business activities, skills and investment in the Ugandan audio visual sector;
Increase the number and scale of Ugandan audio-visual production companies;
2
https//https://www.worldbank.org/en/news/press-release/2019/10/09/global-uncertainty-continues-to-slow-growth-in-africas-economies.fh8v-rxyk, https://scholarworks.sjsu.edu/
etd_theses/3892 pedia.org/wiki/Cinema_of_Uganda#cite_note-2
3
According to www.productionhub.com, A local online registry platform that encourages registry and active engagement of people in the Film industry.
1 THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

• Establish objectives for the Ugandan audio-visual sector in Uganda at a macro level;and
• To detail the infrastructure, regulatory, legislative, public support and private enterprise initiatives to achieve the above
objectives.
1.2 Overview of the AV industry

In Uganda, audio-visual content production started as early as the pre-colonial era in the 1960’s, following the establishment and
works of the colonial Department of Information, mainly for and with colonial supported interests. Local films and documentaries
were shown to schools and local communities using large projector screens casted on mobile vans. In 1961, shortly before
independence, the government of Uganda established the first radio station, ‘’Radio Uganda’’. The first television broadcaster,
‘’Uganda Television’’ was then established in 1963, with modern production and recording studios designed along the BBC studio
model. The AV content industry has five sub sectors all of which encompass production of creative arts and culture products for
information, entertainment, edutainment, culture preservation, and advertising. For the scope of this strategy, however, the AV
industry essentially covers film, music and performing arts (live shows and theatrics) and new media production, particularly, the
local gaming industry.
1.2.1 The Film Industry

Films made in Uganda are commonly known as ‘’Ugawood’’ or ‘’Kina Uganda’’ by the locals. Since the emergence of the category
of ‘’Kina-Uganda’’, the film and movie industry in Uganda has been growing steadily albeit at a very slow rate, with a stream of
films released between 2005 and 2019. The film Industry value chain is comprised of different players from content production
to its delivery via cinema, TV channels, Internet portals or other content delivery platforms. Among these players include; content
producers, script writers, actors, directors, producers, sound and lighting technicians, location scouts, musicians, costume designers,
makeup artists, camera men, ,right-holders, content distributors.
Although the actual size and structure of the industry remains uncertain, there is an estimated 1474 self-profiled film producers ,
1769 micro small and medium (MSME) registered film production companies , about 97 international production fixers and 1189
production managers, majority of whom are youth. By October 2019, the estimated number of animation companies in Uganda
was at least 10-registered with the URSB. Equally so, the ‘’Ubuntu association of animators in Uganda’’ had registered 10 animation
production companies including, ‘’Tonda Animations’’, ‘’Creative Republic Ug’’, ‘’Kalidad images’’ and ‘’K trident’’.
To date, the categories of films produced in Uganda vary from short to feature films including; Movies (consist of the largest number
of productions), documentaries and animations. In the movies genre, the industry has produced action films, comedies, romantic
films, rom-coms , adventure such as ‘’who killed Captain Alex’’, musicals e.g. ‘’Bella, 2016’’, real life films e.g. ‘’veronicas wish’’,
dramas, period films or historical dramas, horrors, war films e.g. ‘’27 guns’’ and science fiction. Documentary production in Uganda
is also on the rise with production of Poetic Documentaries , Expository Documentaries , and Observational Documentaries e.g. the
popular ‘’NBS investigates’’ documentaries, participatory documentaries , reflexive documentaries and performative documentaries.
Although the number of local films produced annually remains low and unjustified, there is recognizably, steady improvement in
production and quality of local films within the industry, from barely any feature Films in 2000, to an average 205 at the November
2018 Uganda Film Festival. Among these included over 150 film submissions, 20 documentaries, 5 Animations, 10 student films,
10 TV Drama Series and 10 short films exhibited locally and at various international film festivals in 2018 alone. Compared to other
countries such as Nigeria and South Africa, there is even wider potential for growth as in the Nigerian film industry (Nollywood),
which today produces about 50 movies per week from 50 a year in 2006.
THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 2
The industry’s competitiveness, however, remains low compared to other countries within the region. There is aggressive competition
(locally and internationally) from foreign content; estimated at 26% FTA; 10% Radio dominated by western and West African Music
in all East African Countries; over 90% foreign film; and animation at an estimated 95% following the advent of foreign content since
the 1960’s . Despite its low competitiveness, Uganda’s film industry has great potential for growth and awaits development and
exploitation to realize its true value and contribution to the economy.
1.2.2 The Music and Performing Arts in Uganda.

Music is a multi-billion dollar industry and one of the highest paid industries in the World. The music and performing arts industry in
Uganda has a long and proud history. The music industry encompasses the production, reproduction and dissemination of recordings,
live performances, broadcasts, transmission via cable or satellite and the internet among others. While music preference is diverse
across the country, there are perceivable patterns based on locations, demographics, and cultures. The industry’s products consist
of products that take the form of physical artifacts, services and intellectual property characterized by a global flow of revenues.
Music genres produced in Uganda include ‘’traditional or cultural music’’, ‘’popular music’’, ‘’kandongo-kamu’’, ‘’Kidandali’’, ‘’dance
hall’’, ‘’hip-hop’’, ‘’jazz’’, ‘’gospel’’, and ‘’classical music’’, although barely known. Increasingly, all genres have a homegrown character,
often sung in local languages.
Uganda has an estimated 40,000 music producers and renowned musicians, majority of whom are youth. Similar to the film industry,
the music industry still operates informally but vibrant in the socio-economic lives of many Ugandans. There are some medium sized
music companies; however, the industry mainly constitutes fragments of small and micro businesses involved in music production,
education and training and live performances, but with majority undertaking the full range of activities along the music production
and distribution value chains.Other categories of industry actors include composers, artistes or songwriters, musical performers, as
well as agents, managers, promoters, music publishers, record companies, copyright collection societies, distributors, retailers as
well as individual music consumers .
In November 2019, Uganda ranked third among top 10 countries in music production and entertainment in Africa, with a significant
number of outstanding and internationally renowned music creators, performers and artistes in with enduring careers both locally
and abroad. With a small population base to continental and global population, it is fair to say that Uganda’s music has had a tangible
impact on the international music and performing arts scenes with musicians such as ‘’Eddy Kenzo’’, ‘’Jose chameleon’’ and ‘’Bobi-
wine’’, music having fair demand on the international scene. Music industry revenue is made through endorsements, albums sales,
tours and concerts as well as other business ventures. Insights from some platforms reported that Uganda’s top 10 highest paid
music artists are estimated to earn a combined monthly income of over Ugx 600 million ($162,000), of both legendary and new
musicians largely in live performance fees. This figure excludes earnings from other hard to establish platforms such as celebrity
endorsements, private/corporate functions, royalties by radio stations, discotheques, revenue from online streaming platforms e.g.
YouTube, amazon Spotify iTunes or telecom call back tunes.
In 2019 popular music concerts, live music shows and comedy nights were the most popular and had the highest attendance rate
as cultural activities. An estimated 25% of Ugandans aged 15 years and over attended at least one concert or show in a 12-month
period . Both sectors attract the highest levels of attendance, with popular music shows and comedy events consistently selling
the largest number of tickets than any other category in performing arts and the largest categories by gross revenue and total
attendance, estimated to represent 36.7% of the performing arts industry by revenue.
A ticket attendance and revenue survey of live performances between June and December 2019 found that gross revenue for some
popular shows in Kampala increased in both quarters from an estimated $120,000 in quarter 3 and grossed over $300,000 dollars
equivalent in December 2019 . While categories such as live music performance and comedy nights are flourishing, some sectors,
particularly theatre practice are experiencing a declining trend despite years of vibrant performances as some industry structures
remain under developed and untargeted to support holistic music and performing arts industry growth.
Whilst being a final product in itself, local music and performing arts transcend a number of traditional sector boundaries, micro,
small and medium enterprises (MSME) products and industries, including film, television, radio, advertising, retailing, and games,
mobile and other new technologies to enhance product satisfaction. The ease in conversion of music and performing arts from
live productions to digital and Monetizable online productions further enabled the success and sustainability of the industry’s
productions. While converged networks, markets and technologies become less and less confined to national borders, development
of responsive strategies that embrace the role of music and performing arts industries, as well as maximization of the sectors
potential is important, in ascending the country’s national development goals, and achievement of Vision 2040.
1.2.3 New Media (Gaming) Industry.

New Media production takes up the factions of software development, video game production and any other digitized content. The
Gaming Industry, as is the core faction of this component, can be broken down into three main segments: Mobile, PC and Console.
In Uganda, the industry is still in its infancy and nascent stages (development stage). Although the number of functional video games
produced in Uganda over the years is still uncertain, some known video game developers such as Kola Studios had at least five
games selling internationally by 2019.The first known Ugandan game was the Android iOS powered mobile game titled, ‘’Matatu,
produced in 2010 . In 2019, the game ‘’Matatu’’, was listed among Africa’s top ten video games in 6th place after South African and
Kenyan games . By August 2019, the game had accumulated over 500,000 downloads by users in Africa, Asia and the Middle East,
suggesting the existence of ready demand and a high potential for market penetration of Ugandan video game products on the
world global gaming market.
Nearly 100% of local video game developers in Uganda are youth. There is a growing number of gaming businesses in the country,
currently estimated at seven – including ‘’Kola Studios’’, ‘’Klan of the Kings’’, and a number of individual un-registered developers.
Majority of the gaming businesses are small and youth owned, employing at least 2 – 5 young independent and flexible millennials,
skilled in application development.
Globally, the future of the video game market looks promising with opportunities in the smartphones, tablets, PCs, and consoles
market . Mobile devices, including cellular phones is the fastest growing part of the market and currently accounts for 51% of global
gaming sales . The global demand for video games is on an all-time high estimated at $131 billion in 2019 with mobile gaming
outpacing revenue made by pc and console gaming as illustrated in the figure below. The market is expected to rise between $179
- $300 billion by 2025, with the growth of mobile gaming and innovative technology offerings, like cloud gaming and virtual reality
according to a new report from Global Data.
Figure 1: Value of the global video games market from 2012 to 2021 in billions of USDollars.
Source: https://www.statista.com/statistics/246888/value-of-the-global-video-game-market/
4
Uganda Registration Services Bureau, November 2019.
5
Short form for romantic comedies e.g. the popular TV series ‘’Entununsi’’.
6
Their main aim is to focus on experience, images and shows people the world from a different set of viewpoint. They are mainly loose and abstract depicting a kind of feeling rather than
the truth. It is individualistic and experimental in form.
7
Expository documentaries intend to persuade or inform. It is bereft of ambivalent or poetic eloquence
8
Observational Documentaries focuses to observe the world and the surroundings
9
Participatory has common characteristics of both observational and expository. They involve the filmmaker with the narrative.
10
Reflexive Documentaries are familiar to participatory documentaries in a way that they also comprise the filmmaker with the particular film. However, they make no effort to investigate
an outside subject, unlike the participatory documentaries.
11
A unique and inventory combination of styles used to share a poignant message to the world as well as to stress on subjects with experience. They often affix personal accounts and
experience placed closed together with the prodigious historical and political concerns.
12
UCC, 2018.
13
https://bigeye.ug/full-list-ugandas-musicians-music-artistes/ includes old and new musicians as at October 2019
14
AUDIOVISUAL SERVICES: IMPROVING PARTICIPATION OF DEVELOPING COUNTRIES UNCTAD secretariat, 2002.
The global video games and sports industry continues to grow across all segments and markets, with traditional (console and PC)
gaming experiencing a transition to online-focused revenues. According to PwC’s Global Entertainment & Media Outlook, 2019-
2023, the video games and e-sports sector, which topped US$118bn in 2018, continues to grow across all segments and markets.
E-sports remains the fastest-moving area of the video games markets with 18.3% annual growth rate through 2023 . The e-sports
category remains the smallest, but fastest-growing, sector.The PWC global entertainment and media outlook report projects that all
four major categories of revenue in this segment traditional gaming, social and casual games, video games advertising and esports,
will experience continued growth. Although they are declining steadily, physical games are holding up surprisingly well. Recognizably,
a lot of potential lies in new media production and if supported, the sector can inspire growth and contribute considerably to the
economy.
1.3 Socio-Economic Contribution and Significance of the AV Sector.

The mapping of cultural and creative industries in Uganda (UNESCO, 2009), showed that the culture sector in the country fosters
economic growth, job creation, exports earnings and promotes culture preservation and pluralism . Although actual figures for each
subsector are currently un-ascertained, the major economic impact of the culture and creative arts industry has been its direct and
indirect contribution to GDP and employment. Although a lot of the AV sub-sector potential remains untapped, It is estimated that
between 2004 and 2008 Uganda’s exports of cultural goods and services were valued at $20 million (about Shs50b).
In terms of employment, copyright industries employ about 100,000 people countrywide, with 10 - 12 people employed in every
1,000 in the central region and 0 – 1 in 1,000 in the northern region, according to a mapping survey commissioned by Uganda
National Commission (UNATCOM) for UNESCO in 2009 .. In 2017, Uganda generated an estimated UGX 12.6 Billion in revenue
and exported approximately, UGX 427 Billion worth of creative arts goods and intellectual Property (IP) services . This made up
approximately 3% of Uganda’s total GDP of USD $27.6 Billion dollars as estimated in 2017, which however does not compare to
Nollywood’s impressive $590 million annually . In the FY 2017 and FY 2018, collections from the creative industry in license and
registration fees were estimated at approximately UGX 2.6billion and UGX 1.8billion respectively.
While the unemployment rate in Uganda are estimated at 2.1%, the culture and creative arts sector has employed over 12,460 SMEs
and over 1,000,000 youth since 2013 in various sectors and roles including the audio-visual sector. The World Bank jobs diagnosis
and strategy report and the International Monetary Fund (IMF) country economic reports, 2018, state that Uganda needs at least
600,000 new jobs each year. This figure is expected to rise up to 1,000,000 million new jobs annually by 2030. Given its great
potential to answer some of the country’s employment needs, this number has most likely increased over the last six years with
more youth willing to create and seek employment in music, theatre and drama, film and cinema production, media, photography,
fashion houses, stage plays, comedy and related performing arts, than other industries in Uganda.
Table 1: Performance Comparison of the culture and Creative Arts Industry to other Sectors in the Economy.
Breakdown of Economic Activity By Culture and creatives Agriculture Industry Services
Sector, 2015. industry.
Employment by Sector (in % of Total 1.4% 68.4% 7.0% 24.1%
Employment)
Value Added (in % of GDP) 3% 24.5% 20.3% 47.1%
Value Added (Annual % Change) (Unknown?) 1.6% 3.4% 5.9%
Source: World Bank, Latest Available Data. Because of rounding, the sum of the percentages may be smaller/greater than 100%.
Globally, copyright industries account for over 7% of the World’s GDP. In 38 countries surveyed by UNCTAD, creative services
represented an average portion of 18%, growing from 17.3% in 2011 to 18.9% in 2015 . Digital animation today is one of the fastest
growing creative industries with an annual growth rate of 5 per cent. In 2015, the global animation industry recorded output value
of approximately USD 244 billion . In Africa, creative industries represent about 3% of the continents GDP, also higher than Africa
has combined in total trade ratios to Global Trade (which is just about 1%). Still in 2013, trade for culture and creative goods and
services was estimated at USD 624 Billion. While the growth rate of this sector annually was estimated at 8.8% in 2013, developing
countries exports for creative goods and services has been growing at a rate of 12.1 per cent annually since 2002. Although the
global Entertainment and Media industry was affected by the recession in dollar terms, the market rose year on Year, to US$3.6
billion in 2016, and increased at a 12.2% Compound Annual Growth Rate (CAGR), reaching US$6.4 billion in that year. This proves
the industry and related sectors to be resilient to a number of economic shocks.
AV industry consumer survey, a statistical overview by Steadman 2019.

15
16
17
Kola Studios Production, Daniel Okalany, 2018. The only Ugandan video games developer on the African top 10 list of Video game Developers, Kola Studios develop mobile games for the
Android and iOS operating systems. They also believe that they have a secret formula for making successful video games: Talented people, freedom to think and a passion for their products.
“We work out of an incubator, which is true to our core — we love working in a very relaxed and free environment, participating in the community and interacting with the budding tech
community in Kampala.”
18
https://www.itnewsafrica.com/2013/10/top-10-african-game-developers/
19
https://www.prnewswire.com/news-releases/the-global-video-game-market-is-expected-to-reach-an-estimated-179-1-billion-by-2024-with-a-cagr-of-6-4-from-2019-
to-2024--300857007.html
20
https://newzoo.com/insights/articles/global-games-market-reaches-137-9-billion-in-2018-mobile-games-take-half/
21
https://www.statista.com/statistics/246888/value-of-the-global-video-game-market/

Big economies and successfully developed nations are leading in trade and exports for creative/ culture goods. In Nigeria, the
local film hub produces a minimum of 2,500 films a year, a huge figure that makes it the second-biggest global production hub
behind India. The local film industry is undoubtedly helping create jobs in a country with an economy that relies mainly on oil and
agriculture. Over a million people are currently employed in the ‘’Nollywood’’ industry, making it the country’s largest employer
after agriculture.
Box 1: Contribution of the Creative Arts Sector (Film and Music to Nigeria’s Economy).
Each year, Nollywood generates more than US$7 billion for the national economy. According to an IMF report in the
summer of 2016, the industry accounted for 1.4% of GDP. Nigerian cinema is on the rebound. With new theatres
opening and production quality increasing, box office revenue will increase steadily in Nigeria over the forecast
period. Total cinema revenue is set to reach US$22 million in 2021, rising at an 8.6% CAGR over the forecast period
as Nigerian films gain international recognition and investment increases. Total music revenue in Nigeria rose 9.0%
in 2016 to reach US$39 million, and is set to rise at a 13.4% CAGR to US$73 million in 2021. Nigeria has a relatively
small video games market, valued at just US$41 million in 2016. Nigeria’s video games market is set to expand
at a similar CAGR of 15.8% over the next five years, largely driven by Social/casual revenue. Although Nigeria’s
economy will grow by 7% this year, according to the African Development Bank, insufficient jobs for a growing
youth population continue to be a huge concern. Believing that if the industry is properly managed, a million
more jobs could be created in the sector, the World Bank is currently assisting the Nigerian government to create
a Growth and Employment in States project to support the entertainment industry, along with other industries.
PWC Entertainment and Media Outlook report, 2017 – 2019.
In 2013, the European Union (EU) exported over $150 billion of creative goods and $120 billion in services in alone. In the United
States of America (USA), music and film contribute over 40% of GDP while Hollywood alone had 157 self-made billionaires in
2018, majority of whom are directly involved in the entertainment industry.In Uganda, a few indirect indicators show the recent
development of various sectors, sub-sectors and segments directly and indirectly related to the copyright industry. For instance, the
creative arts industry is partly responsible for the existence and productivity of some MSMEs in other industries and sectors such as
broadcasting, advertising, tourism, telecommunications and other premium services, attracting a considerable part of net industry
revenues, fees, royalties and taxes. In addition, many components of the sector facilitate social transformation, communication,
community mobilization, and culture promotion, infusion (e.g. story telling), preservation and social inclusion in various ways.
More so, the sector or industry promotes the preservation of many Indigenous communities, cultures and languages of Indigenous
communities, which play an important role in shaping national Identity.
The media entertainment has not only contributed to the economic growth of Uganda, but is also playing a major role in the
rebranding and laundering of the country’s image abroad. Theatre and performing arts have the potential to boost social service
delivery, community mobilization, politicking, matters of social inclusion, emotive learning, development of new
partnerships and new economies. “They are supporting the physical and mental development of citizens and open people’s minds
and horizons.
The creative industry and culture sensitize people to be aware of what is happening around them and give impulses on life
perspectives. Arts and culture enhance the quality of life, through a creative perspective on life. Culture is the connecting part
in society which makes us understand each other and working on common development of a society.” Performing arts such as
theatre also have the potential to contribute to poverty alleviation through widespread promotion of human rights awareness,
good governance, accountability, work ethics, acceptable morals, good cultural practices and positive cultural heritage. This further
strengthened in 2015 with the ratification of the 2005 Convention on the Promotion and the Protection of the Diversity of Cultural
Expressions and Exploration of horizontal partnerships with other industries such as tourism, cultural diversity and human resource
development. Several projects aimed at exploiting local culture and content have also come up with positive results exhibited
through the increased exportation and appreciation of Ugandan culture and strong impact on tourism promotion through local
creative arts brands such as ‘’Anne Kansiime’’ and ‘’Eddy Kenzo’’.
22
Global Entertainment and Media Outlook Report 2019 – 2023.
23
For this scope The industry is described to comprise five core sub-sectors including; film and video industry (Includes films, documentaries, animated movies and short films), music
production, performing arts (music and theatre) and mew media productions, particularly gaming (Video games production).
24
UNESCO National Commission of Uganda in 2009
25
UNESCO National Commission of Uganda in 2009
26
The daily monitor, 7 June 2017.
27
https://www.un.org/africarenewal/magazine/may-2013/nigeria%E2%80%99s-film-industry-potential-gold-mine
28
Uganda House Hold Survey, UBOS 2013.
To date, the audio-visual industry presents enormous opportunities and potential for growth and development, considering a myriad
of advantages accruing to the economy on an incremental basis, as a ‘’Sustainable Knowledge based sector’’ with significant spill-
over potential”. Despite its high growth potential, Uganda’s AV content industry still falls short of its potential and competitiveness
in all facets, impeded by various gaps in local content demand and supply chains, locally, regionally and internationally, while the
net contribution of some audio-visual sectors to primary products, production, investment or exports remain insignificant. There is
reason to embrace and support the creative economy’s growth. By offering economic insight into the trade in creative goods and
IP services, the government will understand the creative economies, leverage gaps and amplify areas of industry performance and
competitiveness.
29
https://unctad.org/en/pages/PressRelease.aspx?OriginalVersionID=499
30
Research and Markets, “Press release of the Global Animation Industry Strategies Trends & Opportunities Report 2017”, 25
October 2017. Available from https://globenewswire.com/news-release/2017/10/25/1153106/0/en/Global-Animation-IndustryStrategies-Trends-Opportunities-Report-2017.html.
31
China, India, Jamaica and Nigeria lead the developing countries.
32
Compound Annual Growth Rate

Chapter 2: Methodology/Approach to the Assignment

2 METHODOLOGY/APPROACH TO THE ASSIGNMENT
In line with the Terms of Reference (ToR), theassignment consisted of two critical tasks including; a) the data collection phase and b)
the analysis and reporting phases. Our approach and methodology in relation to the AV strategy entailed three phases:
Table 2: Outline of Tasks, Activities, Applicable Tools and Methods for the Assessment.
Phases Key tasks Summary of Activities. Applicable Methods.
Phase 1 • Review of • Initial planning and preparation • Desktop research on specific AV
documentations • Preliminary literature reviews industries and value chains.
• Inception meeting and field work • Review of existing national
planning meetings documentation on specific creative
• Development of data collection industries
tools • Checklist development
• Stakeholder Mapping.
Phase 2 • Field Engagements/ data • Diagnostic study at the national • Key informant interviews local
collection level (Policy makers, training content producers in all facets of the
• institutions and specific creative AV industry
industry producer groups. • (sector departments, agencies and
• Diagnostic study at the district non-governmental organizations
level (content producers and involved with the AV industry)
developers) • Focus group discussions at district
• Diagnostic study at the local level levels.
(Consumers) • Consumer engagements
• Linkages and coordination among
and between institutions
• Sector-specific diagnosis
Phase 3 • Data analysis, and report • Data Analysis and Report Writing • Primary and secondary data analysis.
writing • Findings validation workshop • Qualitative and quantitative data
• Consolidating Final Reports. analysis and reporting
• Validation workshops
2.1 The Assessment Framework
The assessment applied a mixture of guiding instruments, most importantly, the SWOT analysis, the PESTEL analysis and the burke-
litwin model of institutional assessment. In preparation for the next phase of the assignment, a comprehensive review of relevant
documents was undertaken. The consultant also scrutinized a number of pertinent documents to inform the industries strategic
drivers including documentation from various key stakeholders (UCC, MICT, MOGLSD, and Uganda Media Council among others),
new papers, books on the subject and the internet. The document review further harmonized and created a broad understanding
of situational concepts and open discussions from each key stakeholder institution involved with the AV industry. (The list of
documents reviewed is contained in Appendix 4).
2.2 Data Collection and Synthesis

The consultant undertook a detailed data collection processes analysis and synthesis with an aim of deriving relevant information
to inform the objectives of the assignment as outlined. This stage involved the following:
Focus Group Discussions (FGD): As part of key inputs in the preparation of the various documents required under this assignment,
selected FGD’s with key stakeholders to ascertain opinions on relevant industry policies and strategies. FGD’s were scheduled and
agreed with all stakeholders based on the required input requirements as per the TORs.
Table 3: List of Focus Groups for Consultation.
Category AV sector. Targeted Key Informants
• Specific Audio Visual • Film and Videos (film, • Film Festivals/Markets
content develop- Documentaries, animations, • Film Makers, other rights holders,
ment Value chains Video games) • Producers/Content Creators/Composers, translators,
• Music Industry Publishers, Animators.
• Selected Producers and Content creators. Media actors
• Media Houses • Performers, Artistes, Musicians and Conductors, Actors and
• New Media -Video Games Actresses etc.
• Training Institutions • Tertiary Institutions • Students, Lecturers, Heads of Institutions
• Vocational Institutions • Lecturers and Tutors
• Training Agencies • Service providers
• Film Festivals

• Distributors • Cinemas • Cinema Managers (two within Kampala)
• Industry Distributors and • Promoters and Distributors
promoters • (Both Local and International Agents, Managers and
Promoters
• End Users or • All Media • End Users/Consumers e.g. Kibanda or Cinema attendees,
Consumers • Record Players, Media Charts, Live Music audiences, Listeners.
KII Interviews: Certain tasks in the scope of work required administering KII’s to obtain primary data for use in preparation of
the expected outputs, especially to inform the industry SWOT analysis, skills gaps, stakeholder expectations, needs and capacity
assessment as well as competitiveness improvement needs. Customized institutional specific quantitative assessment data
collection tools were prepared and administered to all key stakeholders to determine the challenges, gaps as well as their needs
and expectations (See appendix 5 for the questionnaire tool). Selected key informant interviews were also undertaken with critical
stakeholders including key staff in critical stakeholder entities involved with the creative’s arts and AV industry. The interviews
provided detailed information to enable triangulation of information obtained from document reviews and the FGD’s.
Table 4: Key Informants met During the Data Collection Process.
Category Targeted Key Informants Entity.
State Actors Policy Makers MICT, NPA
Ministries,
Departments,
Agencies)
Regulatory and Licensing UCC, URSB, Uganda Media Council, Gaming Board of Uganda, URA, KCCA,
Agencies Uganda Police, NEMA
Implementing Agencies. NITA, UIA, UNBS, MOGLSD, MTTI, MoTWA, MOFA, MoLG, UBOS
Civil Society Actors Collecting Society Uganda Performing Rights Society (UPRS)
Copyright Society Uganda Journalist Association
Uganda Music Producers Association
Uganda Film Council
National Benchmark Nigeria • Nigeria Film Commission.
Institutions • (Some were Literature Reviews South Africa, Kenya, Ghana, Botswana,
European Union, United States, and Asia.
• Enterprise Level benchmarking. I.e. international firms and enterprises
that have been successful in the development, production, marketing
and distribution of AV content globally.
Supply Side • Content Pre- and • Production and Record Companies
Stakeholders Post-production and • Studios and recording manufacturers
Development • Public and Private Distribution agents.
• Content Marketing • Broadcasters Digital, Satellite, Cable and Terrestrial Media Houses
and Distribution Various Media Houses (Among others)
• DSTV, GOTV, NTV, UBC
• Radio Stations
• Local and International Distribution and Record Companies
• Training and • Kampala Film School, University-School of Performing Arts,, UMCAT, The
Development National Theatre, German Cultural center, Alliance Francaise
Institutions • DSTV, Innovation village, Maisha Lab the Training Institution and Other
potential Service providers
Demand Side • Local AV content • Urban Content Consumers
Stakeholders. consumers. • Content Consumers within the Regional and Rural areas across the
End users and country
consumers. • Selected End Users across selected Regions and Districts e.g. Kampala,
Mbarara, Fort portal, Gulu, etc.
Development AV Interested Partners. ADB, WB, EIF, EC.
Partners
A stakeholder workshop was held on 23 August 2019 at Kati-Kati Restaurant, Lugogo bypass. The workshop gathered stakeholders
from various facets of the AV sector including (Film, Music, Performing Arts, Gaming, training institutions and key policy implementing
agencies and regulatory bodies). Key industry actors engaged include

Table 5: Categories of Industry Actors Interviewed.
Targeted Key Informants Frequency
AV Content Producers • Film Producers 10
• Music Producers 3
• New Media Content Producers 3

AV Content Distributors and Promoters • Film Promotion and Distribution 3
• Music Promotion Agencies 1
• Media House Representatives 1
• Cinema Managers 0
Performers, Artistes, Musicians, Actors and • Film Actors 3
Actresses etc. • Musicians 3
Training Institutions. • Students, Lecturers, Heads of Institutions 7
• Lecturers and Tutors
7
AV industry Associations Music Associations 2
Film Associations 2
Performing Arts Association 1
The views of various stakeholders were captured describing challenges, needs, opportunities and recommendations for future
initiatives to support key actors and development of the AV sector.
2.3 Sampling Framework.

2.3.1 AV industry Consumers
Given a total population size (N) of 6,789,814 in the 8 selected districts (UBOS 2014) the calculated sample size (n) using the above
formula was = 385 respondents. Given a non-response rate of 15%, the adjusted sample size included = 443 respondents.
Table 6: Sample Size and Distribution of AV and Creative Arts content Consumers by District.
Region District Population Rural-urban Proportion of Sample size Sample

size (N) distribution the distribution size
(UBOS 2014) (UBOS 2014) population (rural-urban) distribtion
(per
district)
Central Kampala 1,507,080 Rural= 0 0% 0 98
Urban= 1,507,080 22% 98
Wakiso 1,997,418 Rural= 814,517 12% 53 130
Urban= 1,182,901 17% 77

Eastern Iganga 504,197 Rural= 411,460 6% 27 33
Urban= 92,737 1% 6
Tororo 517,082 Rural= 444,937 7% 29 34
Urban= 72,145 1% 5
Northern Arua 782,077 Rural= 720,131 11% 47 51

Urban= 61,946 1% 4
Gulu 436,345 Rural= 286,545 4% 19 28
Urban= 149,800 2% 10
Western Hoima 572,986 Rural= 467,021 7% 30 37

Urban= 105,965 2% 7
Mbarara 472,629 Rural= 277,471 4% 18 31
Urban= 195,158 3% 13
Total 6,789,814 6,789,814 100% 443 443
This report gives a diagnostic assessment of the current views that stakeholders generally have about the challenges faced by the AV
sector in Uganda, causes of the said challenges and potential solutions to the same.
2.3.2 Profile of Consumer Market Respondents.

A survey was conducted among 418 consumers. Customized stakeholder specific quantitative assessment data collection tools
were prepared and administered to all consumers and producers to determine the specific gaps and needs of both producers and
consumers in eight districts countrywide. (See appendix 5 for the questionnaire tool). Majority (51%) of the respondents were
male, over 60% were urban residents, and majority of the respondents earned ≤ 300,000 Ugx (Table 1).
2.3.3 Age of Respondents.

The average age of the respondents was 31.7 ±10.6, while the minimum age of respondents was 15 years.
Table 7: Distribution of Respondents by Age Group.
Age groups Frequency Percentage
• 15 - 19 19 5%
• 20 - 24 83 20%
• 25 - 29 111 27%
• 30 - 34 83 20%
• 35 - 39 46 11%
• 40 - 44 34 8%
• 45 - 49 14 3%
• 50 - 54 10 2%
• 55 - 59 6 1%
• 60+ 12 3%
418 100%
2.3.4 Gender of Consumer Respondents
Female Male
48% 52%
Male
Female

Table 8: Marital Status of Respondents.
Category. Frequency Percentage.
Married 149 (37.06%)
Cohabiting 57 (14.18%)
Divorced 7 (1.74%)
Separated 41 (10.20%)
Widowed 20 (4.98%)
Single 126 (31.34%)
Other 3 (0.50%)
The respondents were distributed between rural and urban areas, with 33.2% residing in the rural areas and 66.1% residing in urban
areas.
Table 9: Rural Vs Urban Location/Residence of Consumers.
Category Frequency Percentage.
Rural 138 (33.82%)
Urban 270 (66.18%)
2.3.5 Educational level attained of Consumer Respondents

The respondents, 12.9% said they completed high school. 6.23% indicated that they had attained post high school qualifications
such as certificates, diploma, degree, masters. Around 2.9% had attained no formal education and never went to school or had not
completed their schooling while 5.74% had completed up to primary school level. The greater majority over 50% indicated to have
at least ‘’A’’ level education. The table below presents the findings on the level of education attained by the respondents.
Table 10: Highest level of Education Attained
No formal education 12 (2.99%)
Incomplete primary 24 (5.99%)
Complete primary 23 (5.74%)
Incomplete O’ Level 50 (12.47%)
Complete O’ Level 52 (12.97%)
Incomplete A’ Level 25 (6.23%)
Complete A’ Level 51 (12.72%)
Vocational Education 55 (13.72%)
University- Graduate 93 (23.19%)
University- Higher degree 13 (3.24%)
Other 3 (0.75%)
2.3.6 Respondents Income Threshold.

The respondents (30.75%) indicated to have earned less than or up to 100,000 Ugx a month. 36.29% of the respondents indicated
to earn between Ugx 100000 – 300,000. Around 16.34% indicated earnings between Ugx 300,001 - 600000, 9.7% indicated to
earn between 600,001 – 900,000 and the rest above 900,001 per month. Understanding the income status of audiences assists in
developing a suitable pricing strategy. Income levels generally define lifestyle and spending habits. However, these results should be
interpreted with caution, as generally, there is a tendency for some to overstate or understate their monthly income levels. Some
simply refused to answer the question.
Table 11: Average Income per Month.
<100,000 111 (30.75%)
100,001 - 300,000 131 (36.29%)
300,001 - 600,000 59 (16.34%)
600,001 - 900,000 35 (9.70%)
900,001 - 999,999 11 (3.05%)
1000,000 > 14 (3.88%)

2.4 Data Analysis and Synthesis.
Prior to the analysis stage, all data collected was subjected to intensive cleaning using both computer-aided visual checks, to identify
and rectify any errors, missing cases, outliers and extremes. Given that the bulk of the data collected was qualitative, this data
required transcribing, organizing into key themes, coded descriptively and into relevant concepts and patterns, before it could
be analyzed. Qualitative data from the in-depth literature review, focus group discussions and KIIs was analyzed using thematic,
discourse and content analysis methods. The transcripts were read to extract the emerging themes. Coding of themes using MS-
Word 2013 and physically using flip charts and themes narrowed down into main themes.
Determination of the strategic objectives and undertook a participatory design method with an aim of identifying and aligning the
goals and vision of all relevant stakeholders. KIIs and FGDs covered observations and insights from the staff and officers of: The
Uganda communications commission and other key stakeholders including relevant line ministries, and departments responsible
for the creative arts and AV industry will be involved in a validation workshop to agree on the futuristic and strategic orientation of
the sector. Finally, cost and investment options were developed and assessed, and overall fiscal implications for (industry investment
were provided to address the development objectives of the sector.

Chapter 3: SITUATIONAL ANALYSIS
3 SITUATIONAL ANALYSIS
3.1 Industry Market Analysis (Local, Regional and International Markets).

The success of the AV and entertainment industry locally, regionally and globally is tied to production (supply side factors) and
discretionary spending by consumers locally, regionally and globally (Demand side), making economic stability key for profitability
and industry growth. Achieving this goal, however, requires the alignment of a number of factors, with relevance to the growth
needs of the local AV industry. The sections below discuss more in details
3.1.1 Local Content Production Capacity.

3.1.1.1 Film Production Capacity.
Film production within the industry is associated with the film production and commercialization life cycle, which emphasizes
value creation, commercialization and revenue optimization. The pre-production or development stage involves the initiation stages
of AV products e.g. scripting development of budget estimates for the AV production and screenplays. It is also at this stage that
producers acquire rights on original screenplays, identify artistic and financial partners and gather all human (production crew,
casting), technical (shooting schedules, selections of locations) and financial resources (budgets and funding) necessary for the
film or production. The Postproduction phase of the AV product covers film editing, introduction of soundtracks and special effects
(among others), all skewed towards enhancing the quality of the production. This lifecycle is further illustrated in figure 2 below.
Figure 2: The Average Film Production and Commercialization lifecycle.
Completion of the film cycle requires proper production infrastructure, effective legal and policy arrangements between agencies
and actors, skilled human capital, well-developed markets and distribution chains.
As the industry in Uganda is still developing, access to proper film production infrastructure, facilities e.g. well-equipped filming
studios to support the transition to digital production and distribution is still limited, especially in the rural areas.Nearly 70% of
film producers interviewed (7/10) opt to rent production facilities and equipment, while emerging or small enterprises apply‘’Do-
It-Yourself’’ equipment. This lowers the quality of local films and negatively influences the industry’s growth rate and production
potential. Producers attributed this to inadequate access to funding, high taxes on filming equipment and high access fees and
stringent laws hindering the utilization of reserved natural sceneries. The need to expand and regionally diversify production
infrastructure and equipment is critical to meet the growing need for efficient and quality film production. In the UAE, South Africa
and Kenya, governments in partnership with the private sector established film cities and facilitated the set up a content production
studios or film incubation labs, which solutions, Uganda can adopt.
There has been an exponential growth rate in film production as a function of increased capacity building initiatives, experience and
exposure. However, film sub-sectors such as animation, with a high global proportion of net revenue remain very embryonic or nearly
inexistent. There are barely any structures to support growth of such subsector genres such as traditional animations, stop-motion
animations and computer animations. While the capacity and interest to produce such content exists within the country, the need
for targeted subsector investment schemes is important to induce their growth. Furthermore, facilitating innovation, collaboration
between local film producers, and increased investment in dedicated innovative film laboratories and media production technology
is important to advance innovation and access to modern film production infrastructure.
A large proportion of local films still do not meet local, regional and international quality standards mainly due to inadequate skills,
experience, exposure and familiarity to some classification systems and standards. This further downplays the ability of locally
produced films to release in cinemas and limits their performance at the box office, locally and internationally. Initiatives such as the
Uganda Film Festival (UFF) in 2013 fostered visibility, growth in production and improvement in the quality of local films and movies
since 2013. However, the need for more concerted efforts to improve capacity, access and accelerated local film certification is
essential for production and quality improvement. Deepening the existing capacity-building initiatives for the film sector is important
to enhance sector productivity, quality and competitiveness. Furthermore, development of a strong film review and critic culture
and an effective feedback mechanism e.g. ‘’the online rotten tomatoes platform’’ can help promote and available movies and foster
continuous quality improvements in local film production.
Regional and international co-production agreements, opportunitiesand linkages provide local firms a chance to produce more and
obtain higher stakes in their own intellectual property. However, the concept as practiced still devolves to foreign conceptualization
and ownership of the intellectual property, with fewer individuals within the industry pursuing the practice. Enhancing production
and value out of co-produced film works will require strengthening of existing laws and regulatory systems to protect local
content producers at the conceptual or post-production stages, development of local skills and experience in the management of
coproduction opportunities.
The availability of favorable laws and policies particularly, the digital migration policy and the local content quota promoted increased
local content production with assurance of ready market locally on local media television and radio platforms. Implementation of
the quota forced an increase in local demand and market availability, production and distribution of local content. Television stations
such as pearl magic have particularly attracted a number of submissions for film content, following a series of awareness and
capacity building Programmes for local content producers.
3.1.1.2 Music and Performing Arts Production Capacity.

Inadequate access to production studios, infrastructure and equipment continues to limit the quality and production of digital music
in Uganda .In the past, some artistists and musicians travelled across the region and the world to access more sophisticated recording
studios, infrastructure and sceneries. Although the number of recording studios and music production infrastructure has improved
over the last two decades , the distribution of such infrastructure and facilities across the county is still poor, with very limited access,
especially in rural areas. Where in existence, some studios visited had poor or obsolete equipment and soundcards, which often
compromised quality and local production standards.Expansion of access to proper production facilities and infrastructure across all
regions as well as facilitation of producer access to funding and credit to acquire new equipment is important in advancing quality
and sector productivity.
Performing arts infrastructure across the country remains limited and undistributed which further limits production. There are
about five performing arts theatres all located within the central region. Among these, only one meets professional standards for
performing arts theatres and auditorium capacity i.e. the National theatre. Other theatres include; the Ebonies spectrum theatre,
Afri-talent, Diamonds ensemble and Ndere center theatres.Public theatres in Uganda have in the past been poorly managed while
access to other well-equipped performing arts theatres has been limited due to limited group schedules and high rental fees.
This kills local talent,quality, sector productivity and revenue maximization. Increased investment in well-equippedperforming
arts infrastructure e.g. theatre halls, practical spaces and provision of appropriate equipment is important. This can be achieved
through promotion of Public private partnerships, government incentives and subsidies to facilitate the establishment of appropriate
performing arts infrastructure.
3.1.1.3 New Media Production Capacity.

Innovation and creativity remain the major driving forces underpinning the production of unique, quality and market competitive
new media products. This follows the quest to create the most compelling, engaging, and intuitive user experiences in particularly
software and video games. However, access to advanced technology and equipment to support innovation and production is still
limited. In 2018, the NISP under the incubator fund and ASIA established an ICT platform and ICT innovation and incubation labs
as well as the National incubation fund. This initiative supported increased innovation in the industry with more youth producing
competitive ICT based solutions and products. However, local developers are still challenged by a general inadequacy of technological
infrastructure, inadequate legal and regulatory frameworks including cyber security systems. Although plans are underway to scale
up access to ICT innovation centers countrywide, it is important to note the uneven distribution of existing innovation hubs and the
need to expedite their implementation countrywide.
The pace of innovation in new media fields, particularly gaming, new trends and features are challenging to predict, while adaption
to some fundamentals is critical if local gamers are to continue production. The emergence and convergence of new technologies
such as virtual reality (VR), artificial intelligence (AI), and robotics have further raised the need for more sophisticated industry
skills and training and production infrastructure with relevance to future gaming needs. Establishment of enabling platforms and
infrastructure, human capital skilling and development, curriculum review and developmentis expected to stimulate innovation,
adaptation and production.
Forward and backward linkages and partnerships can advance production and inclusiveness of new media content in Uganda.
However, there has been limited initiatives to promote and exploit existing partnership opportunities. Exploitation of cross AV sector
opportunities for fusion between traditional music, performing arts, traditional culture e.g. sounds video and animation places
opportunities for increased production and creation of uniquely identifiable video games on the market.
33
The UFF initiative, attracted industry stakeholders and key market actors within the local, regional and international market, creating a growing opportunity for an economically and socially
lucrative industry that also preserves national cultural values.
34
James Propa, July 2015. https://www.musicinafrica.net/magazine/recording-and-video-industries-uganda
35
The recording and video industries in Uganda, Beth Akitsa, July 2015. ‘’Between 1940 and early 2000’s, musicians in Kampala had to go to Nairobi, Kenya to get their songs recorded with
no recording equipment in Uganda. Nearly all songs were recorded live, with the artist playing the solo guitar and singing at the same time’.

Table 12: Summary of SWOT analysis findings in Local AV content production.
Strengths Threats
Local Content • High growth rate in film production • Unfavorable economic situations. Covid-19
Quality and • Ready industry experience and exposure. • Political insurgencies.
Production. • Interest and ability to produce a variety • Inadequate capacity of local films to meet existing
(Film, Music and of film categories including; movies, quality and classification standards
Performing Arts) animations etc. • High taxes on filming equipment
and new media • Improved structures and quality of • High access fees and stringent laws hindering film
production. music production studios and recording producer’s utilization of natural sceneries & reserves.
companies
• ICT platforms and incubation labs to drive
innovation in new media production.
• Favorable laws and policies to induce
production.
Opportunities Weaknesses
• Beautiful natural scenery remains under- • Limited distribution and access to proper and well
exploited. equipped and regionally diversified production
• Rich history and culture heritage offers infrastructure, e.g. well-equipped filming studios,
great potential for filming and video new media incubation labs, music recording studios,
content creation. theatres and performing arts infrastructure among
• Regional and international co-production others.
opportunities. • Inadequate AV policies, regulations e.g. co-production.
• Skills development, capacity building • Inadequate skills, development, training opportunities
initiatives. and experience in creative film and new media
• Existence of the National incubation fund. production genres.
• Forward and backward linkages with other • Inadequate sector funding to support production.
local, regional and international new • Limited access to funds and credit facilities.
media production partners. • Inadequate access to advanced technology,
• Increased no. of TV and Radio platforms. infrastructure and equipment to support innovation
Ready market for local content locally and production of new media products.
through the local content quota and • Inadequate legal and regulatory frameworks to
support new media production.
3.1.2 Local Content Promotion and Distribution Systems

3.1.2.1 Film Promotion and Distribution Systems.
Globally, the most instrumental system for recouping film investments and profit maximization is the ‘release windows’ system.
Films are released in a particular sequence and on different platforms, over an established timeframe. This sequence facilitates the
exploitation of films on the global market through different secured platforms including – cinema release at the top, followed by
video/DVD/BluRay, via Video on Demand (VoD) e.g. Netflix and Iflix, pay-tv and finally free-to-air TV, live music concerts, video shops/
libraries and lastly, theatre. The process also renders access to markets through the promotion, distribution and exhibition of films
to the local, regional and international markets by distributors with library rights to finished AV products. The producers package,
promote and distribute the content to the audience while ensuring profit maximization.
Although Uganda has some unique film distribution systems characteristic of its own market and culture, some film distribution
systems are still under developed and have not fully adapted or utilized a number of robust film release windows systems, particularly,
promotion, distribution, exhibition or marketing systems. With limited focus on cinematic product promotion and film quality, only
a handful of movies and films make it to local cinemas or box office. Thus, recouping film investments in Uganda takes to employing
either one or a combination of release methods including; airing the films locally on television, online platforms such as YouTube,
select movie nights at a local bars, local makeshift video halls, or selling DVDs by way of street vendors (Marshfield & van Oosterhout,
2013). This limits revenue optimization.
Physical film distribution chains are most-affected by the inadequacy or lack of well-distributed exhibition infrastructure. The findings
revealed that nearly 95% of existing urban exhibition cinemas are concentrated in the central region with the exception of modern
2D and 3D cinemas in Mbarara and Gulu. There are at least seven operational exhibition cinemas across the country serving a total
population of 49 million potential cinema going Ugandans. The available cinemas include (Mbarara, Ham towers, Naalya, Need Max,
Cinemagic, Century Max and Kamwokya and only one licensed video hall – Mengo (New Line Cinema), as illustrated in the table
below. Maximization of local content demand requires increased investment and regionalization of modern cinemas to other regions
and districts.

Table 13: Cinema and Video Halls in Uganda by Location.
District/Location No. of Modern Operational No. of Licensed
Cinema Halls Video halls
Central Kampala 4 1
Entebbe 1 0
Wakiso 1 0
Western Mbarara 1 1
Hoima 0 0
Eastern Jinja 0 1
Tororo 0 0
Northern Gulu 1 0
Arua 0 0
Total 8 2
While physical film distribution systems in Uganda remain inefficient and underdeveloped, digital technology has substantially
changed the film distribution systems. Digital release patterns e.g. Netflix and Iflix have accelerated in many countries and digital
platforms have provided new distribution windows requiring subscription and transactional video-on-demand and digital, although
the threat of piracy as in certain markets prevails. Uganda needs to develop and establish its own online film distribution platforms
to induce an increase in film submissions, content access and demand for locally produced films. Film industry Influencers can also
be engaged to increase publicity and promote movies with various online media platforms. Local producers need to adopt and
adapt to digital based platforms such as video-on-demand (VOD) and pay-per-view as alternative distribution and consumption
platforms which is more cost-effective, allows copyright retention and revenue maximization.
Cinema-going behavior mostly remains an urban phenomenon with a large portion of the rural populace settling for other film
viewing platforms, including Pay TVs, live streaming, mobile phones, DVDs, makeshift video halls and the least populations in
Cinemas. This pattern was mainly attributed to the lack of regionalized and quality cinematic infrastructure, especially in unserved
rural townships, where cinemas are hardly in existence. Before the introduction of modern cinema halls, local makeshift cinemas
loosely dubbed “bibanda” or the ‘’slum-man’s cinema hall’’, were part of the culture of accessing film content at the community
level. To date, majority of these structures still exist in various communities. While only two of numerous video halls countrywide
(located in Jinja and Mbarara), were licensed to operate by their respective local councils, nearly 98% of structures visited across
the country were still characterized by poor fabric and makeshift structures, contrary to the 2017 video hall standardse.g. health,
occupational safety and building infrastructure standards. (See figure 3 below).
Figure 3: An Illustration of a Local Make-shift Cinema Hall (Kibanda) in Nateete Ku-Taano, Kampala district.
Source: Steadman 2019.

The inadequacy of proper and licensed distribution and exhibition infrastructure, especially cinemas and video halls implies that,
a lot of audience capacity remains untapped. Although initiatives to roll out these standards have been implemented in the past,
standards adoption and uptake in all regions was slow requiring more reputable benchmarks for practical and demonstrable learning
methods, increased sensitization, access to finance or credit for video hall operators and stronger law enforcement mechanisms and
deliberate policies to advance the uptake of video hall standards.
Notably, promotion of investment in small community cinemas or video halls is much more likely to yield results in building cinema
going culture and behavior in both rural and semi-urban areas in the country. Existing infrastructure such as old cinemas, and unused
town or community halls could also be re-purposed for film exhibition purposes to develop and nurture a national cinematic culture
and increased demand for local film content.Clustering of regions with local video halls would also lend itself toward targeted
interventions, e.g. the establishment of creative special economic zones as a policy tool to bolster existing industry momentum.
Over the last decade, Uganda experienced a sharp increase in the number of visual distribution platforms across local and regional
African Markets. The number of media distribution channels increased from (2) of two Free to Air FTA channels and one (1)
monopolistic media house in 1990, to 292 FM Radio stations, 42 Free to Air (FTA) and Pay TV stations countrywide , expanding local
content distribution channels and creating new market opportunities locally. This was mainly attributed to the design of favorable
laws and policies particularly, the media liberalization policy, accelerated by digital migration policy and increased investment in the
sector. The figure below further illustrates the growth in media production houses in Uganda between 2011/12 – 2017/18;
Table 14: Number of Operational TV Stations (2011 - 2017)
35
30
25
20
15
10
5
0
2011/12 2012/13 2013/14 2014/15 2015/16 2016/17 2017/18
Operational Digital/Terrestrial TV Stations 3 3 3 3 3 2
Operational Digital Satellite TV Stations 1 1 2 2 2 2 4
Cable TVs 1
Operational Digital Terrestrial FTA 30
Source: UCC annual Market Industry Report FY2016/17.
In rural areas, however, access to digital and cable television services remains limited. While survey respondents in urban areas
preferred consumption by Pay Tv (26%), it was also noted that majority of media broadcasting services remain limited to major
urban and semi-urban locations across the country. The need to expand and support access to these services is expected to increase
promotion and distribution opportunities as well as market access and broaden local demand at the local level.
Figure 4: Most preferred means of accessing local content.
Radio 141, (36%)

Pay TV 101, (26%)
Mobile Phone 67, (17%)
Means used
Free to air TV 41, (10%)

Internet(web 27, (7%)
Cinema 10, (3%)
In person 7, (2%)
Others 2, (1%)
0% 5% 10% 15% 20% 25% 30% 35% 40%

percentage
3.1.2.2 Music Promotion and Distribution Systems.

In Uganda, music promotion and distribution systems remain mostly informal. In most instances, the music industry mostly ‘’self-
markets’’ and ‘’self-promotes’’.Forced volunteerism (media house DJs) as well as some meaningful collaborations with FMCGs take
up most aspects of music promotion. The lack of well-organized and formal music promotion structures and platforms means that
as artists are pushed into promoting their own music and ‘’promotional shows’’, productivity, profitability and efficiency are equally
affected. In the past, some platforms to promote the industry were established e.g. Music awards such as the PAM Awards, and the
HIPIPO Music awards as attempts to make use of an underutilized local market.
Investment in local music promotion and distribution has been very low with only a few companies e.g. ‘’Bayimba’’, known to have
actively promoted music locally. This trend is attributed to the informal nature of the existing distribution system, limited capital
investment in the local distribution chain, high levels of piracy and a general lack of incentives. In the past, music distribution
depended on individuals with some organized structures such as the defunct ‘’Kasiiwukila’’. High levels of piracy and the lack the
capacity to protect the rights of music owners further downplays the efficacy of existing structures. The lack thereof effective music
distribution structures suggests there are no genuine record labels, with most of the companies that are referred to as labels being
merely artist management companies. It is important to drive increased investment in the establishment of authentic distribution
structures, channels and distribution chains for local musicians. This should increase the revenue potential of rights holders within
the music industry and reduce the strain for the profitability and sustainability of music as a business.
Within the region and internationally, there are hardly any formal arrangements for the promotion of Ugandan Music, despite its
ever-increasing international demand. While some countries such as Nigeria have invested significantly in international partnerships
and collaborations to advance their music across borders, there has been hardly any initiatives to support, promote and distribute
Ugandan music internationally. However, there have been some known international partnerships and collaborations with large
music agencies e.g. ‘’Keko and Sony Records’’ which suggests a high potential for interest, engagement and partnerships for local
artistes internationally. Perhaps the establishment and strengthening of formal music promotion and distribution platforms at the
local, regional and international level could assist improve promotion and distribution systems ofUgandan Music globally. Likewise,
empowering and supporting local artists in building strategic business partnerships could propel industry growth farther.
Music promotion and marketing are not detachable from ‘’music personalities’’ and personal brands. While local personalities
contribute in shaping attitudes and values, artists also create conventions of style and behavior and share a heavy moral responsibility
to inspire and affirm and not just to entertain. Increased popularization of local artistes by entertainment news platforms and
mainstream media increases demand for daily information and keeps the local audience linked to the artiste’s music. Brand building
for local musicians or personalities locally, regionally and internationally through media engagement could well promote and sustain
local and regional demand for local music businesses and brands.
Furthermore, there has been slow market adoption and adaptation to new technologies, in music promotion, distribution,
consumption, access and delivery. Today, mobile music formats globally, account for virtually all of digital revenue over Monetizable
online platforms such as iCloud and YouTube exist. Online distribution and the globalization of promotion and marketing channels
have made it possible for global audiences to access a wider range of music far more quickly and easily than was the case a decade
ago. New and emerging technologies are challenging traditional markets, yet at the same time, new approaches to distributing
and exploiting intellectual property in music are being taken up. While these advancements offer challenges and potential threats
to the industry, they also offer significant opportunities for expansion and growth. In countries such as Nigeria, digital music
overtook physical music revenue by 2019 (See figure below). In Uganda, however, a very small proportion of local musicians are
aware or utilizing some digital platforms for commercial purposes. Capacity building of key industry players in technology based
distribution systems should increase consumption and adaptation Initiatives to encourage the local music industry players to digitize
their content and utilize core promotion and distribution platforms, including downloads and physical products guarantees higher
revenue streams.
Figure 5: Historical and Forecasted Music Revenue in Nigeria, 2013 – 2022
DEVELOPMENT
Operational OF THE
radio AUDIO-VISUAL
stations in Uganda CONTENT STRATEGY. platforms also increased to 275 from 229 in 2011, providing additional
as key distribution
UGANDA COMMUNICATIONS COMMISSION - PROCUREMENT
opportunities for advertising and promotion of local music REFERENCE NUMBER: UCC/SRVCS/17-18/000102
and live performances (See figure below). The survey conducted among
DRAFT STRATEGY, DECEMBER 2019
local music consumers revealed that radio was still the most preferred platform for accessing local audio-visual content with (36%)
indicating
benefitedthis result
many in the
music rural areas,
businesses, the especially music. Although
need for effective policies the
andvarious radiotoplatforms
regulations have
encourage faircommercially benefited
play and incentives formany
new
music businesses,
and upcoming the need
musicians for effective policies and regulations to encourage fair play and incentives for new and upcoming
is important.
musicians is important.
Table
Table15:
15:Number
Numberof
of Operational
Operational Radio Stations in Uganda 2011 - 2017
350
300
250
200
150
100
50
0
2011/12 2012/13 2013/14 2014/15 2015/16 2016/17 2017/18
Operational FM Radio Stations. 229 250 251 257 292 292 275
Source: UCC
Source: UCC annual
annual Market
Market Industry
Industry Report
Report FY2016/17.
FY2016/17.
3.1.2.3 Other Performing Arts.
3.1.2.3 Other Performing Arts.
Although there have been recognizable efforts to market and promote performing arts, some facets such as theater remain under
developed. Since the quality of performance is the selling factor and more significant to audience satisfaction, support to strengthen
Although there have been recognizable efforts to market and promote performing arts, some facets such as theater remain
the capacity of theatrical and performing artists in Uganda is important to enhance both quality and demand for performing arts.
under developed. Since the quality of performance is the selling factor and more significant to audience satisfaction, support to
strengthen
The continualthe capacity ofbetween
convergence theatrical and media
digital performing artists in Uganda
and traditional is important
broadcast, to enhance
with over-the-top (OTT)both
and quality and
video on demand
demand for
(VOD)
performing arts.
services, there are greater opportunities for performing artists to further monetize their content through digitization. However,
there is seemingly low industry awareness and access to these opportunities. Support in the digitization and commercialization of
The continual
performing artsconvergence
through skillsbetween digitaland
development media and traditional
training, broadcast,the
should supplement with over-the-top
promotion (OTT) and video
and distribution onperforming
of local demand (VOD)
arts
services, there are greater opportunities for performing artists to further monetize their
production and offer solutions to maximize business viability and access to new market platforms. content through digitization. However,
there is seemingly low industry awareness and access to these opportunities. Support in the digitization and commercialization
of performing
3.1.2.3 arts through
Other Performing skills development and training, should supplement the promotion and distribution of local
Arts.
performing
Although artshave
there production and offer solutions
been recognizable efforts totomarket
maximize
and business
promote viability andarts,
performing access to new
some market
facets platforms.
such as theater remain under
developed. Since the quality of performance is the selling factor and more significant to audience satisfaction, support to strengthen
3.1.2.4
the New
capacity of Media Content
theatrical Promotion
and performing andinDistribution.
artists Uganda is important to enhance both quality and demand for performing arts.
The
Thecontinual
future ofconvergence
the new media between digitalinmedia
economy and 20
the next traditional
years isbroadcast,
singularly with over-the-top
artificial (OTT)Blockchain
intelligence, and videotechnology/Digital
on demand (VOD)
services,
Currencies,there are greater
Virtual Reality opportunities
(Video Gamesfor performing
Industry). artists
Today, the to further
world monetize
faces one of the theirmost
content through
rapidly digitization.
changing periods However,
of global
there is seemingly
development lowby
driven industry awareness and
rapid technological access toAsthese
advances. opportunities.
a result, Supportmarketing
customer needs, in the digitization and commercialization
and distribution are shifting with of
performing
changes in arts through skills
technology, toolsdevelopment
of production, and training,and
demand should supplement
consumption. the promotion
Increased investmentand distribution of local
in the adoption ofperforming arts
and utilization
of 23digital Internet protocols, new technology devices, over the top delivery THE mechanisms
UGANDA LOCALand platforms,
CONTENT new
DEVELOPMENT distribution
STRATEGY 2020-2025
platforms will therefore be critical to drive content production, distribution, promotion and monetization. Harness technology
to understand consumers and how technologies can be used to meet consumer needs in a timely and competitive fashion. With
production and offer solutions to maximize business viability and access to new market platforms.
3.1.2.4 New Media Content Promotion and Distribution.

The future of the new media economy in the next 20 years is singularly artificial intelligence, Blockchain technology/Digital
Currencies, Virtual Reality (Video Games Industry). Today, the world faces one of the most rapidly changing periods of global
development driven by rapid technological advances. As a result, customer needs, marketing and distribution are shifting with
changes in technology, tools of production, demand and consumption. Increased investment in the adoption of and utilization of
digital Internet protocols, new technology devices, over the top delivery mechanisms and platforms, new distribution platforms
will therefore be critical to drive content production, distribution, promotion and monetization. Harness technology to understand
consumers and how technologies can be used to meet consumer needs in a timely and competitive fashion. With a greater youthful
population, there should be eagerness to adapt, adopt and deploy changes in technology in preparation for the fourth industrial
revolution, meet business needs and an opportunity to leapfrog within the sector.
Deployment of collective marketing and promotion of new media content has been known to be effective especially through media
creatives industry groups e.g. ‘’the tribe Ug’’. The need to formalize, support and build the capacity of such groups is important as
they present a platform of opportunities for content promotion, creation of joint work partnerships and addressing sector challenges
in the animations and media design space.
Table 16: Summary of SWOT analysis findings in Local AV content Promotion and Distribution.
Strengths Opportunities Weaknesses Threats
Film • Existence of video • Increased no. of visual • Limited rural access to digital and Piracy as in certain
hall and exhibition distribution platforms cable television services remains markets prevails.
infrastructure across local and regional limited.
standards. African Markets. • Poor Cinema Going Culture which
• High level of untapped remains an urban phenomenon
audience and market • Lack of regionalized and quality
capacity. cinematic infrastructure,
especially in unserved rural
townships.
• Unique film • Existing infrastructure • Low uptake of video hall

distribution systems such as old cinemas, and exhibition infrastructure
characteristic of and unused town or standards
its own market community halls that can • Some film distribution systems
and culture e.g. be re-purposed for film are still underdeveloped and
makeshift cinemas exhibition purposes. have not fully adapted or utilized
loosely dubbed • Existence of alternative a number of robust film release
“bibanda” or the film viewing platforms, windows systems.
‘’slum-man’s cinema including Pay TVs, live • Limited focus on cinematic
hall’. streaming, mobile product promotion and film
• Existence of phones, DVDs, makeshift quality,
industry Influencers video halls including rural • Inadequate quality of movies and
with the ability to areas films make it to local cinemas or
increase publicity • Existence of digital box office.
and promote technology release • Inadequacy or lack of well-
movies with various patterns e.g. Netflix and distributed exhibition
online media Iflix infrastructure.
platforms. • Alternative distribution • Poor distribution of urban
and consumption exhibition infrastructure e.g.
platforms particularly cinemas with majority in the
digital based platforms central region.
e.g. video-on-demand • Inadequate investment and
(VOD) and pay-per-view. regionalization of modern
cinemas to other regions and
districts.
• Inefficient and underdeveloped
Physical film distribution systems

Music • Existence of some • Digital online distribution • Music promotion and distribution • Piracy and
music promotion and increased global systems remain mostly informal. inadequate
platforms e.g. Music access to promotion and • lack of well-organized and formal capacity to
awards but remain marketing channels music promotion structures protect the rights
underutilized. • Increased number and platforms which limits of music owners.
of Operational radio productivity, profitability and • Lack of fair play
stations in Uganda as key efficiency and incentives
distribution platforms • Slow market adaptation to new for new and
since 2011, technologies, in music promotion, upcoming
• Increasing private sector distribution, consumption, access musicians.
interest in investment and delivery. • New and
in authentic distribution • Hardly any formal arrangements emerging
structures, channels and for the promotion of Ugandan technologies
distribution chains for Music at the region and challenging
local musicians. internationally traditional
• New digital approaches • Low investment in Local music markets,
to distributing and promotion and distribution
exploiting intellectual systems and general lack of
property in music. incentives.
• Partnership opportunities
for investment by
international record
labels.
Performing • Existence of • New digital approaches • Some facets of performing
Arts some production to distributing and arts e.g. theater remain under
and distribution exploiting intellectual developed.
infrastructure property in music are • Low industry awareness,
e.g. theatres being taken up. adaptation and access to
and makeshift convergent digital media, over-
structures. the-top (OTT) and video on
demand (VOD) services.
New Media Training and Education Changes in technology Lack of formalization, support and Rapidly changing
Facilities in New Media ushering in artificial inadequate capacity of marketing periods of global
Production, marketing intelligence, Blockchain and promotion groups and development
and distribution. technology/Digital associations. driven by rapid
Currencies, Virtual Reality technological
(Video Games Industry). advances.
Youthful population which
increases ease to adapt,
adopt and deploy changes
in technology.
Collective marketing and
promotion of new media
content e.g. through media
creatives industry groups

3.2 THE ENABLING
ENVIRONMENT.
3.2.1 The Legal and Regulatory Framework.

The legal and regulatory regime that governs the AV sector has undergone significant transformation over the years, each with
clear requirements for content creation, certification, classification, and distribution. Considered in general terms, the laws that
most directly relate to or impact the AV industry include; the Constitution of the Republic of Uganda, the stage plays and public
entertainment Act, Cap 49, the Uganda Communications Act, 2013, the Copyright and Neighboring Rights Act, 2006, Uganda
Broadcasting Corporation Act, 2005. Other laws that, while not specifically providing for the regulation of AV content, have a direct
impact on the sector. These include; the computer misuse act, 2011, the press and journalism Act, Cap. 105 and the penal code
Act, Cap. 120. There are, however, structural and non-structural challenges that can be addressed with changes in the existing legal
and regulatory environment.
Uganda has, over the last three decades embarked on a long and progressive journey to broaden the scope of IP legislation, and
to match international standards and best practices. There is a direct nexus between intellectual property rights and the creation
and consumption of audio-visual content, traceable in the protection, management and enjoyment of IP rights. Amendments to
the Copyright and Neighboring Rights Act, and the enactment of the industrial properties Act, were all intended to achieve this
purpose, with a direct bearing on the creation and consumption of audio-visual content, and the management of all related rights
and benefits.Despite progress made in updating Uganda’s IP laws over the years, some gaps remain. Some inadequacies were
identified in relation to the existing legal frameworks to address, among other issues, Intellectual property rights over the new
media platforms, OTT and applications as means of content distribution in the digital content era. Closing these IP regulatory gaps
may require;
• The use of particular incentives and support instruments to compensate for the lack of domestic facilities and venture
capital. Foreign investment attraction policies and incentive schemes specific to the audiovisual sector will typically need
to be put in place. Furthermore, specific support to education and training in new technologies (e.g. terrestrial digital video
broadcasting), filmmaking and the performing arts will also need to be established and/or increased. The costs and benefits
of the various support and incentive instruments noted above need to be assessed more rigorously, and user-friendly
methodological frameworks to conduct such assessments should be developed. Knowledge derived from the study of cross-
country and cross-regional policy experiments in this regard may prove particularly useful in designing and adapting domestic
audio-visual policies
• Increased investment in the utilization of the full potential of Intellectual Property as a tool for social and economic
development although intellectual property legislation. While a lot of creative works arising out of traditional cultural
expression have gained global prominence, the Ugandan law remains vague, does not provide for ownership of traditional
cultural expressions (TCEs) nor does it state how such works can be identified or how such protection can be implemented.
Establishing a strategy for IPR again calls for the creation of a comprehensive framework for a digital single market as Uganda
prepares to develop its own national online market
• A varied legal framework to provide for the administration and regulation of the production, distribution, exhibition and
marketing of films to provide for films and television tourism in Uganda, and for tax incentives to attract non-state capital
into the space. Such a framework should provide for as broad a scope as possible, as well as anticipate advances in the AV
strategy, to the highest extent possible.
• Adequate legal and regulatory framework to address the impact of technology on the AV sector. Social media and global
content distribution platforms such as Facebook, YouTube, Netflix, Apple TV, Zuku, online radio, iTunes, Shazam, Audiomack,
and other online AV streaming channels, now absorb audiences that previously were captive of traditional media forms. While
these platforms also provide an avenue for the distribution of content, they are challenging to traditional platforms which still
prevail in the market.
• Establishment of laws to address international cooperation between the various players in this sector. Such deliberate
efforts should streamline the challenges expressed by international artists when they come to Uganda to produce content.
These challenges include the unfriendly tax regime on importation of equipment, and the need to visit different centers of
regulatory authority and supervision for permissions to access sites.
While reinforcement of the existing law is important in the above aspects, there is also need to address counter-productive laws
and provision of incentives for the development of the AV sector. For instance, the imposition of taxes on OTT services is in itself
a disincentive law, which significantly affects the use of new media as a critical channel for the enhancement of product and local
market, access for the AV sector in Uganda. Provision of other tax incentives on equipment required by the industry, reduction
or elimination of permit fees required of persons developing AV content is also important and need to be captured in the legal
regime. The policy should also be improved by adding specific interventions to deal with disincentives like the dispute resolution
guidelines and an outline of incentives regime to attract private investment into the sector.
• The regulatory framework also has an important international trade and investment interest’s dimension. The trend towards
trade and investment liberalization as reflected in multilateral, regional and bilateral negotiations requires greater attention
from policy makers in developing countries, as it may significantly affect - and possibly constrain - their ability to pursue specific
sectoral policies in audio-visual industries. So too must Uganda learn to better navigate the overlapping set of legal commitments
flowing from various international agreements brokered in various institutional settings, notably the links between the WTO/
GATS disciplines and those arising from the Draft UNESCO Convention on the Protection of the Diversity of Cultural Contents
and Artistic Expressions. Here again, building capacity for the negotiation and implementation of international commitments
can play a useful role, and offers scope for heightened cooperation between the key agencies involved - UNESCO, WTO, WIPO
and UNCTAD at the multilateral level.
• The proportion of local broadcasters meeting the local content quota standards or threshold for the quota remains low as
attributed to the inadequacy of quality local content and low sustainable production capacity. Weaknesses in the existing
The current quota is 70% for FTA and pay TV 20%. Before it was limited to primetime 4pm – 10:30pm but now it has been expanded to cover the whole day and that is part of the content.
37

regulatory and enforcement mechanisms further enable the prevalence of monopoly power of some local media stations, who
offered unfavorable terms to some local content producers. In most instances, this limited business profitability and sustainable
production of local content. The use of broadcasting quotas is further challenged more and more by the new communication
technologies, e.g. video on demand platforms which trigger the need for other strategies to balance local content supply. As
the volume of films produced and quality remain the biggest challenges of the industry, so should the direction of focus the
development priorities of the industry to match the growing need for local content. Regulatory and enforcement mechanisms
should also be strengthened to reduce the effects of industry monopoly and protection of local content producers.
The regulatory framework now provides for a local content quota of 70%. However, about 40% of the current content on the
local industry is in the news category. There is need to deliberately incentivize and groom the necessary institutions that will
drive the growth of the film, music dance and drama industries. In addition to enhancing the existing institutions and building
new ones, it is important to liaise with other MDAs in a strategic manner. The Ministry of Education, for instance, should ensure
that there is robust training of music dance and drama programs in school.
Weak enforcement mechanisms of existing laws and regulations. Copyrights in Uganda are of Interest to various actors
as they provide economic interests (economic value); moral interests (respect). However, the ease of infringement of local
content rights is very high at all stages along the AV content value chain, mainly due to poor mindsets of copyrights and IPs and
low industry compliance.
• The draft policy correctly recognizes that this uncoordinated approach to issuance of production permits fragmentation
of the industry, characterized with absence of accurate statistics/data for the media local content industry. As is noted above,
there are major disincentives associated with this uncoordinated approach as it poses increased logistical challenges on an
already underdeveloped AV sector.
• Performers and developers of AV content that intend to reap benefits from the enforcement of copyright in Uganda have
a unique set of challenges. Not only is the enforcement mechanism dismally weak, it is spread across different statutes. While
from the institutional perspective the mandate rests with the Registrar of Companies to register and issue copyright certificates,
enforcement is expected to be done through collecting societies. The registrar of companies licenses these societies and the
process has been less than transparent and inefficient, resulting into ongoing and concluded litigation and cancellation of some
certificates.
• Although the amounts lost annually by the country cannot be rightly stated, piracy translates into loss of income,
employment, tax revenue and piracy reputation of the country involved, discourages production of genuine products, loss
of Foreign Direct Investment (FDI). Local creativity is frustrated, as producers are unable to compete with low priced pirated
products, on the market. As a result, creators suffer huge losses in revenue with the real impact of piracy can from economic,
social and political standpoints. The country and its citizens are the ultimate losers in this scenario, for indigenous creators
suffer loss of reputation and social displacement.
• In the absence of stronger collective bargaining arrangements, many producers and actors rely on various associations and
federations for dedicated access, defense and promotion of the legal, economic and creative interests of film producers
and actors within the industry. The groups, many of which exist informally, vary in size and purpose including associations
for film producers, animation, film-training institutions, performing acts and musicians. Despite their existence, the collective
bargaining power of the industry continues to be limited by the lack of identity of key actors, filmmakers and producers. The
lack of unity, identity, solidarity and capacity of existing groups and associations, however, continues to downplay the purpose
for existence and attractiveness for investment of such structures as vehicles for producer rights protection. Harmonization,
formalization and capacity building of such structures is necessary to attract consolidated strategic actions by government and
the private sector.
• The enforcement of certain aspects of the legal framework has been perceived by some as fostering the censorship of
politically unpalatable content for the current dispensation. This perception of partisan application of the law serves as a
disincentive to the development of the AV sector.
• Piracy remains the biggest challenge to copyright enforcement both with respect to local and international content
distribution in Uganda. Pirated content is prevalently available at little to no cost. There are no effective structures to represent
distributor associations, or effective policies and institutional mechanism to target new markets and new platforms including
internet infrastructures. A deliberate institutional approach through a designated and identifiable ministry or authority is
needed. Such a ministry or authority should also have a dedicated budget and be aggressive about driving the making and
marketing of Ugandan content. The institution recommended here will also centralize the efforts towards curbing computer
misuse and consumption of pornography. Currently, these anti-pornography efforts are coordinated under the auspices of the
Ministry of Ethics and Integrity, the Pornography Control Committee (PCC) with support from UCC.However, majority of these
are only ad hoc measures, and are not tagged towards a broader strategic objective. These efforts should then harness the
efforts that UCC and URSB have been expending towards building these sectors.
• Consumer protection. Weak consumer voice to cause change due to lack formal structures and inadequate consumer
rights awareness, low literacy/ cultural setbacks and low market readiness for most of the digital platforms. Supporting the
establishment of ICT consumer related groups could be one useful mechanism in collecting voices of consumers, however,
these require additional funding which is currently not a priority. Additional funding to support and encourage the formation of
consumer associations and advocacy bodies, Consumer obligations, Consumer education and awareness Programmes will be
equally critical in supporting the interests of the local consumer markets.
Furthermore, the uptake of copyrights, formalization of exclusive rights (Rights to perform, Distribute, broadcast and communicate
to the public, duplicate, derivative rights or make a book), collective bargaining and collective management services in all AV factions
across the AV industry is still very low. This is attributed to inadequate capacity of existing institutions, gaps in the existing legal and
policy frameworks and low awareness of content producers of the benefits of copyrights and collective management. 0ver 41.5% of
the respondents indicated to have little or no awareneness of any laws, policies governing the AV sector in Uganda.
Awareness of laws related to Frequency Percent AV related laws or policies Frequency Percent
the AV sector. Known to yes Respondents
Yes 18 43.9 UCC ACT 2 4%
No 17 41.5 Copy right Law 15 21%
Not sure 6 14.6 Anti-pornography Law 1 2%
Total 41 100.0 18
Sufficiency of the laws for local Frequency Percent Sufficiency of the law en- Frequency Percent
content production. forcement mechanisms for
local AV content.
Yes 9 31.0 Yes 6 23.1
No 11 37.9 No 11 42.3
Not sure 9 31.0 Not sure 9 34.6
Total 29 100.0 Total 26 100.0
Inadequate capacity to cab copyright physical and digital piracy. Copyright as a lubricant for creativity has assumed a prominent
role in the field of commerce and trade globally. All-over the globe, piracy of intellectual property is one of the greatest challenges,
which cuts across software development, movie production, music production and book publication. Copyrighted works uploaded
on the Internet are subject to impunity. Lack of effective policies and controls of piracy compromises business and drains Uganda of
her economic gains.
There are also challenges with respect to complaints handling and dispute resolution. In addition to the fact that the parties
will eventually end up in litigation, it is noted that there are competing adjudication mechanisms in the law. While the Copyright
and Neighboring Rights Act, 2006 provides that internal disputes will be referred to arbitration, the provision seems to not have
been invoked in the past. Further, there are alternative dispute resolution mechanisms under the Companies Act, 2012, with some
provisions of the Act empowering the Registrar of Companies to entertain some disputes. This results in underlying competitive
adjudication regimes, which leave litigation as the last resort. Some cases in the courts have sought to challenge the manner in
which the registrar of companies has conducted their business with respect to performing rights societies. It is noted that the
Uganda Communications Act provides for a Tribunal to handle complaints arising under the Act. However, that the said tribunal has
not been set up since the enactment of the law.
Lack of digital capacity to address culture and copyright issues in the ever-changing digital space. The copyright space is becoming
more complicated and the technology has become more sophisticated and thus enforcement requires very complex mechanisms.
International conventions and in particular, the TRIPS Agreement have set standards which in themselves makes the law more
complex. Evidence suggests that rapid advancements in digital technologies are breaking down barriers between creative and cultural
businesses and consumers. However, there digital capacity within the relevant government departments is still inadequate to adapt
to the digital market space needs. This is leading to a gradual intensification of skills gaps, which could inhibit the department’s role
in addressing, and enforcing digital space related issues the recent copyright order and regulation was in 2015 and we just gazette
the copyright society, which is going to address the issues of royalties etc. A digitally literate workforce is, relevant to cab slow
adaptation to globalization and advancements in technology.
To check the above piracy methods, all relevant government officials in respective IP enforcement institutions need to be ICT
and digital space compliant. This therefore necessitates training of all officers on ICT skills to gain expertise to curb piracy on the
net. Furthermore, training of law enforcement agencies like the police, army customs and officers of other relevant government
agencies in copyright law and intellectual property rights is crucial in supporting the enforcement of the law, to aid detection or in
the conduct of post arrest operations.
In 2019, the Minister for ICT signed into law the Uganda Communications (Universal Services and Access Fund) Regulations.
These regulations provide for the establishment of a fund to facilitate the development of rural communication and information and
communication services. These regulations are relevant for two reasons: firstly, they demonstrate that it is possible to incentivize a
particular objective of the Ministry and to put in place a regulatory framework with relative ease. Secondly, under section 5(m) one
of the purposes of the fund is to promote any other strategic national development objectives and policies in the communication
sector. If the ministry were to take the position that the AV sector is strategically vital for national development, as was expressed
during interviews, then investments can be drawn for the fund to facilitate this purpose. Secondly, government could take similar
steps to put in place a regulatory framework that provides a roadmap for how to incentivize the sector. It is recommended, therefore,
that in the course of developing the policy, and attendant work on the review of the legal regime, these factors be addressed
specifically.
There is need to raise awareness and to ensure establishment of the right measures and resources to enable Ugandan content
creators meet the required standards and the requirements for local regulatory measures intended to capture state revenue.
Moreover, by providing foreign content, these channels are bypassing content quota regulations that were intended to create space
for the local industry. In addition, by providing free or next to no cost distribution media, these channels avail content in ways that
are not traditionally within the ambit of Uganda Revenue Authority. The parent companies have no presence in Uganda and are not
subject to the tax regime. The use of Virtual Private Networks (VPN) has aided many Ugandan consumers in bypassing tax measures
imposed on consumption of Over the Top services (OTT). It is imperative that measures be put in place to address these new threats.
Establishment of policies to harness the immense potential of this industry, support sector rebranding and counteracting
negative perceptions of the industry is also important. This may require lobbying for and educate all the players on the potential of
this industry and push for enabling policies going forward. This policy should further promote increased professionalism, adoption
and uptake of industry standards, benchmarking growth, keeping records and maintaining a score card for the industry.
3.2.2 Institutional and Governance Arrangements for AV industry.

The Audio-Visual sector in Uganda consists of entities from the public sector, private sector actors, and the local community
and development partners, each with a specific role to play towards the development of the sector. The governance of this
sector is fragmented across several ministries and agencies with a stake in the industry responsible for policy development and
implementation, law enforcement and industry regulation as illustrated in the table below;
Role/function Institution Statutory Mandate Justification
Policy Development MICT Management of all ICT related
and Implementation services countrywide.
MOGLSD Gender, labour, Culture and social
development
Law Enforcement Uganda Police Law enforcement
Industry Regulation Uganda Registration Services that regulates Intellectual Property
Bureau (URSB) and Copyrights,
Media Council (MC) Classification and censorship of
media local content
Uganda Communications Section 37 of the Uganda Licensing of Film distributors and
Commission (UCC) Communications Act 2013 Exhibitors broadcasters of media
local content
Uganda Film Council Classification of Films and
promotion.
Uganda Performing Rights
Society (UPRS)
Industry associations There are several associations The industry has a fairly well
and Groupings within the industry including developed institutional density, with
Uganda Film Producers most interests being represented
Association, Uganda Music and through some form of association or
performing rights association union.
among others.
Weak institutional coordinative and collaborative mechanisms. This is perhaps due to lack of a dedicated central institution
mandated to look at the industry as a whole and inadequate commitment to joint collaborative mechanisms for key institutions
responsible for the industry. Various components of the sector are mandated to more than two ministries including: Ministry of
Gender and Social development, Ministry of ICT. Other subsidiary institutions with part responsibility for the industry include; the
Ministry of Trade Tourism and Industry also has a limited stake in the industry as far as it is directly responsible for sites that
are crucial for the creation of AV content. Equally so, there are numerous departments and agencies including UCC, UPRS, URSB,
Department of culture and social development are equally mandated to support the activities of the industry each under a different
ministry and operative legal framework.
While institutions mandated with various aspects of the industry are seemingly territorial, this continues to broaden industry
fragmentation and prevalence of avoidable paralysis and friction; consequently, players working towards content creation incur
heavy logistical and time expenses in dealing with bureaucracy and uncertainty. Streamlining and aligning of the existing legal
frameworks is critical towards achieving a common goal for the AV industry. The need to centralize legal, regulatory and enforcement
institutional arrangements, improve existing coordination and collaborative mechanism e.g. increased frequency of sector working
group meetings. Most importantly, establishment of regionalized one-stop-shop support centers for the industry. One strong
institution with professionalized and qualified leadership would provide planned and coordinated opportunities for growth and
organized capacity building.
There is inadequate institutional capacity to implement their respective mandates and to enforce and support the sector growth and
regulatory needs and requirements as noted among some key stakeholder institutions as futher illustrated below:
Institution Role Capacity Gaps identified.
Ministry of Information • Development of sound industry policies and • Inadequate and lack of proper policy
and Communication strategies instruments to support industry growth
Technology • Facilitation of industry training and capacity • Inadequate physical infrastructure to
building initiatives e.g. innovation support industry production, learning and
• Provision of financial support to aid industry incubation countrywide
production • Inadequate capacity and funding to raise
• Industry growth monitoring and evaluation consumer awareness of their rights
Uganda • UCC regulates content • Weak industry monitoring and evaluation
Communications • Support industry formalization arrangements systems
Commission. towards a lucrative industry economically and • Weak coordinative and collaborative
socially to preserve our national values mechanisms with other key stakeholders
• Sector promotion and capacity building to foster • In adequate human resources capacity to
growth and development of the sector. implement and enforce existing industry
• to promote the local film industry both locally and laws and regulations
internationally • Inadequate statistical data and lack of
• Strengthen coordinative and collaborative proper industry information systems
arrangements between key industry actors and
players.
• Consumer protection
• Issue distributor licenses for distribution and
exhibitors of cinematographic works.
Uganda Media Council • Regulates Censors and classifies films for public • Inadequate capacity to raise industry
consumption; this includes all films and music awareness of the film and content
videos, plays; which includes technical and classification standards
content quality, sound, characterization, picture
quality, sound quality, storyline etc.
• Dissemination of state related news and its
influence on licensing and accrediting journalists
and other members of the press fraternity for
state events.
Ministry of Gender • Music, culture and performing Arts Promotion • Inadequate and lack of proper policy
Labour and Social and regulation instruments to support industry growth
Development • Inadequate physical infrastructure to
support industry production, learning and
incubation countrywide
• Inadequate funding and institutional
visibility of the AV function
• Inadequate capacity and funding to raise
consumer awareness of their rights
Uganda Registration • Manages rights and ownership in particular • Registration and maintenance of industry
Services Bureau IP products for local artistes locally and databases
internationally,
• URSB manages and the registration and
enforcement of IP rights in Uganda
• Revival and supervision of UPRS services
• collective management of IP rights through UPRS
and similar entities in line with international best
practices where collective management of the
rights and incentive regime
• Assist with the challenge of cartels
38
UCC also runs an active consumer protection, which was originally under corporate affairs until it evolved into an independent consumer affairs department with its own head. Prior to
this segmentation of the department, all consumer issues were lost in the general Corporate Affairs department. Today, the department addresses consumer protection and rights, quality
of communication, receives and investigates, complaints relating to communication services, handles matters relating to management of consumer redress systems, conducts consumer
awareness and education programs, strengthens stakeholder dialogue, conducts consumer research, and promotes ICT usage. UCC also encourages the formation of consumer associations
and advocacy bodies to engage in matters relating to consumer obligations, consumer education and awareness
At the subsector level, more specific institutional interventions are necessary.
Uganda Performing • A Collective Management Organization (CMO) • Inadequate IP and Copyright law
Rights Society which when assigned rights of the artists monitors enforcement capacity
their work and collects royalties for the artist • Inadequate digital capacity to enforce the
• UPRS has reciprocal arrangements with similar law
organizations around the world to protect the • Inadequate funding to scale up awareness
artist’s rights in other jurisdictions raising Programmes
• Institutionalization of some AV industry roles and responsibilities. The draft content policy correctly identifies different
types of service segments including television broadcasting, radio broadcasting, film and videos, animations, and music. A
crucial observation is that the legal framework and draft policy are silent of the institutionalization of some key categories of
stakeholders e.g. gamers, writer’s guilds, the Uganda Films Council, and such other private sector alliances.
In addition, there are a number of statutes that govern several MDAs whose roles affect the creation of AV content. For
instance, all content is regarded as communication and by both necessity and statute falls under UCC’s mandate. The creation
of some of that content requires creators to obtain licensing, permits to access sites and certain locations. In this process,
content creators need to interface with other MDAs like the Uganda Wildlife Authority and local governments. Some visual
content will need classification and that mandate rests with the Media Council. All content raises proprietary rights questions.
These are mostly covered by the Copyright and Neighboring Rights Act, with URSB at the center of registration and enforcement
processes. Most sophisticated equipment that is used in content creation will attract tax questions that are under the purview
of the Uganda Revenue Authority. Parties that elect to use drones must, in addition to all these agencies, liaise with and satisfy
Civil Aviation Authority and the security agencies that their activities will not have unwanted security implications.
• Furthermore, establishment of sector guilds and the right institutional and regulatory recognition is important. Presently,
some of these structures exist, albeit informally and with no direct mandate from the legal framework. The establishment
and proper recognition of a theatre and writers’ guilds and their attendant institutions to take charge of the industry will go a
long way in streamlining the regulation of entry and exit procedures, setting codes of professional ethics in different arts and
ensuring against exploitation of artists. The absence of these interventions has led to a high attrition rate in the audiences, as
they resort to alternative forms of content, particularly English soccer and Nigerian movies. These guilds will also sensitize of
artists of their basic rights. To this end, it is critical that the Stage Plays and Public Entertainment Act be amended to provide
for some of these structures. Such an amendment can be informed by the strategic objective of making Ugandan content as
famous as other indigenous content is elsewhere.
• The industry needs a centralized development of the performing arts sector, with a single unified purpose and strategy to
develop the sector, and with a central and autonomous budget for easier marketing and accountability of progress. The
institution will serve as a One-stop center for the sector or industry and provide strategic leadership on how to grow partnerships
that will grow the sector. This would require an enabling legal instrument, and the harmonization of the current legal and policy
framework. This institution should be charged with development of the sector, strategizing for the sector, monitoring growth
and increasing competitiveness. It would concentrate resources in the core areas, reduce wastage of resources that occurs in
duplicated efforts, and promote efficiency. This recommendation is consistent with other countries that have Film Boards or
Councils mandated with the oversight role on the sector.
3.2.3 AV industry Policy Arrangements.

At the policy level, it is laudable to note a number of policies, recently developed with relevance to the industry. The table below
further illustrates some existing policies with relevance to the AV industry.
Policy Related Sector Governing Relevance to AV industry development.
institutional
arrangements
The Uganda Culture and Creative MoGLSD. • The Policy provided a framework to;
National Culture Arts • Enhance the appreciation of the role of culture in
Development National Development;
Policy, December • Promote aspects of Uganda’s cultural heritage that are
2006. cherished by its people;
• Ensure effective intra and inter-cultural exchange for
harmonious co- existence;
• Facilitate community action against practices that
impinge on human dignity;
• Guide, harmonize, complement and promote the
distinct and complementary interventions and roles of
stakeholders at all levels; and
• Guide the private sector, traditional/cultural institutions
and civil society organizations to research on and
advocate for culture promotion.

Local content Information, MICT • Supports the promotion, development and
policy for Uganda, Communication and harmonization of an institutional and regulatory
February, 2019 Technology framework that ensures effective collaboration amongst
all entities involved in the media local content industry.
• The policy suggests three major interventions: develop-
ment, review of laws and regulations and standards to
enhance collaboration of both public and private actors
in the media content industry, the establishment of a
framework for the setting up a one-stop center for all
agencies in the media content industry, and the devel-
opment of guidelines for self-regulation of the media
content industry
The ICT Sector Information, MICT • ICT-SIP, undertook interventions to address the needs
strategic and Communication and of the youth in collaboration with other stakeholders.
Investment Plan, Technology The strategy targeted towards job creation, income
2015/16- 2019/20 generation, entrepreneurship, education, skills
development and entertainment.
• Provision of Information Technology Enabled Services
(ITES) such as Business Process Outsourcing (BPO)
and software development in collaboration with the
(MoFED), UIA and Private Sector;
• Promoting use of ICT in schools and tertiary institutions
(e-learning, tele-education) in collaboration with
Ministry of Education and Sports and civil society;
• Enhancing the film industry through skills training as
well as production and marketing of local content (e.g.
“Ugawood”); and
• Mobilization of resources to implement strategic
interventions e.g. the Youth Fund in MoGLSD,
production of bankable proposals for funding by finance
institutions and development partners.
Other policies Information, MICT • National Broadcasting Policy, 2018,
known with Communication and • The National Communication Policy,
relevance to the Technology • The National Electronic Media Policy,
AV industry;
While all the above interventions are commendable, there does not seem to be any deliberate effort towards harmonizing the
policy objectives of all the MDAs whose work impacts upon the AV sector, to enhance the strategic position and exploitation
of the sector. Perhaps this gap in policy harmonization, coordination and implemented has been sustained by the broad distinction
and diversity of key institutions responsible for different functions and policies relevant to the AV sector. The need for dedicated AV
industry policies and strategies and coordinative arrangements between key AV industry related institutions and sectors is imminent
in addition to ratifying and domesticating all relevant WiPO treaties to which Uganda has been a member since the early 90s.
Government Policy, Industry Prioritization for Development and Support. In Uganda, the AV sector is not yet a priority in the
Government planning cycle as evidenced from the recent budget and investment priorities. While the Political will to support the
sector is lacking significantly, this indicates that; despite increased appreciation of the AV industry as part of the culture and creative
arts industry, its incorporation into the National Development Plan, commitment to investing national resources and political will
to promote and preserve culture is limited. “The greatest challenge is that the AV industry as categorized under the culture and
creative arts industry does not rank highly on the national agenda. National priorities for investment in the sector still fall short to
none, with 0% allocations of the national investment promotion budget or fund. The lack of clear AV industry development priorities
by government has further exacerbated the weaknesses in appropriation of resources to sector.
The lack of clear development objectives, priorities and goals for the development of the local AV industry means that all
government support is currently haphazard and unguided. While the film industry has been the major priority for government
support, development of other sectors requires additional support from government spread over all industries with the AV sector.
The development objectives for each should be identified and followed up with effective planning, funding, implementation,
regular research and follow up. The need to broaden support systems across the industry in production, distribution, promotion
and business development and capacity building beyond just film is important to ensure holistic industry development and growth
of the creative arts sector. Strategies need to focus and give priority to increasing quality production per sector, market development
and broadening of distribution chains.
programs, Identifying talent and skills for hiring, and generally having a community on different factors that support, stimulate growth and harness Uganda is potential to compete on the
global market.
Perhaps the largest challenge with the local media content policy is the inability to demonstrate a specific and deliberate effort to
leverage the strategic nature of the AV sector as a major contributor to the economy. Appreciation of the sector and its players as a
viable contributor to development and especially of globalization, cannot afford to continue operations under obscure and unclear
goals. Now more than ever, the need to develop a comprehensive body of knowledge about Ugandan AV industry (film, Music,
New media, theatre and performing arts), as a science, as a business, as a social science, as a mass media platform. Clarification
is important if theatre has to take its place (be relevant) in society as a tool for education, community mobilization, reflection,
refreshment, nourishment as well as critical consciousness.
In 2013, the commission developed a licensing framework with the aim of streamlining the production, distribution and
exhibition of local content. With this mandate, UCC started by licensing filmmakers and progressed to the Film festival, however
there were several challenges including lack of sufficient content and poor quality. However, different authorities in their respective
domains continue to issue permits to content producers based on individual requests. Such authorities include UWA, NFA, UNRA,
Local Government Authorities, and the security agencies (the Uganda Police, the UPDF and the Uganda Prisons). This led to the
need for capacity building for different quality elements in the film sector including video classification.
The general lack of familiarity, exposure, knowledge and inability to keep up with such new and emerging developments
are some of the issues in light of the increasing difficulty to domesticate, review existing policies and adopt policy changes.
There is need for government officials to continuously participate in regional and international conventions for AV industry related
international treaties and protocols as well as facilitative experience sharing and follow up action is important in ensuring accurate
reviews, mainstreaming, adoption and domestication of international treaties and protocols in tourism necessitates continuous
exposure trainings for key AV industry actors in relevant conventional agreements to ensure their effective domestication and
application.
Fostering industry formalization primarily requires a comprehensive Industry profiling exercise to identify profile, gather
and document relevant data on particular subject areas against a pre-defined set of measurable indicators for the targeted
communities. A database or information system will be also required as a progress marking and follow up tool in measuring the
performance of those indicators later on in the project implementation phases, subject to a series of interventions. Establishing
the actual contribution of the sector to economic growth requires annual ticket attendance and revenue surveys and a system of
identification of revenue streams of key actors within the sector. This will also enhance sector recognition for future support and
prioritization as a key growth contributor.
3.2.3.1 AV Industry Business and Enterprise Development.
The advancement of Uganda’s AV industry growth, net revenue and CAGR to the economy requires efforts in AV industry SME
development. As the industry is largely informal and fragmented into numerous micro and small individually owned production
firms, professional groups and students, the actual size and structure of all categories of MSMEs remains uncertain due to lack of a
centralized registry and industry monitoring system. As this increases the difficulty in designing targeted, effective and consolidated
industry development strategies, undertaking a comprehensive industry profiling exercise and establishment of a centralized
industry registry system would otherwise be a starting point in ascertaining the actual size, number of film producers and industry
players to ease sector targeting, mapping, information capture and planning towards a formalized film industry. Furthermore,
development of a robust industry and SME database or information system will be also necessary as a progress marking and follow
up tool in measuring the performance of specific industry indicators, subject to a series of interventions.
‘’single journeyman’’ roles along the value chain could suggest a shortage in AV enterprise and MSME development skills
across the sector and within supporting institutions. The skill is also relevant for trainers, professional associations and relevant
creative arts educational institutions, which are relevant to the sectors policy and strategy development process. Staff training in
AV enterprise and SME development is important to elaborate policy that incorporates creative enterprises, based on a tailor made
microenterprise development plans and SME tool kits to guide its implementation.
Business and inter-sectoral linkages. Discussions with various entrepreneurs agreed to the need for skills in the facilitation
and development of business linkages between the AV creative industry in Uganda and other local and transnational private
corporations (TNCs) and SMEs. This is potentially one of the fastest and most effective ways of upgrading local AV enterprises; and
to promote production efficiency, productivity growth, technological and managerial capabilities, and market diversification, of local
creative industry MSME’s. The skills would be relevant for staff within the DoC and the creative arts associations. The skills will also
be relevant in establishing transnational linkages programme to identify and upgrade local creative arts enterprises that have the
potential to supply to and to learn from foreign affiliates (large firms) and subsequently.
Content Export Promotion. Uganda’s AV industry businesses have a very weak presence in global markets for entertainment
and media creative goods and services, mainly due to its very limited supply capacity. The need to develop creative policies
and capacities, improve the trade, and export Performance of the most competitive creative sectors is critical. Nevertheless, the
39
UIA in its 2018/2019 performance report shows that that they had licensed 286 new projects over the last year with the potential to create 59,940 jobs. Of the 286 only 24% were
domestic investors in the manufacturing, transport and communication, construction and energy. They reported 54% increase in the growth of investment however; this AV sector with
potential did not feature.
government needs to establish the right policies, capacity and skills to consistently monitor and analyze the domestic and export
performance of the creative industries, which requires the right supply of in-house skills and data management, quality if creative
industry trade figures and capacity.
Expertise in the development of market strategies for AV enterprises will be important for the responsible institution (after
its establishment) to prepare and implement an export promotion strategy. Knowledge and Familiarization with multilateral
trade negotiations and market access for Uganda’s entertainment, media and creative goods and services are very important too
in the policy development process. They involve several agreements, such as the General Agreement on Trade in Services (GATS),
the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS) and the Agreement on Trade Related Investment
Measures (TRIMs); south to south trade and market opportunism, competition policies, trade efficiency, and most importantly,
special and differentiated treatment for developing countries. Such as access and mobility of artists from developing Countries to
supply services in major markets to provide creative services in global markets to foster expansion of trade in the creatives industry.
3.2.3.2 Access to Facilitative Finance and Credit.

Finance is a major business driver and a critical resource to strategize, plan and implement systematic growth of the sector. In
Uganda, however, the lack of dedicated and consolidated institutional arrangements and the lack of a dedicated industry development
budget continues to suffocate industry growth. Compared to other sectors e.g. ICT, the proportion of government support or funding
spent on the AV sector is close to insignificant compared to its actual potential. Discussions with staff noted that, overall, only up
to 5% (about 1 billion) is allocated under the UCC budget to support content development and promotion. Concerted efforts to
sensitize administrative and political leadership forums on the relevance and potential contribution of the industry to the economy
is critical.
Private sector investment and support has been fairly sound across the industry. For instance, Fast Moving Consumer Goods
Companies (FMCGs) partnered with production companies and invested largely in sponsorships of music concerts, short films
productions, media advertising, and access to equipment and production of higher quality AV content products. For instance
‘’Wakaliwood’’ with support from the vision group was able to produce at least 46 movies under minimal budget. There is need to
encourage increased private sector investment in the production or sponsorship of local content production through support for
the establishment of business linkages and partnerships with corporate bodies. This initiative would go a long way in boosting the
industry. To ensure that these forms of sponsorships translate into holistic industry growth, it is also important to establish effective
governance and partnerships frameworks to protect parties’ interests, especially small and new market actors.
The ability of MSMEs and entrepreneurs to access the financing required at each stage of the Lifecycle, and the attached
financing conditions, depends on the interaction of demand and supply factors. While the film industry is partly funded under the
UCC, other sectors such as music and performing arts remain grossly underfunded and underserved by the government in various
parts of the value chain. In the absence of a film seed fund, credit facilities, incentives and subsidies, production and economic
inclusion of actors in both urban and rural areas are hampered by supply-side constraints owing to inadequate access to modern
film production infrastructure, technology and equipment.
Access to finance or credit facilities for all creative industry actors is very difficult and limiting of the sectors or industry growth.
The amount of capital needed to fund a ‘’Kina-Uganda’’ is problematic for both new and existing players industry players . Producers
highlighted that, on average it takes about US $ 20,000/= to make a good film which is not easily accessible to a large proportion
of local producers which affects the quality of production. Rather, majority producers and key industry actors have ‘’self-funded
film projects’’. Nearly 100% of local film production processes operate with minimal or support from government and potential
private investors. While some are dependent on NGOs through cultural grants, funding is limited to production of short films and
documentaries. This affected the quality of their props, as they could not afford quality equipment including good cameras and
better computer software, and thus producing low budget films. Despite the lack of finances, wakaliwood produced approximately
46 movies in 2018, each within a budget of $20-$200. Compared to productions in other AV rich economies, the inadequacy or lack
of funding makes it increasingly hard to compete locally, regionally and internationally with pirated movies sold cheaply in the same
market.
As is the policy of all banking and microfinance institutions, majority actors within the industry do not have tangible proof of
credit worthiness or collateral, while government funding has only been limited to the film industry and ICT innovativeness. The
concept of IPs is still not understood by the market, while banks and other financial institutions are unready to lend money based
on IP as collateral. In Nigeria and the USA, actors within the industry can access funds by virtue of their creative content and can use
their IP as collateral. In Uganda, the patent market is growing, however; there is still lack of a supportive legal framework as in other
mature AV industry economies. Financial access and inclusion are equally inadequate as a starting point for a number of key actors
to advance their goals in accessing finance. This should be emphasized as well to encourage access to finance and credit facilities.
There are no schemes or initiatives to support access to finance for local industry players. In Nigeria and South Africa, the
establishment of ‘’National film funds’’ promoted improvements in quality and the number of films produced annually. In April
2012, it was reported that the US hedge fund, Tiger Global Management, had invested US$8 million in iROKOtv; the world’s largest
online distributor of licensed Nollywood films. This substantial injection of funds to scale-up iROKOtv’s video streaming operations
From the initial ideas, creation, production and distribution up to the consumer
40

was testimony to the growing international prominence of Nigeria’s film industry. Nollywood, as Nigeria’s film industry is popularly
known, produces on average 1500 films per year. This makes it the largest film industry in Africa and globally, second only to
Bollywood . The industry’s phenomenal growth in the last two decades is nothing short of incredible Films in large numbers. Film
funds have equally led to significant successes in other countries such as Hungary, some of the lessons documents follow here.
The AV industry economic value chains have a number of characteristics, which in combination are likely to have implications
for the type of financing approaches needed and used in the sector (e.g. pre and postproduction, participation in local markets,
high number of entrepreneurs and family-run businesses, seasonal business cycle etc.). A more robust and multidimensional
financing assessment strategy is important to map and identify existing financing modes, identify gaps in access to finance as well
as the number of credit-constrained enterprises in this to support entrepreneurs and MSMEs into excellent companies with locally
competitive AV industry brands. Thus establishing a proactive approach to build suitable financing modes, enterprise capacity to
gain access to finance and credit, as well as developing a centralized MSME Finance Directory could ease the identification and
selection of MSMEs for funding.
The design of enterprise financing models to support production and value chain development funds within the industry
coupled with government Incentives to access services to boost production may be appropriate in lowering the average cost
of production. Strategies such as lower taxes on equipment and infrastructure, and policies targeting youth and regionalized AV
industry enterprise development would yield much better results. This funding should facilitate all sectors to secure holistic and
inclusive growth. Encouragement and establishment of alternative financing strategies across the sector e.g. Pre-sales , television
presales , crowd funding , individual investments, slate financing , bridge financing , gap super gap financing , Negative pickup deal
, Product placements or partnerships. Ensuring programme success would however require, local AV industry MSME capacity
building as a critical factor, as well as the establishment of an effective monitoring and evaluation system or centralized web based
system.
The government should make it possible for artists to monetize their talents and build financially sustainable careers. Ways
of doing this include expanding access to performance, production, and practice spaces and reducing the cost of living. Specific
government initiatives range from funding training programs and providing incubators to fostering nationwide music hubs that
provide artists with the space to rehearse or find affordable urban living space.
3.2.3.3 Access to Local, Regional and International AV Markets.

3.2.3.3.1 Demand and Consumption of Local Films.
The past 20 years have experienced a drastic change in the way in which filmed content is consumed. General trends in the
consumption of filmed content indicate that cinemas are declining, DVD sales are falling, TV, Cable TV/satellite is stable (with video-
on-demand [VOD] growing), Internet and social networks are growing, and Mobile phones are an exploding distribution network
. Film content production, marketing and distribution is changing with increasing demand and access to unlimited online content,
multiple online platforms such as video-on-demand. This has had an impact on film exhibition, as home video continues to grow.
In 2015, although the total electronic home video revenue in the USA exceeded box office revenue for the first time, both sectors
experience strong growth year-on-year, with home revenues at 16% and box office at 6.9% (PWC, 2016). This suggests that the
potential for both cinemas and home videos to succeed does exist. Market development strategies should prioritize investment in
the development of both platforms.
There is expected, a shift from national broadcasting traditions to extensive distribution across global networks and cultures
with the increased admiration, acceptance and diversity of African Culture across the world. For instance, nearly half of Nigeria’s
film revenue is attributed to overseas sales of high-end dramas and characters such as ‘’Akii and Pawpaw’’ and ‘’Emmanuella’’.
Authentic storytelling can transcend borders, and there is now a growing demand for African content across the world. Regionally,
however, demand has always been strong for locally produced content within the Africa. Audiences connect with stories told in
African voices, and set in their own cities or countryside. This can be further exploited with strong policies to encourage increased
culture promotion and ultimately, authenticity in African movies.
The lack of facilitative funding further hampers local film access to regional and international markets e.g. film festivals. In South
Africa, export support initiatives exist through the NFVF and DTI Export Marketing Assistance programme’’. The programme offers
financial support to attend markets and festivals. Entry-level participants from Tier 3 and 2 need intensive training and preparedness
to be able to make the most of markets and outward-bound selling missions. Duplicating this programme in Uganda may guarantee
increased access to regional and international markets and ultimately, increased revenue for local artists and businesses growth. In
addition, the Ugandan film industry needs to take advantage of available film development opportunities. Over the next five years,
it is estimated that platforms such as Netflix and Amazon will spend an annual total of more than $20 billion on original content,
while Apple and Facebook are also taking steps to invest in their own projects.
A Peek Inside Nigeria’s Film Industry, April 2014, By Sandra Oyewole, Partner, OlajideOyewole LLP
42

3.2.3.3.2 Local Film Industry Marketing and Promotion.
On the local level, there has been a number of initiatives established to promote market and distribute Ugandan film content,
but with several limitations and shortfalls. There is currently no structured film distribution system in Uganda. Rather, producers
are compelled to sell their movies to the highest offer available in the market after a week of cinema exhibition, ‘’if even showed’’.
The introduction of the Uganda Film Festival by the UCC helped in streamlining, promotion and development of the local film
industry. The objectives of the festival are to:
i) To stimulate, popularize and give a spotlight to the young Uganda Film & Video industry
ii) To build capacity in the Film & Video industry through training
iii) To give an opportunity for Ugandan Film & Video makers to showcase their work to local and international audiences
iv) To promote business linkages and development of the film industry through the festival
v) To create a forum to encourage linkages between local and international film producers, distributors and exhibitors
through creating a Uganda film & Video market within the festival.
vi) To promote in general, the Uganda creative industry by giving an opportunity to local creators of the film and video works
as well as music in the creative industry in Uganda to support the film industry through performances during the festival.
The festival supports timely film exhibition and market awareness of ready content, film screenings, workshops, and forums.
In the previous year 2018, the Festival recognized filmmaker in 21 categories classified into feature films, animations, television
series, short films, and documentaries, cinematography, production & design, sound, acting, editing, directing, among others. Free
local film screenings are offered at cinemas in Entebbe, Katwe, Naalya and Kampala to further promote local content and to drive
local audience interest and demand. Some notable achievements of the film industry since the establishment of the festival include
improved quality of local films, increased production opportunities, exposure and standards. Increased industry stakeholder cohesion
and a strong spotlight for young Ugandan Film & Video producers both locally and internationally. The festival has especially been a
good marketing platform for local film content and Uganda as a tourism destination by fostering a link between local film and Uganda
as a tourism and filming destination.
Despite the effectiveness of the festival in motivating increases in production and quality of local films, there are weaknesses in the
follow up systems and a general lack of sustainable marketing and promotion strategies for winning films to exploit their new earned
publicity.
However, there is need for Uganda to establish mechanisms and initiatives that look beyond the local platform to other regional
and international markets. Initiatives are in place to promote and market Ugandan Local film content within the region and
internationally. A number of delegations have been supported by the UCC to participate and exhibit at International film festivals
e.g. the Canes in at least 6 genres of content. However, majority of the efforts are individual based and slow reaching of the broader
film industry growth goals. In addition, there seems to be weak linkages and follow up efforts after the festivals on ‘’what next after
displaying’. A number of ‘’winning producers’’ have claimed limited commercial benefits post the festivals which further raises
the need to address the shortfalls and limitations of the festival for increased attractiveness, spread industry growth and more
sustainable results.

Over the next five years, China’s absolute growth in entertainment and media will exceed that of the US for the first time. In
that period, the US will add US$71bn (a 2.5% CAGR)53, while China will add US$84bn (a 7.7% CAGR) . Increasing global market
access for Uganda’s local content would perhaps benefit from the incorporation of culturally diverse and assimilative strategies e.g.
translation of films (Video Jockeys) in new languages such as mandarin would be a ‘’first time market entry winner’’ for Chinese
market penetration and a means to a portion of projected china E&M market and revenue.
3.2.3.3.3 Film Market Development initiatives.

The rising disposable income, mainly among the middle class, spiraling urbanization and changing lifestyle are increasing the
demand for digital instruments and content and this has widened the consumer base. This will further support companies to
innovate, refine and develop films targeting and engaging their core audiences in ways that delight and retain them. Furthermore,
there is lack of audience development Programmes yet the size of the domestic market is still small. Local film market access in
Uganda is grossly hampered by the unpredictable nature of the local audience and ever-fluctuating demand for local film content
amidst shifting expectations. Most people in Uganda prefer Nigerian movies, while majority of the Élite and ‘’generation Z’’ prefer
western movies, shows, series and other products, which stand out to them as a sign of civilization and affluence and yet ignore
43
Pre-sales is, based on the script and cast, selling the right to distribute a film in different territories before the film is completed.
44
Although it is more usual for a producer to sell the TV rights of this film after it has been made, it is sometimes possible to sell the rights in advance and use the money to pay for the
production
45
With a rising popularity of online crowdfunding, more and more films are being financed directly by their consumers this way. The crowdfunding platforms Kickstarter and IndieGoGo have
their own categories dedicated to films
46
A relatively new method of financing, slate financing “involves an investment in a specified number of studio films ranging from a mere handful to dozens of pictures”, typically by private
equity firms and hedge funds. Slate financing’s proliferation typifies the “complex relationship that has developed between the studios and Wall Street”.
47
Bridge finance has increased in prevalence in filmmaking in recent years. Bridge financing is an answer to the common “catch-22” problem of needing funding to get the actors, but not
being able to get the funding without actors. Bridge financing, for example, can be used in scenarios where a filmmaker has a promissory note from an investor to finance a film provided
the filmmaker can attach an approved actor, however without.
48
In motion pictures, gap/super gap financing is a form of mezzanine debt financing where the producer wishes to complete their film finance package by procuring a loan that is secured
against the film’s unsold territories and rights. Most gap financiers will only lend against the value of unsold foreign (non-North American) rights, as domestic (North American: USA &
Canadian) rights are seen as a “performance” risk, as opposed to more quantifiable risk that is the foreign market.
49
A negative pickup deal is a contract entered into by an independent producer and a movie studio wherein the studio agrees to purchase the movie from the producer at a given date and
for a fixed sum. Until then, the financing is up to the producer, who must pay any additional costs if the film goes over-budget.
50
Income from product placement can be used to supplement the budget of a film. The Bond franchise is notable for its lucrative product placements deals, bringing in millions of dollars.
In the film Minority Report, Lexus, Bulgari and American Express reportedly paid a combined $20 million for product placement, a record-high amount
51
https://www.kwazulunatalfilm.co.za/wp-content/uploads/2015/06/170728_KZNFC-Audience-Trends-Final-Report.pdf

productions by Ugandans/Ugandan production. People tend to watch performances/ shows/movies to their preference by culture
and accessibility.This is in part caused by negative perception of the quality of local content and limited consumer awareness of the
existing products and platforms.
According to the global entertainment and media outlook report, 2019, digital, especially mobile revenue will continue to make
up more and more of the industry’s income, boosted by big gains in Internet advertising and data consumption over the next five
years. This implies that, while it is important to build the physical infrastructure and distribution systems for Uganda’s AV industry,
prioritization of the development of existing ICT infrastructure, increasing usage and consumption of internet, will yield better
results in terms of market growth, penetration and revenue.
By 2023, marketers are expected to allocate more than 50% of their budgets to digital advertising. The Internet is already the
single-largest advertising segment, accounting for 40.6% of all ad revenue in 2018. Globally, digital music-streaming revenue is
rising rapidly, accounting for 50% of recorded music revenue in 2018. To capitalize on this growing market, key players will redefine
themselves as “audio” providers — becoming one-stop shops for consumers browsing music, radio and podcast content. It is to
nobody’s surprise that this is, increasingly, a mobile world. We see mobile continuing to soar, with smartphone data consumption
overtaking that of fixed broadband in 2020. In many developed markets, penetration is at or approaching saturation. Meanwhile, in
certain markets such as India, Indonesia and Nigeria, which are highly populous but spread over vast and challenging geographies,
operators have poured their efforts into mobile growth.
Total global Entertainment and Media revenue is set to see a 4.3% CAGR from 2018 to 2023, sending an overall figure of US$2.1trillion
up to US$2.6tn by the end of the forecast period. This pace is close to historical trends, even as shifting consumer behaviors reshape
the industry . For Uganda, the need for a clear plan of action to deepen global presence of Uganda’s local content is also critical.
Uganda needs to mount its AV industry pavilion at major international Film festivals and pursue immediate co-production treaty
arrangements with other film producing nations, to enhance production and market competitiveness. Prioritization of strong and
continuous investment in market research will be critical in securing a portion of the global entertainment and media revenue
streams as projected.
Utilization and adaptation of Modern ICT based AV Market platforms and Distribution Systems. Information and communication
Technology (ICT) essentially accelerates the sectors development and of AV content related industries and businesses across the
globe. Most importantly, the Internet is a major driver for innovation and market development with the capacity to create and/or to
destroy value. Its emergence is considered a disruptive innovation that has redefined cultural and creative industry practices, for all
countries across the globe, Uganda Inclusive. Rapid changes in technology, user behavior, and business models, have created a gap
between how consumers want to experience and pay for entertainment and media and how companies produce and distribute their
offerings. To bridge this gap, local film producers should pursue two related strategies focusing their efforts on building businesses
and brands anchored by active, higher value communities of fans, who are united by shared passions, values, and interests; and to
capitalize on those emerging technologies that delight users in new ways, deliver superior user experiences, and enhance productivity.
Consumer content demand has increased with growth in utilization and access to ICT services and user access to the internet. A
critical driving force in the growth of the AV market. In Uganda, the increased use of mobile devises and digital based platforms
since the early 2000s . A survey conducted between 2008 and 2014, showed that the number of households/individuals that owned
a radio and owned a mobile phone increased by 15% and 31.6% respectively. Although the proportion of individuals who had used
the internet had increased between 2008 and 2012, consumer access to relevant media, ICT platforms and internet infrastructure
declined by 1.4% between 2012 and 2014, while the number of individuals that owned a computer remains low at (1.3%), as further
illustrated in the figure below.
Figure 6: Trends in Individual Access and Utilization of ICTs in Uganda. (2008 - 2014)
Source: National It Survey 2017/18 Report
The Uganda Film Festival, UCC under Section 13 of the UCC Act.
52

The increase in internet access demonstrates rapid growth in the sector and market expansion. More than 5 billion world
inhabitants are in possession of a cellphone and can readily access the internet. Across Africa, Internet usage has increased to
about 5.8%, with Uganda accounting for 1.5% behind Kenya at 3.2%. This implies that, the market for local content has further
expanded with increased opportunities for ancillary AV industry marketing e.g. utilization of telecommunication or mobile systems;
ancillary video on demand markets with the potential to increase local industry visibility. Today, an individual or a television producer
can reach audience members without the assistance of a channel editor. New players called infomediaries guarantee users the
proper protection of their information, while providing them the opportunity to gain from their provided information. Customers
increasingly expect all of the TV services they want to watch to be available through a single provider, and operators are responding
by integrating streaming platforms into their traditional offerings.
Underutilization of technological platforms to enhance distribution e.g. viz IRobot, Netflix etc. The Internet and ICT platforms
have altered the market boundaries, blurring or even annihilating numerous distinctions between professionals and amateurs,
private and public sectors, between free services and chargeable services. The internet universe now attracts key players, including
Internet access providers, operators, tech giants (Google, Amazon, Facebook, Apple), and specialized firms (Netflix, Love Film).
These platforms provide new market access and services to push local content.
New entrants to the over-the-top (OTT) video market are expected to challenge the dominance of services like Netflix and
Amazon, who will turn their focus to international markets for the next cycle of subscriber growth. However, majority of these
platforms remain underutilized by local producers and content developers as attributed to the inadequacy of film quality and strong
legal backing to advertise on such platforms. Perhaps, rethinking the market and developing current marketing strategies, creating
visibility for Ugandan products on these platforms and development of local internet based film platforms could enhance local
content access into the existing digital and online markets e.g. ‘’Uganda’s Own Netflix’’. Furthermore, there is need for perpetual
innovation to progress and indicate a distinct shift from an economy of representation, controlled by professionals, to a relational
economy (interactive platforms, new online communities). This could be achieved by deepening efforts to support the integration
of social dimension of the audio-visual’s value chain.
Slow or less than global average Internet download speeds. The World Bank has identified internet access and speed as key
drivers of economic growth, job creation, and social inclusion. The Internet fosters the convergence of various sectors previously
distinct telecommunication systems, computing, and media, which have now become interdependent. The fusion between audio-
visual services and the web has also occurred, allowing a viewer to watch shows or movies on several devices simultaneously: the
lines between different consumption modes are further blurred. Faster internet access can lead to better job opportunities and
improved business efficiency. In 2019, Uganda ranked in 8th place from 10th place in African top 10 list for fastest broadband speeds
ahead of Ghana and Zambia with average speeds of around 3.22Mbps — slightly better than Ghana’s 3.20Mbps and Zambia’s
3.13Mbps . Uganda’s current speeds mean that the average user would be able to download a typical 5GB high-definition movie in
around three hours and 32 minutes. In East Africa, Kenya leads the East African broadband speed league followed by Rwanda. The
importance of higher internet speeds in AV industry growth may, however, be contested by the growth of Nollywood in Nigeria,
whose which doesn’t feature on Africa’s top 10 list of fastest internet.
The average global internet speed is getting faster from a global average internet speed of 9.1Mbps in 2018 to 11.03Mbps – a
rise of 20.65% by 1.93Mbps. In Africa, only Madagascar has speeds higher than this global average, the minimum speed required
for consumers “to fully participate in a digital society.” It is worth noting that the countries contributing the most to this rise
are those in developed nations, which already have established infrastructure and can therefore roll out the latest technology
available. Comparatively, there is little development in Uganda compared to the global average speed, and therefore little change in
availability, rollout and uptake of faster internet and ICT infrastructure. This influences local AV market behavior and interaction with
online internet based AV distribution platforms. While Rwanda has the lowest cost of internet date, Uganda maintains the highest
cost of internet data in East Africa, which limits internet usage and demand for online-based AV products. Yet, the URA, with effect
to the FY 2020, has submitted propositions for higher local taxes on mobile data.
3.2.3.3.4 Regional AV Market Coordinative and Collaborative Arrangements.

Regional cooperation and integration provides opportunities in overcoming the constraint of the size of an individual local
market such as Uganda. The creation of a “regional audio-visual areas” and a single market for culture assists in developing and
strengthening international competitiveness of local audio-visual services, especially if the sector or industry is earmarked as a
priority within the region or by member states as exemplified by the European Union, South Africa with the SADC AV collaborative
institutional arrangements and the North American regional coordinative arrangements.
At the regional level, the AV industry has still not been earmarked as a priority for EAC development or inclusion within the
regional development strategies. Regional coordinative and collaborative arrangements between Uganda and other countries
concerning development of the AV industries within the regions is still very weak or inexistent. Never-the less, efforts to establish
functional regional cooperative arrangements within the region are in place. For instance, Uganda is a member of at least 29
53
PWC, Global Entertainment and Media Outlook, 2019 – 2023,
54
55
Digital platforms are ecosystems that provide integrated services: search engine, product and service stores, and APIs. Triple and quadruple play platforms make Internet available on
cellphones, TVs, and other devices.These new technological devices also provide new services (films on demand) allowing viewers to “consume” the product on their own time. These
connected consumers are called ATAWAD (anytime, anywhere, any device) users; they push traditional producers to offer products adapted to their screen and their needs (i.e. more
interactive features).

informal regional working groups including the IT and EACCO regional working groups established to address specific regional
regulatory needs e.g. issues related to cyber security . Despite the absence of laws and standards, the platforms have been learning
benchmarks and provided opportunities for experience sharing, industry promotion and development of key market actors. This
necessitates support for the establishment and strengthening of facilitative regional platforms e.g. the EACCO.
Efforts to integrate issues related to the AV industry into the EAC agenda should be prioritized for the development of international
AV markets and should be linked through partnerships and by creating joint distribution channels across the region. Regional
integration may create the necessary space and area where products could be exchanged profitably and where other cooperative
ventures and exchanges could be launched. However, reaching out to expatriate communities has not proved to be a commercially
sustainable undertaking in a number of developing countries due to the additional costs involved, including costs relating to
technological barriers, since no single standard exists, even in Europe. It will become evident whether the EU approach could be
a model for countries to establish and strengthen partnerships, coordinative and cooperative arrangements for new markets and
other development opportunities for the EAC AV industry.
3.2.3.3.5 Music and Performing arts Markets.

Local Content Exportation is critical for the long-term sustainability and development of the Uganda’s music industry. The growth
in African music ascendancy offers inspiration for many musicians in Uganda who have begun to export their music to neighboring
countries and key African music markets with considerable levels of success. Despite these successes, few of the participants in
this research were optimistic that their popular music was likely to conquer markets in the rest of Africa, recognizing that the
Ugandan music industry and market is less developed, and citing the view that ‘playing catch-up with others’ would be unlikely. The
globalization of the music industry and the diversity of Uganda’s music industry provide opportunities for strong growth in music
exports. Anne Kansiime and Eddy Kenzo are Uganda’s most popular export in regional (East and Sub-Saharan African markets) and
international markets. The success of both products and more performing artists means there is increased interest and demand for
Uganda’s distinct and diverse music and performing arts, especially Indigenous music and culturally rich content on the regional and
international markets.
Limitations in investment and support for the promotion of Ugandan music, which has limited market access on the regional and
international level. In Nigeria, the government provides various ways to support the local music industry including grants programs
to assist businesses reach new markets, and advancing cultural diplomacy opportunities. Embassies and international diplomacy
institutions are equally involved in facilitating more targeted and better-coordinated activities both within government and within
bilateral industry arrangements to establish and strengthen partnerships for the growth of music exports. Increased investments
by government and the private sector will provide improved business pathways through information sharing and learning from
experiences. A well-coordinated and branded presence in global markets is also critical to achieving success internationally.
Inadequate export readiness of local artists. To target potential music markets, it is important to ensure that local music artists
are professionally ready, aware and fully understand what is involved in achieving international success. Government needs to
encourage and support mentoring and professional development for local music artists to help them become export ready. The
Government, through existing institutional arrangements, could work with the industry to advise what training may be required for
export readiness and assist the industry to deliver this training. The Government in partnership with the private sector may also
seek to ensure that there are improved pathways to key national music market events. This will allow Ugandan musicians to develop
their skills, build their networks and increase their knowledge of the industry in order to successfully export their product. The
Government may also consider opportunities to organize performances for Indigenous artists at international conferences, which
have a live music focus. Assisting Indigenous artists in attending and participating in international events will fast track focus and
develop their skills and international profile.
There has been more and more demand for content as the platforms increase, the problem with film and television in Uganda.
Since 2016, total digital recorded music revenue overtook physical – and streamed music overtook downloads on platforms such as
ITunes. This raises the need to invest and support the utilization of internet based platforms to increase market access. Interviews
with some key actors in the sector noted the inadequacy of awareness of some practioners of what constitutes theatrical arts as a
creative discipline and concept while others are content with dabbling on its fringes.
Additional government support is also necessary in undertaking the development of national creative arts trade events, which
assist in providing national pathways for musicians and music businesses. Export initiatives for the music industry should be
considered in light of the existing trade promotion initiatives. These initiatives can take the form of development assistance to
commercially viable music businesses on the same basis as for other businesses. Assistance may include mentoring from export
advisers to improve export knowledge and skills, as well as in-market assistance from staff at overseas posts. The government many
also provide financial assistance through reimbursement of export promotion costs through the Export Market Development Grants
Scheme. Such Programmes can be implemented with individual musicians, bands, record labels, managers and music publishers
to earn export revenue at all stages in the music business chain.
56
Global Entertainment and Media Outlook Report, 2019 – 2023.
57
https://chmcc.hypotheses.org/3219
58
59
November 2019, ‘’the worldwide broadband speed league’’, with data collected by Cable.co.uk, ranks 207 countries for average fixed-line broadband internet speeds.

Local market perceptions and awareness of the true value of performing arts is generally poor which tends to affect local
demand the will power to spend commensurately on the consumption of performing arts products. Whereas the demand for
some renowned performing artistes is considerably high in other regions such as SADC, local demand for a number of performing arts
is still very low. This low perceptions were attributed to lack of professionalism of some performing arts and low market awareness
of the value of performing arts entertainment. Performing Arts should be positioned for strategic purposes and kept vibrant and
responsive through the development of proper industry marketing strategies. The sector could also be rebranded strategically as a
profession, communication media, and an educative and instructive tool, vehicle for mobilization, as a vocation and business and
theatre as a means of income generation. Lastly, engaging collaborative efforts in performance and acceptance of informed criticism
is also important for local content producers to create an audience/ following larger than cultural, psychological and social factors,
which shall make it more appreciated by people.
3.2.3.3.6 New media Market Access.

New media production companies often gain competitive advantage by causing market disruption through their ability to
understand and act with new and innovative technology trends. New Media Consumption and Distribution Platforms are re-
shaping production lines and market behavior. Virtual reality (VR), OTT and Internet advertising lead the segments in terms of
growth rates . Despite having difficulties meeting high expectations thus far, VR is overcoming challenges. Video games, which are
expected to get a lift from new 5G networks, are the principal driver of VR headset adoption. India leads as the market with the
greatest growth, but China will reach an important milestone. Uganda needs to fast adapt to the changes and trends in technology
by investing in adequate production infrastructure and capacity building initiatives to guarantee quick wins for locally produced new
media products especially video games to remain relevant and competitive the new media markets.
There is an expected increase in competition in the PC retail space, as titles become available through more outlets and direct
from publishers. The balance of power will shift to China, which is the world’s largest video games market, with its revenues forecast
to reach US$34.9bn by 2023 . Perhaps, the cost of investing in the new and existing partnerships and strengthening business linkages
with china and USA based PC retail outlets or sale of new media products will yield better results in terms of local sales and new
media revenue, than investing in the establishment of development of new media outlets for Uganda’s new media products.
Source: Global Entertainment and Media Outlook Report, 2019 – 2023.
3.2.3.4 Industry Market Research, Monitoring and Evaluation.

The Law mandates UCC to carry out research for developmental purposes. Research is aimed at advancing or creating new
knowledge and is therefore instrumental in driving innovation, competitiveness, economic performance and national development.
S.5(1)(i) of the UCC Act requires the UCC to promote research into the development and usage of communications techniques and
technologies, including those who promote accessibility of persons with disability and other members of society to communications
service.
Accordingly, UCC established the “Research Support Program” 2011 to facilitate the creation of new knowledge to drive the
development and usage of communications services towards the achievement of sustainable development in Uganda. The
initiative seeks to ensure that Uganda’s research capacity is facilitated to contribute to the country’s economy and society the
outputs of the research work are fully exploited; The Research conducted is responsive to industry needs or sector development
needs including informing government policy and legislation knowledge exchange among various entities and between industry and
EACCO is a largely or voluntary organization

60

academia is encouraged Study how other countries promote their content. Create incubation labs for film; the labs could be geared
towards specific concepts of film e.g. sound, lighting, script writing.
While there are no definite statistics to indicate the CAGR of Uganda’s creative industry, government perceptions and expectations
seem short of the potential contribution of the sector to economic growth. The inadequacy or lack of market research into
Uganda’s entertainment industry limits the availability of information on audience needs, wants and preferences, trends in demand
patterns of different modes of entertainment and market opportunities for their genres and different arts into fully-fledged vocations
as practiced. Adequate research would otherwise offer meaningful scholarly, employment and income generation opportunities,
which in the end would improve people’s perception of theatre.
In addition, there are substantial gaps in sector specific data relating to the contemporary music, film, performing arts and new
media industries. The lack of documentation and weak industry monitoring systems coupled with wide industry fragmentation
makes tracking very difficult and hinders positive development in several ways. This data is essential to the strategic development of
the music industry that a sector wide approach is taken to understanding, measuring and reviewing on an ongoing basis, the industry
value chain. Undertaking of a coordinated approach between industry and government towards improving the data relating to the
music industry should also be considered with a view to develop a coordinated way forward for industry data collection. Industry
MSME Profiling and Documentation study will be critical to establish or identify profile, gather and document relevant data on
particular industry subjects against a pre-defined set of measurable indicators for the targeted communities. Data gathered against
these indicators will be critical in the establishment of benchmarks for against which progress and follow up on the performance
later on in the strategy implementation phases, subject to a series of development interventions.
Uganda needs a film catalogue for all Ugandan movies that have been made since 1962 to document the history and growth
pattern of Uganda’s AV industry and subsectors as well as a good database for research. In addition, there is need to establish a
robust record managements and archiving system with the ability to provide real-time data and statistics on the number of movies
produced and exhibited each year, statistics of attendance, distribution statistics. These statistics will be key for decision-making,
planning and industry growth forecasting. Furthermore, the sector needs inventories on tools of production in existence within the
country, ensuring easy access to local content infrastructure and equipment or tools.
3.2.3.5 Industry Brand Building and Local Brand Identity.

Exportation and exploitation of rich Indigenous cultures around the world offers a higher competitive advantage for several
countries thriving on creative arts industries. These offer individualized and unique positioning of the country’s creative arts, film,
music or performing arts, and accentuation of the identity of content locally, regionally and internationally. However, unlike some
African AV markets such as Nigeria, Uganda lacks clear brand identity to enhance regional and international content competitiveness.
The colonial era ushered in the British education systems and culture, causing changes in the delivery of some local performing
arts, sector prioritization, quality, education systems, and professionalism of the sector, audience patterns, policy effectiveness
and funding. While some are still in existence today, colonization of these systems taught negative perceptions of some unique
culture rich performances e.g. which to date are shunned upon and considered ‘’evil’ e.g. performing acts related to witchcraft. To
date, a great proportion of Uganda’s culture and creative arts remains colonial and highly influenced or infiltrated by continental and
western cultures. Initiatives to reinforce the culture sub-sector have been supported by government and the private sector including;
cultural exchange, research and documentation such as recording traditional cultural expressions, cultural tourism, capacity building
of culture practitioners, initiation of the review of culture specific laws, monitoring and evaluation of interventions among others,
which still need to be reinforced and re-integrated in various aspects of the AV products.
Historically, local artists and scholars were convinced that their art (music, dance, drama, storytelling, language) was archaic,
satanic, and immoral and inferior. Development of culturally identifiable content or arts in theory and practice and production of
ritual, tales as the core of locals was nearly lost along with a strong opportunity for brand identity. Ugandans have subconsciously
maintained this attitude about all things Ugandan, that local culture rich content is bad and substandard and anything foreign is
good and competitive while producing substandard cultural and creative arts products reaffirming a wrong view of local values and
beliefs. The lack of clear brand identity means that Uganda’s local content will continuously face unfavorable competition on the
global markets and the lack of a clear competitive advantage.
Investment in market research to affirm the identity and uniqueness of Uganda’s local content could assist in accentuating the
competitiveness of Uganda’s content on the local, regional and international market. In South Africa, a shift in the market towards
the uniqueness of SA films increased brand identity and market competitiveness of SA content locally, regionally and internationally.

61

62

Box 8: Ascertaining the Uniqueness of SA films.
To gain further insights on the general perceptions and attitude towards SA film and video products, respondents were asked to
indicate what they think are the unique elements they contain. This question was put to distribution channels and international
stakeholders to uncover a sense of what is unique about South African movies. Social commentary, followed by cultural content,
characters they can relate to, images and landscapes, content, general production and actors/actresses, was identified as the factors
that make SA films unique.
Likable attributes of SA films In terms of what is likeable about SA films, a large proportion of respondents (19%) said they like the
actors/actresses, followed by 18% who said they like the cultural content of SA films; 17% said they like characters they can relate
to and 12% said they like everything about SA films. About 11% of respondents said images and landscapes, while 7% said social
commentary, with another 7% liking the content in general. These findings substantiate the observations that were noted when
stakeholders were asked to identify the unique attributes of SA films.
Unlikable attributes of SA films Interestingly, a large proportion of respondents (27%) said there is nothing they do not like about SA
films. However, around 14% indicated that they do not like the general production, followed by 11% who said they cannot relate to
the characters; 10% do not like the content, 8% did not like the social commentary, while another 8% said they dislike the images
and landscapes; 4% indicated all of the above and 3% of respondents had other reasons.
3.2.3.6 Content Digitization and Commercialization.

The Internet has undeniably affected the production process: the traditional value chain has been stripped of all intermediaries.
The digitalization of information, new information and communications technology (ICT), and the Internet are a technological
innovation that has transformed the cultural and media industries. Considered a meta-media, the Internet allows website developers
and consumers to combine sound, image and text on one platform. This technological innovation is matched by sociological
innovation: the mass distribution, democratization, of the Internet (425 million Gmail users; 1.2 billion Facebook users) which eases
content digitization and monetization.
What the internet revolution in entertainment achieved is placing media and content at the fingertips of the audience, removing
the distance between creator and fan, and sowing seeds for disintermediated creation and consumption of media. Despite
these positive developments, there is strong monopoly of the gains of the internet revolution by legacy institutions, intermediaries,
corporations and faceless billion-dollar tech companies that continue to Siphon value created in online entertainment back into
revenue-churning monopolies. However, just as revenues for the music and film industries have returned to peak levels as legacy
corporations finally got to grips with the internet, it’s time for another evolution:
Blockchain technology. It is clear that revenue and value from music and film will continue to grow at a remarkable rate as
worldwide audiences gain further access to content and media, both as creators and consumers. As this is taking place, there are
scores of Blockchain startups approaching solutions for the entertainment industry that are building platforms, apps, and models
to ensure that more of that growing revenue ends up in the pockets of the creators, rather than the intermediary institutions. For
young markets such as Uganda’s local AV industry, this is implicative of a strong need to create market readiness for local content
developers towards a smooth transition and adaptation to these new technologies.
There is currently no dedicated platforms physically and online for easy access and distribution of local content and other digital
creative arts products. Provision of support for the creation of a market like DISCOP content market dedicated to local Ugandan
content is critical to establish a centralized distribution and marketing platform for local Ugandan content. Content convergence
and fusion over the same platforms is important as a means to take advantage of the potential for technological development of
new AV services (video-on-demand, interactive services, Content Digitization and Digital Technology Development, Knowledge,
Creativity and Innovation). There is need to establish proper online platforms for the sale and distribution of its local content. The
Nigerian film industry has established a number of secure online video on demand platforms to aid secure content monetization
and IP protection.
Revenue Maximization Strategies. The advertising market as an alternative revenue stream for AV industry products has been
affected by Internet with method such as ad banners moving from just web advertising and now expanded to rich media. Web
documentaries have responded to this demand, including social media and other interactive elements into the visualization
experience. There is greater attractiveness for internet advertising with the inclusion and fusion of sound, video, and pictures.
Media are thus also adopting a conversational (relational) model. Local AV industry content is much more likely to maximize revenue
through digital platforms that offer “ad-exchange” markets favored by Real time bidding (RTB) and clicks per minute or those that
offer advertising spots on the Internet sold as in an auction, with the bids updated in real time.
3.2.3.7 Human Capital Development and Training Opportunities.

The AV industry can well be one of the biggest industry employers in Uganda. There is flexibility and fluidity to work in other
media and entertainment fields, with transferable knowledge and skills from one sector to another. For example, broadcasters can
work in radio, television, cable, and Internet. Writers, editors, reporters, producers, directors can apply their knowledge to the
publishing field, radio, TV, film, as well as the Internet. However, the sector is challenged by a general lack of quality, well-trained,
highly skilled and professional actors, and critical mass of skilled training professionals.
Singular DTV, August 2018. https://medium.com/singulardtv/30-stats-that-reveal-the-economics-of-the-entertainment-industry-18e9a5db493b
63

Furthermore, the industry is characterized by a high turnover of practioners (actors, musicians, theatre performers). Majority
players and products from this sector have had a short industry life span. Most people engage in the performing arts as a last
resort survival, holding place as they look for better/ formal opportunities, for lack of alternative or as a side gig, not for the love of
the arts. Most people involved in the wide range of the performing arts and theatre practice are usually first timers and do not wish
to stay in the practice for a long time. They engage in the sector as a transition into different careers and at the earliest opportunity
where they see a better opportunity, they leave. Most people in the sector are usually first timers and do not wish to stay in the
practice for a long time.
About half of film production companies surveyed had between one and two full-time employees. However, the companies are
fluid and expanded dramatically for different projects, depending on the project size with 35 to 50 people or more for minor
projects; and 50 to 200 more people for major projects. Majority professional film content producers and production facilities are
unevenly distributed among urban locations (Kampala and Wakiso) and very few in rural areas. There are numerous limitations for
local film producers especially in the rural areas e.g. limited access to electricity and production infrastructure. This necessitates the
design of rural inclusive film production strategies will ensure economic inclusion of the industry, beyond the central region as well
as create steps towards the identification and creation of one film identity, ‘’Kina-Uganda’’.
Poor perceptions of the local creative arts industry continue to lower industry attractiveness and competitiveness for human
capital development and investment. Respondents attributed this to low public awareness of the value in AV industry and poor
industry marketing systems as a valuable profession or as a lucrative industry with numerous opportunities for employment and
personal growth. Client expectations and value attachment within the local or primary market is very low. Through sectoral and joint
industry promotion platforms, a nationwide campaign to promote the film industry will be value adding for the attractiveness of the
industry on a whole.
There is limited access to professional film production training institutions. Majority actors within the industry are either self-
taught or have learned on the job. In order to establish the actual human resources needs of the industry, it is important to
undertake an AV industry or Media and Entertainment People Strategy Survey to inform and address future industry human capital
and resource needs. In addition, the industry has at least 14 registered private institutions providing specialized vocational and
professional training in all factions of film production including animation and media design. Survey conducted among 48 key actors
within the institution identified the most popular training institutions to include; Kampala film School (5), Makerere University (5),
the Media Vision Academy (4 respondents), Proline film Academy (4), Uganda Radio Network (2), BHIG (2), UMAT (1), Uganda
Christian University (1), Pure Records and Audio Production (1), Nile institute of Management Studies (1), Music for Peace (1), Life
Records production (1). However, only Twenty-three of 48 producers were aware of institutions that provide training and capacity
building in audiovisual content.
Awareness of training Institutions providing AV related training Programmes. Frequency Percent
Yes 23 51.1
No 14 31.1
Not sure 8 17.8
Total 45 100.0
Fifty four per cent of the respondents highlighted the lack of funding and high costs of training as the major limitation to accessing
training in related professional Programmes. This raises the need for incentives action for creative arts schools to offer affordable
training opportunities.
Limitations for Access to AV Training. Frequency Percent
Trainings are expensive 26 54%
Lack of Specialized training institutions 13 27%
Lack of awareness on institutions and courses 7 15%
Poorly equipped institutions 7 15%
Respondents also highlighted a general lack of segregation of specialized technical and professional training opportunities in the
industry. Respondents attributed this to the inadequate supply of a critical mass of specialized trainers in various roles e.g. lighting
engineers and scriptwriters, which lowers the quality of training. Amidst poor perceptions of creative arts schools, (especially in
public tertiary institutions), majority training institutions are underfunded and fall short of a critical mass of professionally certified
film production tutors across all categories of film production and training.
In addition, majority of the existing film training institutions lack the necessary infrastructure and equipment to facilitate hands
on training and no standardized training curriculum to ensure quality within the learning process. The most outstanding reason
for limited theatre conceptualization and skill proficiency at the school of performing arts at Makerere is the lack of basic equipment
and facilities to facilitate learning. In some private AV training institutions, while the Programmes are congested and provide limited
opportunities for technical and practical exposure during the course of the study, student equipment ratios are wide with one
instrument for more than 100 students per session. Film schools demonstrated similar conditions concerning the exorbitant costs of
Makerere University has the department of performing Arts (formerly known as the School of Music Dance and Drama) offering degree and diploma courses in performing arts.
64

equipment for proper practical classes and demonstration facilities. In South Africa, and New York, students are attached to local film
producers to enable them gain practical skills and hands experience in terms of production and to foster professionalism. Industry
attachments and youth internships in facet such as film production may also be encouraged
Furthermore, the lack of standardized professional training materials and curriculums for the creative arts industry continues
to affect the quality of trainings offered in some institutions. This necessitates the development and approval of standard
training curriculums and certified AV industry training Programmes to further professionalize training standards within the industry.
Incorporation of AV skills and training should be intentional in all education curriculums and with direct and deliberate interventions
to promote all four sectors of the industry as professional study disciplines. The practice of these arts should also be mainstreamed
into the government communication strategy for optimal utilization, development communication, and social mobilization.
While there is some capacity in terms of training for sectors such as film, local training capacity for sectors especially the new
media production? Training capacity in this area is barely in existence or lacking locally, limiting the provision of specialized
skills and training in video game development and technology, against which, priority needs to be placed enhance production
and sector competitiveness. The available opportunities in capacity building are limited to apprenticeship and are within formal
institutions, which are few. The training focuses on acquisition of skills in the art and seldom includes marketing and promotion of
the art. In addition, capacity building is limited to modern performing arts.
In terms of Music, the music culture among young people and adults is tending much towards the appreciation of music,
especially classical music. This trend has encouraged an increase in enrollment into private music schools as well as the demand
for classical music concerts and actual participation in performances. There are a few public music schools or institutions in
a conservatoire model, with their roots in western music education systems, stemming back to missionary times (Makerere
University). Among the private music schools known in Kampala include; Kampala Music School, MusiConnexions Uganda and Esom
Music School. Although the schools offer appropriate music training compared to other schools within the East African Region, a
survey of both public and private schools established a general inadequacy of equipment to facilitate effective learning due to lack
of or inadequate funding. In addition, there was a consensus by respondents towards the need to establish more training institutions
(20/48) in order to improve the availability and capacity of local music training institutions.
Overall, respondents further identified the need for more specialized training institutions (42%), awareness creation of available
training institutions (10%), incentives for training (8%), industry training needs assessments (4%) and Standardized training
curriculums (4%).
Additional Needs for AV Training Institutions. Frequency Percent
Establish more specialized AV training institutions 20 42%
Increase awareness of available training institutions. 5 10%
Training incentives for key market actors and trainers of trainers 4 8%
Incentives for training 4 8%
Industry training needs assessment for training institutions. 2 4%
Standardized training curriculums 2 4%
In addition, there is an un-even distribution of AV industry training institutions with nearly 100% of operational training institutions
limitedly located within the central region (Kampala and Wakiso). There are hardly any training institutions in other regions of
the country, which limits regional growth and industry inclusiveness. Government policy should be strong in encouraging the
establishment or expansion of quality AV training facilities within the rural areas. Existing private training institutions can especially
be supported to invest and scale up services to outer satellite regions or townships to encourage inclusive growth within the sector.
A number of professions within the industry have been and are still a despised profession in Uganda, especially the Performing
arts. Industry attractiveness and retention of quality human capital continues to be affected due to poor perceptions, low pay,
inadequate confidence in career opportunities and lack of professional inspiration within the industry. Whereas, there are several
creative Ugandans of extra imagination, creativity and intellect and high capability to create true Ugandan theatre, there has been
little or inadequate input from theatre professionals and no involvement in strategic or policy development processes in theatre
theory and practice. A situation, which has deepened apathy within the sector.
Research shows that people are more prone to succeed at things they love to do. However, the demand for performing arts as a
qualification or job profile are almost non-existent while others describe it with apathy. The university degree course of Music Dance
and Drama (MDD) at Makerere is perceived not to be prestigious. Others consider the course graduates to be non-competitive
within the market, as many other natural or self-made performing artists for lack of alternative employment opportunities, can
equally deliver similar roles with minimal or no training as a transitional career into other sectors. While this deflates one’s social
profile as a graduate and subjects them to social ridicule, the effects of this are most felt in premature course dropouts, lack of
professionalism within the industry, high industry turnover, declining quality and consistency in production.
There is need for a shift in the performing arts sector from passive acceptance of ‘the way it is’ to what ‘it should or must’ be. This
Music in Africa Magazine, 2018, by Benon Kigozi.
65
E.g. Anne Kansiime, Alex Mukulu, Salvador Idringi

66

could begin with the development of an understanding of the interdependence of different efforts of many people, disciplines and
professions, towards the theatre production processes to improve the appreciation and improvement of perceptions. Successful
attainment of this programme will also require a strong PR and awareness raising campaign or positive promotion of the value in the
AV industry especially performing arts and demystifying the negative perceptions of the industry and the profession. Some success
stories of similar perception change Programmes have shown that, engagement of younger school going children in primary and
secondary schools is more effective in influencing perceptions, opinions or behavioral change given the right message and a clear
career path, than investing in changing the mindsets of older and non-youthful generations. Intentional inclusion of performing arts
in the education curriculum at high school level could further advance this cause. This programme should also include retraining and
re-skilling of teachers in the Performing arts sector with new skills relevant to the modern performing arts sector. Master classes of
successful performing artists could also add value to the Capacity Building programme .
Perhaps, re-branding of the professions to match modern day skill requirements and a review of existing training curriculums for such
professional performing arts will further enhance the demand and market attractiveness of the industry to quality and professional
human capital. The fact that the industry is multidisciplinary further complicates matters. AV integrators should have expertise on
a range of disciplines, including IT and environmental design. For the sake of the long-term health and integrity of the industry,
focus on professional standards, based on the latest international best practices is key. Although the industry is largely unregulated,
international standards and certifications are a good place to start. InfoComm provides a range of best practices and training
courses. Its university courses cover management, design and installation of AV solutions. Although they are somewhat American-
centric, these courses offer a good benchmark for basic AV industry proficiency. An InfoComm Certified Technology Specialist (CTS)
certification provides one with demonstrable knowledge of the AV examinable skills and basic benchmark for corporate skills and
proficiency in the AV industry.
Carrying out an industry capacity building needs assessment and facilitating the development and implementation of a comprehensive
capacity-building plan for industry practitioners and institutions that promote media and entertainment or the AV industry will be
critical. Close engagement and collaborative action between UCC, the Ministry of Education and the National Council for Higher
Education (NCHE) and other training institutions to develop, improve and roll out new and existing training Programmes will be
necessary. New Programmes rolled out will also need promotional support and accordance of credibility and continued professional
development to empower them to deliver quality-training services and the modernization or integration of AV related courses on
the curriculum, alongside traditional IT courses.
In addition, publication of the training content of most of these Programmes to scale can also assure an increase public awareness
of the worth and value in such professions. The incorporation of other related fields e.g. lighting, costuming, scenery construction,
writing and criticism among others perception improvement committee, While productivity, perceived value and sector performance
are expected to increase with this new paradigm, government should create an environment that fosters the realization of performing
arts as a profession that requires talent and academic excellence, with the potential to attract individual and financial success,
respect, and an employable profession like many others.
Most teachers of arts related studies e.g. literature, performing arts and others are often self-taught (learnt on the job) and need
retooling at every level. Government needs to provide new and updated curriculums, tools and infrastructure to train the required
trainers at various levels and support their integration into the education system. This initiative will take time to get several teachers
ready and should be implemented in a phased manner with constant training support and upgrades. This will not only provide for
the required capacity gaps but will provide jobs for those qualified in this field. Furthermore, government partnerships with the
training institutions, and increased support and credibility should help improve quality of their input, product output Improvement
calls for appropriate training especially based on concept learning, and concept-teaching methodologies by relevant educational
institutions in this sector (collaborate with MUK/MDD).
Continued professional development and accreditation will also be critical for all learning institutions and trainers, to motivate
perfection and to validate acquired knowledge and skills. Continued effort towards skills enhancement through formal and informal
study could improve artist’s perception of the nature of performing arts, which would then help improve artist’s conceptualization
and practice of the performance arts.
The AV industry requires a wide, and often technical, skill-set and practical apprenticeship in IT skills, as well as electrical, sound
and electronic engineering skills to help cultivate the people we need. All too often people are learning from sale and management
rather than from the trade, resulting in poor skills transfer. Professionalizing Uganda’s film production ecosystem will essentially
require deepening of capacity building efforts to enhance the quality of new and existing human capital, compliance with existing
standards, improve investment attractiveness and competitiveness of Ugandan films on both local and international markets. They
would like to see Ministry of education incentivize these schools; validate these schools, validate the sector and address mind set
change towards education in the arts disciplines. This should ultimately provide assurance for sustainable growth of the industry.
Advancement of a liberal economic orientation for the AV industry will support better perception. (Empowering or fueling the liberal
economy) Market trends point to new approaches of people towards performing art sector because of their anticipated monetary
value. The government needs to follow suit and invest in this industry because of its anticipated monetary value, anticipated
potential to alleviate poverty, create employment and potential for use as a platform or medium of social transformation. Increase in

investments will lead to positive attitudes towards performing arts sector in our country. Liberalized economy will shift the paradigm
with people appreciating the money value of this sector
Institutions involved with promoting the AV sector should develop and nurture industry advocates among leaders in business,
government and education to unearth unlimited resources relevant to the growth of the performing arts industry. These advocates
would be equipped to Lobby policy makers, to highlight the potential of the industry so as to position the performing Arts within
priority rankings; for their issues to be addressed in government development policy documents like national culture policy, National
development plans, priority budgeting etc. Investment will encourage growth and with this growth, the revenue collection potential
from the sector is limitless.
3.2.3.8 Stimulating Investment in the AV industry.

Uganda has had minimal or no incentives established to attract investment in the AV sector. There is no evidence of any specific
investment opportunities in the AV sector initiated by government (UIA, MICT, MoGLSD, UCC) among others, which implies that
there are barriers to investment that need to be identified and addressed accordingly. Therefore, a far-reaching review of the
current regime of tourism investment incentives needs to be carried out. The sector needs to conduct a comprehensive investment
assessment survey to identify:
• Investment needs, in terms of AV industry products and services, and indicative capital expenditure required and the return on
investment (payback periods);
• Obstacles to investment flows (national and international) real and perceived by potential investors inside and outside the
country;
• Comparison of AV investment incentives in the region and selected countries outside the region as examples of best practice;
and Key investment sources inside and outside Uganda, including sovereign wealth funds
Based on the findings and recommendations of this survey, the current regime of investment incentives and promotional practices
and methodologies should be revised and augmented as found necessary. Most importantly, Investor confidence is essential in
stimulating investment flows, is to give investors the degree of confidence, reassurance they are looking for i.e. that their investment
is secure, and they will gain their projected return on investment within the anticipated timeframe. Nevertheless, generating
stronger investment into the tourism sector can deploy a number of investment promotion activities key stakeholder institutions
i.e., MICT, UIA and UCC in the short and medium-terms. Among these could include:
• Investment Forums: Uganda should host major investment conferences and forums that will signal Uganda’s intention to be a
major player in the region as a viable AV investment destination. One of such conferences could be a Film Investment Forum
that would attract both international and regional players in film and related service providers.
• Sovereign Wealth Funds (SWFs): these state-owned funds comprise various forms of asset savings and are managed for
investment purposes to help diversify the revenue base of the country concerned. These are typically managed through a
governmental agency, as the authority established specifically for that purpose.
• Special Economic Zones (SEZs): with the enactment of the Free Zones Bill of 2010, focus should be on the creation of AV
industry zones within the designated AV industry Development regions or areas to guide and facilitate AV industry investment
into those specific areas.
• Business Angels: The industry board should focus on attracting and facilitating wealthy individuals or institutions to invest in
the AV industry sector by taking equity shares in AV-related business. This will not only provide seed finance, but will also offer
business and financial management expertise to the companies.
• Investment Clubs and SACCOs: a means for individuals to group together, and share expertise and risk a concept that has been
successful in other sectors such as in real estate development.
• Special funds: The high cost of investment financing should be addressed through the initiation of special AV industry sector
lines of credit to support government policy and encourage local investment - this approach has been successfully used in
agriculture, tourism and industry sectors in Uganda. In the immediate-term, a matching grant facilitated through the Private
Sector Foundation should be availed to the AV industry sector under a business development support framework.
3.2.4 Cross Cutting issues.

3.2.4.1 Poverty.
In 2013, more than a third of the population lived below the extreme poverty line of $1.90 per day. Moreover, vulnerability to falling
back into poverty is very high—for every three Ugandans who get out of poverty, two fall back in, demonstrating the fragile gains
on livelihoods, investment and enterprise development. Estimates from the Uganda National Household Survey 2016/2017 suggest
The trade association representing professional AV and Information Communications industries worldwide.
67

that the proportion of the population living below the national poverty line rose from 20% in FY2013 to about 21% in FY2017.
Nearly all regions across the country registered an increase in the number of poor persons with the notable exception of the Northern
region, which is the poorest, and where poverty decreased from 44% to 33%. 85% percent of Ugandans live on incomes falling below
1 U.S. dollar a day1 (“Statistics”). This clearly illustrates the difficulty for would-be independent filmmakers and business owners to
have access to personal funds, start-up capital or access to training facilities in order to produce films, as typical Kina-Uganda costs
between 5,000-10,000 US dollars to produce. Comparatively, four in ten Africans, or over 416 million people, lived below $1.90 per
day in 2015. Absence of significant efforts to create economic opportunities and reduce risk for poor people, extreme poverty will
become almost exclusively an African phenomenon by 2030. According to Africa’s Pulse, the poverty agenda in Africa should put the
poor in control, address risk and conflict, and provide more and better public finance to improve the lives of the most vulnerable.
3.2.4.2 Youth Employment

Uganda is an extremely ‘young country’ with one of the youngest populations in the world. Over 30,000 babies are born every
day and 700,000 youth enter the job market every year. Youth entrepreneurship is high. Young people comprise a large portion of
Uganda with over 78% of that population under the age of 30. This means Uganda has experienced decline in growth over the past
couple of years with the national poverty rate increasing from 20% in 2013 to 27% in 2018. Considerations of the film industry as a
potential employer and source of livelihood are equally higher with more youth involved in the production of various film categories,
despite, a number of industry actors still being under skilled in film production.
A rapidly increasing population exacerbates this slow growth , unemployment and lack of access to quality education have all grossly
affected young people Unemployment rates in the country have increased to 2.10 percent in 2017 from 2% in 2016. This situation
worsens their predicament hence they live in an extremely discrepant way of life. The World Bank jobs diagnosis and strategy report
of 2018 as well as the most recent International Monetary Fund report on Uganda states the need for at least 600,000 new jobs each
year and the figure is expected to rise to one million by 2030.
The economy is rife with reports of growing and overwhelming youth unemployment and its effects on the economy, politic and
community at large. Unemployment is alleged to be one of the key reasons. That is why most young people get into violence
instead of harnessing positive and real changes in their communities. The majority of working people are in vulnerable employment.
Inadequate earnings, low productivity, often characterize vulnerable employment and difficult conditions of work (UBOS 2017)
estimated that 54.3% of the working population are self-employed with 69% as contributing family workers. With more than half
(61%) of persons in in employment in Uganda classified in vulnerable employment (UNHA 2016/2017(extract from the same article
the above) the above presents an enormous challenge for the nation. Attaining middle-income status will require initiatives that help
the country to take advantage of the demographic dividend. (This AV sector has potential to do just that) Unemployment continues
to grow every year and yet the AV sector could be harnessed to alleviate a percentage of the unemployment problem. The AV sector
on the other hand presents enormous potential to address the unemployment challenge for the nation; the sector, which needs
to be intentionally harnessed and tapped into if the country is to grow, develop and succeed, thus the need for this AV strategy.
Revenue collection, Aid tourism industry, Address unemployment.
3.2.4.3 Gender, Vulnerable and Minority groups (PWDS) Inclusiveness.

Government response to solving Uganda’s unemployment problem had significant efforts to boost and empower women
entrepreneurship in the country. Uganda as several other sub-Saharan African countries was reported have the highest proportion
of women entrepreneurs to men at 34.8% according to a recent World Bank country report. This success is however stifled by large
and persistent earnings gaps between men and women .
These earnings gaps are very costly to the Ugandan economy and should be at the center of all sector and industry investments.
Africa’s Pulse identifies six policy pathways for women’s economic empowerment: Prioritization and building women’s skills beyond
traditional training; alleviating women’s financial constraints through innovative solutions that relieve the collateral problem and
improve their access to the financial sector; helping women secure their land rights; linking women to cheap and productive human
capital; addressing social norms that constrain women’s involvement in non-traditional industries and opportunities such as the AV
sector; and building a strong new generation through women empowerment Programmes. A critical piece will be addressing gender
gaps in key growth sectors empowerment, and job creation for the poor and vulnerable. A gender mapping exercise targeting the AV
sector will also be critical in establishing effective and more responsive industry development strategies.
3.2.4.4 Environment and Climate change.

An accepted definition of sustainable development is “achieving economic growth, environmental protection and social progress at
the same time”. Absolute Audio Visual Solutions need to be aligned with activities to promote and support sustainable use of the
environment and reduced impact of the AV industry works on communities. The need to strengthen the industry’s knowledge, skills
and capacity to design and develop more eco-sustainable and minimal impact AV products and strategies is equally important, as the
sector ensures alignment of its strategies with international conventions for ‘’sustainable and responsible tourism’’. This follows the
need for adequate capacity to plan and enforce ecologically sustainable operations or events as some Eco-sustainable Development
concepts remain observed but under-enforced. Training and capacity building in eco-sustainable AV products helps ensure sensitive
environmental areas and nature conservation.
Setting out clear approaches by both government and key industry actors to manage and mitigate the impact of the industry on the
environment the slow reaching impacts of climate change will be very important. In addition, every project, operation or activity
as part of its management routines should consider its impact on the environment and communities. Domestication of some
international protocols in audio-visual content production will also be critical. Overall, both government and the private sector need
to enforce and comply with;
• Supply chains’ employment conditions, Promotion of direct and indirect use of non-renewable carbon fuels
• Use of scarce/non-renewable raw materials in the supply chains of the items it purchases
• Prevention of the use of harmful materials or high energy consuming processes in local content production
• Proper Disposal of waste products, Building Relationships with local communities where activities take place
• Observing the welfare of staff, visitors, volunteers, neighbors and other stakeholders
• Follow the principles of Reduce, Reuse, Repair, and Recycle in managing environmental impact. Through this policy, we expect
to not only minimize environmental impacts, but also to make sound economic sense.
3.2.4.5 Culture Preservation.

Uganda is home to over 65 different ethnic groups and tribes, which form the basis of all indigenous music. The AV industry is
central to the lives of many Ugandans and contributes to the country’s rich, diverse and vibrant culture by; informing, educating,
uniting, and preserving culture and morals. Diversity and innovation in the industry also play a major role in preserving Uganda’s
cultural identity. However, the industry is still under prioritized by institutions of governance, investors, policy makers, and the youth
mainly due to strong and prevalent negative perceptions. This raises the need to strengthen existing platforms and capacity for the
preservation of culture, promotion of cultural diversity and pluralism.
Structural difficulties further exist with daunting obstacles to audio-visual production and its diffusion. This ranges from factors as
diverse as the paucity of disposable income to spend on non-essential consumption, literacy, problems of secure and reliable access
to electricity, particularly in rural areas, the low availability of consumer equipment (TVs, DVD players), as well as a general dearth
of producers, broadcasters and distributors’ facilities. Meanwhile, investment in audio-visual production remains in most countries
limited and sub-optimal. This curtails the ability of local artistic talent to express itself and limits the production and diffusion of
audio-visual products rooted in local patrimony. Both phenomena can interact in ways that may pose a threat to cultural diversity.
3.2.4.6 Human Immune Deficiency Virus (HIV/AIDs)

In the past, the entertainment industry was one among several industries most affected by HIV/AIDs in Uganda. This was attributed
to a high degree of exposure to high risk populations and substance abuse. Several artists have since become important behavioral
change agents and have played a key role in reversing the spread of HIV within the industry and nationally, through various education
and empowerment campaigns.
Doing so with maximum efficiency, however, requires a clear understanding of the challenges and the obstacles to widespread and
effective HIV-prevention education and through sharing and disseminating information. If equipped with the right information,
knowledge and tools, key actors within the industry can achieve lower HIV prevalence rates than the national average. HIV/AIDS
poses a particular threat to sustainable industry production and quality, which is are critical pillars for successful AV industries.
While posing a risk of HIV transmission, the media and entertainment environment must be seen as a unique opportunity to provide
HIV/AIDS prevention and education for a large ‘captive’ audience in a disciplined and highly organized setting. Key actors within
the entertainment industry represent an ideal medium for instilling widespread awareness about HIV/AIDS and encouraging safer
behavior among a significant percentage of the sexually active population. The media and entertainment structure is well suited to
providing information, knowledge and material resources (such as condoms and therapeutic drugs) as well as facilitating voluntary
counselling and testing, both for key actors within the industry and the general population. To reinforce the call for action expressed
by key actors, the following points should be emphasized:
• Involve national and international security institutions at the highest levels.

• Establishment of an institutionalized and sustainable HIV/AIDS structure reflecting Multisectoral representation.
• Engage all relevant stakeholders throughout the process in order to generate an effective and comprehensive response.
• Establish response systems to provide early and effective HIV/AIDS awareness in conflict and post-conflict situations.
• Use E&M environments as a potential opportunity for social mobilization where personnel can be trained as change agents in
the fight against HIV/AIDS.
• Ensure that information on HIV/AIDS is passed on effectively to the maximum number of peers through the change agents.4
The AV Strategy
Overall, capacities in each sub-sector are inadequate to influence socio-economic growth and development. More so, the areas of
Uganda’s population growth rate is 3% per annum.

68
https://www.worldbank.org/en/news/press-release/2019/10/09/global-uncertainty-contiues-to-slow-growth-in-africas-economies
69

inadequacy include; limited funding and investment, inadequate supply of skilled professional personnel, materials and equipment,
access to markets and knowledge of markets for products, production and market infrastructure, adaptation to new technology,
coordination and weak legal and regulatory enforcement mechanisms, poor and poor industry perceptions to spur industry growth
and development.
This status quo undermines the potential for the industry to contribute to National Development. Therefore, the AV industry policy
in Uganda should be thrust towards developing the AV industry and sub-sectors in order to contribute to the Gross Domestic Product
(GDP) and vision 2040. The Policy will thus complement, promote and strengthen the overall development goals of the country. The
strategy shall support the implementation of other sectoral policies, plans and Programmes.

Chapter 4: The AV Strategy
4 The AV Strategy
Overall, capacities in each sub-sector are inadequate to influence socio-economic growth and development. More so, the areas of
inadequacy include; limited funding and investment, inadequate supply of skilled professional personnel, materials and equipment,
access to markets and knowledge of markets for products, production and market infrastructure, adaptation to new technology,
coordination and weak legal and regulatory enforcement
mechanisms, poor and poor industry perceptions to spur industry growth and development.
This status quo undermines the potential for the industry to contribute to National Development. Therefore, the AV industry policy
in Uganda should be thrust towards developing the AV industry and sub-sectors in order to contribute to the Gross Domestic Product
(GDP) and vision 2040. The Policy will thus complement, promote and strengthen the overall development goals of the country. The
strategy shall support the implementation of other sectoral policies, plans and Programmes.
4.1 Industry Strategic Orientation 2020/21 – 2025/26.

4.1.1 Industry Vision and Mission.
Vision:
‘’ A formal, vibrant and predictable local content industry that contributes to socio-economic
development, employment and economic transformation’’
Mission:
‘’ Enhanced creativity, innovation, productivity and competitiveness of the local content
industry’’.
4.1.2 Sector Specific Goals and Objectives.

4.1.2 Sector Specific Goals and Objectives
Specifically, this strategy provides a framework to facilitate industry growth, development and competitiveness with two main goals
including;
Goal 1: To motivate a paradigm shift from an informal to a formal and more predictable industry.
Objective 1: Enhance institutional Capacity to provide leadership and deliver quality and efficient services in AV industry related fields
and, to ensure the visibility of the AV industry in Uganda. This goal will aim to establish and strengthen new and existing institutional
capacities for the industry with a purpose to improve policy development, implementation and coordinative arrangements. Most
importantly, key stakeholders and interventions will involve the development and establishment of a centralized AV industry council
with a purpose to coordinate the implementation of the industry’s policies and strategies. The establishment of one-stop-shop
facility centers in crucial matters such as licensing and provision of industry facilitative services will be critical interventions to ensure
improvements in service efficiency and a removal of some structural and systematic barriers to production. This objective should
also be considered as the main priority for industry development, as the requisite starting point for the achievement of the industry’s
growth goals and objectives.
Enhance institutional Capacity • Support the establishment and alignment of functional AV Institutional arrangements
to provide leadership and • Lobby for increased industry visibility at the national level.
deliver quality and efficient • Establish and Strengthen new existing industry Legal, policy Effectiveness
services in AV industry related • Establish proper industry databases and information systems.
fields and, to ensure the • Undertake an institutional review of existing Institutional functions and Structures
visibility of the AV industry in to streamline existing institutional roles and responsibilities, and to improve industry
Uganda. coordinative arrangements.
• Design a public relations plan that will institutionalize a robust system of internal
communication within UCC and outreach to external audiences.
• Create a structure to facilitate sectoral management of the communication function and
stakeholder engagement.
Objective 2: Facilitate the transition of the industry from the informal to the formal economy, ensuring opportunities for income
security, livelihoods and entrepreneurship. The key stakeholders responsible for the AV industry will maintain a cost-efficient and
responsive approach towards streamlining, formalizing, institutionalizing and establishing efficient mechanisms and effective
means to manage, predict and forecast the growth patterns of the industry. This will be achieved through the establishment and
strengthening of clear industry legal, policy and institutional frameworks, as well as the establishment of a robust monitoring and
evaluation system. Specific interventions for the achievement of this goal are further illustrated below.

Facilitate the transition of the • Foster industry and MSME formalization, Registration, Business and Enterprise Development
industry from the informal to initiatives.
the formal economy, ensuring • Promote the creation, preservation and sustainability of enterprises and decent jobs in the
opportunities for income formal economy and the coherence of macroeconomic, employment, social protection and
security, livelihoods and other social policies;
entrepreneurship. • Strengthen AV industry Business and Enterprise Capacity towards formal and structured
systems. E.g. trainings in business management skills etc.
• Strengthen existing industry self-regulating and self-governing systems e.g. streamlining
of industry associations and coordinative mechanisms between all associations and
memberships.
• Promote social-economic inclusion and facilitate the creation of new employment
opportunities, for the youth and women in the media and entertainment industry.
Goal 2: Enhancing local content Quality, industry productivity and Market Competitiveness at the local, regional and international
level.
Objective 3: Enhancing local content Quality and industry productivity. Addressing the existing obstacles in some areas of quality
and production will depend in part on the technical sophistication and capital costs associated with an audio-visual undertaking,
which can be particularly high, especially in the production of quality motion pictures. To address this, key interventions will aim to
address issues related to access to finance, quality human capital, access to proper production infrastructure and equipment across
all regions of the country, to produce the technically sophisticated films and other local content that can compete well in mass
markets. The main objectives and interventions are further illustrated in table below;
Enhancing local content Quality and • Deepen industry capacity-building initiatives for enhance sector productivity,
industry productivity. professionalism, quality and competitiveness of Uganda’s film industry locally and
internationally.
• Facilitate and support increased access to production infrastructure and
Equipment
• Facilitate and promote the establishment and strengthening of industry Business
and inter-sectoral linkages to boost production.
• Facilitate Access to Finance and Credit.
• Facilitate Access to quality, skilled, and professional Human Capital and AV
industry Training and Capacity Building opportunities.
Objective 4: Increasing industry and market Competitiveness, profitability and revenue maximization (Locally, Regionally and
internationally). There has been tremendous growth of the audio-visual market for some African countries e.g. Nigeria, SA and
Botswana, as partly explained by high and increasing returns and high-level expertise in local, regional and international customer
experience. For Uganda, enhancing Local audio-visual content competitiveness in International trade will extend to content
brand building, industry market research, consumer market development, facilitation of access to markets, the establishment
and strengthening of cooperative and collaborative alliances to improve Uganda’s local AV market offer, increased investments
in production and quality improvement. (Including processing and finishing) and development of strategic local, regional and
international content distribution systems.
Increasing industry Supporting Industry Brand Building and Local Brand Identity.
and market Facilitate Industry Market Research, Monitoring and Evaluation.
Competitiveness,
Support Local Consumer Market Development Initiatives.
Profitability
and Revenue Facilitate and support access to Local, Regional and Global Markets.
Maximization Facilitate industry and local content promotion initiatives at the local, regional and global level.
Facilitate and Support the development and establishment structured local and international content
distribution system.
Support for the establishment and strengthening of facilitative regional platforms e.g. the EACCO to
promote the AV industry development agenda.
Promote Revenue Maximization strategies for local industry actors e.g. utilization of digital monetization
schemes etc.

Chapter 5: Strategy Implementation Mechanisms.
5 STRATEGY IMPLEMENTATION MECHANISMS.

5.1 Governance and Institutional Arrangements
The interventions and programs will be implemented under the Sector wide Approach. The plan will encompass all the development
objectives of each AV related department, with special attention to the interests and expectations of the sector stakeholders.
Implementation of the development objectives will be phased over a period of five years starting 2020/21 and ending 2025/2026,
based on the priorities identified in section 4 above. The following key parameters will be used to guide the implementation if this
strategy.
The following institutions are important in creating a favourable institutional framework that will improve policy and strategic
formulation, coordination and implementation. Currently, the mandate for the AV industry portfolio lies in the Ministry of ICT,
Ministry of Labour Gender and Social Development. However, successful implementation of this strategy in so doing will need close
engagement with the following portfolios, key in defining the required institutional framework.
Table 17: AV Industry Stakeholder Categories, Roles and Responsibilities.
Stakeholder Category Entity. Roles and responsibilities
• Policy Makers • MICT, NPA, • The Ministries shall be responsible for the overall coordination
MOGLSD, MTTI, of formulation, implementation, review, target setting and
MoTWA, MOFA, oversight of all AV industry strategies and Programs.
MoLG, UBOS • Develop institutional policies, strategies, plans, projects and
activities in relevant mandate areas;
• Provide policy, regulatory guidelines and leadership;
• Provide resources to support activities;
• Collaborate in respective mandates, research, program
development and implementation; Support monitoring and
evaluation;
• Promote industry activities in their institutions; Support
the identification and accreditation of experts, delegates,
representatives and partners in various activities, conferences,
meetings, workshops etc.
• Promote networking and capacity building and Provision of
human and financial resources
• MoFED • The coordination of planning activities, as well as resource
mobilization and allocation of resources and integration
of the industry into national development frameworks and
MTEF.
• Access to media and communication avenues
• Implementing Partners. • UCC. • Industry Promotion and Regulation.
• URSB/UPRS • Management and Enforcement of the Copyright law
• Management of Collective Bargaining Agreements
• Uganda Media
Council,
• Uganda Police. • Enforcement of the copyright law
• Local Governments • In collaboration with the Ministry of ICT (and its Agencies)
shall work closely with Central Government, private sector,
civil society and other partners to:
• Encourage citizen’s participation AV industry production and
consumption
• Implement information dissemination and development
planning information systems;
• Promoting investments in AV industry related businesses
• Develop Public-Private Partnerships to implement AV industry
development Programmes; and
• Mainstream and develop AV industry Strategies and
Implementation plans in liaison with the Ministry of ICT.
• Industry Associations • Film Associations of • Support industry coordination and implementation of development
Uganda initiatives.
• Music Associations of
Uganda
• Uganda Performing
Arts Associations etc.

• The Private Sector • Production and • The private sector as a key partner to Government is recognized
Record Companies as having a critical role in the process of developing Uganda’s AV
• Broadcasters/ Media industry and economy. The private sector is expected among
Houses other things to serve as the key driver for the development of the
• Local and International Ugandan economy by providing domestic and foreign investments
Distribution and in AV industry related services, advertising and infrastructure
Record Companies development; as well as facilitate the mobilization of funding/
• FMCGs Etc. investments to implement ICT initiatives outlined in this policy and
• Banking and Facilitating Access to finance.
microfinance
institutions
• Training and Development • Academia • In close collaboration with private sector, civil society, Ministry of
Institutions • AV Training Institutes ICT (and its Agencies) and other partners; the nation’s colleges,
• Training Academies. universities and research
• institutions shall play a significant role in implementing this strategy
by supporting:
• Research and Development initiatives;
• Supporting training and human capital development initiatives.
• Strengthening scientific and industrial research capacity
• Mainstreaming the AV industry learning in all aspects of the
education and training curricula of universities and colleges;
• Creating Centers of Excellence with specialized and multi-disciplinary
research teams on AV industry related fields.
• Development Partners. • ADB, WB, EIF, EC. • Government shall work closely with development partners involved
in sustainable development Programmes to undertake the following
initiatives:
• Mobilize technical and financial resources to support the implemen-
tation of this policy;
• Integrate the AV industry in country support Programmes in Uganda;
• Mobilize the support of other partners in fundamental areas of AV
industry development etc. to participate in implementing this Strat-
egy;
• Facilitate the setting up of links and relationships between national
academic and research institutions and similar institutions abroad;
• Support the effective participation of Uganda in international forum
concerned with AV industry development; and
• Promote and encourage investment in local AV industry through
Foreign Direct Investment, Expos.
5.1.1 Financing, Resource Mobilization Strategies.

The central objective for industry financial resource mobilization, is to bridge the funding gap in the industry’s development goals
and program budgets, attracting more predictable and sustainable funding flows.
Lobby for increased Industry Subventions from Government. It is not definite the subventions allocated to the development of
the AV industry in the past years. However, the commission as well as other industry stakeholders will need to lobby for additional
funding in form of government subventions to close the funding gap for the development of the AV industry.
Industry Memberships and Licensing Collections. The commission should establish a central body or society as the umbrella body
for all associations of Producers, Distributors and Exhibitors in the AV industry. The commission may use the platform to regulate as
well as collect industry financial contributions through membership and certification fees from both associations and actors for the
board’s approval. The commission may establish and collect minimal annualized membership fees for associations and producers
to be collected by the society, e.g. title registration, Publicity clearance certificates and Membership certificates. For a producer
to get membership in the society, it can be made mandatory to for associations of actors or producers to obtain clearance letters.
These letters can be produced before the Executive Committee of the Chamber with the recommendation letters from Committee
members of the society following which, the application for membership will be kept pending till Censor certificate for the AV
product is issued, while ensuring registration and of members of the industry.
Maintain and strengthen new and existing relationships with non-traditional financiers. Given the immense competition for partner
funds globally, the Uganda Communications will work to improve the quality of its non-traditional partnerships and consciously seek
to improve these potential relationships. The commission will prioritize interactions with key stakeholders and ensure increased
visibility and adaptation to the requirements of the various non-traditional partners. The expected results are presented in the table
below;

Table 18: Partnerships Results Matrix.
Results Indicators
Financially viable non-traditional partner- No. of new financially viable non-traditional partnerships portfolios established
ships developed
Income from non-traditional partners and Net income generated from non-traditional partnerships
funders increased No. of multi-year partnership support agreements signed with non-traditional
partners
Synergies technical support cost sharing and funding Synergies established be-
tween Government and the private sector.
Cost reduction, synergies, minimization and Trends of net savings
savings increased
The commission will develop and establish a partnership framework, built on a deeper understanding of the identity and priorities
of key decision makers in identified potential funding partner agencies. This will assist the industry to obtain improved intelligence
on the appetite and opportunity/risk assessments of potential donors, which will greatly assist to position itself favourably. The
commission will thus develop an outline of procedures and guidelines to ensure that the organization’s practices in forming
partnerships to ensure that projects are well structured and delivered in line with expectations of each partnership.
Participation in Multi-lateral fora engagements to improve and promote commitment of existing and new partners: The commission
will put in place multi-year resource support agreements with existing and past funding partners. To the extent possible, the
commission will seek out multi-year financial funding from existing and past financiers, as this will reduce on the uncertainty
of funds availability. The commission will have annual consultations with them to enhance communication and assess ways of
benefiting from them.
One to one engagements with potential partners to develop, establish, maintain and nurture new and existing non-traditional
partnerships e.g. private sector actors. The commission will carry out joint exploration (with past and present funding partners) to
establish new partner relationships and common objectives. The commission will seek to have annual joint exploration activities with
the organization and traditional funding partners which activities will be aimed at identifying, establishing and building relationships
with emerging markets targeting new donors.
Participation in local and international fora for AV Industry content to explore other potential partners: The commission shall actively
look out for and attend multilateral conferences, meetings and fora that may have potential donors participating with a view of
establishing contact with them and promoting local content and local industry mission and objectives. The commission will also
develop concept notes to secure additional funding from potential donors in order to meet its development objectives.
5.2 Critical Success Factors

Leadership and Political Commitment. It will require strong leadership and institutionalized culture and commitment to achieve
the strategic goals of the industry and to effectively realize the goal of this strategy. While the current board composition has
considerable technical expertise to provide oversight and policy guidance roles, it will not only require further reconstitution to
reflect the AV industry’s needs from to a more formal and robust industry. Joint stakeholder partnerships will also need to be
strengthened to ensure commitment. This will provide for more commitment beyond what pertains now in order to get more value
out of the industry. This change should also be reflected with a realignment of the institutional governance system.
Strong Institutional Capacity to support the objectives of this strategy.The commission should consider strengthening the capacity of
the existing internal team. This will involve establishment of additional resources and skilling to support strategic implementation,
monitoring and evaluation. The commission should also establish annualized needs based and targeted performance improvement
training plans and associated budgets. This will involve continuous staff skills development in order to align their competencies in
line with the implementation needs of this strategy.
Cultural and attitudinal change. Industries are built not only on the physical capabilities of institutions but also on the moral and
psychological beliefs of key markets and actors have in them. As such, the commission will work towards inculcating a shift from
informal to formal industry arrangements. This change in culture must influence both industry actors and the market. This will also
entail reviewing the current policies as well as establishing new ones as the basis for guiding the culture transition and management
process.
Ownership and Accountability, coordination and collaborative for industry development.In the absence of a centralized industry
development agency, the implementation of this strategy must not be left solely to the Uganda Communications commission.
Rather, each stakeholder institution should be made accountable for their role in the development process. Clear performance
targets should be developed for each sector or stakeholder as a means for accountability and institutionalization of the industry’s
development process.
Monitoring and reporting arrangements the commission shall establish, continuously review and foster adherence to appropriate

accountability, reporting and responsibility structures (strategic, operational and tactical). The current reporting arrangement for the
commission shall support quicker decision making processes in line with the changes in organizational culture required to actualize
implementation of this strategy. The research department shall be reviewed and a research strategy developed to as one of the
areas identified for information gathering about the industry.
Sustainable Change Management.The commission must ensure that all three important phases of change management are
conducted before full implementation of this strategy. The three tier phases include; industry sensitization and communication,
training and capacity building, monitoring and evaluation of the program. The key success factors in sensitization should involve a
clear description of the industry’s development objectives, roles and responsibilities of each staff and key stakeholders, projected
outcomes to improve attitudes, skills and practices in achieving one common goal.
5.3 Monitoring and Evaluation Framework

Implementation of this plan will be phased over a period of five years starting Q4 FY 2020/21 and ending 2025/26. The priorities
for the implementation of this plan during the first and subsequent years will be based on the need for industry formalization,
strengthening industry productivity, competitive and revenue maximization. The government of Uganda and contributions from
development agencies over the next one year will finance the Plan.
Following the implementation of the above goals, objectives and strategic interventions, the Industry is expected to be better
coordinated, vibrant, productive, more profitable for key players and stakeholders, and should attract more tangible contributions
to national revenue and employment. The table below further illustrates the expected impact of this strategy and the key industry
performance indicators.
Table 19: Expected Programme Impact and Indicators.
Expected Impact Indicators.
i. Institutional Capacity to provide • Industry institutional arrangements reviewed, aligned and fully functional.
leadership and deliver quality, well-co- • Institutional capacity to manage industry activities and functions strengthened.
ordinated and efficient services to AV • Existence of a one-stop bureau or center dedicated to AV industry growth and
industry. development.
ii. Industry structures developed, for- • No. and proportion of formal AV industry structures established.
malized, measurable and predictable. • No. of MSMEs registered and formalized.
• No. of Industry associations registered and formalized.
• No. of Strategic Partnerships formed between Government and Private industry
actors, Industry to industry partnerships, Industry to actor partnerships
iii. Quality of Local content and industry • No. of Films featured per annum
productivity Im’proved. • No. and Proportion of local films meetings classification standards.
iv. Industry and market competitiveness • Market demand perception index of local content Vs international content
for local content at the local, regional • No. of Successful local content productions on the regional and international
and international level Improved scene.
• Number of actors transitioning to the global scenes
• Demand perception index for local films and culture
v. Industry Revenue, profitability and • Industry Compound Annual Growth Rate (CAGR) per annum.
net contribution to GDP increased. • Gross/Net industry Revenue Per annum,
• Net contribution of the industry to GDP.
vi. New employment opportunities cre- • No. of new AV industry businesses registered per annum
ated for youth and women in the media • No. of employment opportunities created per annum
and entertainment industry. • No. of Youth employed within the AV industry
• No. of Women employed within the AV industry
vii. AV industry vibrancy and industry • Status of recognition of the AV industry in the National Development Plan.
visibility improved in Uganda. • Status of recognition of the AV industry in the MTEF/ BFP
• Level of coordination of AV industry related services.
• Number of New sign-ups for ambassadors of Reputable brands within the
country.

5.3.1 Industry Development Log frame
A1: Increased Exhibition and broadcasting of freshly built talent and new audio-visual content
A2: Heavy and continuous investment into the AV industry and Continued utilization of the web aggregators
A3: Active, Highly skilled and qualified governing (managing) body of the AV Industry
A4: Continued reward and recognition of great performance
G: Gender Inclusive Components, attributes and policies
Y: Youth Inclusive Attributes and Policies

Hierarchy Means of Verification/ indicators Assumptions
Goals • Motivate a paradigm shift from an informal • Industry structures developed, formalized, measurable and predictable.
to a formal and more predictable industry • Quality of Local content and industry productivity Improved.
• Enhancing local content Quality, industry • local, regional and international Industry and market competitiveness Improved
productivity and Market Competitiveness • Industry Revenue, profitability and net contribution to GDP increased.
at the local, regional and international • New employment opportunities created for youth and women in the media and entertainment
level industry.
• AV industry vibrancy and industry visibility improved in locally and regionally
Sub- • Transition of the industry from the • Industry and MSME formalization, Business and Enterprise Development initiatives. • A1: Increased Exhibition and
Purposes informal to the formal economy, ensuring • Creation, preservation and sustainability of enterprises and decent jobs in the formal economy broadcasting of freshly built
opportunities for income security, • Coherence of macroeconomic, employment, social protection and other social policies; talent and new audio-visual
livelihoods and entrepreneurship • Strengthened AV industry Business and Enterprise Capacity towards formal and structured content
• Enhanced institutional Capacity to provide systems. • A2: Heavy and continuous
leadership and deliver quality and efficient • Strengthened existing industry self-regulating and self-governing systems, streamlined industry investment into the AV
services in AV industry related fields and, associations, and coordinative mechanisms among associations and memberships. industry and Continued
to ensure the visibility of the AV industry • Social-economic inclusion and creation of new employment opportunities, for the youth and utilization of the web
in Uganda. women in the media and entertainment industry. aggregators
• Enhancing local content Quality and • Institutional leadership and deliver quality, well-coordinated and efficient services to AV • A3: Active, Highly skilled
industry productivity. industry. and qualified governing
• Increased industry and market (managing) body of the AV
Competitiveness, Profitability and Revenue Industry
Maximization • A4: Continued reward
and recognition of great
performance
Outcomes • Employment, (G,Y) • Increased Number of films • Increased Funding into the AV
• Creation of AV career platforms • Increased Number of MSMEs industry
• Increased Capacity • (Number of jobs created in the industry) • Government buy-in obtained
• Increased level of coordination and AV • Number of Number of number of inclusive new registered AV platforms for the youth on the AV industry
arrangement • Number of Increased Number of of newly signed Partnerships Development goals
• Increased contribution to GDP
Output • Operational functional systems, and • Number of trainings conducted
guidelines • Number of partnership contracts signed
• Trained actors and stakeholders • Recruitment of a consultant to design a database
• Awareness of benefits of AV industry • Number of meetings held to support development of sector guidelines
• Employment (creation of job
• Database
• Sector guidelines in place
• Exposure to foreign markets
Activities • Industry training and Capacity Building, Infrastructure and Equipment, Design Database,
• Create linkages and strengthen Partnerships,
• Create or revise policies to be Pro- AV industry,
• Identification of Funding Avenues, Operational Research and stakeholder analyses

5.3.2 Institutionalizing Monitoring and Evaluation
The success of the M&E function will depend on the development and operationalization of a robust industry M&E system. UCC
and other key implementing stakeholders will strengthen the industry’s Monitoring and Evaluation (M&E) function establishing clear
mechanisms and a framework to support tracking progress and performance of the plan. The framework will provide mechanisms
for early warning in case there are deviations and variations between what was planned and what is actually happening that needs
urgent attention and or corrective actions.
UCC will adopt a collegiate system of monitoring and evaluation. A monitoring and evaluation team will be established to oversee
the M&E activities. This Team will include the media and content development department to oversee implementation and the M&E
Officer as Secretary. Other members will be all heads of programmes/units and representatives of the programme committees from
other stakeholder institutions under the SWAp. This arrangement takes into account the multi- and inter-disciplinary nature of the
UCC programmes and the availability of technical back up from its various Committees and specialized teams. M&E will therefore be
a shared participatory responsibility of the staff, the technical and specialized committees from various institutions relevant to the
AV sector and the board.
Monitoring and evaluation will be carried out regularly to track progress and to ensure that the resources allocated towards the
implementation of this plan are converted into outputs, which translate into long-term impacts for the industry. The Research and
development department at UCC will coordinate the M&E activities. A set of indicators to measure progress towards achievement
of the objectives envisaged in this Plan are further listed or summarized in the appendix 1.
In addition to the specific guidelines developed in the M&E system, the respective departments, programmes, projects, and units
will collect data from their various activities to feed into the M&E system and inform the subsequent plan.
5.3.3 Evaluation of the implementation of the Strategy

The Strategic Plan will be reviewed annually, evaluated at mid-term after 3 and a half years to report progress to stakeholders
and accommodate emerging issues and, at the end of the seventh year when a new SP it will be developed. At the end of the
implementation period, there will be an evaluation to assess the most significant constraints, the most successful activities and to
generally assess how well the strategies will have addressed the set objectives.
Evaluations of the implementation of the strategic plan shall be conducted to ensure adherence with the plans and objectives and
addressing the stated goals in line with the Mission and the overall Vision and values for the institution. The industry shall also
undergo an annual external evaluation from an independent monitor to conduct a technical progress review, on output targets and
assess potential risks to achieving Programme outputs and outcome and the Programme management and financial performance.
The Evaluation plan shall follow two stages including;
i) One midterm evaluation

ii) One end of term review and evaluation.
The above evaluations will summarize key successes and problems, ideas for changing operations, review implications of the plan
and aid the, identification of lessons learnt during implementation as well as making adjustments.

Appendix.
APPENDIX.
Appendix 1: The AV Strategy Implementation plan and M&E Matrix.

Objective Interventions. Specific Actions. Expected Timelines Targeted Sector Cost Estimates Responsibility
(000’in Millions Centre
of Ugx
2020/1 2021/2 2022/3 2023/4 2024/5
Establish and Establish and strengthen industry policies to promote the Audio-Visual Content Sector in Uganda. All Sectors 50,000 Uganda
Strengthen new Communications
existing industry Commission
policies and Action
Facilitate and support the sector wide approach (SWAp) as an essential strategic development tool of the music All Sectors None UCC
plans
industry to jointly implement the industry’s plans and measure performance. MICT, NPA,
MOGLSD, MTTI,
MoTWA, MOFA,
Harmonize the policy objectives of all stakeholder MDAs in the AV sector, to enhance the strategic position and All Sectors None
MoLG.
exploitation of the sector.
Support and facilitate the domestication of local content relevant treaties and agreements. Support the ratification All Sectors None
and domesticate all relevant WiPO treaties to which Uganda has been a member since the early 90s
Streamline and communicate the role of the public, private and the local community development partners, towards All Sectors None
the development of the sector.
Lobby for sector inclusion in Medium term expenditure framework. All Sectors None
Fostering Industry Formalization and Development
Strengthen existing coordinative arrangements between key AV industry related institutions and sectors All Sectors None
Support the development of effective planning, funding, implementation and regular research and follow up to All Sectors None
continuously inform industry policy effectiveness.
Establish proper Undertake a comprehensive Industry profiling exercise to identify profile, gather and document relevant data on All Sectors 50,000 Uganda
industry databases particular subject areas against a pre-defined set of measurable indicators for the targeted communities. Communications
and information Commission
systems.
Develop a comprehensive body of knowledge about Ugandan AV industry (film, Music, New media, theatre and All Sectors 50,000
performing arts).
A database or information system will be also required as a progress marking and follow up tool in measuring the All Sectors 50,000
performance of those indicators later on in the project implementation phases, subject to a series of interventions.
Undertake baseline studies to ascertain the actual contribution of the sector to economic growth All Sectors 50,000
Improve industry information and data management requirements to develop a coordinated way forward for data All Sectors 50,000
collection.
Establish an effective monitoring and evaluation system or centralized web based system. All Sectors 50,000
Establish a centralized or national industry registry and identification system. As a starting point in ascertaining the All Sectors 50,000
actual size, number of film producers and industry players to ease sector targeting, mapping, information capture and
planning towards a formalized film industry.
Establish a national registry system for industry MSMEs Key actors, businesses, training institutions and professional All Sectors 50,000
associations in the AV industry.

Strengthen Review and align existing functions, mandates, roles and responsibilities and streamline key tasks as undertaken All Sectors 40,000 Ministry of Public
Existing by existing institutions with relevance to the AV industry. Facilitate the establishment of a one-stop-shop facility/ Service/parliament
institutional institution mandated to facilitate the needs of the AV industry and varying industry facets. of Uganda
Capacity to
Coordinate
Strengthen existing legal and institutional coordination and coordinative arrangements for industry strategic All Sectors None
industry activities
implementation and monitoring.
and actions.
Sensitize and raise administrative and political leadership awareness of the relevance and potential contribution of All Sectors None
the industry to the economy is critical.
Review and update existing industry legal and regulatory frameworks to address, among other issues, Intellectual All Sectors None URSB, UPRS
property rights over the new media platforms, OTT and applications as means of content distribution in the digital
content era.
Strengthen enforcement mechanisms of existing laws and regulations especially, enforcement of IPs and copyright All Sectors None
laws.
Strengthen efforts to sensitize consumers and raise market awareness of the need to observe copyrights within the All Sectors None
industry
Strengthen institutional capacity to facilitate the uptake of copyrights, formalization of exclusive rights (Rights to All Sectors 200,000
perform, Distribute, broadcast and communicate to the public, duplicate, derivative rights or make a book), collective
bargaining and collective management services in all AV factions across the AV industry.
Strengthen Support and encourage the formation of industry associations and advocacy bodies to engage in matters relating All Sectors 50,000 Uganda
the capacity of to consumer obligations, consumer education and awareness programs to stimulate growth and harness Uganda is Communications
existing industry potential to compete on the global market. Commission
and consumer
Strengthen the capacity of sector specific associations and creative arts groups to support industry formalization. All Sectors 50,000
associations to
facilitate industry
formalization.
Facilitate Carrying out an industry capacity building needs assessment and facilitating the development and implementation of All sectors 50,000 Uganda
and support a comprehensive capacity-building plan for industry practitioners and institutions in the AV industry. Communications
increased access Commission with
Design of rural inclusive content production strategies and support the expansion of regionally diversified production All Sectors 300,000
to production support from
infrastructure and equipment to meet the growing need for efficient and quality content production and an inventory
infrastructure and other government
of tools of production in existence within the country, ensuring easy access to local infrastructure and equipment or
Equipment entities.
tools.
Enhancing industry production and local content Quality
Support increased investment in the production of market competitive and high demand mobile gaming and New Media TBD
innovative technology offerings, like cloud gaming and virtual reality.
Promote forward and backward production linkages and fusion between different industry factions, to encourage All Sectors None Uganda
uniquely identifiable content and AV industry products. Communications
Commission with
Support and promote the establishment of PPPs and Concessions for the establishment of public production All Sectors None
support from
infrastructure and regional incubation hubs and expand the distribution of affordable film production infrastructure,
other government
equipment and facilities.
entities. (UTB)
Promote the utilization of reserved natural sceneries across the country talent and culture curiosity. All Sectors None
Expand access, ensure even regional distribution of film and music production infrastructure, and dedicated innovative Film and Music None Uganda
content production laboratories and new media production technology. Communications
Commission with
Promote increased investment in performing arts theatres and theatre halls and ensure even distribution across all Performing Arts None
support from
regions; building workshops, studios, practical spaces
other government
entities.
Scale up access Scale up the development and establishment of regional ICT innovation centres countrywide to increase access to New Media TBD Uganda
to ICT based advanced technology and equipment to support new media innovation and production. Communications
Production Commission
infrastructure and
Technology

Establishment of enabling platforms and infrastructure that will enhance developer’s capacity to create and innovate New Media TBD
market competitive new media products.
Support investment in sophisticated production capacity, infrastructure and new technologies such as virtual reality New Media TBD
and artificial intelligence with relevance of future gaming needs.
Support fast adaptation to the changes and trends in technology by investing in adequate production infrastructure New Media TBD
and capacity building initiatives to guarantee quick wins for locally produced new media products especially video
games to remain relevant and competitive the new media markets.
Support the Establish and enforce regulatory standards to encourage the establishment of proper infrastructure and infrastructure All sectors TBD Uganda
development and standards, especially in popular entertainment centers. Communications
establishment of Commission
favorable policies Lobby for increased government incentives and subsidies to support increased production e.g. tax holidays, All Sectors TBD
and production exemptions, government subsidies, seed grants, bursaries and corporate sponsorships for production infrastructure
incentives. and equipment, government subsidies, seed grants, bursaries and corporate sponsorships among
Strengthen existing legal and regulatory frameworks for the AV industry including cyber security systems. All Sectors TBD
Facilitate and pro- Foster industry and MSME formalization, Business and Enterprise Development initiatives. All sectors TBD Uganda Com-
mote Enterprise munications
Development Commission
Within the AV
industry.
Facilitate Business Enterprise Development Skills for AV creative industry and SMEs to promote production All Sectors TBD
efficiency, productivity growth, technological and managerial capabilities, and market diversification, of local
creative industry MSME’s.
Train staff within government institutions and the creative arts associations in facilitating local creative arts All Sectors TBD
enterprise development skills.
Undertake a Skills gap assessment and training in enterprise and MSME development across the sector and within All Sectors TBD
supporting institutions.
Develop an elaborate policy that incorporates creative enterprises, based on a tailor made micro-enterprise All Sectors TBD
development plan
Design responsive training modules for SMEs and associations. All Sectors TBD
Develop industry SME tool kits to guide the adoption and implementation of the AV industry SM All Sectors TBD
Facilitate Access Establish a facilitative film seed fund, credit facilities, incentives and subsidies, targeting both urban and rural areas All Sectors TBD Uganda
to Finance and to modern film production infrastructure, technology and equipment e.g. a ’National film funds’’ and revolving fund Communications
Credit. promoted improvements in quality and the number of films produced annually. Commission
Design a robust and multidimensional financing assessment strategy and facilitate the design of enterprise financing All Sectors TBD
models to support production and value chain development and the design of innovative financing schemes to
support access to finance for local industry players e.g. PPPs, establish MOUs with local banking and microfinance
institutions to advance credit facilities to artists and content producers.
Establishing a proactive approach to support and prepare enterprises to gain access to finance and credit. All Sectors TBD
Sensitize key industry actors on alternative financing strategies across the sector e.g. Pre-sales, television presales , All Sectors TBD
crowd funding , individual investments, slate financing , bridge financing , gap super gap financing , Negative pickup
deal , Product placements or partnerships, available supplementary film development opportunities e.g. Netflix and
Amazon film funds.
Develop and nurture industry advocates among leaders to mobilize unlimited resources relevant to the growth of All sectors TBD
the industry.

Facilitate Access Facilitate access to trainings and continuous skills development in innovation, creativity, communication, collaboration All Sectors TBD Uganda
to Skilled and between local, film producers, and other innovative ICT based platforms will be critical in enhancing productivity. Communications
professional Commission
Human Capital
and AV industry Support funding training programs and providing incubators to foster nationwide access to training facilities. All Sectors TBD
Training
opportunities.
Expand and broaden access to Training Facilities for all Sectors All Sectors TBD
Undertake an industry attitude and perception survey of the local creative arts industry to assess its competitiveness All Sectors TBD
and attractiveness for human capital development and investment as well as the actual human resources gaps and
needs to inform and address future industry human capital and resource needs.
Facilitate and support an increase in supply of a critical mass of professionally certified creative arts tutors and training All Sectors TBD
of trainers across all categories of the industry e.g. lighting engineers and scriptwriters, which lowers the quality of
training.
Support the establishment of professional AV industry standards and standardized training curriculums for key actors All Sectors TBD Uganda
along the value chains. Communications
Commission
Promote and support the roll out of New Programmes and accordance of credibility and continued professional All Sectors TBD
development to empower them to deliver quality-training services and the modernization or integration of AV related
courses on the curriculum, alongside traditional IT courses
Support creative arts tutor retooling Programmes, continued professional development and accreditation to motivate All Sectors TBD
perfection and to validate acquired knowledge and skills in the AV industry.
Establish a skills development fund to Facilitate professional training scholarship Programmes in specialized technical All Sectors TBD
and professional skills in the industry e.g. lighting engineers and scriptwriters, to improve the quality of production.
Establish an institutional development fund, subsidies and incentives for selected AV industry training institutions to All Sectors TBD
advance the quality of training and industry education and the provision of necessary infrastructure, equipment to
facilitate hands on training.
Support the establishment of regionalized AV and creative arts training institutions (20/48), especially in rural satellite All Sectors TBD
areas and townships to enhance access to AV training opportunities. Increased investment and scale up of AV training
services to encourage inclusive growth within the sector.
Establishment and enforcement of professional standards for the creative arts industry training e.g. in theatre and All Sectors TBD Uganda
other performing arts to reduce sector apathy and to foster a paradigm shift from passive acceptance of ‘the way it Communications
is’ to what ‘it should or must’ be.. Commission
Facilitate Incentives action for creative arts schools to offer affordable training opportunities in film, music, new media All Sectors TBD
and performing arts.
Facilitate training of trainers Programmes of quality, well-trained, highly skilled and professional actors, and critical All Sectors TBD
mass of skilled training professionals.
Support student apprenticeship and attachment Programmes to local film producers to enable them gain practical Film & New Media TBD
skills and hands experience in terms of production and to foster professionalism.
Facilitate and support the development and enforcement of standardized professional training materials and All Sectors TBD
curriculums for the creative arts industry continues to affect the quality of trainings offered in some institutions.
Strengthen local training capacity for sectors especially the new media production, for the provision of specialized New Media TBD
skills and training in video game development and technology, against which, priority needs to be placed enhance
production and sector competitiveness.

Support the Train key actors and professions in methods to meet the minimum standards for feature films Film Production TBD Uganda
Development and Communications
Facilitate and support capacity building, skills and professional development in film production Film Production TBD
Enhancement of Commission
the capacity and Improve local capacity to classify local films in pursuit of, steady improvement in the quality of local films as well as Film Production TBD
quality of Industry professionalism within the industry.
Human Capital.
Support initiatives to enhance sector professionalism of the sector and equipping of practioners with minimum tools Film Production TBD
for self-sustainability and development.
Facilitate capacity-building initiatives for theatrical and performing artists to enhance both quality and demand for Performing Arts TBD Uganda
performing arts. Communications
Commission
Integration of new media skills and training in new media development related fields across the education sector to New Media TBD
stimulate innovation and production.
Facilitate and Support the formation and establishment of new and existing local and international collaborative partnerships for All sectors TBD Uganda
support industry increased production and market access. Communications
co-production Commission
Pursue an increase in international co-production arrangements with other AV producing nations and establish Film/Music TBD
opportunities to
supporting policies and regulations.
increase produc-
tion. Foster a change in cultural beliefs, building skills, experience and strengthening of existing laws to protect local All Sectors TBD
content producers interested in co-productions.
Facilitate, support and encourage increased co-production opportunities and establish supporting policies laws and All Sectors TBD
regulations between local and international producers.
Support and promote content convergence and fusion over the same platforms as a means to take advantage of All sectors TBD
the potential for technological development of new AV services (video-on-demand, interactive services, Content
Digitization and Digital Technology Development, Knowledge, Creativity and Innovation).
Industry Brand Strengthen existing platforms and capacity for the preservation of culture, promotion of cultural diversity and All sectors TBD Uganda
Building and Local pluralism across all regions and tribes. Communications
Brand Identity. Commission
Promote production linkages and fusion between different industry factions, to encourage uniquely identifiable All sectors TBD
content and AV industry products.
Develop a clear brand identity for Uganda's local content to enhance local content competitiveness on the global All sectors TBD
markets.
Undertake an industry baseline survey on local market share. All sectors TBD
Increasing industry and market Competitiveness.
Invest in continuous industry research, monitoring and evaluation. All sectors TBD
Facilitate market research to affirm the identity and uniqueness of Uganda’s local content could assist in accentuating All sectors TBD
the competitiveness of Uganda’s content on the local, regional and international market.
Develop sectoral and joint industry promotion platforms, a nationwide campaign to promote the film industry will be All sectors TBD
value adding for the attractiveness of the industry on a whole.
Promote the establishment of a local AV content culture and brand identity to enhance regional and international All sectors TBD
content competitiveness.
Support Initiatives to reinforce and promote the culture sub-sector through the promotion of Cultural exchange All sectors TBD
Programmes, research and documentation such as recording traditional cultural expressions, cultural tourism,
capacity building of culture practitioners, initiation of the review of culture specific laws, Monitoring and evaluation
of interventions among others.
Development of culturally identifiable content or arts in theory and practice and production of ritual, tales as the core All sectors TBD
of locals was nearly lost along with a strong opportunity for brand identity.
Support market shifts towards Ugandan films to increase brand identity and market competitiveness of local content All sectors TBD
locally, regionally and internationally.

Facilitate Industry Facilitate the establishment of definite statistics and benchmarks to indicate the CAGR of Uganda's creative industry, All sectors TBD Uganda
Market Research, government perceptions and expectations seem short of the potential contribution of the sector to economic growth. Communications
Monitoring and Commission
Strengthen industry documentation, research and integrative monitoring and evaluations systems bringing together All sectors TBD
Evaluation.
coordinated information from all key institutions and actors. Data gathered against these indicators will be critical in
measuring progress and follow up on the performance later on in the strategy implementation phases, subject to a
series of development interventions.
Industry MSME Profiling and Documentation study will be critical to establish or identify profile, gather and document All sectors TBD Uganda
relevant data on particular industry subjects against a pre-defined set of measurable indicators for the targeted Communications
communities. Commission
Establish physical and online-based film cataloguing system for all Ugandan movies that have been made since 1962 All sectors TBD
to document the history and growth pattern of Uganda’s AV industry and subsectors as well as a good database for
research.
Establish a robust record managements and archiving system with the ability to provide real-time data and statistics All sectors TBD
on the number of movies produced and exhibited each year, statistics of attendance, distribution statistics. These
statistics will be key for decision-making, planning and industry growth forecasting.
Support Local Develop local AV industry markets - prioritize investment in the development of both cinema and home video on Film TBD Uganda
Consumer Market demand platforms. Communications
Development Commission
Support and facilitate industry adaptation and uptake of new and emerging technologies and approaches to creating, All sectors TBD
Initiatives.
distributing and exploiting intellectual property in music.
Conduct a local market behavioral, perceptions survey to ascertain the level of demand and awareness of local All sectors TBD
content over regional and international content.
Scale up, expand and promote access and utilization of ICT infrastructure and the internet for increased local market Film / music, New TBD
growth, penetration and revenue maximization. Media
Promote the utilization of technology based video on demand platforms to enhance distribution e.g. viz IRobot, Film/ Mew Media TBD
Netflix etc. and to capitalize on those emerging technologies that delight users in new ways, deliver superior user Music
experiences, and enhance productivity.
Establish audience development Programmes and Access to consumer markets, relevant media, ICT platforms and Film/ Mew Media TBD
internet infrastructure Music
Create awareness about the long-term effects of piracy and encouraging mindset change Film/ Mew Media TBD
Music
Expand or scale up or support consumer market access to emerging technologies that delight users in new ways, Film/ Mew Media TBD
deliver superior user experiences, and enhance productivity. Music

Facilitate and Develop a local content marketing strategy and establish an export development grants scheme and financial All sectors TBD Uganda
support access to assistance for local AV content export promotion e.g. individual musicians, bands, film producers, record labels, Communications
Local, Regional managers and music publishers to earn export revenue at all stages in the music business chain. Commission
and Global
Markets.
Support access to development assistance to commercially viable AV industry businesses on the same basis as for All sectors TBD
other businesses e.g. mentorship programs from export advisers to improve export knowledge and skills, as well as
in-market assistance from staff at overseas posts.
Strengthen local follow up systems and design sustainable marketing and promotion strategies for winning films to Film TBD Uganda
exploit their publicity. Communications
Commission
Support targeted participation of local content producers and exhibitors at regional and international film festival, All sectors TBD
strengthen linkages, and follow up efforts after the festivals to attract commercial benefits.
Expand and Deepen Global Market Presence through major international Film festivals Continued support for local, All sectors TBD
regional and international film festivals as a marketing platform for local film content and Uganda. E.g. Provide
facilitative funding to accelerate access to regional and international markets e.g. film festivals and DTI Export
Marketing Assistance Programmes.
Support and encourage increased use of culturally diverse and assimilative production strategies e.g. facilitate and Film/New Media. TBD
encourage local Video Jockeys to adopt new languages such as mandarin or Chinese to foster market penetration of
projected china E&M market and revenue.
Promote increased investment in international partnerships and collaborations to open new markets and support Film/Music New TBD
Coordinated and branded presence in local, regional and global markets Media
Prioritize strong and continuous monitoring and investment in global market research with a goal of securing a portion Film/Music New TBD
of global entertainment and media revenue streams. Media
Facilitate Knowledge and Familiarization visits for local content producers with multilateral local content markets for: Film/Music New TBD
Uganda’s entertainment, media services Media
Invest and support the utilization of internet-based platforms to increase market access for Ugandan products on Film/Music New TBD
internet based film platforms to enhance access e.g. ‘’Uganda’s Own Netflix’’ or online based outlets for Uganda’s Media
new media products.
Invest and support the utilization of internet based platforms to increase market access e.g. establishment of Uganda’s Film/Music New TBD Uganda
own video on demand platform Media Communications
Commission
Enhance local artistes export readiness through awareness campaigns Encourage and support mentoring and Film/Music New TBD
professional development, training and awareness of local content producers and access to local, regional and Media
international music markets, explore strategic partnerships and networks as well as in-market assistance from staff
at overseas posts.
Facilitation of Mentorship Programmes from AV export advisers to improve export knowledge and skills, Film/New Media TBD
Support the establishment and strengthening new and existing partnerships and business linkages with china and USA Film/New Media TBD
based PC retail outlets or sale of new media products
Support the establishment of local industry influencer schemes with various media platforms to increase publicity and Film/New Media TBD
buildup local content popularity.

Facilitate and Support Sectoral and joint industry promotion platforms, a nationwide campaign to promote the film All Media TBD
industry will be value adding for the attractiveness of the industry on a whole.
Reinforce and establish local content quotas e.g. local cinema quotas to promote the distribution of local films. Film / Music/ TBD
Hold Continuous awareness campaigns to foster local broadcaster compliance with local content quota standards or
threshold for the quota including provisions for all local content factions e.g. animations and performing arts
Promote and nurture a national cinematic culture. Film TBD
Support the development of a strong film review and critic culture and an effective feedback mechanism e.g. Film TBD Uganda
‘’Uganda’s own online rotten tomatoes platform’’ to promote and inform the market of available movies and foster Communications
continuous quality improvements in local film production. Commission
Facilitate and support local content promotion festivals to raise awareness and demand. All Sectors TBD
Empower and strengthen local artists in building strategic business partnerships to propel industry growth All Sectors TBD
Establishment and strengthening of local, regional and international partnerships to broaden Local Content markets.
Facilitate trainings in Personality Brand building for local musicians or personalities locally, regionally and Music/Performing TBD
internationally. arts/Film
Establish clear policies and regulations to support new and upcoming musicians to facilitate fair play on existing radio Music TBD
stations mostly favour financially capable renowned artists, much to the detriment of the upcoming many.
Strengthen enforcement mechanisms for the local content quota and establish Protectionist policies need to be Film/Music and TBD
strengthened with local media companies through the local content quota. Performing Arts
Support and encourage the establishment of local media houses in other culturally diverse regional locations across All sectors TBD
the country.
Support the formalization of existing associations and creative arts groups to facilitate capacity building initiatives, All sectors TBD
collective marketing and promotion of new media content and distribution groups.
Facilitate and Support the development, adoption and utilization of robust systems of film music and new media promotion, Film, Music and New TBD Uganda
Support the distribution, exhibition and marketing. Media Communications
Increase industry Profitability and Revenue Max-
development and Commission

establishment Support and facilitate industry adaptation and uptake of new and emerging technologies and approaches to creating, Film, Music and New TBD
structured distributing and exploiting intellectual property in music. Media
distribution
Support and Promote the establishment of large-scale physical content distribution outlets. Film, Music and New TBD
system.
Media
Promote and Raise awareness of Monetizable online digital platforms and transactional video-on-demand and digital All sectors TBD
platforms. such as iCloud and YouTube
Support the development and Establishment of Centralized online based Video on demand content market platforms Film, Music, new TBD
as Netflix and Iflix. Media
Support the establishment of dedicated physical platforms to increase access to local content e.g. Music, Theatre and TBD
support the establishment of a video halls and video libraries development fund. Performing arts
imization
Facilitate and Support increased investment in exhibition infrastructure at the regional level and the establishment Film, Music, Theatre TBD
and functionalization of well-distributed film and video exhibition infrastructure across the country especially in and Performing arts
unserved rural townships.

Establish creative special economic zones to benefit regional clusters with large cities than rural areas to foster All sectors TBD Uganda
balanced regional development e.g. bolster existing industry momentum Provide subsidies to the film and television Communications
sector targeting the specific demands of creative special economic zones. Commission
Support increased investment, uptake of exhibition hall standards and regionalization of modern cinemas to other Film TBD
regions and districts. E.g. Support and Incentivize the adoption of video halls and video libraries standards across all
regions.
Establish reputable benchmarks for video hall and exhibition infrastructure in both urban and rural townships. Film TBD
Facilitate and support Increased investments in the establishment of film distribution channels for the development Film TBD
of distribution models such as straight to DVD productions and digital content delivery.
Establish and raise awareness for local producers to adopt and adapt to digital based platforms such as video-on- Film/music TBD
demand (VOD) and pay-per-view as alternative distribution and consumption platforms
Establish new and existing online content marketing and distribution Mechanisms for local content to facilitate the Film/music TBD
sale and distribution local content especially secure video on demand platforms.
Establish and strengthen existing policies and regulations in favour of new and upcoming musicians and enforce fair Film/music TBD
play principles
Support the development of distribution structures and provide incentives for capital investment in artist development Film/music TBD
or music sales.
Establish Protectionist policies with local media companies through the local content quota. Film/music TBD
Establish proper standards and license requirements for the establishment and operation of authentic music record Film/music TBD
labels.
Strengthen existing Regulatory and enforcement mechanisms to reduce the effects of industry monopoly and Film/music TBD
protection of small local content producers.
support of all Sensitize and raise awareness of revenue maximization strategies for key players and actors within the industry. All Sectors TBD MICT, NPA,
sectors to secure MOGLSD, MTTI,
holistic and MoTWA, MOFA,
inclusive growth Create employment opportunities for youth and women Design policies targeting youth and regionalized AV All Sectors TBD MoLG, UCC
industry enterprise development in.
Design and establish enterprise development Programmes mainly targeting women and youth will yield more All Sectors TBD
effective and responsive strategies.

Uganda Audio Visual Content Strategy 2020 / 2025

Hochgeladen von

Dokumentinformationen

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Uganda Audio Visual Content Strategy 2020 / 2025

Hochgeladen von

Copyright:

Verfügbare Formate

Disclaimer

III THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 IV

V THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 VI

VII THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

• Strengthen existing industry self-regulating and self-governing systems e.g.

• Facilitate and support increased access to production infrastructure and

• Facilitate and promote the establishment and strengthening of industry

• Facilitate Access to Finance and Credit.

• Facilitate Access to quality, skilled, and professional Human Capital and AV

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 VIII

• Facilitate and support industry and local content promotion initiatives.

• Support for the establishment and strengthening of facilitative regional

IX THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

ACRONYMS AND ABBREVIATIONS v

1 Background And Context 1

2 METHODOLOGY/APPROACH TO THE ASSIGNMENT 9

3.2 THE ENABLING ENVIRONMENT 26

5 STRATEGY IMPLEMENTATION MECHANISMS 56

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 X

Table 1: Performance Comparison of the culture and Creative Arts 5

XI THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 XII

XIII THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

1.1 Rationale of the AV Strategy

Stimulate growth of the local audio-visual production sector;

1 THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

1.2 Overview of the AV industry

1.2.1 The Film Industry

1.2.2 The Music and Performing Arts in Uganda.

1.2.3 New Media (Gaming) Industry.

1.3 Socio-Economic Contribution and Significance of the AV Sector.

AV industry consumer survey, a statistical overview by Steadman 2019.

5 THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

PWC Entertainment and Media Outlook report, 2017 – 2019.

7 THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 8

2.2 Data Collection and Synthesis

9 THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 10

• New Media Content Producers 3

2.3 Sampling Framework.

Region District Population Rural-urban Proportion of Sample size Sample

11 THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

Northern Arua 782,077 Rural= 720,131 11% 47 51

Western Hoima 572,986 Rural= 467,021 7% 30 37

2.3.2 Profile of Consumer Market Respondents.

2.3.3 Age of Respondents.

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 12

2.3.5 Educational level attained of Consumer Respondents

2.3.6 Respondents Income Threshold.

13 THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 14

3.1 Industry Market Analysis (Local, Regional and International Markets).

3.1.1 Local Content Production Capacity.

3.1.1.2 Music and Performing Arts Production Capacity.

3.1.1.3 New Media Production Capacity.

THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025 18

3.1.2 Local Content Promotion and Distribution Systems

19 THE UGANDA LOCAL CONTENT DEVELOPMENT STRATEGY 2020-2025

Source: Steadman 2019.

Source: UCC annual Market Industry Report FY2016/17.

Radio 141, (36%)