Key Takeaways:
- Video halls, known as bibandas, are a popular form of entertainment in Uganda, with an estimated 3,000 halls across the country.
- Video jokers (VJs) play a crucial role in video halls, providing commentary and translation for foreign films in local languages.
- VJs are not just translators, but also performers who add their own flair and commentary to the films, making them a major draw for audiences.
- The tradition of video joking raises issues around intellectual property protection and the development of a sustainable domestic film production industry in Uganda.
- The phenomenon of video joking highlights the diversity of film-watching experiences around the world and the importance of considering the social, cultural, and economic context of film exhibition.
Introduction to Video Halls in Uganda
If you walk into a video hall in Uganda, your attention will likely be drawn to a person sitting at the front of the audience, speaking rapidly into a microphone and commenting loudly and continuously on the film being screened. This person is known as a video joker, or VJ, and they play a crucial role in the video hall experience. With only three cinemas in the capital city of Kampala, video halls are the primary source of entertainment for many Ugandans, offering a affordable and accessible way to watch films. The entrance fee to a video hall is typically around 1,000 Ugandan shillings, or 21 British pence, making it a much more affordable option than going to the cinema.
The Role of Video Jokers
The VJ sits at the front of the audience with a microphone and a sound mixer, talking over the film and explaining its plot and paraphrasing the dialogue in the local language. However, the VJ’s version of what characters are saying and what is happening in the film may diverge significantly from the original version. They often give characters and locations Ugandan names, interject hyperbole, jokes, and social or moral commentary into their performances, making them more like an MC or a sports commentator than a traditional translator. This unique style of commentary has become a hallmark of the video hall experience, with many VJs developing their own distinct personalities and styles.
The Popularity of Video Jokers
Many VJs are celebrities in Uganda, with loyal fans who regularly turn out to watch them perform. In fact, the VJ is often more of a draw for audiences than the film they are voicing over. Celebrity VJs have sought to capitalize on their success by selling pirated films on DVD or via streaming platforms with their voice-over tracks baked in, so that their fans can enjoy their work at home. This has led to a thriving industry of VJ-led film distribution, with many VJs building their own brands and followings. The popularity of VJs has also led to collaborations with Ugandan television stations, which have experimented with broadcasting foreign content overlaid with VJ tracks.
The Global Reach of Video Joking
The Kampala-based micro-studio Wakaliwood has raised the profile of the video joker outside of east Africa, releasing two films on YouTube with an absurdly comic, English-language voice over performed by VJ Emmie. Wakaliwood has garnered a global cult following, with their work being screened at festivals and midnight-movie events around the world. This has helped to introduce the concept of video joking to a wider audience, showcasing the unique style and humor of Ugandan VJs. The success of Wakaliwood has also highlighted the potential for video joking to be a major part of Uganda’s cultural export, with many VJs looking to build on this success and take their talents to a global audience.
Controversies Surrounding Video Joking
Despite their popularity, VJs are not without controversy. Their work raises significant issues around intellectual property protection, as it relies on the pirating of films. The fact that VJs’ and video halls’ contravention of IP law often goes unpunished in Uganda has been a major stumbling block on the country’s path toward developing a sustainable domestic film production industry. Many Ugandan filmmakers also take issue with the tradition of video joking on aesthetic grounds, arguing that it ruins the integrity of a film and trivializes the audience experience. These controversies highlight the complex and often fraught relationship between video joking and the film industry in Uganda.
The Significance of Video Joking
The tradition of video joking in Uganda helps us to appreciate two important facts about the exhibition of films. First, what is considered a "normal" way to watch a film varies enormously around the world and is connected to a location’s specific social, cultural, and economic context. The way of watching films which is most common in mainstream cinemas in Europe or North America, for example, where viewers sit silently in the dark, is only one way of "doing cinema". Second, when it comes to our experience of a film, the film itself is only the starting point. The interpersonal experience of watching a film, including the commentary and discussion that surrounds it, is just as important as the film itself. This is perhaps even true when we hold film nights at home, joking with friends as we watch. The phenomenon of video joking highlights the diversity and complexity of film-watching experiences around the world, and challenges us to think more critically about the ways in which we engage with film.
Conclusion
In conclusion, the tradition of video joking in Uganda is a unique and fascinating phenomenon that highlights the diversity of film-watching experiences around the world. While it raises important issues around intellectual property protection and the development of a sustainable domestic film production industry, it also challenges us to think more critically about the ways in which we engage with film. As the global film industry continues to evolve, it will be interesting to see how the tradition of video joking in Uganda adapts and changes, and what lessons it can offer to film enthusiasts around the world. Ultimately, the story of video joking in Uganda is a reminder that film is a universal language, but one that is always mediated by local context and culture.