ARTICLES
RULES & REGULATIONS.
Eligibility for Entry
1.1. Entries are open to any Ugandan hip-hop artist (as defined below) who qualifies in terms of the rules applicable to the relevant category or categories and the qualification criteria set out below. Entry is open in respect of any qualifying recording artist, being a person who:
- has been a legal resident in Uganda for a minimum of 12 months on the date of entry; or
- is a Ugandan citizen; and
- provided that the entrant is a Ugandan record company and owns at least 50% (fifty percent) of the master recording contained in the entry in question
1.2. The same applies to artist comprising duos or groups, provided that not less than 50% of its members comply with the qualification criteria set out above. The UG Hip-Hop Awards administration reserves the right to request documentary proof that all artists, producers, directors and engineers meet the qualification criteria as set out herein.
1.3. All Albums submitted for the UG HIP-HOP Awards must have been commercially released (in other words first made available for purchase by the retail trade) in Uganda during the entry period 1st July 2016 and 30th June 2017.
*This clause is applicable ONLY to Album categories.
1.4. Singles submitted for entry from albums that were manufactured prior to period 1st July 2016, but only commercially released during the entry period will qualify for entry ON CONDITION that a written proof of release details for the entry period is submitted together with the fully completed entry form. The UG HIP-HOP Awards nominations shall be entitled to request further or better proof in its discretion.
*This clause is applicable to Hit Single/Song of the year and Best Video categories ONLY.
1.5. Unless otherwise stated, awards are presented for album releases. An album is defined as a commercially available compact disc containing a minimum of 6 (six) different sound recordings (not including compilation projects) by the artist or group in question (in other words, no re-released albums or “best of” albums); and not less than 24 (twenty four) minutes of previously recorded performance.
The following categories are excluded from this requirement:
- Category – Lifetime Achiever
- Category – Best Artist/Group
- Category – Best Producer/Producer of the year
- Category – Best Hit Single/song of the year
- Category – Rookie of the year
- Category – Media personality of the year
- Category – Hustler of the year
1.6. Multi-artist compilations or previously released recordings may not be submitted for entry unless the category rule states otherwise.
2. Prizes
1.7. Statuettes are awarded to the winning artist except where the category states otherwise, as the case may be.
1.8. Nominees who fail to attend the award ceremony will not be eligible to receive the statuette. Exceptions to this rule will be considered provided that application is made by the nominee giving written notice of their inability to attend, with an accompanying motivation to be received by the UG Hip-Hop Awards administration within 14 (fourteen) days of the main event.
1.9. Should the application be successful then the nominee may be required to record an audio-visual interview for each category entered for broadcast purposes, a copy of which must be delivered to UG Hip-Hop Awards by no later than the 30th November 2017.
3. Broadcast and Exploitation Rights
1.10. In order to produce the awards event, UG Hip-Hop Awards administration will require the following from each qualifying artist who is nominated as a finalist in any category:
The right to use each nominee’s photograph, name, likenesses, image, biography, interviews and recorded performance at each event of the awards, for the marketing, advertising, filming, and broadcast.
The right to use the sound recordings or part thereof embodied in the album entered in the awards for the purposes of the marketing, advertising, filming and broadcast of the awards e.g. AV’s and TV promos
The right to a maximum of one song and accompanying video per sound recording submitted for the competition, for possible inclusion onto a CD and DVD to be manufactured and distributed for sale in Uganda and East Africa.
The UG Hip-Hop Awards will seek the relevant record company’s consent prior to the inclusion of any of its recordings and artists in a commercially available DVD and CD.
4. General
1.11. All entrants hereby waive any claim of whatsoever nature which they may have against the Sponsors and/or UG Hip-Hop Awards arising out of or in connection with their participation in this competition.
1.12. UG Hip-Hop Awards shall not be liable to an entrant for any reason whatsoever, whether in contract, delict or otherwise arising out of, or in connection with the UG Hip-Hop Awards. The entrant hereby fully and effectually indemnify the UG Hip-Hop Awards and its Sponsors and their successors, assigns, licensees and each of their officers, directors, employees and agents and hold them harmless from and against any and all claims, liabilities, judgments, losses, damages, costs and expenses (including reasonable legal expenses) directly or indirectly due to any breach of these rules by the entrant.
1.13. By submitting a fully completed entry for the UG Hip-Hop Awards the entrant agrees to abide by the Rules as stated in this document.
1.14. All decisions with respect to the acceptance of any entry and eligibility of entries are made by UG Hip-Hop Awards and shall be final and binding upon all entrants. In the event of any dispute, UG Hip-Hop Award’s decision shall be binding on the entrant and no correspondence will be entered into.
1.15. Any physical materials submitted will not be returned to the entrant. The UG Hip-Hop Awards administration shall not be responsible for late, lost, damaged, misdirected, stolen or misappropriated entries.
1.16. The UG Hip-Hop Awards may, without the entrant’s further consent, use the entrant’s name, and the name, likeness, biography and photographs of its nominees owned or controlled by the entrant (“contribution materials”) without charge in exploiting, advertising and publicizing the competition in all media and formats throughout the universe.
1.17. The entrant hereby represents; warrants and undertakes to UG Hip-Hop Awards that the entrant is entitled to enter the competition and has full power and authority to grant rights herein expressed to be granted.
1.18. The entrant shall not, without the prior written consent of UG Hip-Hop Awards (except as required by law) at any time hereafter, either personally or by means of press or publicity or advertising agents or agencies, divulge or disclose any information of any nature or kind relating to the development or production of the competition to any person, relating to any matter arising hereunder or to the general affairs of UG Hip-Hop Awards, coming within the entrant’s knowledge by reason of this competition or otherwise howsoever.
1.19. Notwithstanding, and irrespective of, any advertisement or announcement which may have been or may hereafter be published, UG Hip-Hop Awards shall not be liable to the entrant for, or in respect of, any loss of publicity, advertisement, reputation or the like due to the entrant’s non-appearance in the competition and/or UG Hip-Hop Awards failure to produce, advertise, promote or exploit the competition and nothing contained herein shall be construed so as to impose upon UG Hip-Hop Awards any obligation to make use of the services of the entrant, or to permit the entrant to play any part in the making of the competition, or to produce, advertise, promote (or to continue the production, advertising, promotion or exploitation) of the competition.
1.20. Once submitted an entry may only be withdrawn by the entrant. The request to withdraw an entry must be made in writing and received by the UG Hip-Hop Awards no later than 7 (seven) days after the closing date of the entry period.
1.21. UG Hip-Hop Awards reserves the right to withdraw an award from any winner, who in UG Hip-Hop Awards sole discretion has brought the UG Hip-Hop Awards into dispute.
Terms & Conditions
Hereby agree and record that they voluntarily choose, elect and willingly participate in the UG Hip-Hop Awards and all of its processes and the aspects thereof and its procedures, whatsoever they may be and howsoever they may arise, arranged, organised and brought about for and on behalf of UG Hip-Hop Awards and the Sponsors as well as the agents, independent contractors, associated entities, service providers, and all and any other associated, related and other entities and organisations concerned with, related or participating in, directly or indirectly in the promotion or conduct in the widest sense of the UG Hip-Hop Awards and all the associated activities as well as all of the directors, partners, associates, agents, independent contractors and/or service providers in any capacity of any of the above, within reason.
We therefore assume to ourselves and on behalf of the nominees, all risk and responsibility arising from any loss, mishap, injury, harm and damage of whatsoever nature and howsoever arising.
We furthermore indemnify and hold UG Hip-Hop Awards, its associated entities Sponsors, agents, independent contractors, or service providers harmless and waive and abandon and renounce any claim of whatsoever nature and howsoever arising which we ourselves or and acting on behalf of the nominee may have against UG Hip-Hop Awards, Sponsors, agents, Independent Contractors or, service providers arising from our participation in the UG Hip-Hop Awards and its processes. This indemnity and waiver is binding on our successors-in-title and /or assignees
.We undertake to ensure that all the nominees agree in writing to be bound by this indemnity and waiver.
We agree and accept that we and /or the nominees through our participation in the UG Hip-Hop Awards are likely to, either directly or indirectly, come across certain information (written or verbal) and issues, and/or discussions including but not limited to trade secrets, Intellectual Property rights, strategy and/or plans (“Confidential Information) in relation to the UG Hip-Hop Awards (“Confidential Information”) and therefore undertake to keep this confidential and secret and we also waive and renounce the right to provide or distribute or publish or release any confidential information to any media or any other person without the prior written consent of 1st UG Hip-Hop Awards.
We further acknowledge that the rules of the UG Hip-Hop Awards are binding on us and that the decision of the panel of judges and where applicable, UG Hip-Hop Awards, with regard to any process involved in the UG Hip-Hop Awards, shall be final and binding. We therefore waive, abandon and renounce any right to contest, challenge, dispute or enter in to litigation or claim or other process in respect of the UG Hip-Hop Awards, its processes and/or outcome or otherwise, howsoever arising.
This waiver and indemnity (other than the rules of the UG Hip-Hop Awards) constitute the sole terms and conditions applicable hereto. Any failure to enforce any of the rights in terms hereof by the UG Hip-Hop Awards and/or the Sponsor in particular in general shall not constitute any waiver of their rights.
We know and understand the contents hereof and understand and acknowledge that should we so require, the terms and conditions hereof will be explained to such extent as may be necessary and;
We acknowledge, warrant and confirm that all of the information provided herein is true and correct in every aspect and detail.
ARTICLES
INTO THE B’RAKA LAND
Last weekend we got our visas stamped as we took a trip into the B’raka Land. After a Euro-tour through Denmark, Finland and others… All the way to a sold out show in London, the fastest rising star on the African continent came back home to Kampala to deliver an epic concert on 29th November 2025, one day after dropping his debut album, JUVIE.
In one weekend, Joshua gave us so much to unpack. So, let’s start from the Music.
We have seen Joshua evolve from projects like Baby Steps, where songs like Tewekweka exposed some of us to his talent, all the way to Watershed, which let people know and confirm that he was for real. We journeyed with him through his Growing Pains, where the continental appeal was beginning to ring true, and then he gave us Recess. Through these many projects and countless features, Joshua has showed us his talent, consistency and heavy work ethic. It was constantly Moves on Moves until we finally got JUVIE.

Right from One of One, we knew we were in for some flames, and we did not have to wait to get them because the next song on the album, Morocco, delivered all the heat and then some. The song is a Banger, and from early reviews and reactions on the socials, it is clearly a crowd favorite. Joshua immediately follows this up with Dive In, which was released earlier as a single, so we already knew that JAE5 and Joshua Baraka had given us an anthem. The project does not slow down at all, as he continues into Still Young, another early crowd favorite, which confirmed that we were four for four with eight to go!
One of the things that made the listening process epic was the sequencing. After starting with all that heat, Joshua gives us a mini interlude, before slowing down the tempo with one of my favorite songs on the Album, This Time. It is a well written song with silky melodies and smooth vocals that will definitely appeal to the fans that are into his more afro RnB side.
Joshua kept the energy going with State of My Heart, which features Kenyan sensation, Bien, which he followed it up with Wrong Places, which spent most of 2025 as the number one song on Apple Music in Uganda and was by far the most streamed song on Spotify in Uganda this year.
Joshua Baraka’s Juvie makes for a nice, smooth and simple listening session, right from the start, all the way to the final song, So Low, featuring The Compozers, which was a perfect way to close the project and leave us on a high note.

By the time we got to Ndere Cultural Center for the concert, we were pumped and ready to get right to it. Those of us who knew all his projects and collaborations were eager to see what selection of songs he had picked to sing to us. Those of us who have watched him perform multiple times in the past were eager to witness his growth on stage and to be a part of yet another chapter of his story. Overall, there was a high dose of FOMO in the air. Before Joshua even sang, the show had already hit a number of positives in my books; great price structure from the early bird to the last day – This was perfect to allow the core fans to access and afford their night out with their superstar.
Another win for me was the strategic partnerships, from Talent Africa to Bell Citrus and Mirinda– this set up the perfect vibe and energy, making the drinks and food affordable, enabling every fan to have a total blast in this economy, especially with DecemBAR loading and Kampala about to throw event after event our way. By the time Joshua jumped on stage, the crowd was fully charged and ready to go! Shout out to Joshua and his team for ticking all the boxes.
The performance was great, overall. Joshua had great song selection, and did not leave us feeling as if we’d missed out on anything. He catered to the different fan groups that were present, from the day ones to the late comers. He even delivered some extra throwback fire for the older fans too. He picked the right collaborations in A Pass, IzabelUG, BigTril, Mun G and Maurice Kirya. We were not left wanting. And for any little thing that didn’t go according to plan, I just got more excited, because it just showed that there is still room to grow, and we can only trust that he will step right in and through that room.
Keep streaming JUVIE Here
ARTICLES
Tukutane Dar 2025: How Nafasi Art Space is Powering Africa’s Creative Economy
By Byaruhanga Felix (@MrByaruhanga)
Oftentimes, you read reports indicating that the creative and cultural industry is one of the fastest-growing sectors on the African continent, expanding faster than oil & gas, mining, or many traditional industries. The backdrop of such reports is made up of institutions like Nafasi Art Space: a vibrant, innovative hub for artistic exchange in Dar es Salaam.
In a nutshell, Nafasi Art Space is a home for all creatives, from visual artists, performing artists, artisans, filmmakers, poets, musicians, to fashion designers. As a first-time visitor, I immediately felt that one of the things Nafasi derives its power from is embedded right in its identity, the name “Nafasi,” a Swahili word meaning “space” or “opportunity.” On that foundation, the leadership has created a home overflowing with possibilities, a place to create, learn, inspire, and provoke conversation in society, just as true art and artists do.
This home is not only a safe space for artistic expression, but beautifully inclusive. They continue to achieve this through outstanding programs such as the Nafasi Academy, Film Club, exhibitions, residencies, digital art lab, performing arts showcases, and more.
As November came to a close, Nafasi Art Space, in partnership with the Embassy of Switzerland in Tanzania and the Norwegian Embassy Dar es Salaam, hosted the 3rd edition of Tukutane Dar Arts Week under the theme: “Cross-Border Collaboration: For the CCI Sector Growth.” Tukutane was initially postponed for everyone’s safety due to post-election chaos, but with new dates confirmed (24th–30th November), more than 20 delegates from Africa and Europe converged at Nafasi to share knowledge, strengthen networks, and collaborate for a fruitful week of learning and cultural exchange.
One thing that hits you the moment you arrive at Nafasi is the energy and passion of the team behind the institution. From Fatma Mkota (Partnerships Coordinator) who welcomed and toured us around, to Gwendoline Charlotte (Marketing Manager) enthusiastically declaring, “I am here for content!”; Peter Lukumayi (Finance Manager) wearing multiple hats to ensure smooth operations; and of course Lilian Hipolyte (Director), the guiding force behind this dynamic ecosystem. Engaging with them makes it clear why Nafasi works: why the space feels like a sanctuary for creatives of every age, experience level, physical ability, gender, and discipline. This team of “Avengers” carried us throughout the week with a program that clearly took months of meticulous planning and resilience despite challenges.

Alongside this remarkable team was an equally impressive group of delegates, passionate creatives ready to contribute from their wealth of experience. Through workshops, roundtables, and hands-on sessions, we exchanged practical ideas and explored possibilities for breakthroughs across the sector.
The exhibitions highlighted milestone achievements from Nafasi programs, showing where they started, where they are now, and what the future holds. We celebrated the progress of the Film Club residency cohort, the curators graduating from the Nafasi Academy in partnership with the University of Dar es Salaam, and talented artists showcasing their evolution. The evenings were spiced with curated showcases, cooling down the Dar heat while heating up vibrant dialogue, from panels on building communities in film and fashion, to a delicious Swahili food experience.
These were spaces created by artists for artists, and the audience engagement made that clear. Views were shared openly, disagreements turned into progressive debate, and ideas translated into art in real-time. Some of these memorable expressions were immortalized through live graphic commentary by Nathan Mpangala (cartoonist & illustrator), now proudly featured on Nafasi’s social pages.

As Tukutane Dar wrapped up, we were treated to a powerful closing event where over 80 artists took the stage, a testament to Nafasi’s impact in nurturing and amplifying talent. Performances included legendary Tanzanian acts and rising stars alike, while artisans showcased and sold work crafted during their time in the Nafasi community. It was a clear demonstration of a thriving alumni ecosystem, one that continues to enrich the creative economy long beyond a residency or program.
From start to finish, Tukutane Dar Arts Week 2025 was a reflection of what happens when space meets opportunity, when creativity meets community, when collaboration crosses borders.
I return home inspired, hopeful, and eager to contribute to the continued growth of our continental creative ecosystems.
Looking forward to celebrating the successes of Tukutane Dar 2025, again, in 2027.
ARTICLES
Apply Now: Koola Kampala Business Incubation Programme for Creative Entrepreneurs in Uganda.
If you’re a cultural or creative entrepreneur in Kampala looking to take your business to the next level, here’s a game-changing opportunity worth paying attention to. Africalia, in partnership with The Bold Woman Fund, has launched a new business incubation programme dubbed Koola Kampala, designed specifically to support and elevate Kampala’s creative and cultural sector.
Koola Kampala is a 12-month business support programme for legally registered creative businesses that are already generating revenue. It aims to build stronger, more sustainable enterprises by equipping entrepreneurs with the tools, mentorship, and strategic guidance they need to thrive in Uganda’s rapidly growing creative economy. Whether you’re running a music label, fashion brand, media studio, design outfit, or cultural enterprise, this programme is tailored to strengthen the business side of your creativity.
This initiative is funded by Africalia and aligns with the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the Sustainable Development Goals, and national cultural development policies. It seeks to invest in the people driving Uganda’s creative heartbeat, young innovators building impactful businesses at the intersection of culture, identity, and entrepreneurship.
To be eligible, you must be over the age of 18, based in Kampala, and running a legally registered cultural or creative business that has been active for at least one year. Your business must already be generating revenue and able to provide samples of work when requested. More importantly, applicants should demonstrate a strong motivation to strengthen their business management and growth strategies.

The programme is structured in four key phases. First is the selection phase, during which 15–20 promising businesses will be shortlisted based on eligibility, motivation, and programme fit. This is followed by a 3-month pre-incubation phase, where selected participants will undergo a diagnostic assessment of their businesses, receive both group and individual coaching, and be trained on key business fundamentals. At the end of this phase, 12 businesses will be selected to move forward into the main incubation phase, which spans 9 months of intensive training, weekly one-on-one coaching, strategic growth support, and specialised modules tailored to the needs of each participant.
Once the incubation phase concludes, the programme enters its final phase—post-incubation—where participants will walk away with a tailored action plan for their business, deeper entrepreneurial skills, refined business models, and access to both national and international expert support. Additionally, they will have the opportunity to apply for seed funding to support the implementation of their business plans.
Applications are now open and will close on Saturday, July 5, 2025, at 6 PM (Kampala time). Interested entrepreneurs can apply through the online form available here. For further questions, Africalia and The Bold Woman Fund can be reached via africalia@africalia.be or contact@boldinafrica.com up until June 29.
For Kampala’s creatives, this isn’t just another programme—it’s a doorway to long-term growth, sustainability, and impact. If you’re ready to build a business that lasts and contributes meaningfully to Uganda’s creative ecosystem, Koola Kampala is the opportunity you’ve been waiting for.
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