The small community that patronises our art, usually constituting diplomats, expatriates and tourists, is not sustainable. They have set for us a standard formula to use in order to satisfy their appetites.
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Author: start
The art world is full of problems and solutions. Sometimes the problems seem so insurmountable that one wonders how an inspired mind could surpass them. Other times the possibilities are so apparent that only fools would ignore them. Through selective
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It is not enough to recognise an arrival of craft — there must be a push to improve or a platform for debate. The result: practiced notions of process and evolution emerged within a thoughtfully curated exhibition space.
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Competitions can be classrooms. The Spoken Word Project in Uganda could be exactly that — a space to teach and learn.
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The Venice Biennale undoubtedly remains one of the most important platforms for international contemporary art and its market. A national participation allows for visibility, for a national statement and leaves a footprint in certain version of the international history of art.
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When the 2013 Golden Baobab Prizes longlist was announced over two weeks ago, we were curious to see how many of the writers would be from Uganda. The answer is one. Derek Lubangakene is on the longlist for the Golden Baobab Prize for Early Chapter Books for his story Of Ghosts and Grave-Robbers. By Nanama B. Acheampong.
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A platform like the Rift Valley Festival can be used to strategically develop ones career, but it is dependent on the vision of the musician. There is no point in going there to just collect contacts. One must follow up with emails or phone calls in order to develop relationships or explore future collaborations.
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An Editorial Note What is the first thought that comes to mind when you hear about an art festival: Can I go? Who will be there? And if an artist has won a prize or an award, do you immediately
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Indeed it seems that the music scene in Uganda is strangled by poor imitations of Dancehall and Reggae. But if we understand the history, the challenges and most importantly the gospel, there emerges soul-filled clarity.
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If Tyson is speaking the parroted sound bite based language of East and Central Africa’s conflicts then who addresses relevant political tensions in meaningful ways?
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And yet, like so many other dictators, not only was Amin a frightening, deeply disturbed man, but he was also effortlessly capable of ineffable charisma and charm. The president clearly enjoyed putting on a show.
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Even though the artists are trying to break the typical gender moulds, they are expressing themselves by using stereotypical characters. This counter acts their intentions, and instead of inventing new traditions, they are complying with old reactionary traditional values.
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By choosing to include everyone, Luganda has laid itself bare to abuse and insult.
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“What is art? What is culture? If you are able to define it, then you know you are in trouble. How does Arts writing come into the picture? There is a myth that it is about judging something from very good to very bad, but the criteria for evaluating artworks are multi-dimensional.” Editor Thomas Bjørnskau writes his farewell note, and hands over Start to a new team.
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“If there is a truth to be admitted to, I will concede this one; it feels like truth, scabrous, incomplete and grudgingly accepted: being a writer is like going on being married. You arrive at a point in it where you no longer have the energy to learn to live with a new person and hold down your peregrinations.” An essay on writing by Ugandan writer AK Kaiza.
Read More >>“I thought film was an art. … However, it was not long before I discovered that filmmaking is not an art. It’s an expensive hobby. It’s a business. It’s a science, because it relies on technology. It requires managerial skills, diplomacy in dealing with egos, and communication skills—because it’s a collaboration.” An essay on filmmaking by Ugandan filmmaker Dilman Dila.
Read More >>“When I have been surrounded by gracious courteous musicians, the stage has always been a space of incredible intimacy. Those times when I have played in the orchestra have once or twice felt as though I was being swept up by a thunderstorm. You watch the notes lift off the page as you play them; suddenly the world disappears around you.” An essay on music, love and jazz by Serubiri Moses.
Read More >>“More than any other forms of writing, plays are meant to be heard, touched, seen. While writing a script, the playwright is offering an action, an idea to which the audience immediately reacts, individually and collectively, causing the actor in their next line to respond in return and on it goes; approximating life.” An essay on playwriting by Angella J. Emurwon, Ugandan playwright.
Read More >>“The doubts hound: Am I really good enough? Who am I to think I have new stories to tell and a new way to tell them? But I have to go on because I have an ego that feeds on words, mine and anyone else’s. I need to prove that I can do it. At the core though, I write in an attempt to make sense of this world. Who and what and why are we? Why do we do what we do, to ourselves and to one another? Why can’t we stop?” An essay on writing by Ugandan writer Doreen Baingana.
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“Right now, with the growth of the creative industry globally and the culture of “bling” as perpetrated by mainstream artists, I think a lot of people think it’s a way to make fast money. It looks glamorous, being on stage, mingling with stars, having lots of money—which is a myth, there is always a price to be paid when signed to a major label—nice clothes, fast cars and beautiful men and women around you, but in fact it is a profession that takes a lot of commitment, practice and hard work.” An essay on singing by Ife Piankhi.
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