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Conducting Training on Archiving and Research

The Archive conducts research on music and dance and organizes workshops on research and archiving. In March 2010, we hosted the First International NORAD Workshop on Music recording and archiving, which drew participants from Norway, Uganda, Tanzania, (including Zanzibar) and Sudan. 

Providing Resources for Teaching

The archive is a resource center for teaching materials on music and dance. It also offers facilities for teachers to deposit listening assignments for students’ access.

Providing Access to Collections

Our collections are accessible to Makerere University staff and students.  National and international researchers as well as the public can access the archive after acquiring a Library permit.

The Archive offers listening and viewing facilities. Some materials in closed access can also be consulted on request. All accessible collections are in digital format, which makes recorded sound materials available in a convenient, electronic format for users.

Preserving and Maintaining Collections

We preserve and maintain all collections for future access through physical and digital storages. We also repair damaged tapes in order to recover as much as possible the recording.

Negotiating for Repatriation of Music and Dances Collection

Through networking and collaboration, the Archive negotiates for the repatriation of copies of audio recordings, video recordings, and photographs of Ugandan music (and accompanying notes, if available).

The British Library Sound Archives has already repatriated copies of Klaus Wachsmann’s recordings of 1949, 1950, and 1954 and these total to 1575 items of audio recordings.

Beyond facilitating the repatriation of collections from outside Uganda, we take back this music to the community where it was recorded since not all users are able to come to Makerere University.

Collecting Music & Dances

The Archive maintains a field recording project of traditional music and dance performers through out the country, which is divided into four major regions: North, East, Central and West. Each region is assigned a collector-in charge and the archive upholds the need to train and retrain music collectors in order to address the challenges of the changing recording technology.