Video Star: Energizing VJ Culture to Adapt Hollywood Films for Uganda

oOn a recent Saturday afternoon in Kampala’s informal settlement in Uganda’s capital, a crowd of young men gathered on benches inside a dimly lit shed to enjoy the pirated version of the Hollywood comedy horror film “The Monkey.”

As the English action played out on the screen, a narrated translation in Bantu Luganda by VJ Junior, one of Uganda’s leading video jockeys, reverberated throughout the room.

By freely translating films and TV shows for local audiences, VJ Junior has become a key figure in the TV and film culture across rural and low-income areas of East Africa.

These VJs act as part narrators and part comedians, often simplifying scripts and placing them in relatable contexts. For instance, they might replace a character’s name with that of a local individual or swap out a Western concept for a Ugandan analogy.

In one notable scene, a father discusses his son’s absence, stating, “So I’m away because I have to carry all sorts of weird baggage and deal with it,” to which he adds, “It’s the bad… the evil… that I’ve inherited from my father, and I don’t want to share that with you.”

VJ Junior summarized this moment with: “The reason I didn’t want to be with you is that I am weighed down by burdens. I inherited mental anguish, demonic influences, curses, and more from my father.”

VJs have the ability to infuse humor, exaggeration, and distinctive sound effects into their translations, sometimes diverging significantly from the original script.

Having grown up in Kampala during the 1990s, VJ Junior, born Mary Smart Matobu, developed a passion for film and frequently enjoyed Hollywood movies translated by VJs.

In 2006, he entered the field, inheriting a recording studio from his older brother, VJ Ronnie, and later moved to the U.S. to pursue filmmaking. He recalled that his debut as a VJ, while working on “Rambo III,” “lacked finesse,” but he enhanced his skills by studying iconic figures like KK The Best and VJ Jingo.

VJ Junior’s big break came in 2009 with the translation of “Promise,” a Filipino soap opera for local channel Bukedde TV. “It was a massive success and became a significant brand for me,” the 40-year-old noted. “People began to trust my work.”

rRonnie’s Entertainment, the bustling video store in Katwe, drew shoppers eager to browse shelves crammed with thousands of VJ DVDs. Employees were busy copying movies onto customers’ flash drives. A DVD would sell for 2,000 Ugandan shillings (£0.41), with the flash drive copy costing 1,000 shillings.

Shop owner Ronald Zentongo reported vending hundreds of films and television shows daily, revealing that blockbuster titles include Marvel films and series like “Prison Break” and “24.” “Customers eagerly anticipate VJ Junior’s translations.”

The culture of Ugandan video jockeys emerged from the colonial practice where evangelists provided microphones to translate Christian films for local audiences. The 1980s saw the rise of video halls as VHS foreign films became more accessible. To bridge the language gap, video hall operators enlisted VJs to translate these films into local languages in real time.

With advancements in technology, VJs have transitioned from VHS to VCDs, and now to DVDs and flash drives. Numerous websites have popped up, allowing viewers to stream and download content via subscriptions.

The industry is also diversifying; some VJs are now dubbing Ugandan films and TV shows, with new VJs translating into languages beyond Luganda, the predominant language in the country.

By adapting foreign films and series for Ugandan viewers, VJs foster a sense of belonging, as noted by Imokola John Baptist, a lecturer at Makerere University. His research suggests audiences feel valued, recognized, and acknowledged, though he cautions against over-translation that may obscure core themes and messages.

Video jockeys and their distributors often find themselves at odds with authorities over copyright infringements, facing the risk of police raids on video stores leading to confiscation of DVDs and copying equipment. VJ Junior expressed that copyright issues pose significant hurdles for his business, making it “incredibly challenging” to obtain dubbing rights for foreign films.

Describing the VJ’s contribution to Ugandan society as pivotal in “helping individuals to understand, entertain, and inspire,” VJ Junior stated he typically dubs around 10 films and TV episodes each week.

“Research is essential. You need to be informed, educated,” he remarks about the skills vital for his role. “The industry is expanding, and the demand is increasing.”