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Contemporary Art in Uganda: A Nexus between Art and Politics Angelo Kakande Volume 1: Text A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy Johannesburg, 2008 ii Contemporary Art in Uganda: A Nexus between Art and Politics Abstract The nexus between Uganda’s contemporary art and politics forms the overarching theme of this thesis. The trajectory of Uganda’s contemporary art as a political expression has been retraced. The different political dispensations which have shaped Uganda’s political art have been analysed. The political postures and visual symbols Uganda’s contemporary artists have engaged have been analysed in the context of the wider socio-political discussions which have shaped, and been shaped by, the country. It has been contended that different political epochs have invited response from Uganda’s artists since the early- 1940s. Whereas this debate has been attempted by varied scholars, it has not been rigorously pursued. Formalist discourses seeking to prioritise formal aesthetics have been engaged; conclusions that after 1986 contemporary Ugandan art[ists] became apolitical have been made. With emphasis on two contemporary artists—Fred Kato Mutebi and Bruno Sserunkuuma—this formalist reading has been decentred; the socio-political relevance of Uganda’s contemporary art has been retraced and prioritised. It has been argued that although initially depoliticised through colonial modernity, Uganda’s contemporary artists have been sensitive to the socio-political conditions affecting their space and time; issues of governance and service delivery have preoccupied them albeit in different but often complementary ways. Keywords: Art and Politics, Bruno Sserunkuuma, Contemporary Ugandan Art, Fred Mutebi, Makerere Art School iii Declaration I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy of the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. Signed: ……………………………………. Angelo KAKANDE On this 29th day of May, 2008 iv Dedicated to Amanda v Acknowledgements I have had to traverse many minefields in order to put this thesis together. Some of the challenges would have been insurmountable had I not received immense help. I therefore acknowledge with tremendous gratitude the following: First and foremost, I sincerely thank my supervisor, Professor Anitra Nettleton, for the invaluable support she has rendered to my study. She has also often intervened to ensure that my stay in South Africa is comfortable. I thank Dr George Kyeyune. He allowed me access to a wealth of recorded interviews he held with many prominent artists during his own research. He also patiently discussed every page of his Doctoral thesis with me. The information I got from his audio archive, and from the discussion on his thesis, greatly informed the stances I have taken in this thesis. I acknowledge Dr Venny Nakazibwe’s assistance. When the going got tough she dug deep into her pockets and helped to kick-start my journey to South Africa. I need to acknowledge the research grant I received from the Carnegie Corporation and the immense support I got from the Staff Development Office of Makerere University. Professor P. J. M. Ssebuwufu (Vice Chancellor), Mr M. Ngobi (Academic Registrar) and Mr. Bruno Sserunkuuma (Dean of MTSIFA) merit special mention. Their intervention was essential at a time when it became obvious that one “authority” (to use Trowell’s term) at MTSIFA was less than helpful at least, and hostile at most, to my Doctoral project. vi The following artists deserve special mention: Mr. Allan Birabi, Mr. Bruno Sserunkuuma, Mr. Charles Ssekintu, General Elly Tumwine, Mr. Emanuel Mutungi, Professor Francis Nnaggenda, Mr. Fred Kato Mutebi, Mr. Godfrey Banadda, Dr. Joseph Tebbawebbula Kivubiro, Mr. Mathias Muwonge, Dr. Kizito Maria Kasule, Professor Pilkington Ssengendo and Mr. Stephen Gwotcho. And lastly, but not least, I extend my deep, warm and special thanks to my dear partner Amanda. Without her selflessness, love and companionship this thesis would never have come this far. vii Table of Contents Abstract…………………………………………………………………...……… iii Acknowledgements……………………………………………………………. v Table of Contents………………………………………………………………. vii Chapter One: Introduction……………………………………………………..1 Chapter Two: The Early Development of Uganda’s Modern Art: False Starts and Grounds for New Directions…………………………… 20 Interests, Explorations and Discoveries: The Coming of Europeans to Uganda……………………………………………………………………. 21 Proselytising the “Nobel Savage”: Stanley and the Call for Missionary Activity in Buganda………………………………………………………….. 24 Missionary Activities in Buganda: Competition, War and the Birth of the Creation of Uganda…………………………………………………………. 33 Salvaging Savages? Missionary work and the Project of Modernity....…… 35 Colonial Violence and the Banishment of Buganda’s Traditional Arts: Discourses and Ideology………………………………………………..….. 39 And then the New Aesthetic: The introduction of ‘Western Art’ in Buganda……………………………………………………………………… 42 Uganda’s Modern Art in the Bush Schools: A Problematic Aesthetic?......... 49 The Backlash: Calls for New Directions in African Education …………….. 50 Changes after the Twenties: New Directions in Colonial Cultural Policy.. and Education………..……………………………..……………………….. 55 Modernising Traditional Arts? Mathers’s Effort……………..……………….. 58 New Directions in [B]Uganda’s modern art: Mary Fisher’s Effort…….…… 60 Conclusion to Chapter Two…………………………………………………… 63 viii Margaret Trowell and the Teaching of Contemporary Art in Uganda: Ideas, Successes and Political Challenges ………………..…………………..…. 65 Trowell and the Founding of the Art School in Uganda…………………..….. 65 The Synod Exhibition and Ugandan Arts and Crafts Exhibition: Launching an Alternative Model for Contemporary Ugandan Art………. 73 The Battle for Survival: Trowell and the politics/policies at Makerere College……..…………..….…………………………………. 78 Conclusion to Chapter Three………….……………………………………….. 83 Chapter Four: Art-as-Politics: The Birth of the Nexus between Uganda’s Contemporary Art and Politics……………………….……………..………. 85 Called to Serve: Uganda’s Contemporary Art and the War Effort……..…... 86 Redrawing the Boundaries of Art Exhibitions in Uganda: The Entebbe Art Exhibition 1940 and the War Effort…………………….. 87 Aesthetics-as-Politics? Art as a Site for Late-colonial Politics in Uganda………………………………………………................................... 89 The Makerere Art Show 1941: Linking African Art to the Politics War……... 90 Co-opted into the Rhetoric of War? Maloba’s Death as an Embodiment of WWII………………………………………………………... 94 The Exhibition of War Paintings (July 1942) and Uganda’s Contemporary Art as a Site for War Propaganda………...….…………... 100 The Exhibition of War Paintings and the [Re]Launch of the Uganda Museum……………………………………………………………………….. 102 And then the Aftermath of World War II? Contemporary Art and the Post-WWII Economic Crises……………………………………… 105 Disengaged from “Made-up-Stories”? Gregory Maloba’s Response to Anti-Colonial Nationalism……………..……………………………..…. 113 Advising Caution, Avoiding Sides: Trowell and the Post-war Political Unrests………………………………………………………………. 114 Secularising Religious Iconography? Charles Ssekintu and the 1948-1949 Riots..………………………………………………………….…. 116 ix Betrayed through Lies and Demagoguery? Ssekintu Quits Nationalist Politics…….………………………………………………………………...... 123 Rejecting Eccentricity? Elimo Njau and the Art of Social Concerns……….. 127 Asserting “the Political Function of Art”? Ben Enwonwu and the Case for Contemporary Art as an Embodiment of a Collective Ideology………... 132 Conclusion to Chapter Four…………………………………………………….. 134 Chapter Five: Celebrating the “National Element”: Contemporary Ugandan Art and the Independence Epoch…………………………………...…… 136 The Village as a Portrait of the State: Sam Ntiro’s Art as the Socialist State...137 Women, the Past and the Present as Symbols of Political Progress: Crole-Rees’s Maendeloeo……………...…………..………………………. 149 Jonathan Kingdon: Views, Art and Politics………...………………………….. 152 Cecil Todd: Art, Pedagogy and Political Symbol[ism]s……………...………. 154 Uganda’s Independence Monument: A Fusion of Experiences…………..… 163 Challenges of Postcolonial statehood: Rivalries, Egos and Failures..…….. 168 Conclusion to chapter Five……………….……..…………………………….... 173 Chapter Six: Contemporary Ugandan Art as a Critique of Bad Governance: Idioms and Strategies………….......................………………………….. 175 Critiquing the “Drift to Dictatorship”: Uganda’s Contemporary Art of the Late-Sixties………………………………………………………………....... 176 Assailing Military Brutality: Severino Matti and the Rebellion in Southern Sudan…………………………………………………………………………. 184 Assailing the Reign of Terror: Uganda’s Contemporary Art of the 1970s.… 191 From Terror to More Terror: Contemporary Ugandan Art and the Obote II Terror………………………………………………………………………… 207 Contemporary Art and Post-Civil War Uganda: New Directions…..……….. 212 Conclusion to Chapter Six………………………..……………………….……. 217 x Chapter Seven: “NRM Has Betrayed Me”: Mutebi’s Critique on Corruption in Uganda………………………………………………………………………… 219 Fred Kato Mutebi’s Career: Formation and Exposure………….…………..... 220 Fred Kato Mutebi: His Early Work and Visual Strategies……….…………… 222 Mutebi’s Political Activism: Sources, Themes, Symbols and Symbolisms… 228 Assailing the “Disease of Corruption”: Mutebi’s Art and/as a Critique
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