For a country like Uganda looking for ways of creating a sustainable tourism product, developing a synergy between culture, arts and other sectors of the economy is crucial.
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The works submitted for the inaugural Kampala Biennale left me thinking, confirming, some assumptions I have, and made me continue contemplating the realities, expectations and dreams of what it is to be an artist in our time. How do we link to times before ours and those which are yet to come?
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The reduced numbers at the 2014 Eastern Regional drew a lot of comparison with previous festivals. This contrast could be made between last year’s performers and those of 2014, yet their disparity is not based on regional descent; rather, on popularity.
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The biennale’s theme “Progressive Africa” is at once a mirror and a clarion call. It enables the organisers and participants to take a critical look at the past and face up to the future with renewed hope and enthusiasm. In other words, it straddles the past, present, and future in its philosophic and metaphoric essences.
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Biennale, Biennale, Biennale. Like a war-cry, the artist of Africa have something to say. This time they will be shouting out from the streets and galleries of Kampala. In a push to showcase Kampala on the global arts agenda, a
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On the weekend of June 14-15, two contrasting cultures came together under the umbrella of art to celebrate the life and times of Scottish explorer and missionary Alexander MacKay, who devoted his life to journeying through Uganda. Ugandan artists Sanaa Gateja, Xenson, and art curator Violet Nantume joined forces with Deveron Arts in Rhynie, Scotland, for a two-day event filled with creative activities centred on cultural integration.
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Nestled behind tea-matted hills with a reputation for cleanliness, Fort Portal is culturally self-contained, even resistant. For the success of the festival, Bayimba partnered intricately with the community to develop workshops, a brass band procession, a boda boda art exhibition.
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As persistent pleas are made to artists to create art with local significance the artists are caught up in a web of conflicted interest. On the one hand, they want to break away from the mould of Western art history bestowed onto them by university art education.
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The duo had a call from 32? East to “work in dialogue”. This involved the artists pushing boundaries of their art in the community and experimenting with a diversity of media and techniques.
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This collaboration between The Garbage Collectors project 2014 and Ugandan environmental artists is representative of socially conscious art. As such, it gives artists an opportunity to work with a variety of media and technique, at the same time extending their work to the public.
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The tension between public and private forms of art marks part of the identity crisis that defines making, exhibiting, performing and selling. Do we need to tick the public box to be relevant? How does the diaspora receive the references
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This petite and easy read is a testament to the importance of telling our own stories. We usually talk about this in reference to being African; outsiders have been telling our stories since before the days of Heart of Darkness, a book published more than a hundred years ago that continues to define the continent in the minds of many. Today we have movie stars like George Clooney, Angelina Jolie and Ben Affleck, testifying in front of American Congress or on CNN as “African experts”. It is no wonder that we continue to feel misrepresented or invisible, that millions of dollars are spent annually on aid programs that are later found to not work.
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Sexual politics will be used to review the recently concluded Makerere University and Norwegian College of Dance collaborative performance at the National Theatre Kampala from 5-6 April 2014.
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Bayimba Gulu was dynamic and full of culture. Raymond Omerio Ojakol was there to cover it.
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The philosophy of Double Lives is clear: when two planes of the mind are combined a third plane emerges — reconditioning identity.
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The photographic project Britain Loves Africa by Campbell attempts to give viewers a domestic insight into the homes of couples living in East Africa of whom one partner is British and the other African. With these images she raises a subject that would normally be informally explored, in conversation or gossip, and given it a platform for public debate.
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We know that our thoughts are shaped by the world around us. We also know that the world is cruel towards women. Thus, in ‘not thinking’ there is inevitably some kind of thought process. It is even more critical with regards to political artist like Soi.
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The future appropriation of this archive proves that the archive is never closed. It is, in fact, open and reworked by contemporary visual artists.
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Review By Moses Serubiri on Nudity at Tackling Texts On 19 February 2014, a meeting of artists, art lecturers, students and arts managers convened at the Makerere Art Gallery for the year’s first Tackling Texts, a forum to engage African
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The Brief In a globalized world with borders and boundaries constantly being challenged, how can the arts define or redefine ambiguous states of gender or sexuality? Are there clear roles for men and women, male and female? Do contemporary artists
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