START A Journal of Arts and Culture

Issue No. 004 | Dec ‘09 - Apr ‘10 WHATEVER YOUR BUSINESS, SHELL RIMULA ADAPTS.

DESIGNED TO MEET CHALLENGES WHATEVER YOUR BUSINESS, SHELL RIMULA ADAPTS.

We are your trusted source for contemporary art with works by artists like: • Edison Mugalu • David Kigozi • Daudi Karungi • Enoch Mukiibi • Henry Mzili Mujunga and others. DESIGNED TO MEET CHALLENGES Block 57, Kenneth Dale Drive, Off Kiira Road - Kamwokya Tel: 0414 375 455, Email: [email protected]

www.afriartgallery.org Foreword

he famous Irish writer Oscar Wilde once said: “We are all of us in the Tgutter but some of us are looking at the stars.” Meaning that despite the hardships and difficulties that life brings for all of us, Ugandans and Irish alike, we can take heart from the beauty around us, enjoy the wonder of small things and celebrate the richness of the art, culture and traditions that are our own.

And Uganda is a rich country! It is rich in cultural variety and creative talent, which is uniquely shaped by its people’s experiences and surroundings. My home country, Ireland, is similar in that it too possesses exceptional artistic expression and cultural depth, deeply rooted in our own history and tradition. In fact, culturally, Ireland and Uganda share many traits - a love of dance, music and song; a tradition of storytelling (in Ireland called béaloideas) and a commitment to ensuring that the pride and beauty of our heritage is celebrated through art in all its forms. In Ireland, as in Uganda, we celebrate all of the important moments in life – births, weddings, funerals through cultural ritual, music, song and dance. So I understand the importance of having a platform – such as START - to celebrate Uganda’s commitment to art and culture. START is unique in that it opens up the possibility not only to celebrate and document, but also to debate and discuss visual and performance arts here. This initiative is a valuable and positive contribution to this country’s cultural heritage.

I am therefore delighted to introduce to you the fourth edition of START magazine. I hope that it will be for you, as it has been for me, an enriching source of information on the latest developments in Uganda’s vibrant artistic scene.

Kevin Kelly, Ambassador of Ireland to Uganda

Embassy of Ireland

StART 4 Contents

6 Editorial 25 Notes from Abroad Life Imitates Art The Editors give a summary Andrea Stultiens on what of the fourth issue of START Photography says — and what it doesn’t

27 Technique 7 Free Expression How to Sell Your Art A Work of Fiction Vivian Craddock Williams Henry Mzili Mujunga in a 9 (an economist) in a talk piece of fiction based on the given to students at early life of Fabian Mpagi the Makerere University Margaret Trowel School of Industrial and Fine Art

9 Art Collectors Q&A Pamela Kertland Wright, 29 Profile collector, writer and Learning a New owner of Emin Pasha hotel Language interviewed by Daudi George Kyeyune reviews Karungi Dr. Nabulime’s recent exhibition.

12 Lead Story 12 Viral Value 34 Altruism Henry Mzili Mujunga Dance On chats with the curator Tebandeke Samuel of Dutch Masters Today Lutaaya on the history and exhibition at the Uganda growth of contemporary Museum and ponders how dance in Uganda to start an ‘art epidemic’

19 Critic’s Pick 38 Poetic Justice Henry Mzili Mujunga talks A Great Mind about Rolands (Birutsya) A poem by Naava Tibirusya, a “live” artist whose ingenuity has 29 brought philanthropic art to a refreshing new level in Uganda.

38 Where to Find Art A list of places to 22 Product Design visit next time you’re Seek to be Worth looking for art in Knowing Kampala. Michiel van Oosterhout on the branding of a telecom

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StART 5 Editorial

elcome back to START, Uganda’s first and only Wjournal of arts and culture. Your words of praise and encouragement continue to inspire us to make START even better. In this issue, we have made even more adjustments and improvements to the content and format of the magazine. Starting next issue, in fact, we will include a reader feedback page. So email your comments now!

Daudi Karungi The last quarter of the year was an exciting one for the Mover Ugandan art world. It saw the arrival of the Dutch Masters Today exhibition at the Uganda Museum, which was unique not just because it enabled three prominent Ugandan artists—our own Daudi Karungi and Henry Mzili Mujunga among them—to exhibit alongside Dutch masters, but because our national museum actually hosted a modern art exhibition. Mzili talks to its curator, Ugandan expatriate David Oduki, and gets his ideas on one of our central preoccupations—how to get Africans to buy African art. In the performing arts arena, Tebandeke Samuel Lutaaya reflects on the history and development of modern dance in Uganda. We go beyond the purview of fine art to look at the Henry Mzili Mujunga aesthetics of branding with Michiel van Oosterhout’s piece Dreamer comparing the marketing tactics of Uganda’s ever-growing stable of telecom companies. Finally, Dutch photographer Andrea Stultiens weighs in from the Netherlands in Notes from Abroad, we provide a primer for pricing artwork—and more.

A special word of thanks to the Irish Embassy, which made this issue of START possible. Our stable of supporters continues to grow and we are more confident than ever that the arts in Uganda are thriving. Keep the dream alive!

The Editors Rachel Scheier Thinker

Contributors

George Kyeyune, Henry Mzili Mujunga, Daudi Karungi, Tebandeke Samuel Lutaaya, Naava, Vivian Craddock Williams, Andrea Stultiens, Michiel van Oosterhout, David Oduki

Beautician: Edward Merik Matovu

This is a publication of Kampala Arts Trust PO Box 71988 Clock Tower, Kampala — Uganda, Tel: 0712 455 555, 0772 461 139 eMail: [email protected]

www.kampalaarts.org COVER PICTURE: Red Cow by Peter Diem Courtesy of the Royal African Art Collection

StART 6 A Work of Fiction By Henry Mzili Mujunga

Back in the day, many brave terrorists from south of the great lake tried to cross this devil’s corridor in pursuit of Evil-Fat- Daddy, but instead lost all their memory and all their programs in its red waters. Evil- Fat-Daddy escaped into the dry dunes to the North and later dried up due to lack of orange juice. Legend has it that out of the Milking your dogs, Monoprint, Henry Mzili Mujunga, 2009 27 terrorists, only the milkman made it oung Fabian once asked his in the day, many brave terrorists across the slithering Ymother, “What are colors made from south of the great lake tried red slime. of?” His mother replied that they to cross this devil’s corridor in are fixed in our eyes by God. Little pursuit of Evil-Fat-Daddy, but did she know the truth of her instead lost all their memory and words and the impact they would all their programs in its red waters. concern was how to put more have on her lad’s life. Evil-Fat-Daddy escaped into the thorny branches into his fence to dry dunes to the North and later keep them out. He grew up to become a dried up due to lack of orange creative force that no one could juice. Legend has it that out of the The jesters were an ignore. In the course of his life, 27 terrorists, only the milkman overwhelming lot that relied on he befriended the birds of the air made it across the slithering red their tongues to wreak havoc and the creatures of the sea. None slime. among the sitters and runners. could resist the charms of this They would often prod the handsome stud. He even made Now it was not an easy thing milkman with itchy questions such friends with the milkman from to befriend the milkman. He was as, “When are you gestating the across the grassy stretch. known to boast about his own cold dogs?” or “When are you paying demeanor and lack of friends. He your first jug of milk to the ruler They say that through this was always too seriously occupied from the seven hills?” And so on. stretch once flowed a mighty red milking his dogs to have time to Such were the annoying questions river and that none dared cross chit-chat with the idle painters that these senseless and unkind it without offering a tithe to the and jesters that prowled his jesters asked the poor milkman! sorrowful red one. In fact, back neighborhood. In fact, his main It was rumored that they were led

StART 7 FREE EXPRESSION

full of dreams and pigments. The milkman found this empty words. Fabian to be erroneous as these colors was different. He had made the place too dark! Much one great advantage: as he loved red, it had to be in his toothy grin flashing contrast with white to become against the red of his pleasant! So he vowed to change tongue. Unlike the the wall-hanging to a lighter and other painters, he more palatable color some day. He always ensured that did not have any particular hue in the ocher did not get mind though. anywhere near his mouth. This preserved On the day of the public Be Happy, Monoprint, Henry Mzili Mujunga, 2009 the white of his teeth viewing, Fabian, feeling thirsty, and red of his tongue. went into the kitchen to ask for a It is said that the milkman had glass of milk. Upon entering, he a weakness for white and red was perturbed by the presence contrasts. Legend has it that his of a balding old man sitting with forbears were mentored by a big- four of his relatives at the kitchen A despised and haired old druid from one of the table discussing how to change unsightly lot, the fishing communities of the North the colors of the wall-hanging. This who shared a similar weakness. already, before its inauguration, painters were usually In addition, Fabian regularly he thought! Nonetheless, he shone covered in ocher marinated his tongue in a jug his wide red and white grin in their of white spirits. This washed off direction, which sent the old man pigment from head any lingering stains of ocher that into a spasm of excitement. He to toe. No one dared might have accidentally slipped called Fabian over and asked him passed his watchful eye. what had brought him into the engage them in a dwelling. Fabian politely answered sensible discussion; But befriending the milkman that he was a humble painter who was never Fabian’s intention. The had been invited to the viewing. they were full of big-haired druid had built two Upon hearing this, the balding dreams and empty dwellings which proved too lonely man got even more excited. His for an old man with just two sons. entire body was now shaking with words. Fabian was He wanted some of the sitters and uncontrolled spasms of laughter. different. He had one runners to visit more often. So he His wrinkled, beady eyes were wet used the painters to make a very with milk from his previous meal. great advantage: his colorful but dark wall-hanging on toothy grin flashing the southern wall of the smaller In between spasms, he noticed dwelling. Fabian was one of the the ocher on Fabian’s body and against the red of his painters invited to the public turning to his relatives, the tongue. viewing of this very important milkman bellowed, “You men, spectacle many years later. He don’t you think we have got the was looking forward to the event. answer to our riddle?Let us change the wall-hanging to yellow!” He by the owl keeper, a ruthless and It happened that at the time turned to Fabian and, patting him dark fellow who had never tasted the wall-hanging was constructed, gently on the small of his back, a jug of milk in his entire life. the milkman was employed in thanked him and sent him off the druid’s kitchen. Although with a glass of warm milk, but not Nonetheless, Fabian managed very youthful at the time, he was before inviting him to call again. to break the taboo. He was from already gaining popularity for his And that is how Fabian became among the painters. A despised curds. But his real interest lay a regular visitor to the dwellings and unsightly lot, the painters elsewhere. He was always curious even long after the drying up of were usually covered in ocher about the old druid’s doings. the druid and the disappearance pigment from head to toe. No When the druid commissioned his of his wall-hanging• one dared engage them in a wall-hanging, he had the painters sensible discussion; they were use a lot of blue, red and black

StART 8 Art Collectors

A Q&A with Pamela Kertland Wright, collector, writer and owner of Emin Pasha hotel as well as several other safari lodges in Uganda. Interviewed by Daudi Karungi.

I think there is incredible talent here in Uganda. But sometimes it needs to be taken out of Uganda to be fully appreciated. When people visit our house in the UK and see the art we have there, they are amazed. We have been buying pieces for people overseas, who seem to appreciate the work more than many people here.

Pamela Kertland Wright

How did you begin collecting How does a busy professional It has never occurred to me to art? What do you love about become a leading Ugandan art loan to a museum. It also hasn’t it? Did you have a lot of collector? really occurred to me to sell any of money? Am I a leading art collector? our pieces. I’ll have to think about The first piece of art I ever bought Much of our business is about that. I feel very attached to each was in a little gallery in London, aesthetics—so art is an integral and every piece. over 20 years ago. It was a tiny part of what we do. I feel very etching of a water garden and lucky that I can sit down with Are you an artist yourself? I was so proud of myself at the artists, talk to them, learn about If not, when and where did time. I had no money – it was their process and this is all part of you acquire an interest and totally impulsive. I was in my a day’s work. expertise in art? early twenties, working in London No, I’m not an artist. I have no and feeling lonely and homesick Which artists do you own? technical ability whatsoever… for Canada. This little piece made Personally, I own pieces by which is so frustrating because I me feel peaceful, and that was David Kigozi, Taga, Kizito, Jude am very visual and can conceive that. I probably would not buy it Kateete, Paolo Akiiki, Mary Naita, something in my mind that I’d today—it’s kind of dull—but I still Edson Mugalu, Geoffrey Mukasa, like to see, but cannot produce have it and love it because it was Ronex, Consodyne Buzabo, Paul it. I’m a writer, and I have a deep my first piece. In Uganda, it was Ssendagire, George Kyeyune… respect for artists who can bring my husband who bought me my and I’ve just bought my first Daudi something from conception to first piece. He’s very good at that. Karungi. a finished product. I’ve worked He’s been buying art for me since with Paul Ssendagire on some we were first married. What are your plans for your woodblocks, and did some collection? Do you intend to loan prototypes myself out of wax. it out to museums, keep it in your They were terrible, but they were house, sell it (if so, when and enough for him to work from, for where?) him to understand my vision. I

StART 9 ART COLLECTORS’ CLUB

Pamela’s Living area with paintings by Taga, Mugalu.

think I’m a bit jealous of I am in a Mugalu phase at For me, for us, art is so much artists and their ability and the moment, I love the way a part of life. It is so much talent. I grew up with a he handles light. I love the more than an adornment. family who appreciates art, way that George Kyeyune There is a message in many and I married a man who is handles the female form pieces, and even if you aren’t deeply interested in art (and – I didn’t realize when we necessarily interested in very talented himself), so my first bought his work that the message, the fact that interest was inevitable. he was a sculptor. Now it the artist interpreted his makes sense! For me, part feelings in that specific way What do you look for of the appeal is the artist is so relevant. It can be a when you buy a painting themselves – I really like means of communication, (or other work)? the person as well as the of expression, a recording of For me it’s simple. It’s a creation. our times. Art can be such a gut reaction. I just bought dichotomy—sometimes the another Mugalu – I had to What is the most you’ve most prosaic things are the have it as soon as I saw ever paid for a work of most striking. People must it. My father is an avid art art? experience art because it collector, he has built a Hmm. I think it would be fair opens them up to a way of significant collection over to say maybe as high as two feeling. the years, but doesn’t thousand dollars. But not necessarily love all the more than that. When did you collect art pieces he buys, nor does he the most and why? Are you hesitate to sell his pieces. I Lay people often say that collecting any of the young haven’t reached that stage they find art obscure and artists now? Who? yet because I adore each and not particularly relevant every piece we have. to their lives. Do you I seem to be in a flurry of think people should collecting these past couple What do you look for in experience art? Why? Is of years. I think maybe an artist? Who is your art important to society? I’ve become greedy! I favourite artist and why?

StART 10 ART COLLECTORS’ CLUB

don’t currently have any that represent a slice of committing themselves to of the young artists in my life. Real life, but beautifully new directions. I’m amazed collection, but I am quietly rendered. with their ability to adapt the watching RO, curious to see materials they use if they’re what he does next. Assess the state of the lacking traditional “art arts in Uganda today. Is supplies”. What kind of art moves fine art thriving here? you and why? What should be done to We need to develop a That is a difficult question bolster a “culture of art” stronger appreciation of to answer. We have the in Africa? artists and their art, or as most sublime sculpture by I think there is incredible you say, a “culture of art”. Mary Naita; it is both strong talent here in Uganda. But It needs to be respected and serene, I could look sometimes it needs to be more, introduced earlier, and at it for hours. The fluid taken out of Uganda to be valued. lines, the way she is able to fully appreciated. When make metal look soft and people visit our house in the What do you think is the pliable, or wood look like UK and see the art we have value of your entire art polished bronze. Nobody there, they are amazed. We collection? can walk by it without have been buying pieces Oh my God, I have no idea. reaching out to stroke it, and for people overseas, who Emotionally, it’s priceless. I love that tactile aspect of seem to appreciate the work If our house caught fire, we sculpture. I’m fascinated more than many people would let it burn while we with the process that Ronex here. Everything is vibrant dashed in and out to rescue is developing in his metal and alive and original. And the Naita, the Tagas, the casting. With paintings, fresh. It has been very Kigozis… • especially oils, I am very interesting for me to see attracted to how an artist how Ugandan artists have works with light. I love the honed their talent over the human form, and paintings years, tweaking their styles,

Kitchen area with paintings by David Kigozi, Pamela’s home.

StART 11 LEAD STORY

Viral Value

Henry Mzili Mujunga chats with the curator of the Dutch Masters Today exhibition at the Uganda Museum and ponders how to start an “art epidemic”.

Night watch, Acrylic on canvas, Wyne

The Dutch masters are here. counting the days until your your local painters? Who’s excited? next paycheck, or perhaps hustling a few extra shillings You know of course of Jose Is it Rembrandt or Van from a secondhand car sale, Chameleon (who doesn’t?) Gogh? Are Corneille Van then surely you have no but what about Paulo Akiiki Beverloo, Karel Appel time for this mumbo jumbo. I and Daudi Karungi? Surely and Peter Deim really know a lot of refined people you must have heard of present in Uganda? If you who feel they have a need Henry Mzili Mujunga! The are not a student of art for art who yet possess not Ugandan art world is riddled or an art enthusiast, you even a basic knowledge of with a lot of blank spots haven’t a clue about what I who’s who in the art world. and gray areas created by am talking. If you are rather For starters, do you know a blatant omission by our

StART 12 LEAD STORY

Bundling art with poverty alleviation schemes and other social issues undermines its importance as an issue in its own right and makes arguments in favor of it sectarian. After all, art is universal and should appeal to all levels of society. media, who seemingly forget that their role is to inform and educate society and set Night watch, Oil on canvas, Rembrandt new trends in awareness. Their argument has always Africa and Europe. The (music, dance and visual been that very few people exhibition comprises over art). Uganda, however, has have the time or inclination 50 works from the Royal developed an elaborate to read about art exhibitions. African collection, mainly cultural policy (2005). So they restrict this paintings and lithographs, Article 7.5 of this document important facet of society by contemporary Dutch clearly identifies the need to a few incoherent lines in artists. This is a good thing. to enhance the quantity and the newspapers or a few pat After all, such shows often quality of artwork and crafts sound bytes on TV. draw significant media made here in order to grow attention and help local the industry. The Social Do the names Damien artists blossom. For instance, Development Sector’s Hirst and Tracey Emin ring Ugandan painters Daudi strategic Investment Plan any bells? (both members of Karungi, Paulo Akiiki and (SDIP) vows furthermore the so-called Young British Henry Mzili Mujunga get to seek domestic and Artists group, the former was to exhibit their work right international markets for famed or turning preserved alongside such famous art art and crafts. But the main animal carcasses into world names as Karel Appel, challenge to such good invaluable collector’s works; Guillaume Corneille and Peter intentions is that, while it is the latter incorporated used Diem! Wow! Did you know widely acknowledged that condoms and bloodstained that until his death in 2006, the arts tend not to be in underwear into one of her Karel Appel was considered a prominent place on the most famous pieces.) Those the most important Dutch political agenda in Africa, who write about art in master alive? His work (Inge Ruigrok), and that there Uganda are not necessarily commands prices in millions is inadequate appreciation of the most informed on the of dollars. Now have I got culture and its development subject. No wonder their your attention? Indeed, there role within society, the lack of enthusiasm has is a lot of money in art, but government has made the apparently paralyzed their how does Uganda exploit this blunder of shrouding the editors as well. Anyhow, back niche? subject in social concerns to my original subject. Some such as “gender” and Dutch masters are showing Most African countries “poverty”. Bundling art with their art in Uganda for the do not invest in the arts and poverty alleviation schemes first time, thanks to Royal culture, and yet many of their and other social issues African Foundation, an outfit economies thrive on tourism. undermines its importance based in the Netherlands Many Westerners visit Africa as an issue in its own right that provides a platform for to sample its diverse cultural and makes arguments in cultural exchange between and artistic expressions favor of it sectarian. After

StART 13 LEAD STORY

individual effort has not been are always on the lookout How do we then encourage valued. “When it comes to for the artist whose work people to spend their hard arts like music, we in Africa commands—or with someday tend to think that anyone command—high prices. earned shillings on art in can do it!” he said. “This poverty-stricken Africa? mentality has to change in Oduki contends that to order to allow specialization become big and important to take effect. It is through as an artist, one need all, art is universal and the competitiveness throw one’s name about should appeal to all levels of of specialization that and join some significant society. Everyone ought to improvement in quality and local or international art know that it’s the rich that quantity will be achieved.” organizations or movements. sustain the art industry! Like The advantage of being it or not, there is a need for He cited the Iraqw tribe involved with such groups the moneyed class’s direct in Tanzania, which sends is that when one member involvement in its promotion. its girls away to weave makes it big, the rest of the a leather and bead skirt artists are heaved up as I had a lengthy discussion as a rite of passage into well—or at least that’s the about building the value adulthood. These skirts have idea. of Ugandan art with David today become sought after Oduki, co-founder of the collectors’ items, but the Promoting an “art Royal African foundation and people who create them epidemic” in Africa the curator of the Dutch continue to wallow in poverty. Masters Today exhibition What a relief that famous There is a lot of talk about at the Uganda Museum, Ghanaian coffin designers “viral” marketing since the which I have been alluding have at least learned to sign turn of the millennium. Think to previously. Oduki, who their work! about the Ebola virus. How resides in Holland, was full does it spread? An epidemic of words of wisdom. He “In today’s marketplace, is spread when someone expressed great concern for when one builds a name for has contact with another the art and artists of Uganda a product, its price grows,” who is infected, and so on, (having trained as an artist added Oduki. So there is a as off it goes, spreading himself). His view is that in serious need for branding. exponentially. You don’t order to have an impact on But who will do it for us? have to want the disease society, such shows have to At one point in my career I to catch it! This is the main be coordinated into a frenzy thought of employing the principle behind Oduki’s of simultaneous activities services of a marketing firm Royal African Foundation. that address the unvoiced to sell my art, as if it were a Create a constant reminder needs of the people. With the commodity like any other. In about art and what a great government’s involvement, art, as in music, of course, moneymaker it is and you’ll such a mass awareness we need promoters to sell. get even the street vendors campaign could create the But one needs money to fund desired impact on a wider such activities. cross section of the Ugandan society. He also noted that If one is to make it in the art artists need to carefully study business, there is at the very their customers and their least a need to understand buying patterns by keeping why people buy art. Most do proper, detailed records of so, like it or not, to decorate sales. their spaces. Still, there is a small minority that buys art Oduki believes that Africa as an investment. I submit has lots of talent but that that these are the most it is taken for granted by important buyers, as they are Africans themselves. Art has willing to pay a lot of money traditionally been considered for the work in anticipation an ordinary trade—rather of an even bigger resale than a higher calling—and value down the line. They Red Cow, Oil on canvas, Peter Diem

StART 14 LEAD STORY

and boda-boda cyclists agents of development interested! because they often “look for a high common ground To create a good return on to do business rather than an artwork investment, viable engaging in petty discourse.” auction houses must be present. India has invested So one of the keys to heavily in art auctioning in spreading an “art epidemic” recent years, to the point in Africa is foreign that it now has the attention investment. This would help of big players like Sotheby’s create a vibrant middle class and Christie’s, which with disposable income. In are showing interest in its Uganda, foreign corporations young talent: Atul Dodiya, that have set up shop here, Anju Dodiya, Subodh such as MTN (over U.S. Gupta, Jitish Kallat $180 million invested) and and Hema Upadhyay, Shell Uganda, to mention among others. But Oduki but a few, have created argues that auctions (and hundreds of jobs paying hefty A Ghanaian coffin design based on a cocoa pod auction houses) came into remuneration packages. the art world only after Hence the appearance of serious collecting had been young executives looking for lack of follow-up that has entrenched. How do we then “good art pieces” to hang on foiled the success of many encourage people to spend their walls! an African art show. Apart their hard earned shillings from the Dakar Art Biennale on art in poverty-stricken People need not take the and the East African Art Africa? This is Oduki’s main hunt for good art very far Biennale, very few African art preoccupation. He argues from their workplaces, shows occur regularly. This there is need to use the though. Establishing is one of the problems that media to create what he calls reputable galleries in easily concerns Oduki most. While “a collecting mystique”. He accessible places can go attempting to make the Royal points to 16th Century Europe along way in spreading the African collection the largest as an example: art epidemic. Museums are European art collection in also key for this purpose Africa, he is hounded by In 1585, as the main Dutch because they are all questions of sustainability. port city Antwerp was taken inclusive. People may visit Unlike some art collectors, over by Spaniards. Its Jewish them for other reasons but Oduki does not have millions. population fled—with all end up interacting with the It is his love for art and Africa its wealth—to Amsterdam. art works on display. that rather have provided At the time, the Roman him with daily sustenance. Catholic Church was the The media also plays a big His dream is have a museum biggest patron of the arts. role in creating a “collecting to permanently house the But Jews quickly became mystique”. But rather than Royal African collection. major investors and patrons elitist and patronizing, as because they needed small, the “arts” pages of the How Oduki came about the tangible objects of value in mainstream press often collection is a story in itself. which to hide their wealth, are, the press should be He made attempts to buy items that could be easily able to translate art into a from artists directly, but and quickly moved during language that is understood that proved expensive. So war, points out Oduki. by average people. Writers he decided to take a novel tend to use dry, academic approach. He sent emails He and the Ugandan language when describing to all his correspondents president seem to agree art, and this leaves their seeking the artists’ emails, on one thing, which is audience confused, not to then he wrote to them the need for moneyed mention sleepy! asking them to donate work foreigners! This point of for an exhibition in Africa. view is echoes Professor In attempting to create Oduki was amazed by the Ali Mazrui’s perspective enthusiasm for art in Africa, overwhelming cooperation that foreigners are good one should be wary of the

StART 15 LEAD STORY

Government continent was immeasurable. He wrote to artists asking and cooperate For the first time there was involvement consensus about the startling them to donate work for an influence of African masks exhibition in Africa. Oduki was All the armies of the world on Mr. Picasso’s cubistic exploits. The amazed by the overwhelming bow before Rome. Individual Demoiselles effort alone cannot create d’Avignon, though it did cooperation from the the desired impact if the not make it into the show because it is apparently too European artists, most who governments of the day here in Africa remain reluctant to valuable to travel, is probably had never been invited to invest in the arts. Holland’s the best example of this influence. This particular show artwork on the African foreign ministry collects art that can then be accessed show attracted comments continent. by its embassies abroad to from French President hang in their premises. The Jaques Chirac and Thabo Ugandan government should Mbeki, the former South borrow a leaf. African president, which underlined the dialogue Furthermore, the Uganda on this subject that is now Museum should initiate a taking place between Africa from the European artists, national collection. African and the West. most who had never been governments need to invited to show artwork on understand the latent value The value of art the African continent. that is stored in works of art. And then there are the It seems that Africa still Oduki has some creative banks! Yes, the custodians of has a lot to learn from the ideas on how to keep his value must get involved in West when it comes to scheme going. Royal African the art epidemic. valuing art. In Europe and (the organization that America, governments have manages his collection) Take Standard Bank, long collected priceless intends to rent the artworks South Africa, for instance. works. “The Night out through an exclusive For decades it has been Watch”, Rembrandt’s club to which people can collecting and showing art 1642 masterpiece that now subscribe for a fee. Money at the bank’s own gallery belongs to the people of raised this way would enable in Johannesburg. In 2006, Holland and “Washington the collection to tour Africa in Standard paid to bring a Crossing the Delaware” pursuit of Oduki’s dream of Pablo Picasso exhibition (Emanuel Leutze, 1851) in an art epidemic. It could also in Africa. The amount of America are good examples be used to purchase more excitement and education of art that is so valuable that work. this single act brought to this if it was stolen, nations could go to war! But how does a work gain such profound value? Of course, the artist’s skill and reputation counts for something. But in my view, the people who collect the art create the most important impression of its value; firstly, by how much money they spend to possess it; and secondly, by how much media and public interest they generate for it.

The situation in Africa is obviously somewhat different. We seem to be obsessed with the exotic Iraqw Skirt

StART 16 LEAD STORY

here in Uganda. When the own a Patek Philippe; you Based on this workshop late musician Philly Lutaya merely take care of it for the alone, I can confidently (1951-1989) was doing his next generation!” state that African kids are thing with Ruwenzori Band as innovative as kids in the in the 1970’s and early 80’s, Perhaps then, as we “developed world” (though I no one noticed. But when contemplate building value would like to repeat the same Lutaya went to Sweden and for contemporary African workshop in rural settings released “Born in Africa”, the art, we ought to seriously with rural kids to state this as whole country was suddenly consider the possibility that a law). Some of the art works on fire for his music. Perhaps we are only building a firm produced in this workshop Ugandan art has to first foundation for those who could be framed and sold for appear in a European gallery follow after we are long gone. thousands of dollars on the or museum to be truly valued open market! here at home! Perhaps we assume that our friends in But I wondered: If these the West have the expert’s kids are brilliant, what opinion. But I also know that happens when they become if a Ugandan artist were adults? Will they still have to sell his work for tens of it in them to innovate or thousands (let alone millions) will the education system of dollars, it would arouse stifle their creativity along public interest. It is all about the way? Two key factors the “Benjamins” after all! may have influenced the successful outcome of the By bringing the Dutch workshop: First, colorful masters to Kampala, Oduki works from the Dutch has raised some important, Masters Today exhibition if controversial, issues about Passing the surrounded the kids. Second, quality. In his opinion, most the teacher gave the children Ugandan art is simply not Torch guidelines and then got out acceptable by Western of the way to let the kids standards (although luckily David Oduki on the innovate—essentially, he left enough there are some local future of the arts in them alone. artists’ paintings in the show, Africa so the last word is yours). Innovation can be His advice to Ugandan artists y the second week of revolutionary (Johannes is that they keep two sets Bthe Dutch Masters Today Gutenberg’s printing of work: one for quick sale show, things started getting press in 1440 which led to to earn bread and upkeep, exciting at the museum. the Reformation and the and another to satisfy the Schoolchildren started Industrial Revolution in needs of themselves and the pouring in in droves. Artist Europe is an example) or serious collectors. Henry Mzili Mujunga led a evolutionary (getting ideas children’s workshop. I took from other cultures and In his view, people in a keen interest in watching environments and using Africa have generally been what the kids did and in them for the first time in your consuming substandard watching Henry introduce own, as Pablo Picasso did). products because they them to a new movement in Picasso’s Les Demoiselles simply don’t know what European art called “toyism”. d’Avignon, painted in 1907, good ones are. He argues The kids, working in teams, cemented his name as the that people who collect art were asked to pick one of father of modern art in (or any other collectors’ any of the four toyist works Europe and the world. Much item, for that matter) are on display and reproduce it in as the style shows glimpses looking for a return on their their own way. The outcomes of the start of cubism in investment. “A good art work surprised and excited me. this work, it was the use should have a one hundred After three hours of drawing of African masks on two year guarantee!” he said. and painting, the finished of the women subjects in He offered an ad slogan for works were as different from the painting that added to Patek Philippe watches the toyist works as night to the attractive power of the that says: “You never actually day. painting in Europe. It would

StART 17 LEAD STORY

not have had the same effect their work with their hard Independence Monument on African society. earned money, rather is still standing in than a car or a second beautiful shape since For African kids to house. They should be 1962, why are some of continue being innovative ready to talk business the sculptures made until they are grownups, their with local buyers rather more recently already environment has to change than confusing them with looking much older? drastically: artistic jargon. • African artists must know • They will need • They will need art who they are: They must more museums of resellers in form of local be aware that they need contemporary African auction houses who will to tap into their largest Art. help the public see a market, fellow Africans, pattern in price trends and forget making • Their disposable income and let them know when artworks targeting only will need to go up. to buy and when to sell. bazungu. This will also create a • Their teachers must new form of valuable • Government must enact be educated on how mobile wealth, which is laws that make it harder to allow innovation to good for the economy. to export artworks from thrive in the classroom a select group of artists and be more flexible in • A proper archiving above 60 years who have accommodating talent in system should be put sold a single artwork the school curriculum by in place for artworks to above a certain price allowing their students to be properly registered, (i.e. national treasures). express their individuality adding to their value and With such a possibility, and creativity. the pockets of the artists. young artists will keep doing innovative art with • The government must • Copyright laws should the assurance that their get involved directly in be strengthened and futures will be rosy • promoting art by building enforced vigorously its own collections — David Oduki is co-founder through direct purchase • It should be instilled of the Royal African Foundation. of artwork and museum that for art to be Reach him at support. This will create taken seriously as an [email protected] a new patronage for their investment, durability or www.royalafrican.org works so that they can of the work is key. make a good livelihood If Gregory Maloba’s from their work when they go into art business.

• Local corporations should build their own art collections, thus creating more local patronage.

• They will hope that locals with disposable income will, by then, have started to see art as an investment and not just as decoration.

• Teachers should be able to equip students with business skills so that they can justify why someone should buy Proud kids showing off their painting from a workshop with Mzili, Uganda Museum

StART 18 Critic’s Pick

Henry Mzili Mujunga talks about Rolands (Birutsya) Tibirusya, a “live” artist whose ingenuity has brought philanthropic art to a refreshing new level in Uganda.

Instead of complaining about it, he has frankly embraced the wave of celebrity that has engulfed the art world.

Birutsya seems deliberately to retain a naïve approach to content and technique in his work. While he keeps his subject matter ambiguously suggestive of the occasion being commemorated, he L-R, HE Pierre Nkurunziza, HE Y. K. Museveni and Roland Birutsya employs thin glazes and retains baby tints of red and yellow, creating what I hen a young and would otherwise describe as Wheretofore unknown bad art. But this drawback painter brings together two is always countered by the heads of state to sign his weight of the signature(s) artwork, the reward ought his paintings bear: H.E Pierre to be instant recognition. He Nkurunziza, president of ought to become important Burundi signed one, as well by association. Rolands as none other than our own (Birutsya) Tibirusya, a “live” H.E. Yoweri Museveni. artist whose ingenuity has brought philanthropic art In a world where the to a refreshing new level in Roland Birutsya and Dr. Tumusiime Mutebire, importance of a thing Uganda, fits this profile and Governor Bank of Uganda signing painting is gauged as much—or is getting the goodies. more—by the status of its maker as its subject matter, It’s not so much the Birutsya has pushed the goal content of Birutsya’s posts even farther. Instead paintings that makes them of complaining about it, he special, but the way he has frankly embraced the makes them—on stage wave of celebrity that has before a live audience and engulfed the art world. The usually for charity functions. artist can gain what he lacks The philanthropic nature of in clout by letting others, his projects points towards more “important” than him, the relevancy of art as a sign his work. Talk of value source of income rather Uganda Prime Minister, Prof. Apollo Nsibambi addition! Brilliant! • than simply as a vessel for signing one of Birutsya’s paintings meaning. --Henry Mzili Mujunga

StART 19 ... a moment of silence

StART 20 to the fallen ugandan artist GEOFFREY ERNEST KATANTAZI MUKASA 1954 — 2009

... rest in peace.

StART 21 Seek to be Worth KNOWING

Michiel van Oosterhout on the branding of a telecom.

hina’s most famous all the time, especially in themselves, Confucius’ words Cteacher and philosopher, commercial circles. It was kept buzzing in my ears. How Confucius, was once quoted probably the first branding do the big five: Warid, MTN, as saying: “Worry not that no statement ever coined. Orange, Uganda Telecom one knows of you; seek to be and Zain “seek to be worth worth knowing.” Twenty-five While researching how knowing?” hundred years after he said major telecommunication it that phrase is still quoted companies in Kampala brand Before embarking on my journey to service and customer care centers, I decided that my intuition should be my guide and not my cynical brain. So I tried to empty my mind of any possible prejudicial love or hate I might happen to feel personally for any of these companies. Forgive and forget, so they say. I would give the benefit of the doubt to my suitors.

Of course, I had set out some criteria by which to judge the shops. I decided that I should be pleased, for example, with any creative or technical solutions that were The Orange shop in Wandegeya

StART 22 PRODUCT DESIGN

who communicates to his sweetheart through a wrapped thousand shilling note. It’s humble, not using a 20,000 or 50,000 note I must say that I’ve always instead. had a soft spot for sky blue. The Zain shop in Oasis It reminds me of lying on my Mall, near the new Nakumat, back as a kid and imagining took me by surprise. I expected a mixture of swimming in a soothing meticulous, practical sea. Whenever I see UTL’s and stylish—let’s say a “muzungu” rectangularity signature blue on billboards, in all shops. Instead, I got posters or television, I feel Asian cum African circularity applied. I would evaluate how in the interior. It reminded serene. a customer might interact in me of the Nakasero and Old the brand environment and Kampala style architecture how aesthetically appealling of the colonial period: Lots of each name’s concept was. rounded forms, as in the lines of a female body or the free Starting at the Lugogo flow of a wave. shopping mall, I entered the Uganda Telecom shop. On I went, passing many I must say that I’ve always telecom ads on my way. had a soft spot for sky blue. If not standing, they were It reminds me of lying on my moving by me printed on back as a kid and imagining cars or t-shirts. It made swimming in a soothing me think of a quote by the sea. Whenever I see UTL’s American filmmaker Joseph signature blue on billboards, Levine: “You can fool all posters or television, I the people all the time if feel serene. Interior-wise, the advertising is right and however, there was very the budget is big enough.” little refinement at UTL. Just Levine was well known for very practical, from chair to his massive advertising desk. Not much in the way of campaigns to promote films. small details or any sign of a I’m not sure Confucius would delicate touch. But perhaps agree with him, however. this is deliberate. “Proudly Ugandan, so buy Ugandan,” Warid finally brought is UTL’s vision. And thinking me the rectangularity I was of Confucius’ line, I thought, expecting. Their shop on Jinja maybe my blue friends are Road is the most spacious right to put more emphasis of all the shops of the big on worth rather than five. This is a space where fanciness. one can breathe freely and not feel squeezed. Spacey Continuing on down retro-modern looking chairs Jinja Road towards the in various pastel colors were Bazungu graveyard, I plentifully positioned in passed underneath Warid’s groups of five. No endless massive, impressive billboard queues of people here; the that spans the highway one who waits is eventually to Seeta and beyond. I catered for in his chair. The like its storyline: the guy bold Warid logo, on a dark

StART 23 PRODUCT DESIGN

On I went, passing many telecom ads on my way. If not standing, they were moving by me printed on cars or t-shirts. It made me think of a quote by the American filmmaker Joseph Levine: “You can fool all the people all the time if the advertising is right and the budget is big enough.” The Zain store at Nakumatt

blue background wall, hangs modish transparent tables flagship” shop. The music majestically behind a six- and chairs. When talking with is loud, and it’s hard not to meter-long counter with an Orange representative, tap your feet. All reminds silver plating. This is indeed a the customer feels a pleasant us of this exciting upcoming shop worthy of an oil sheik. closeness thanks to the event while we patiently wait design. Amid the efficiency, to be helped. Even though But the Orange shop the orange boxes add a hint the queues are long in the in Wandegeya, as well as of playfulness to the whole MTN shops and there are the one on Kampala Road, atmosphere. And in the hardly any chairs, it remains thoroughly stylish, will streets, in the bus stops and comfortably the giant of the probably get first prize for the abri’s, the orange box telecom five. In this branch interior design (would you gives the vague impression it becomes clear just how expect less from a France- that there is some unknown popular MTN is, and why. based outfit?) There is, present in there. Still, would This South African behemoth as with Warid, something an orange circle instead has combined Levine’s gründlich about their of a box not have pleased and Confucius’ visions in presentation. The French Confucius more? their strategy. You see it in mother company and all its the design of their shops’ affiliates worldwide present Finally, because I was interiors: humble, and at themselves in the same tired of walking, I hired a the same time, not. In this fashion: very basic, medium- boda to drop me at the MTN way, MTN has succeeded in size shops with lots of natural shop opposite the main post becoming part of the flesh light that goes well with the office. MTN knows how to and bone of Ugandan society. orange. Their style is much play the sentiment card, in It is more than a brand. It subtler than that of MTN or happy and sad times. Their ranks in the Ugandan psyche Zain. There is an openness adds are smart. (“If you up there alongside brands about the design. There are have bad luck, MTN is there like Champion or Premier to solve it.”) Their Kampala League • Road branch is their “World Championship 2010 --Michiel van Oosterhout is a South Africa filmmaker and freelance writer living in Kampala.

The MTN shop on Kampala Road NOTES FROM ABROAD LIFE Imitates ART

Andrea Stultiens on what a photograph says—and what it doesn’t.

his article contains improve their photographic ready for this new medium. Tabout one thousand skills. During roughly the same words. The same number a era, European men were picture, as the saying goes, Still images that were also “discovering” Africa. is supposed to be worth. made by, or with the help of, The invention of the new Sometimes clichés are true a camera are everywhere. medium enabled these (that’s why they’re clichés, We all see them on billboards explorers to document the after all.) But not this one, trying to sell us something. “new” continent in pictures; and here’s why. An image is They’re in magazines they could show people at worth exactly the number trying to make us believe home what they had seen. of words a viewer is willing something, in newspapers This simplified version of a to spill on it, from none at (presumably) trying to inform part of history offers a hint all to many thousands. It all us about something. Some to what proved to be one of depends, of course, on his of us view them in galleries photography’s most powerful or her relationship with it. and museums. Most of us properties. It produced There is often a lot of talk have snapshots of loved ones knowledge! And as we about “rules of composition” and memorable moments know, knowledge is power. in photography classes. in our lives on our walls and How that power is used, When I teach photography, in albums. There are many is, of course, another issue however, the first thing forms of photography, and altogether. The subject of a I tell my students is that what is a good picture to photograph always runs the there is no such thing as a someone can be terrible to risk of being turned into an good photograph, and that another. object. bad photographs do not exist. Usually this message Modern photography was While painting or drawing, quite disorients them. Why, invented around 1830 by an artist creates an image in then, are they taking a several men simultaneously, two dimensions. His or her photography class, they all of them European. handwriting is literally in the wonder? The answer is they Apparently the world, or work. The photographer, on are there to learn how to at least part of it, was the other hand, transforms

StART 25 NOTES FROM ABROAD

story in relation to other attempt a biography mainly photographs and sometimes consisting of photographs. texts. Some of the photos will come directly from Wasswa’s Having said that, I have archive, others are photos always been suspicious of documents in the archive photographers who travel and finally others will be the world, pointing and taken by me to show the shooting, thinking that they present state of places that can actually convey a true play a role in Wasswa’s sense of the places they visit. life. All the work is again to For a long time I only worked be documented by Arthur, in my own culture, which, making my role in the project I reasoned, I was qualified transparent. We hope this to fully understand. After project will not only honour visiting a friend who lives in its subject but also tell part Uganda, I decided, against of Uganda’s history from my usual beliefs, to make the perspective of one of its work here. own citizens. Unfortunately, Kaddu Wasswa, veteran photographer this is rare. Thanks to The project started out years of oversimplified an actual piece of reality, of the way I was confronted portrayals of poverty, war a piece of the world that with prejudices, my own as and hunger by the mass at some point truly existed well as those of people I met media, these things are the in front of the lens, into here. Initially I worked with only things many people an image. And then there children in both Uganda and around the world associate is the photograph itself. the Netherlands, who were with Africa. My hope is that Whether rendered on paper asked to photograph what Ugandan photographers will or in pixels on a screen, here was important in their lives, start to depict their world starts another part of the to show to their counterparts themselves, and by doing work. Sometimes this work in the other country. I was so will replace the one-sided is taken over by a picture or aware of the fact that I western view on the country photo editor, or by a curator. could never really capture that still prevails. The goal is In short, the photograph the everyday lives of the for Ugandans to take control needs a context to become people here. I hoped though of their own present in the meaningful. It also needs that through working with future • this context to be “good” or the children I could learn “bad”. something about them, and --Andrea Stultiens is a at the same time give the photographer and collector The relation between children the chance to learn who lives and works in the a photograph and reality something about themselves Netherlands. She teaches at makes what the photograph and their counterparts the Minerva School of Fine is and how it should be in another culture. Their Art and Design in Groningen, judged confusing. A photo photographs were combined the Netherlands. www. of a beautiful girl is often with photographs made by andreastultiens.nl mistaken for a beautiful me during school trips as photo. My mission as a well as some from museums teacher and a photographer representing the national is to make people think about history of both countries. what they see when they look at a photograph. At the At the moment, I am same time, I want to give working with Kaddu Wasswa people the opportunity to and his grandson, Arthur see what other parts of the C. Kisitu. Wasswa is an world look like. The person AIDS activist who led an can then reflect on his or extraordinary life and her world in relation to what documented it extensively. he or she is seeing. Ideally, Using his archive, Wasswa, a photograph also tells a Kisitu and myself will

StART 26 TECHNIQUE

How to Price Your ARTWORK

The following is an excerpt from “Economics for Artists”, a talk by an economist with students at the Makerere University Margaret Trowel School of Industrial and Fine Art.

allery managers—as Gprofessionals at the heart of the art market—will know best at what price your artwork should be offered for sale.

If you make a habit of visiting commercial art galleries, you will get a feel for the prices of various kinds of art. More useful still, you will see from the little red stars appended to the frame or caption of sold works, which kinds of artwork are selling—the artists’ style and signature, their command of technique, their particular significance, their price. These are vital market clues for your own production.

Gallery exhibitions are the main exposure points at which the supply side of art meets demand. This is the marketplace where sellers meet buyers. The price set by a gallery for a work is where the perceived aesthetic value of an artwork is translated into actual market value.

A sale transfers from you, the seller, to the buyer a capital investment asset

A potential buyer admiring a painting at an art exhibition

StART 27 TECHNIQUE

I promise you the path for artists everywhere is strewn with hazards and slender opportunities only grasped by sweat, hard work, and quite often, tears.

as the global (and local) recession reduces the local economy by up to 26%. “Affordable” is a relative term, and it must be relative to market incomes, not to your need for cash! The criteria you use for pricing depends mainly on the estimate advised by a trusted and experienced gallery manager, and on the buying power of the market.

If you are hungry and need money for a meal, you may have to sell a painting worth millions for the price of a meal. Such is the common exigency of budding young artists. From our discussions A red sticker indicating a booked artwork and the lessons you have had from MTSIFA lecturers, you now have a good idea that may—if you work as and want to meet the needs of the market segments for you should—appreciate in of an ordinary prospective art in Uganda, and of the value over time. The work customer, you are more likely way you should tackle that ideally may be put on the to sell if you pitch your prices market! market again in the future at down to an affordable level, an even higher price. Never or even offer your work as I wish you good luck, but mind! That appreciation in ONCO (= ‘Or Nearest Cash I promise you the path for financial value means you Offer’). artists everywhere is strewn have arrived as an artist. with hazards and slender Lower prices are by opportunities only grasped If you know your own definition more likely to be by sweat, hard work, and value as an unrecognized affordable to the middle quite often, tears• genius, you can price your and lower segments of the artwork in millions. There market for art in Uganda. just may be a millionaire They must be within the — Vivian Craddock Williams who will buy at that price, range of the disposable Associate Economics Director and think he has a bargain! incomes of those segments, International Development But if you are more realistic very much under pressure Consultants

StART 28 PROFILE

Learning a New

LanguageStART 29 PROFILE

George Kyeyune reflects on how the medium affects the message in contemporary Ugandan art.

wo months ago, Dr. Lillian Like our colleague, TNabulime exhibited Dr. Palmer’s ideas of decorations laid around some very distinct recent recuperating throw away the coffin. This provocative sculptures. The show, which materials proved exciting. For piece challenges our thinking took place at the Makerere some reason, though, they about the whole essence of Art Gallery, upset all our were not taken further after independence. expectations of figurative his departure. Instead, the sculptures on pedestals and school continued on safer, What is clear about all framed pictures hanging on familiar territory. It was only of these works was that walls. The installations were three years ago that I again they were not created out largely made from throw saw something close to of a desire to make money. away materials that Dr. what Professor Palmer had Rather the creations of Nabulime had re-assessed instigated when Dr. Maria these two MTSIFA dons and thereby given a new Kizito carried bits of charred were motivated by the urge identity. In both approach wood and stinking garbage to communicate boldly and character, her pieces to the Makerere Gallery in a regarding social concerns; were very unlike the carved scathing castigation of the a more conventional figures for which she is well mayor of Kampala for not approach to painting or known. I have chosen to doing enough to clean up the sculpting figures would name her exhibition New city. In the currently ongoing lack the needed potency to Languages in Art, a phrase I Independence Exhibition at shock or to elicit thought am borrowing from Professor Makerere Gallery, Muwonge about these issues. It is Roger Palmer, a British Kyazze draws again on this this absence of pressure modernist artist who for six tradition of recyclables with to sell and a propensity for weeks in 1999 taught at his piece Independence. It visceral disclosure that I the School of Industrial and features the decapitated believe gave Dr. Nabulime Fine Arts (MTSIFA) under the body of a pregnant mother the necessary composure auspices of The in a coffin; next to her is a to create her version British Council. will, a bouquet of of New Languages flowers, a piggy in Art when she bank and floral

StART 30 PROFILE

networking and the exchange of ideas by bringing together formally and informally trained artists from around the world to work in an environment of mutual respect.)

What Nabulime’s PhD research did do, I believe, was give her the opportunity and composure to engage in a language that she was already familiar with. She knew that confining herself to carving wood would not give her work the broad access to the general public or the intellectual panache she was looking for. I argue that art made with recycled or throwaway materials has the scope to touch us and speak to us clearly because we instantly relate to the materials that are commonly was enrolled at New Castle used; they come from our University in the United environment, much as they Kingdom for her PhD in 2001. are given a new identity. In One should not assume that one of her installations, for she was exposed to these example, Nabulime makes concepts in art for the first casts of male and female time when she embarked genitals in transparent soap on her PhD programme. into which she embeds dark Nabulime is, after all, a seeds to look like infections. well-traveled artist who had We all know that soap visited galleries in Europe is a cleaning agent. The and participated in Triangle metaphor presented here is Art Workshops in several that spiritual and physical African countries. (These cleanliness is crucial to the workshops are specially prevention of HIV infection. designed flexible working In another installation, she spaces that aim to foster assembles three mirrors. The first one is massively shattered and as such distorts one’s image. This Nabulime makes casts of male and shattering is reduced in the female genitals in transparent soap second glass, while the third one is intact. The first glass into which she embeds dark seeds to relates to denial as a serious look like infections. We all know that problem in the management of HIV/AIDS. The second soap is a cleaning agent. The metaphor glass represents post- presented here is that spiritual and counseling sessions in which people accept their affliction physical cleanliness is crucial to the and learn to live positively prevention of HIV infection. with it, which improves their lives. In the third glass,

StART 31 PROFILE

As the world shrinks patients live a normal life the founder of the Makerere further through improved and carry on their day to day University Art School, added activities. sculpture to her curriculum, communication, we cannot the discipline did not develop afford to remain an isolated These and other at the same pace here as, sculptures in the show for instance, painting. In Ugandan community in our had earlier been used to my view, the reason for this artistic endeavors. Whether stimulate discussions about is not so much the weak the AIDS epidemic. Given legacy of the plastic arts in or not we want to become that the great majority of East Africa but rather that part of the international art infections in Uganda are sculpture itself is a slow- via sex, and yet sex in the growing discipline. For artists circuit is no longer an option. African context remains who are looking for a quick a largely taboo subject, income, sculpture is simply Nabulime believed that she not convenient. This is an could, if obliquely, talk about important factor behind this intricate subject via the paucity of sculpture in sculpture to her respondents, Uganda today. It also goes far who were mostly women. in explaining why Nabulime (Women are more prone had to be extremely creative to HIV infection than men, to capture the imagination of biologically and because they her Ugandan audience. have such low bargaining power when it comes to sex.) Still, most of this work Nabulime has said that was created to satisfy an indeed, her respondents academic programme and is recognized themselves not easily collectible in the in the work and she was Ugandan gallery setting. So able to engage them in can we expect Dr. Nabulime useful discussions on the to maintain her iconoclastic subject of HIV/AIDS. working ethos? To survive creating work in this new Nabulime says she faced direction, Dr. Nabulime will an uphill task creating probably have to either seek works that would appeal funding from an outside to her market because source or revert to her former the tradition of the so- style in at least some of her called plastic arts in work. It is noteworthy that Uganda is very weak. Even Nabulime’s newest pieces when Margaret Trowel, in the show return us to her

StART 32 PROFILE

pre-PhD days. The realities signed a urinal, sparked in history. Nabulime’s of practicing art in Uganda controversy regarding what exhibition has challenged us could be catching up with might or might not be called to step out of our “comfort her, at least for now. art. (This was one of the zone”, to quote Dr. Rose pieces that Duchamp called Kirumira, and with courage It should be noted that the “ready mades” or “found and determination, expand “new languages in art” that art”.) As the world shrinks the horizons of our artistic Dr. Nabulime has exposed to further through improved experiences to new and us with such effervescence communication, we cannot international levels without are far more commonplace— afford to remain an isolated losing our identity • and marketable—elsewhere Ugandan community in our in the world. In America artistic endeavors. Whether and Europe, this approach or not we want to become ---George Kyeyune is the dean started as far back as part of the international art of the Margaret Trowel School the early 20th Century. In circuit is no longer an option. of Industrial and Fine Art at 1917, Marcel Duchamp’s But as we do so we must be Makerere University. world famous Fountain, in conscious of where we come which he simply named and from as well as our location

Receptacles, Mixed media, Dr. Lillian Nabulime

Receptacles, Detail

The Kiss, Mixed Media, Dr. Lillian Nabulime

StART 33 Dance On

Tebandeke Samuel Lutaaya on the history and growth of contemporary dance in Uganda

hat is contemporary freedom to express herself, be it Like traditional African dance, Wdance? If I were to dissect through the movement, costumes, early modern dance drew on the term into its constituent scenic design or other aspects of myths and legends. Later on, it components I would come up with performance. became increasingly political as something along the following: many dancers saw the new genre contemporary, meaning belonging The form we generally (and as an agent for social change. to the present time; and dance, a vaguely) call contemporary dance series of movements and steps, in fact has existed for years—way Of course, contemporary dance usually performed to music. before it was labelled. In Uganda, per se didn’t come to Uganda Merging the two statements, contemporary dance naturally until much later. Mabingo dates then, contemporary dance is evolved out of the confluence the actual birth of the form here “a series of movements and of our own indigenous tribal to nearly three decades ago. A steps usually performed to dance tradition and the newer former director of the National music that belong to the present influences of Western modern Theatre, Kalundi Serumaga’s time.” Somehow, I did not find dance, a form that developed in father, had a group that practised this definition of a discipline the United States and Europe in a form of contemporary dance that has been my life’s passion the early 20th Century. In the West, before the form was recognised satisfactory, however, so I asked the modern dance “movement” at Namasagali College, he says. some local dance practitioners began when two American female How true this rings is a matter of to help me. Alfdaniels Mabingo, dancers, Isadora Duncan and debate, since there appears to a junior lecturer at Makerere Ruth St. Denis, rebelled against be no documentation of such a University, offered this definition: the rigid constraints of classical group. Julius Lugaaya, the Artistic contemporary dance is a genre ballet. Modern dance emphasized Director of the Danceweek Uganda that is not based on static rules. creativity and self-expression Contemporary Dance Festival, As a style, it gives the dancer the rather than technical virtuosity. says this genre of dance started

StART 34 ALTRUISM

at Namasagali College under the performing in Kenya, Tanzania, inspiration to the companies and direction of Father Damian Grimes, Russia, Libya and Sweden. artists who have participated, who is said to have made certain Footsteps created “Things Fall and the festival’s contribution that the curriculum contained a Apart”, which they performed to the development of Ugandan great deal of emphasis on the arts. at the prestigious Zanzibar contemporary dance cannot be No account of the development International Film Festival. overestimated. of modern dance in Uganda is complete without the mention of The company nurtured many this great man. He encouraged local dance talents; pioneers dance as a discipline, performance who went on to form other tool and entertainment form companies after Footsteps went here, as evidenced by the bust. Okulamba Dance Company numerous musical productions led by Jill Pribyll, Keiga Dance that were presented by the school Company led by Jonas Byaruhanga In Uganda, at the National Theatre under and Mutumizi DanceTheatre led Grimes. The school encouraged by Isaac Mulumba all rose out of contemporary dance and brought together many of the influence of Footsteps. These naturally evolved out those with a passion for dance. companies have continued in It was through the interest the tradition of their mentor in of the confluence of generated by this collaboration managing to travel the world, our own indigenous as well confluence of so many performing and collaborating different influences, that gave with other artists and institutions tribal dance tradition contemporary dance the voice wherever they go. and the newer it so desperately needed here in Uganda. Traditional dance as well influences of Western as creative movement enjoyed Danceweek Festival Uganda modern dance, a form renewed attention with the birth of this new form. A vital platform of the that developed in the contemporary dance scene in United States and Between 1996 and 1997, Uganda, Danceweek developed contemporary dance developed as a result of discussions between Europe in the early 20th even further as people became Julius Lugaaya and the director Century. more aware of its immense of a dance festival in Moscow, entertainment potential. The Russia. The idea was to create hotels already had bands that a platform for dancers here to were entertaining their patrons choreograph and perform original but that did not stop the inspired works as well as to encourage young men and women who collaboration among artists, felt they were ready to make both locally and abroad. The first a difference and turn the local festival took place in 2004. It entertainment industry on its continued to grow the following head. year, with three companies taking part and the Alliance Francaise Footsteps Dance Company supporting. By 2006, funding constraints temporarily suspended Founded on 24th April 1997, this the festival. However, the spirit was the first proper contemporary of contemporary dance was dance group in Uganda. It had strong and alive by this time and dancers who were fresh from subsequent years marked not their experiences at Namasagali only a comeback, but an increase College and those who had taken in the number of companies that on further studies at Namasagali participated in the festival. Since University. Started by Julius then Danceweek has garnered Lugaaya, Roger Masaba and quite a bit of clout. The Uganda Andrew Kuyahaga—the latter German Cultural Society (now who now lives in California, Goethe Zentrum Kampala) has USA—Footsteps Dance Company also come on board and today was the first to go regional, facilitates the running of the and subsequently international, festival. Danceweek has been an

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Development of the form Ecole de Danse, run by Madame dance as a valid art form. While Maria Gracia, is also influential in the audiences in the beginning Training opportunities for preparing dancers for the field. were mainly Western foreigners contemporary dancers in Uganda The Kampala Ballet and Modern (who were already somewhat were limited in the beginning. Dance School, which started in familiar with modern dance in There was Namasagali College and 2005, has also contributed many their own countries), today there the Makerere University Dance talents to the local dance world. is increasing interest in the form Department. Today, the Petite Many of these dancers have gone among Ugandans themselves. on to train and mentor other Local private sector companies dancers and create works that have contracted the services of have been on the cutting edge of contemporary dance companies, the local modern dance scene. A perhaps marking the realisation few institutions elsewhere on the that the form can be a potent Gradually, more continent, such as the Ecole des tool in the communication of and more people Sables in Senegal, have produced messages. dancers who have also been have come to view influential: Jonas Byaruhanga of contemporary dance Keiga Dance Company, to name The future one. The Uganda National Cultural as a valid art form. Centre at the National Theatre The next five years hold a great While the audiences has literally provided dancers deal of promise for contemporary with a platform to perform their dance in Uganda, with greater in the beginning works, providing rehearsal and opportunities arising as people were mainly Western performance space as well as start to appreciate the importance technical assistance during shows. of the form. New companies foreigners (who were have emerged including Stepping already somewhat Stones, Beautiful Feet, Haniba Audience reception Dance Company, Uganda National familiar with modern Contemporary Ballet (formerly dance in their own As with most new forms, Burudani Dance Company) and contemporary dance here was Utah Konvict, to mention but a countries), today there frowned upon by those who few. is increasing interest watched the first showcases of this avant-garde style. But Of course, the inability of dancers in the form among gradually, more and more people to access resources to implement Ugandans themselves. have come to view contemporary projects and launch productions of their work has been a hindrance to the development of the form here, as everywhere. To bring more people to appreciate contemporary dance, we must try better to orient audiences before performances. Mabingo, for example, argues in favour of providing audiences with narratives or written explanations to go along with our works. That many of our best dancers are now moving into the Diaspora is a sign that the future of dance here is under threat unless we can provide better resources and opportunities for dancers to work in the country and the region. Still, local contemporary dancers continue to make a commendable effort despite the challenges. Je danse donc je suis!!!! B-Boy Dance •

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Sam Lutaaya performing a contemporary dance routine

Contemporary Dance moves StART 37 POETIC JUSTICE

Where to Find Art

A Great Mind Afriart Gallery Block 57, Kenneth Dale Drive Slow to anger and eager to know more, Off Kiira Road - Kamwokya That mind is less restricted to growth. Tel: 0414 375 455 Attentive to reason, Email: [email protected] Mind and body work favorably Website: www.afriartgallery.org In turn one deserves the other.

Less damaging with uninterrupted thoughts, AID Child Good things are put to good use. At the Equator on Masaka Rd. When approached by noisy circumstances, Tel: 0772 616 861 That mind is prepared to listen. A great mind is neither rushed nor pushed, It is nourished to take pride in participating; in turning Kwetu Africa difficulty into simplicity. Lubowa Off Entebbe Rd., It is abstract and realistic, narrow and wide all at the same Tel: 041 200 690 time. Mobile: 0772 419 061 Opposites adhere, Email: [email protected] Differences tend to bring us together. That mind will tire of the same old and crave for change. Some call it uniqueness, to feel good about self. Makerere University Art Gallery It relates to the feeling the explorers must have felt turning Tel: 0414 531 423 the unproductive, productive. Email: [email protected] A mind that bears witness to such as this, gets a feeling of immortality, superiority, and intellectual versatility. Nommo Gallery 4 Victioria Avenue, Nakasero Naava Tel: 0414 234 475 — The author is a musician. Email: [email protected]

Tulifanya Gallery 28/30 Hannington Road Tel: 0414 254 183

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we aspire to make the creative arts an integral part of kampala urban culture - Vision -

www.kampalaarts.org