Role of Popular Music in Transforming Conflict

Role of Popular Music in Transforming Conflict Abstract Can popular music play a role in conflict transformation and peacebuilding? This kind of question has started to generate a great deal of debate for peacebuilding scholars and pracitioners.   Most of the recent works have focused on the role of art as a whole without looking at particular form of art or particular genre within one form of art like music and assessing its contributions to creating a peaceful society. This paper is an attempt to show only the role popular music can play. It based on a research undertaken in Gulu town in northern Uganda. Findings show that music is playing a supporting role which is either little known or less recognized. In this paper, I argue that popular music is playing a significant role. I discuss how popular music is contributing and fostering conditions of conflict transformation and peacebuilding while relying on document analysis, examinations of à ¢Ã¢â€š ¬Ã…“peace musicà ¢Ã¢â€š ¬? lyrics, field interviews and focus group discussion with the government officials, formerly LRA soldiers, musicians and the civilian population. A. Background to Northern Uganda conflict Northern Uganda has been in conflict for over two decades. This conflict is between the government of Uganda (GoU) and the Lordà ¢Ã¢â€š ¬Ã¢â€ž ¢s Resistance Army (LRA).The conflict is à ¢Ã¢â€š ¬Ã…“rooted in a popular rebellion against the President Yoweri Musevenià ¢Ã¢â€š ¬Ã¢â€ž ¢s government.à ¢Ã¢â€š ¬?[2] but when she was defeated in 1987, Joseph Kony took over the mantle of leadership. He transformed the HSM into the LRA and with support of the Government of Sudan in Khartoum; the LRA have been able to cause destruction on the civilian population in northern Uganda. The causes of the conflict are rooted in historical and immediate factors. These includes: The British colonial legacy which divided the north and south. Failure of the President Museveni to honor peace accord he signed in Nairobi in 1985 and finally the NRA violence inflicted on the Acholi when Museveni took over[3]. Since 1993, there have been numerous peace talksà ¢Ã¢â€š ¬Ã¢â€ž ¢ efforts to end the conflict but all failed to bring a lasting peace because à ¢Ã¢â€š ¬Ã…“the governmentà ¢Ã¢â€š ¬Ã¢â€ž ¢s lack of firm political will behind a negotiation strategy and the LRAà ¢Ã¢â€š ¬Ã¢â€ž ¢s turn to Sudan for arms re-supplies.à ¢Ã¢â€š ¬?[7] The most recent attempt to end the conflict has been the Juba Peace Talks in 2006. This peace talks was held in Juba, the capital of South Sudan and it was mediated by Dr. Riek Machar, Sudanese vice president assisted by UN Special Envoy Joachim Chissano. In this peace talks, all four items of the agenda were signed[8]. But the final peace agreement has not been signed. The notorious leader of the LRA refused to sign the final peace agreement thus throwing the peace process in doubt. This led to a military offensive on LRA by the three countries: Uganda, Sudan and DRC and means the collapse of the peace talks. Peace building initiatives? Currently in northern Uganda, there is relative peace because the LRA have been weakened by the combined military offensive of the three nations. Many civilian populations in the 53 camps in northern Uganda are returning to their villages to rebuild their lives. Both the government and nongovernmental organizations are putting infrastructures: schools, roads and health centers to assist the former victims of conflicts resettle. But there are mixed feeling among the population whether they will have a lasting peace or not since not final peace agreement has been signed by the conflict parties. One of the key issues in northern Uganda during this transition is how to ensure victimsà ¢Ã¢â€š ¬Ã¢â€ž ¢ justice but à ¢Ã¢â€š ¬Ã…“Most prioritize peace over justice and show signs of reluctance countenance question of accountability.à ¢Ã¢â€š ¬?[10] Since 2005, GoU through the Amnesty Commission have been working to resettle many LRA the ex-combatants and supported communityà ¢Ã¢â€š ¬Ã¢â€ž ¢s approaches to local methods for forgiveness, peacebuilding and reconciliation. B. Background to role of Music in Acoli society In Acoli society, music occupies a central place. à ¢Ã¢â€š ¬Ã…“Music is the lifeblood of the society.à ¢Ã¢â€š ¬?[15] à ¢Ã¢â€š ¬Ã…“Musicians and dancers were highly valued and admired for their skill and their ability to entertain.à ¢Ã¢â€š ¬?[20]. Music in Acoli was mainly by an individual or a group singing and playing musical instrument like à ¢Ã¢â€š ¬Ã…“lokeme (thumb piano), ajar, a metal percussion instrument, and sometimes the smaller drums (bul).à ¢Ã¢â€š ¬?[22] Rise of Popular Peace Music in Northern Uganda As the war in northern Uganda escalated, this was a proof that the conflicting parties had failed to resolve their grievances. There was total breakdown in communication between the parties. This resulted into lack of confidence and understanding of each party.[24]. This music is produced in à ¢Ã¢â€š ¬Ã…“modernà ¢Ã¢â€š ¬? studios across northern Uganda. Voices are produced on computer aided beats. There is wide use of modern musical instruments in the music. The lyrics are directed to the government, LRA and occasionally to the civilian population in northern Uganda, other parts of Uganda and the diasporas and international community. As many as 70-100 peace songs are produced annually[29]. C. Literature Review In the last decade, there have been some attempts to show that music can be used in peacebuilding.[32] The shortage of literature on the impact of music for conflict transformation and peacebuilding remains is a serious concern because stakeholders are constrained from making an informed decision on music can function as a tool of conflict transformation and peacebuilding. Perhaps the most groundbreaking work on music and peacebuilding to date is: Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics.[35] Additionally, June Boyce illustrates à ¢Ã¢â€š ¬Ã…“several models useful when considering the link between music and peaceà ¢Ã¢â€š ¬? and finally Johan Galtung reveals how music can be used for peace. He investigates à ¢Ã¢â€š ¬Ã…“the uplifting and uniting power music.à ¢Ã¢â€š ¬? Ledarachà ¢Ã¢â€š ¬Ã¢â€ž ¢s Moral Imagination: the Art and Soul of Peacebuilding[36], empathizes use of creativity in peacebuilding. He used a number of examples to support his arguments about art and peacebuilding. Finally, Lisa Schirchà ¢Ã¢â€š ¬Ã¢â€ž ¢s Ritual and Symbols in Peacebuilding also supports the view of creativity in peacebuilding.[39] There are some articles which show the prospect of using music in peacebuilding. Michael Shank and Lisa Schirch,[42] Their analysis justifies the role of art while at the same time it is useful for informing peacebuilders on what kind of art to employ and at what stage of conflict. Lesley Pruitt explores how music can contribute to positive peace[44] She adds that music and dance can lead to development of new identity by both the artists and audience and it is this new identity can help in process of dialogue. Therefore, artists through their music can act as à ¢Ã¢â€š ¬Ã…“mediatorsà ¢Ã¢â€š ¬? because they create new identities and ità ¢Ã¢â€š ¬Ã¢â€ž ¢s this new identity that can foster dialogue between the conflicting parties. Additionally, Alba Sanfeliu[45] discusses the role of music in peacebuilding. She remarks à ¢Ã¢â€š ¬Ã…“Music is an eloquent language that allows us to express what is happening around us in many senses, and to reflect the times and the situation in which we live. It is inseparable from our social, political, economic and cultural reality.à ¢Ã¢â€š ¬? She adds that music is also a form of communication. à ¢Ã¢â€š ¬Ã…“Lyrics strengthen the message that the author wants to express, emphasizing the sense of the song.à ¢Ã¢â€š ¬? Mores specially she touches on role of popular music and states that à ¢Ã¢â€š ¬Ã…“many singers and groups have composed songs with themes related to peace, personally becoming involved by giving concerts in solidarity with various social causes and making their music into a kind of spokesman and instrument for peace.à ¢Ã¢â€š ¬? She concludes by arguing for further exploration of music as a tool for conflict transformation. Finally, In conclusion, the reviewed works provide interesting insights into the role of art in general on conflict transformation and peacebuilding but there are not sufficient enough in explaining how specific genre like music and in particular, popular music contributes to conflict transformation and peacebuilding. To begin with, most of the studies done on role of music were based on document reviews and this makes it very difficult to reflect the true situation on the ground. Additionally, the reviewed works widely focus on art or music as a whole. None focuses on popular music. Finally, these studies were based on realities in different parts of the world some of which are significantly different from those in northern Uganda. This study attempts to show the impact of popular music on the conflicting parties in northern Uganda and how this has helped in conflict transformation and peacebuilding in northern Uganda. D. Purpose and Methods of the Study Research was carried out in Gulu Municipality and 2 internally displaced persons (IDP) camps of Amuru and Odek[49]. In all the three locations[51]. Interview guides were open-ended and gave respondents opportunity to speak out his/her mind. This was preferred in order to get more information about knowledge, attitudes and opinions of people about the role popular music in peacebuilding. There were 5 focus group discussions with 30 people (23 were former LRA soldiers and five female) to understand peopleà ¢Ã¢â€š ¬Ã¢â€ž ¢s perspective about the role popular music can or has played in peacebuilding[52]. The discussions were freely moderated by the researcher and every participant freely expressed their views during the discussions. Finally, all accessible relevant literatures on the topic were reviewed. These data were got from various libraries including Gulu University, Human Rights Focus, Gulu Public Library and Hesburgh library. E. Impact of Music in Northern Uganda Music and conflict has have long been connected but the role music can play in conflict transformation and peacebuilding have not long been studied although there are new and emerging work in the field[53]. Therefore, to assert that music can transform conflict and promote peacebuilding may be an exaggeration but also failure to recognize the role that music can play in conflict transformation and peacebuilding would again be an understatement facts. From results of focus group discussions and interviews with government officials in Northern Uganda, one can argue that music is playing a supporting role to the conflict transformation and peacebuilding in northern Uganda. Popular music is contributing by: Reaching the government leaders with messages to engage in the peace process, recognizing the government efforts while demanding for a speedy end to peace process, portraying the government failures through comparison of the Acoli society before and after the war thus making the government leaders to work for amendments and finally popular music has become a tool of communication that is now a constant reminder for government about its obligations for peace. a. Government In northern Uganda, popular music is being used to reach both government leaders to engage in peaceful resolution of the conflict. This has been carefully done through name dropping[58]. The impact of name dropping is found to create pressure on some leaders to use their positions to engage in peace process with the LRA because musicians represent the voice of the people. This makes the leaders reach out to the president asking for peaceful engagements with the LRA. According to one government leader: Northern Uganda is a small region. Each time musicians call my name in their songs, I feel I compelled to work for peace. The songs communicate to me personally. It appeals to me in a special way. It portrays me as a leader who can do something for my people. This creates the motivations for me to work for peace. To me, a voice of one musician is a voice of the people suffering in the internally displaced peopleà ¢Ã¢â€š ¬Ã¢â€ž ¢s camps[59] Therefore, name dropping has been an effective way of pushing some of the leaders to work for their people. à ¢Ã¢â€š ¬Ã…“It is a push factor for the leaders. It asks nothing from them but to use their position for the sake of the suffering people.à ¢Ã¢â€š ¬?[60] Name dropping has an appropriate appeal for different leaders at a personal level to seek an end to conflict. This appeal is compounded by the fact that the songs are in the language the leaders understand, the leaders are widely known in the region and the songs brings out rich, truthful and powerful issues that goes on in the life of their own people. This motivates some leaders to engage in peacebuilding. Additionally, in a politically hostile region to the current NRM government[68]. This is summed up in one statement by former internally displaced man: When politicians in our community are openly praised by musicians in their songs, this sets the bar so high for politicians and their party because the songs are played on the FM stations across the northern Uganda. This is not only praises and recognition for their work, politicians know that as voters we use the same songs to judge them and hence some are working very hard for peace.[69] Given an environment like northern Uganda, which has been unfriendly to the current government because of the long running conflict, people have genuine grievances again their government[72] It recognizes and praises politicians and the government, while at the same time it sets a target for them to achieve thus leading to engagement of some political leaders in the peace process. Furthermore, the religious leaders have also not been spared by the popular artists. They have also been singled out for commitment to peace in northern Uganda and asked to do more in their capacity. Musicians like Bosmic Otim, one of the first popular artists to emerge in northern Uganda in early 2000 with very high popularity went on in his song, Too Paco, to appreciate one religious leader for his extra-ordinary courage and commitment on working for peace. He points out the impact of the war on the Acoli society. He suggests to the government to adopt the non-violent strategy of the religious leaders. He calls for a non-violence strategy because failure of the military strategy which has inflicted great pain on the civilian population. He goes on in his lyrics to say à ¢Ã¢â€š ¬Ã…“Letà ¢Ã¢â€š ¬Ã¢â€ž ¢s see example from Nelson Mandela who fought for peace non violent, let us see example from Bishop Mark Baker Ochola, who is emphasizing talk peace because war increases the death tollà ¢Ã¢â€š ¬? Such a creative way of sending peace messages by the popular artists have been effective. Popular music have been able to communicate peopleà ¢Ã¢â€š ¬Ã¢â€ž ¢s desire for peace to the religious leaders. à ¢Ã¢â€š ¬Ã…“Popular music has become additional call to protect their flocks from wolves.à ¢Ã¢â€š ¬?[76]. Furthermore, popular musicians have used their songs as a comparative tool for northern Uganda especially Acoli society. This comparison is based on looking back at Acoli society before the war and comparing it with the society during war. This evokes images of past governments as more successful than the current regime[79]. Some popular songs are explicit imagery of government failure.[82]   This careful manipulation of music to compare Acoli societies is disastrous for the image of the government and NRM political leadership. It has compelled some government leaders to do more to save its image by protecting its citizens while at the same time creating a task that peace is the ultimate goal the government has to achieve in order to avoid comparisons with the past regimes. Dida Moses, in his song Too Oroma-wa, ask a rhetorical question and goes to show the suffering, à ¢Ã¢â€š ¬Ã…“Our people, spiritual leaders what do we do? War that started since has not ended, Strong homes have collapsed, Seeing people run for their lives is painfulà ¢Ã¢â€š ¬Ã‚ ¦Cutting peopleà ¢Ã¢â€š ¬Ã¢â€ž ¢s legs, killing is so painful, Children are suffering, children sleep hungry, Children sleep with blankets, children do go to school, Today I pray to God, the rate of death is too muchà ¢Ã¢â€š ¬? In some of these songs, the government commitment to northern Uganda is questioned indirectly. The reference to pre-Acoli society invokes images of better days of freedom, schooling, ability to meet basic needs and above all a peaceful society under previous government.[84]. This creates a drive for leaders to engage more in peace talks in order to deliver peace, the ultimate wish of the people. Finally, popular music is being used to communicate and remind government of its obligation for peace in a region where people seem to have given up after two decades of war and accepted the status quo. Musicians have not given up. They have continued to remind the government and create awareness about the war in northern Uganda, nationally and internationally.   Popular music is a constant à ¢Ã¢â€š ¬Ã…“burdenà ¢Ã¢â€š ¬? and reminder to Acoli government leaders.[86] These peace concerts bring popular artists from all over the country in northern Uganda to sing for peace and fundraise for the IDP communities. In April 2004 feted Ugandan musician Jose Chameleone teamed up with Richard Kaweesa, another renowned Ugandan musician, in a peace restoration project called [87] In these musical concerts nothing else is sung about but peace.[90] Therefore, popular music has become medium of reminding the government on what people wants while at the same time creating awareness and building a coalition for peace in the northern Uganda which generates public pressure on the government to seek an alternative to the conflict As a result of this constant reminder and call to the government and LRA for peace, the governments of Uganda and South Sudan have come to recognize the role of music in conflict transformation and peacebuilding thus exhibiting the power of popular music in northern Uganda. In 2005, Loketo Lee, was recognized for his outstanding contributions to the peace process. His contribution was first felt outside his own country-Uganda to Southern Sudan and Sudanese vice president, à ¢Ã¢â€š ¬Ã…“Salvar Kiirà ¢Ã¢â€š ¬Ã‚ ¦handed Loketo Lee a Peace Award for his contribution, through his music, to the countrys peace process.à ¢Ã¢â€š ¬?[93]. This points to the role music can in a musically responsive society like northern Uganda. b. Lordà ¢Ã¢â€š ¬Ã¢â€ž ¢s Resistance Army In northern Uganda, popular music is being used for informing and educating the LRA on amnesty[95] These musical messages have had some impact on LRA through the radio. According to one participant, a former LRA foot soldier: Mega FM has been useful for amnesty messages. The religious leaders and also some songs were very influential in letting us know what amnesty was all about. When our leaders realized we were listening to amnesty messages whether talk shows or music, they stopped us and whoever was found was punished severely. From the perspective of some formerly abducted children interviewed, popular music on the FM stations particularly Mega FM proved to have been effective in disseminating amnesty information. Consequently, some LRA fighters were able to return home. This statement by the former LRA solders is corroborated by Boniface Ojok, in his remarks about the impact of radio communication to the LRA. On realizing that they were reducing in numbers, the LRA leadership discouraged its middle ranking commanders and foot soldiers from listening to radios. Many of the former LRA rebels we talked to said that when the LRA realized that radios were becoming so effective in luring the midlevel commanders and foot soldiers, a warning was issued that radios should be used only by the top leadership[96] Popular music therefore is being used to communicate important messages for the LRA. These messages are effective in informing and educating the LRA. To some former child soldiers, popular artist had become their role models. Some agreed to being persuaded by popular musicians. Their songs about amnesty and asking them to abandon the rebellion was informative and as well as appealing to them to come out of the bush[97]. Additionally, popular musical is helping in confidence building among the LRA.[100]   These cases have been used as propaganda by the LRA leadership to deter foot soldiers from returning but popular artists have razed this propaganda. Strong message for brotherhood, reconciliation, forgiveness and welcome have been sung by the musician including making a personal call to the LRA top leadership about their safety on return. Artists like Baby Dalvin, believes that amnesty from the government without further assurance from civilian population was not enough for the LRA to return.   The LRA fighters were aware of the pardon through the amnesty but they did not know how the civilian populations in the camps would be reacting to them. Government assurance from prosecutions was not enough. Artists had to step in and assure the LRA fighters about their safety from the civilian populations. Popular music was able to fill the void left by the government. Popular music sent assurances about safety and that people are willing to reconcile with them. These have been able to restore some level of confidence in the LRA. à ¢Ã¢â€š ¬Ã…“Some artists have even called the LRA fighters as brothers and for Acoli people when someone has called you a brother that is best assurance of acceptance without revenge.à ¢Ã¢â€š ¬?[102] Similarly, when the leaders of the LRA were indicted by International Criminal Court, its impact was expected on the peace process.[105] Such opposition of the external forces to the peace process has been cited to create confidence on the LRA because they feel the masses and the government are willing to save them ICC prosecutions. Thus the artists have been able to add their voice to already a à ¢Ã¢â€š ¬Ã…“hostileà ¢Ã¢â€š ¬? region to ICC creating a feeling of à ¢Ã¢â€š ¬Ã…“safetyà ¢Ã¢â€š ¬? among some LRA from the government and people in northern Uganda. Furthermore, the role popular music is playing today is a replica of the role songs played in Acoli traditional community. Traditionally, songs were used to entertain and teach. Leaders with unruly behaviors were mocked.[107] This role of music still lives on in the popular music today. Popular artists have not downplayed the atrocities the LRA have committed in the two decades. Lyrics reflect LRA atrocities and challenge the LRA. Popular music have exposed the atrocities and blamed the LRA. Artists have reacted to what they see as contrary to societal values. In northern Uganda, both the government and the LRA have been seeking to dehumanize and blame each for the atrocities but many popular artists have blamed LRA and asked them to end atrocities. Towngweno, in their song, Bedo I camp, hits the LRA à ¢Ã¢â€š ¬Ã…“everyone is talking with name, what popularity are you seeking? Orphans, widows are becoming many because of you!   Why do you want to finish Acoli?à ¢Ã¢â€š ¬? Such songs not only expose but also strike guilt for atrocities among the LRA[112] à ¢Ã¢â€š ¬Ã…“I am alone now! What can I say? I am now alone in our home! What can I say? I now have no mother, No sister, No brother, No father, No uncle, War has finished all the sons and daughters of Acolià ¢Ã¢â€š ¬? According to another respondent, a former rebel, à ¢Ã¢â€š ¬Ã…“popular music have summed up what has happened and if you have carried such atrocities you feel compelled to lay down your gun and come and ask for apologies.à ¢Ã¢â€š ¬?[114] Finally, popular artists have used their music to frame the conflict in a way that affects the LRA positively forcing them to reconsider peace.[116] The framing has changed perceptions and made information relevant and persuasive to the LRA. The framing is based on the notion of à ¢Ã¢â€š ¬Ã…“defeatà ¢Ã¢â€š ¬? and à ¢Ã¢â€š ¬Ã…“interestà ¢Ã¢â€š ¬? of the LRA in the war. To many people interviewed, the conflict should have been ended if the government had pursued peaceful means[120] in his songs, Dok Paco, he plays with the notion of à ¢Ã¢â€š ¬Ã…“defeat.à ¢Ã¢â€š ¬? He calls the LRA to negotiate with the government. He says à ¢Ã¢â€š ¬Ã…“negotiating does not mean you are defeatedà ¢Ã¢â€š ¬? to dispel the myth defeat.   Additionally, Bosmic Otim frames the conflicts on à ¢Ã¢â€š ¬Ã…“interestà ¢Ã¢â€š ¬? of the LRA. While the LRA claims to be fighting for marginalization of people in northern Uganda, they are at the same time committing gruesome violence on the people. Bosmic, in his song Peace Returns, he says à ¢Ã¢â€š ¬Ã…“If a government soldier dies tomorrow, you will find an Acoli, if a LRA soldier diesà ¢Ã¢â€š ¬Ã‚ ¦you will find an Acoli.à ¢Ã¢â€š ¬? His framing reinforces the view that one tribe is finishing itself meaning there is no point in continuing the fight. These framings help in changing perceptions. It can be very persuasive. According to former rebels, they cited two impacts. First, they have been persuaded by this framing which made some rebels à ¢Ã¢â€š ¬Ã…“ready to move to another life?à ¢Ã¢â€š ¬?[121] Secondly, they have been able to see the reality of the conflict and its impact. à ¢Ã¢â€š ¬Ã…“We were able to see the other side of the coin.à ¢Ã¢â€š ¬? This frame has made some large-scale changes in society. Concluding Observations Music has some problems too. There are in fights among some popular musicians and this has sometimes affected their position in society as peacebuilder. There have been incidences of popular artist fighting and how can they talk for peace if they are involved in violence. This is simply because of public rating people give to the peace songs. This has resulted into creating camps among the popular artist leading t to in fights. Additional, commercial interest of some musicians and recording artists has overshadowed peace music. Many times they are diverted from real issues and forced to sing what the government wants or because their promoters have already got money. This causes diversion and hence reduction in the peace messages in northern Uganda Furthermore, some upcoming popular artist stated that there is alot of politics of the FM stations which only play music from recognized artists leaving them to suffer and languishing with their peace songs. Some artist suggested that music managers at the FM stations ask them lump sum money to include their songs on their playlist. This limits the peace songs to only a few and popular artist leaving out some upcoming musicians. This sometimes kills the potential of young artist who could be having genuine interest in promoting peacebuilding in the region. Finally, artists also expressed fear at the government. Some artist believe they cannot confront the government because they fear for the lives and fear that FM stations will not play their songs and this limits them from being neutral and hence affecting their reputation and neutrality in the songs. In spite of these limitations, there are also a number of arguments why popular music is still effective in conflict transformation and peacebuilding in the case of northern Uganda. To begin with, in considering that music can contribute to peacebuilding, one has to look at the cultural context. In northern Uganda has been sued since time in memorial..Therefore, this provides a best opportunity to use music further for peacebuilding. Secondly, within music, there are more than songs. There is communication, rhythm and movement which when combined becomes a very powerful gesture for peace. In listening to music and watching videos, one can see that these are very effective in reinforcing There is very good creativity and understanding of the local context by musicians. The use of name dropping was suggested by one politician as the most effective way Finally, the popular music is very relevant to local issues in northern Uganda. Music and power especially electoral democracy In this article, only a limited number of songs, most of which come from the musical genre à ¢Ã¢â€š ¬Ã‹Å"Bongo Flavaà ¢Ã¢â€š ¬Ã¢â€ž ¢ have been described. There are undoubtedly songs about AIDS from other types of music, including gospel music that may be influential. Nevertheless, the songs described here do provide insight into the promise held by utilizing musicians as popular opinion leaders and song as a medium not only to convey important health information, but also as a mechanism for triggering social and behavior changeà ¢Ã¢â€š ¬Ã‚ ¦.SHERI BASTIEN [122] 4 [(]* Is a MA candidate at the University of Notre Dame. He earned a B.A. in Humanities from Makerere University. He also holds a Post-graduate diploma in Conflict Management and Peace Studies and a Post-graduate diploma in Education from Gulu University. He has served as an Information Officer for a relief organization and a health communication group. Recently, he worked for the Norwegian Refugee Council as communication and Monitoring and Evaluation Manager. He has conducted many researches on the role of the media in conflict transformation in northern Uganda. [1] Moses Cyprus Okello and Lucy Hovil, à ¢Ã¢â€š ¬Ã…“Confronting the Reality of Gender Based Violence in Northern Uganda,à ¢Ã¢â€š ¬? The International Journal of Transitional Justice 1(3) 2007: 375-390. [2] See Behrend, Heike, Alice Lakwena and the Holy Spirits: War in Northern Uganda, 1985-97 (James Currey, Oxford 1999) [3] See Allen, Tim, 1991, Understanding Alice: Ugandaà ¢Ã¢â€š ¬Ã¢â€ž ¢s Holy Spirit Movement in Context. Africa, vol. 61, no. 3, pp. 370-399. Branch, Adam, à ¢Ã¢â€š ¬Ã‹Å"Neither Peace, nor Justice: Political Violence and the Peasantry in Northern Ugandaà ¢Ã¢â€š ¬Ã¢â€ž ¢ (2005) 8(2) African Study Q 1, [4] Lomo, Zachary and Hovil, Lucy, à ¢Ã¢â€š ¬Ã…“Behind the Violence: Causes, Consequences and the Search for Solutions to the War in Northern Uganda,à ¢Ã¢â€š ¬? Refugee Law Project Working Paper No. 11 (February 2004), p43 http://www.unhcr.org/refworld/docid/4a3f8d3c1e.html [accessed 21 January 2010] [6] Moses Cyprus Okello and Lucy Hovil, à ¢Ã¢â€š ¬Ã…“Confronting the Reality of Gender Based Violence in Northern Uganda,à ¢Ã¢â€š ¬? The International Journal of Transitional Justice 1(3) 2007: 375-390. [7] See Justice and Reconciliation Project, Cooling of the Hearts: Community Truth Telling in Acholi-land,   2007, 6 http://www.csopnu.net/?jc=juba [accessed 21 January 2010] [9] Moses Cyprus Okello and Lucy Hovil, à ¢Ã¢â€š ¬Ã…“Confronting the Reality of Gender Based Violence in Northern Uganda,à ¢Ã¢â€š ¬? The International Journal of Transitional Justice 1(3) 2007: 375-390. [10] Interviews with a leader, Odek, 27 December 2009 [11] Interviews with a 67 year old in Odek, 27 December 2009 [12] Interviews with a leader, Odek, 27 December 2009 [13] Interviews with a leader, Odek, 27 December 2009 [14] Schumann, Anne à ¢Ã¢â€š ¬Ã…“The Beat that Beat Apartheid: The Role of Music in the Resistance against Apartheid in South Africa,à ¢Ã¢â€š ¬? Stichproben. Wiener Zeitschrift fÃÆ' ¼r kritische Afrikastudien Nr. 14/2008, 8. Jg., 17à ¢Ã¢â€š ¬?39 p:2 [15] Kaiser, Tania 2006. à ¢Ã¢â€š ¬Ã‹Å"Songs, Discos and Dancing in Kiryandongo, Ugandaà ¢Ã¢â€š ¬Ã¢â€ž ¢, Journal of Ethnic and Migration Studies, Vol. 32, no. 2, March 2006, pp. 183à ¢Ã¢â€š ¬Ã¢â‚¬Å"202, pp184 [16] Ibid 188 [17] Interviews with a leader, Odek, 27 December 2009 [18] Interviews with a leader, Odek, 27 December 2009 [19] Interviews with a leader, Odek, 27 December 2009 [20] Interviews with a leader, Odek, 27 December 2009 [21] Kaiser, Tania, pp 7 [22] Kaiser, Tania, pp 7 [23] Interviews with a leader, Odek, 27 December 2009 [24] Interviews with a musician, Gulu Town, 3rd January 2010 [25] Interviews with a studio owner in Gulu Town, 23rd December 2009 [26] There are 5 radio stations in Gulu [27] There are 10 recordi

Did The Expansion Of The Aztec Empire Lead To Their Downfall? :: essays research papers

Did the Expansion of the Aztec Empire Lead to Their Downfall?   Ã‚  Ã‚  Ã‚  Ã‚  The Aztec Indians originated from a place called Aztlan, somewhere in north or northwest Mexico. At that time the Aztecs were a small, nomadic tribe living in the border territory on the margins of civilized Mesoamerica. (see map I) In the 13th century they settled in the valley of central Mexico. The Aztecs finally found refuge on a small island in Lake Texcoco, where about 1345, they founded the town of Tenochtitlan. The island was found through a prophecy which said they would settle where they found an eagle perched on a cactus. (see diagram I)   Ã‚  Ã‚  Ã‚  Ã‚  During the next century the Aztecs grew to be greatest power in Mexico. As they grew in political status they became sophisticated and civilized, learning from established peoples who had been town dwellers for more than 1,000 years. (Ekholm, Gordon F.)   Ã‚  Ã‚  Ã‚  Ã‚  The Aztec empire consisted of numerous, loosely connected urban communities. Land ownership was communal. Each local group was composed of a few families that jointly owned a piece of land. Part of the yield of cultivated land was given to the state as a kind of tax.   Ã‚  Ã‚  Ã‚  Ã‚  Technology depended more on human skills than on mechanical devices. Iron and steel were unknown, although copper and bronze were used for tools and Mexican jewelers made ornaments from gold, silver, and their alloys. Wheat, barley, cattle, horses, sheep, and goats were unknown until introduced from Europe and the Mexicans were efficient farmers who made full use of irrigation, terracing, and fertilization of the fields.   Ã‚  Ã‚  Ã‚  Ã‚  Aztec Mexico was rich and civilized. The state controlled every aspect of life. Schooling and training in the martial arts were compulsory for all boys, while the girls were trained in gathering, cooking, and the sewing arts. A centralized bureaucracy looked after the collection and storage of taxes, matters of legislation and punishment. (Peterson, Frederick)   Ã‚  Ã‚  Ã‚  Ã‚  Life for the Aztec's was good. Because of the complexity of their government all were happy. Then in 1519 Spanish conquistador, Hernan Cortes, met the Aztec leader Montezuma in Tenochtitlan. Montezuma believed that the Spaniards had come in peace, but he is proven wrong in 1521 when the Spanish, lead by Cortes, violently conquered the Aztec capital of Tenochtitlan.   Ã‚  Ã‚  Ã‚  Ã‚  The purpose of this report is to answer the question â€Å"Did the Expansion of the Aztec Empire Lead to Their Downfall ?† I feel that it most likely did. This is because when the Aztec's were conquered they were the most powerful civilization in the New World. The Spaniards saw them as â€Å"the ones to beat† to gain supreme power in the Americas. Did The Expansion Of The Aztec Empire Lead To Their Downfall? :: essays research papers Did the Expansion of the Aztec Empire Lead to Their Downfall?   Ã‚  Ã‚  Ã‚  Ã‚  The Aztec Indians originated from a place called Aztlan, somewhere in north or northwest Mexico. At that time the Aztecs were a small, nomadic tribe living in the border territory on the margins of civilized Mesoamerica. (see map I) In the 13th century they settled in the valley of central Mexico. The Aztecs finally found refuge on a small island in Lake Texcoco, where about 1345, they founded the town of Tenochtitlan. The island was found through a prophecy which said they would settle where they found an eagle perched on a cactus. (see diagram I)   Ã‚  Ã‚  Ã‚  Ã‚  During the next century the Aztecs grew to be greatest power in Mexico. As they grew in political status they became sophisticated and civilized, learning from established peoples who had been town dwellers for more than 1,000 years. (Ekholm, Gordon F.)   Ã‚  Ã‚  Ã‚  Ã‚  The Aztec empire consisted of numerous, loosely connected urban communities. Land ownership was communal. Each local group was composed of a few families that jointly owned a piece of land. Part of the yield of cultivated land was given to the state as a kind of tax.   Ã‚  Ã‚  Ã‚  Ã‚  Technology depended more on human skills than on mechanical devices. Iron and steel were unknown, although copper and bronze were used for tools and Mexican jewelers made ornaments from gold, silver, and their alloys. Wheat, barley, cattle, horses, sheep, and goats were unknown until introduced from Europe and the Mexicans were efficient farmers who made full use of irrigation, terracing, and fertilization of the fields.   Ã‚  Ã‚  Ã‚  Ã‚  Aztec Mexico was rich and civilized. The state controlled every aspect of life. Schooling and training in the martial arts were compulsory for all boys, while the girls were trained in gathering, cooking, and the sewing arts. A centralized bureaucracy looked after the collection and storage of taxes, matters of legislation and punishment. (Peterson, Frederick)   Ã‚  Ã‚  Ã‚  Ã‚  Life for the Aztec's was good. Because of the complexity of their government all were happy. Then in 1519 Spanish conquistador, Hernan Cortes, met the Aztec leader Montezuma in Tenochtitlan. Montezuma believed that the Spaniards had come in peace, but he is proven wrong in 1521 when the Spanish, lead by Cortes, violently conquered the Aztec capital of Tenochtitlan.   Ã‚  Ã‚  Ã‚  Ã‚  The purpose of this report is to answer the question â€Å"Did the Expansion of the Aztec Empire Lead to Their Downfall ?† I feel that it most likely did. This is because when the Aztec's were conquered they were the most powerful civilization in the New World. The Spaniards saw them as â€Å"the ones to beat† to gain supreme power in the Americas.

Motivation and Organizational Culture Essay

What makes a good manager? What makes an employee motivated? There are different types of leaders and everyone has a place in workplace psychology. What is the role of the managers and employees? In workplace psychology management’s role should be to motivate employees and get the tasks completed. Managers are a key in the workplace; they are role models for the employees. Managers should keep a professional relationship with employees but not be so strict that their employees are scared to ask for help or talk about what they need. The key to being able to talk to managers is a positive for managers and employees. It tells the manager what the employee needs to be motivated and always the manager to know where the employee is. Managers keep some of the pressure of the upper level managers and owners. Motivating employees is a key part of management because it helps get the job done and keep the employees happy. If an employee is not motivated and unhappy with their job then they will not do a good job and their work becomes sloppy, eventually they will quit. In workplace psychology employees have the role of carrying out tasks and helping the company become successful. Employees need a clearly defined task, adequate working environment, motivation, and feedback. I the case of Ayame Nakamura, managers need to talk with her to understand her work style and how she can be motivated to do her best. Each person is different and coming from a non-confrontational culture Ayame needs to work in a non-confrontational environment. Her managers need to give her positive feedback so she knows what she is doing right. Being told what she is doing right and wrong in a positive, non-confrontational way may boost Ayame’s motivation, and she may enjoy work again (Robbins, DeCenzo, & Coulter, 2011). Ayame was brought up to avoid being confrontational and always be polite. Japanese are very strict in their business and are very straight forward. If Ayame’s work environment is hostile then she is more likely to think she is doing a bad job. In most cultures, if someone feels they are doing bad then they will try harder, if they never receive the feedback for doing a good job they lose motivation and eventually just stop trying. Ayame comes from a very straight forward culture and does not understand when someone is not straight forward with her. Ayame’s employer needs to change his approach with Ayame to give her more motivation and understand feedback clearly (Robbins, DeCenzo, & Coulter, 2011). Paul Hersey and Ken Blanchard have a model called situational leadership theory. In Hersey-Blanchard theory there are different types of managers; telling managers tell employees when, where, and how to complete tasks. They also have low relationships with their employees. Selling managers provide detailed tasks and have a high relationship with employees. Participating managers give low detail on tasks and have high level of communication with employees. Delegating managers give little direction and have low level relationships with employees. Ayame’s managers could help make her more motivated by taking time to get to know the way she works. If they talk to her and understand where she is at in her hierarchy of needs then they can come up with a reward system to motivate Ayame. Also, understanding that Ayame needs to have a non-confrontational environment this is another thing that can motivate her. It seems that Ayame has telling manager and she needs a selling or participating manager. Giving Ayame a good relationship and communication will help her know what she needs to do. Ayame relies on feedback from her employer and is not getting it in her current situation (Robbins, DeCenzo, & Coulter, 2011). Giving employees what they need and keeping them motivated is the job of the manager. There are many different types of managers and some do not give employees what they need. Managers have responsibility to the company to make it as efficient as possible. Some key things managers should remember is that employees need tasks that are clearly defined, some employees may need more direction then others, and all employees need high level of support. Feedback lets employees know what they are doing well and what they can work on. Having something to work toward keeps an employee motivated. A motivated employee is more likely to be happy on the job and complete tasks efficiently; while, an unhappy employee is more likely to be slower, sloppier, and more likely to quit.

The Yellow Wallpaper By Charlotte Perkins Gilman And. Weir...

Charlotte Perkins Gilman and Silas Weir Mitchell were part of two worlds, one having to live and be treated for a nervous condition and the other having to study the conditions of nerves. Yet, in this particular moment in the late-19th century United States, one can detect a dialogue between doctor and patient in each of their short stories. That is exactly what is detected between Charlotte Perkins Gilman and S. Weir Mitchell. While both The Case of Dedlow and the Yellow Wallpaper use fiction to express themselves more thoroughly about mental health and science, The Case of Dedlow is more concerned with the aspect of scientific case study while the Yellow Wallpaper focuses on indicting science. This paper will compare and contrast the narratives of the aforementioned short stories and discuss the significance of their reception and how their audience understood them. Gilman wrote her short story, The Yellow Wallpaper in 1892 after undergoing S. Weir Mitchell’s, a popular neurologist of the 19th century, â€Å"rest cure† treatment where she was to â€Å"live a domestic life as possible† (Perkins. 4). Through her short story Perkins utilizes gothic fiction, a type of horror fiction, to vocalize her private and personal traumatic experience so that no other woman would have to. The format of the story is written from the perspective of a woman with an unnamed nervous condition, who writes a collection of journal entries to record her daily thoughts, while she is being treated for herShow MoreRelatedThe Yellow Wallpaper By Charlotte Perkins Gilman1312 Words   |  6 Pagesspecific meaning, or to bring light to certain issues in real life. The short story titled â€Å"The Yellow Wallpaper† was written in 1892 about a woman named Jane who is diagnosed with depression and given a treatment named the â€Å"rest cure.† Charlotte Perkins Gilman created this story based on her experiences with the â€Å"rest cure† and sent it to the creator of the treatment, S. Weir Mitchell, for criticism (Gilman 419). When read, this short story is usually seen through a feminist critical lense, but it canRead More Exploring Rest Cure Therapy in The Yellow Wallpaper781 Words   |  4 PagesExploring Rest Cure Therapy in The Yellow Wallpaper Rest was used as a cure for neurasthenia, but did it really work? The Yellow Wallpaper explores the concept of rest cure therapy and its effectiveness on a woman patient. The best-known doctor for treating neurasthenia was a highly regarded neurologist named Silas Weir Mitchell (Kivo 8). Women from all over the world traveled to the United States to be treated by Silas Weir Mitchell (5). Rest cure therapy included secludingRead MoreVoices Of The Woman Beyond The Pattern1484 Words   |  6 Pagesâ€Å"Voices of the Woman Beyond the Pattern† The Yellow Wallpaper, written by Charlotte Perkins Gilman in 1892, is at first glance the story of a woman driven to madness in a desperate attempt to escape the strict confines placed on her by the treatment regime of the day. More than that though, Gilman has created an alter ego to give voice to her own experiences and frustrations with the societal constraints imposed on women at the time of its publishing. This tale of disempowerment and the subjugationRead MoreInsanity in The Yellow Wallpaper by Charlotte Perkins Gilman1016 Words   |  4 Pagesfrom the average mind, which is the way the narrator thinks in â€Å"The Yellow Wallpaper†. This short story is based on the author Charlotte Perkins Gilman and what she experiences while put under the â€Å"rest cure†. â€Å"Gilman suffers a near mental breakdown in the mid 1800’s, and been prescribed a rest treatment very similar to the one prescribed to the narrator in â€Å"The Yellow Wallpaper† (Korb, Rena. â€Å"An Overview of â€Å"The Yellow Wallpaper†. Gale Online Encyclopedia). She writes this story as if it were variousRead MoreYellow Wallpaper1095 Words   |  5 Pagesreinforcing the prevailing, male-dominant gender roles through the subversion, manipulation and degrading of female experience through the use of medical treatments and power structures. Charlotte Perkins Gilman’s â€Å" The Yellow Wallpaper† is a perfect example of these themes. In writing this story, Charlotte Perkins Gilman drew upon her own personal experiences with hysteria. The adoption of the sick-role was a product of-and a reaction against gender norms and all of the pressures and tensions that theirRead MoreThe Yellow Wallpaper By Charlotte Perkins Gilman1704 Words   |  7 PagesEscaping The Yellow Wallpaper Charlotte Perkins Gilman (1860-1935) whom is most acclaimed for her short story The Yellow Wallpaper (1891) was a women’s author that was relatively revolutionary. Gilman makes an appalling picture of captivity and confinement in the short story, outlining a semi-personal photo of a young lady experiencing the rest cure treatment by her spouse, whom in addition to being her husband was also her therapist. Gilman misused the rest cure in The Yellow Wallpaper to alarm otherRead MoreThe Rest Cure In The Yellow Wallpaper1570 Words   |  7 Pagesshort story The Yellow Wallpaper, was used by the author Charlotte Perkins Gilman to bring awareness of the experiences of depression and the rest cure both mentally, physically, and socially in the 1800s and early 1900s. Suffering from post-partum depression herself, Gilman also went under treatment of the rest cure. As a result, her experiences and struggles are very similar to the ones of her main character in the story. While narratin g The Yellow Paper, the main character and Gilman herself identifyRead MoreThe Yellow Wallpaper By Charlotte Perkins Gilman904 Words   |  4 Pagescom/us/definiton/americaneglish/rest-cure?q=rest+cure). Charlotte Perkins Gilman wrote The Yellow Wallpaper as a reflection of series of events that happened in her own life. Women who fought the urge to be the typical stereotype were seen as having mental instabilities and were considered disobedient. The societal need for women to conform to the standards in the 1800s were very high. They were to cook, clean and teach their daughters how to take care of the men. Gilman grew up without her father and she vowedRead MoreThe Deeper Meaning of The Yellow Wallpaper1257 Words   |  6 PagesCharlotte Perkins Gilman’s short story, The Yellow Wallpaper, is the disheartening tale of a woman suffering from postpartum depression. Set during the late 1890s, the story shows the mental and emotional results of the typical rest cure prescribed during that era and the narrator’s reaction to this course of treatment. It would appear that Gilman was writing about her own anguish as she herself underwent such a treatment with Dr. Silas Weir Mitchell in 1887, just two years after the birth ofRead More Repression of Women Exposed in The Yellow Wallpaper1873 Words   |  8 PagesRepression of Women Exposed in The Yellow Wallpaper      Ã‚  Ã‚  Ã‚   The short story The Yellow Wallpaper by Charlotte Perkins Gilman gives a brilliant description of the plight of the Victorian woman, and the mental agony that her and many other women were put through as treatment for depression when they found that they were not satisfied by the life they had been given.      Ã‚  Ã‚  Ã‚  Ã‚   In the late nineteenth century when the Yellow Wallpaper was written, the role of wife and mother, which