DOCSLIB.ORG

Contemporary Art in Uganda: a Nexus Between Art and Politics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contemporary Art in Uganda: a Nexus Between Art and Politics 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
Load more

Recommended publications
  • Download (2399Kb)
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth
    [Show full text]
  • Echuya CFR Project Receives More Funding
    The NeNewsletterwsletter The NaturalistTheVo Naturalistl: 15.1 January Vol: 15.2 - April May-November 2011 2011 Echuya CFR project receives more funding th NatureUgandaNatureUganda holds itsholds 18th Annual its 19 General AGM Meeting World Migratory Birds Day Two2011 new Collaborative Forest Management agreementsKaramoja in KasyohaApalis, Kitomi why CFRall of a sudden? An innocent soul given a death sentence Mabira Evaluation report launched ESD Day Celebrations in Kisumu Kenya. Panasonic boosts LVCEEP UnusualProject Sightings Dec 2010 - Apr 2011 Unusual Sightings 2011 BIG BIRDING DAY 2011 New bird species for Picture showing Echuya forest edge. UgandaCELEBRATED. at Lutembe Bay. Aloe tororoana (Reynolds) of the study were to: Avian tourism is the fastest NatureUganda (Birdlife partner between 1980s and 2000, the forest A new migrant species, The growing tourism product in the inis Uganda)a vulnerable in partnership species bothwith became increasingly degraded Great Knot was recorded at (i) Determine population patterns Danskinternationally Ornitologisk and Foreningwithin Uganda. (DOF) through illegal encroachment LutembeWorld and Bay onUganda 8th December has the and distribution of the species, BirdLifeIt was previously Partner - Denmarkrecorded securedto occur and important forest resources 2010potential by a toNatureUganda become one (NU) of fundingRQO\RQ7RURUR5RFNVSHFLÀFDOO\RQ from Danida to implement (ii)as Monitorwell as phenologybiodiversity patterns declined, of monitoringthe leading team. destinations. This was during Birds
    [Show full text]
  • Cbr Africa Conference Host Day Tour Program
    CBR AFRICA CONFERENCE HOST DAY TOUR PROGRAM Friday 11th May 2018 Start Time: 09:00 Hours TOUR 1 CHAMINUKA LUXURY LODGE AND GAME RESERVE Friday May 11, 2018 09h 00 Departure from Hotel Intercontinental 10h 00 Arrive at Chaminuka met by the General Manager Briefing on Chaminuka and program for the day 10h 15 Activities (At Delegates choice) • Game Drives / Walking Safaris • Walk with Cheetah • Cheese Production Plant and Cheese and wine tasting • Boat cruise • Fishing 13h 00 Lunch 14h 30 Departure for the city 15h 30 End of Host Day program Afternoon at leisure – Markets and Shopping Malls ABOUT CHAMINUKA Chaminuka is a synopsis of Africa. From the concept, to the design, to the execution to its collections of African Art and Wildlife, to its way of life, it is the creation of Andrew and Danae Sardanis, who made Chaminuka their home since 1978. Chaminuka is a village on a hill overlooking Lake Chitoka; it is some 10,000 acres of pristine Miombo woodland and savannah; it is the roar of the lion and the laughter of the hyena; it is the elephant and the 1 giraffe and the zebra and the eland and the sable and all the other animals of the Zambian bush; and it is the fish eagle and the kingfisher and the ibis and the egrets and the storks and the ducks and the geese and the other migratory birds that visit its lakes for rest and recuperation during their long annual sojourns from the Antarctic to the Russian steppes and back. And it is the huge private collection of contemporary African paintings and sculpture as well as traditional artefacts - more than one thousand pieces - acquired from all over Africa over a period of 50 years.
    [Show full text]
  • Elite Strategies and Contested Dominance in Kampala
    ESID Working Paper No. 146 Carrot, stick and statute: Elite strategies and contested dominance in Kampala Nansozi K. Muwanga1, Paul I. Mukwaya2 and Tom Goodfellow3 June 2020 1 Department of Political Science and Public Administration, Makerere University, Kampala, Uganda. Email correspondence: [email protected] 2 Department of Geography, Geo-informatics and Climatic Sciences, Makerere University, Kampala, Uganda. Email correspondence: [email protected]. 3 Department of Urban Studies and Planning, University of Sheffield, UK Email correspondence: [email protected] ISBN: 978-1-912593-56-9 email: [email protected] Effective States and Inclusive Development Research Centre (ESID) Global Development Institute, School of Environment, Education and Development, The University of Manchester, Oxford Road, Manchester M13 9PL, UK www.effective-states.org Carrot, stick and statute: Elite strategies and contested dominance in Kampala. Abstract Although Yoweri Museveni’s National Resistance Movement (NRM) has dominated Uganda’s political scene for over three decades, the capital Kampala refuses to submit to the NRM’s grip. As opposition activism in the city has become increasingly explosive, the ruling elite has developed a widening range of strategies to try and win urban support and constrain opposition. In this paper, we subject the NRM’s strategies over the decade 2010-2020 to close scrutiny. We explore elite strategies pursued both from the ‘top down’, through legal and administrative manoeuvres and a ramping up of violent coercion, and from the ‘bottom up’, through attempts to build support among urban youth and infiltrate organisations in the urban informal transport sector. Although this evolving suite of strategies and tactics has met with some success in specific places and times, opposition has constantly resurfaced.
    [Show full text]
  • An Ethical Critique of the Contribution of Uganda's
    INVESTORS OR INFESTORS: AN ETHICAL CRITIQUE OF THE CONTRIBUTION OF UGANDA’S MINING SECTOR TO DEVELOPMENT, ENVIRONMENT AND SOCIETY BY MARGARET SSEBUNYA STUDENT NUMBER 214545616 THESIS SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ETHICS STUDIES, IN THE GRADUATE PROGRAMME IN THE DEPARTMENT OF ETHICS SCHOOL OF RELIGION PHILOSOPHY AND CLASSICS, UNIVERSITY OF KWAZULU-NATAL, PIETERMARITZBURG, SOUTH AFRICA. SUPERVISOR: DR. BEATRICE OKYERE-MANU 2017 DECLARATION I Margaret Ssebunya, declare that 1. The research reported in this thesis, except where otherwise indicated, is my original research. 2. This thesis has not been submitted for any degree or examination at any other university. 3. This thesis does not contain other persons’ data, pictures, graphs or other information, unless specifically acknowledged as being sourced from other persons. 4. This thesis does not contain other persons' writing, unless specifically acknowledged as being sourced from other researchers. Where other written sources have been quoted, then: a. Their words have been re-written but the general information attributed to them has been referenced b. Where their exact words have been used, then their writing has been placed in italics and inside quotation marks, and referenced. 5. This thesis does not contain text, graphics or tables copied and pasted from the Internet, unless specifically acknowledged, and the source being detailed in the thesis and in the References sections. _____________ Student’s Signature _____________ Date _______________ Supervisor’s signature _______________ Date ii DEDICATION To my late parents Francis Ssebunya and Margaret Namwebya Katawera AND To my dearest sisters, niece and nephew Stellah Najjeke Mabingo, Jewel Mirembe Trinity Robinah Nansubuga and Douglas Anthony Kalutte AND To my grandfather Mr.
    [Show full text]
  • POLICING REFORM in AFRICA Moving Towards a Rights-Based Approach in a Climate of Terrorism, Insurgency and Serious Violent Crime
    POLICING REFORM IN AFRICA Moving towards a rights-based approach in a climate of terrorism, insurgency and serious violent crime Edited by Etannibi E.O. Alemika, Mutuma Ruteere & Simon Howell POLICING REFORM IN AFRICA Moving towards a rights-based approach in a climate of terrorism, insurgency and serious violent crime Edited by Etannibi E.O. Alemika, University of Jos, Nigeria Mutuma Ruteere, UN Special Rapporteur, Kenya Simon Howell, APCOF, South Africa Acknowledgements This publication is funded by the Ford Foundation, the United Nations Development Programme, and the Open Societies Foundation. The findings and conclusions do not necessarily reflect their positions or policies. Published by African Policing Civilian Oversight Forum (APCOF) Copyright © APCOF, April 2018 ISBN 978-1-928332-33-6 African Policing Civilian Oversight Forum (APCOF) Building 23b, Suite 16 The Waverley Business Park Wyecroft Road Mowbray, 7925 Cape Town, ZA Tel: +27 21 447 2415 Fax: +27 21 447 1691 Email: [email protected] Web: www.apcof.org.za Cover photo taken in Nyeri, Kenya © George Mulala/PictureNET Africa Contents Foreword iv About the editors v SECTION 1: OVERVIEW Chapter 1: Imperatives of and tensions within rights-based policing 3 Etannibi E. O. Alemika Chapter 2: The constraints of rights-based policing in Africa 14 Etannibi E.O. Alemika Chapter 3: Policing insurgency: Remembering apartheid 44 Elrena van der Spuy SECTION 2: COMMUNITY–POLICE NEXUS Chapter 4: Policing in the borderlands of Zimbabwe 63 Kudakwashe Chirambwi & Ronald Nare Chapter 5: Multiple counter-insurgency groups in north-eastern Nigeria 80 Benson Chinedu Olugbuo & Oluwole Samuel Ojewale SECTION 3: POLICING RESPONSES Chapter 6: Terrorism and rights protection in the Lake Chad basin 103 Amadou Koundy Chapter 7: Counter-terrorism and rights-based policing in East Africa 122 John Kamya Chapter 8: Boko Haram and rights-based policing in Cameroon 147 Polycarp Ngufor Forkum Chapter 9: Police organizational capacity and rights-based policing in Nigeria 163 Solomon E.
    [Show full text]
  • Exhibition Review
    exhibition review Visionary Africa: Art At Work Railway Station Gardens, Kampala September 18–October 14, 2012 KLA ART 012 12 Boxes Moving, Kampala October 7–14, 2012 Uganda Golden Jubilee Celebration October 9, 2012 reviewed by Sidney L. Kasfi r Kampala, Ouagadougou, Addis Ababa, Cairo, coincided, wherever possible, with a major 1 Visionary Africa pavilion, designed Harare, Bujumbura, Kampala.1 Th e itiner- local event, such as the fi ft ieth anniversary of by David Adjaye, Railway Station Gar- ant platform known as “Visionary Africa: Art the end of colonialism marked in seventeen dens, Kampala, 2012. at Work,” an omnibus exhibition-cum-con- African countries during its run. In the case of 2 Excerpts from Simon Njami’s A ference, artist residency, and workshop, put Kampala, it was this lavish celebration of fi ft y Useful Dream: African Photography to rest the question of whether or not it was years of political independence on October 9, 1960–2010, Visionary Africa Pavilion. really feasible to move a complex exhibition 2012, which took place during the fi nal week vehicle among a group of six cities in Africa. of the exhibition. all photographs by author To judge by its appearance in Kampala, where However inadvertent, the contrast could I saw it, the answer was a resounding yes, not have been greater between the “Visionary attributable to its meeting several logistical Africa” exhibition, which took place in a small hurdles. Th e exhibition itself had to be small, park in front of the Kampala Railway Station self-contained in its own pavilion designed by in the hope of reaching a wide, non-elite audi- David Adjaye (Fig.
    [Show full text]
  • Paper No. Makerere University Makerere
    PAPER NO. MAKERERE UNIVERSITY MAKERERE INSTITUTE OF SOCIAL RESEARCH COMMUNAL CONFLICTS IN THE MILITARY AND ITS POLITICAL CONSEQUENCES By Dan Mudoola MAKERERE INSTITUTE OF SOCIAL RESEARCH Paper Presented to the Seroinar on "INTERNAL CONFLICT IK UGANDA", 21st - 26th September, 1987; Sponsored by International Alert London; MaJcerere Institute of Social Research, MaJcerere University; International Peace Research Institute, Oslo; and The United Nat Lons University, Tokyo. Views and opinions in this paper are the sole responsibility of the Author, not the sponsors' nor those of the organisation the author oomes from. the civil service and the judiciary, were defined. On the first Independence anniversary the constitution was amended to provide for a ceremonial president to replace the Governor-General. On the occasion of opening the first Independence. Parliament the Queen's representative, the Duke of Kent, members of the coalition UPC-KY government and, to some extent, members of the Opposition were in a sanguine self-congratulatory mood. The Duke of Kent promised thai his Government "would foster the spirit of tolerance and goodwill between all the peoples of Uganda - It would - pay due heed to the traditional beliefs and customs of the diverse peoples of Uganda. It would respect individual rights of the oommon man. It' would recognise the special status and dignity of the Hereditary Rulers of the Kingdoms and of the Constitutional Heads of the Districts". In equal measure, the Prime Minister, Apolo Milton Obote:, believed that "'traditional institutions would form a firm foundation upon which our newly independent state could be _ 3 advanoed." The leader of the Opposition, Basil Bataringays however, oautioned against "'tribalism and factionalism, our: two most deadly enemies - and unless we sen .acquire - • a sense of common purpose? - we can never be sure that our future path vri.ll be; entirely smooth1^- - Within a space of less than four years another actor v/ho had never been pert of the political calculations leading to independence- came to the scene.
    [Show full text]
  • P.5-Sst-Lesson-Notes-Term-One-2020
    YUDESI PRIMARY SCHOOL PRIMARY FIVE LESSON NOTES, 2020 TOPIC 1: LOCATION OF UGANDA ON THE MAP OF EAST AFRICA. What is a map? • Is a drawing of an object / a place as seen from above. What is a picture? • Is a drawing of an object as seen from a side. How is a picture different from a map? • A picture is a drawing of an object as seen from aside while a map is a drawing of an object as seen from above. How is a Map similar to a Picture? • Both are representations of objects. Draw the pictures and maps of the following objects Name Picture Map Tree Cup Pot Table House A basin Map Symbols What are map Symbols? • These are features which represent real objects on the map. Give any two importance of Symbols on a map 1. They help to reduce over crowding on a map. 2. They help to represent real objects on a map. 1 Draw the symbols of the following Feature Symbol Rift Valley Swamp Bridge Plateau Quarry Dam Waterfall Canal Railway Scale Seasonal lake 2 Permanent lake Seasonal river Permanent river Hill. Contour lines/contours Mine Give the importance of Map reading 1. It helps to locate places or features. 2. It helps us to identify places or features. 3. Maps help us to represent information. 4. Maps help us to store information. ELEMENTS OF A GOOD MAP (i) A key (ii) A compass rose/ direction (iii) A title/heading (iv) A scale A Compass • It is an instrument used to show direction of places.
    [Show full text]
  • Revisiting the Media Freedom Debate at Uganda's Independence Golden Jubilee
    REVISITING THE MEDIA FREEDOM DEBATE AT UGANDA'S INDEPENDENCE GOLDEN JUBILEE Michael Kakooza REALITY CHECK Revisiting the media freedom debate at Uganda’s independence golden jubilee Written by Dr. Michael Kakooza The views expressed in this publication do not necessarily reflect the views of Konrad-Adenauer-Stiftung and Uganda Media Development Foundation but rather those of the author. REVISITING THE MEDIA FREEDOM DEBATE AT UGANDA’S INDEPENDENCE GOLDEN JUBILEE i REALITY CHECK Revisiting the media freedom debate at Uganda’s independence golden jubilee Published by: Konrad-Adenauer-Stiftung, Uganda 51. A Prince Charles Drive, Kololo P.O. Box 647, Kampala, Tel. +256 414 254611 www.kas.de ISBN: 978 9970 153 08 4 In partnership with: Uganda Media Development Foundation Plot 976 Mugerwa Road. Bukoto P.O.Box 21778 Kampala, Tel. +256 414 532083 www.umdf.co.ug © Konrad-Adenauer-Stiftung e.v. 2012 All rights reserved. No part of this publication may be reproduced, stored in retrieval system, or transmitted in any form or by any means, without the prior written permission of the Konrad-Adenauer-Stiftung. ii REVISITING THE MEDIA FREEDOM DEBATE AT UGANDA’S INDEPENDENCE GOLDEN JUBILEE Table of Contents Foreword ...................................................................................... 1 Preface ............................................................................................3 Profile of the Author ....................................................................... 6 Acknowledgements .......................................................................
    [Show full text]
  • @Bernadette A. Da Silva Montreal. Qu,Bec
    f - .. ,. , lI' .. 1 , l" i j• • McGUL UNIVERSITY 1 THE POST-COLONIAL STATE: UGAIDA 1962 - 1971. A THESIS SUBMITTED TO THE . FACULTY OF GRADUATE STUDIES AND RESEARCH -IN PARTIAL FULFILLMENT OF THE REQl1IREMEMS FOR THE DEGREE OF MiSTER OF ARTS BI @Bernadette A. Da Silva Montreal. Qu,bec August 1985. 1 s • • ABSTRACT u .. • . The lIubJect of th!. thesie 18 the nature ot the poet- oolonial ita te in Atriea as exe.pl1tled by the proeusee ot ..tate for •• tion in Uganda ,during the 1962-71 periode It h the contention of the theeh thaet an 9bderetanding or, thele • proceeeu le neceeearl for an underetandlng of the poet­ colonial etate. state for ..tion ie a direct r.sponee on the part of poli tical leader.' to the preesuree and proble.s created bl eoc1eta(l. tCJt'oes. Thue, a study of these proeellee will shed turther ~léht on the ralationshlpe betw.en varloue , , eoeietal toroes.... ae _11 ae betlleeri eocletal forcee and the • ta te. Thie Ihould, in turn, enable us ta &see 8 e th, nature of the atate, in part1cular vhe~her It existe at aIl, and if la whether i t playl an Instru.ental role or whether l.t i8 art autotlQaous to'rce. On the buie ot the U,anda aaterlal, the f thesis telte the varloue hlpothe818 re,ardlng the funct1011B of \ the etate and concludee tha~.whlle it do~ndeed exiet, the ·f at•. t. ".(acII ~any eonltra1nta on He autono.y, a eondition re­ , tll"Cted in the poli~ee puraued bl the poli tical leaderehip ot the country.
    [Show full text]
  • Abstract Art and the Contested Ground of African Modernisms
    ABSTRACT ART AND THE CONTESTED GROUND OF AFRICAN MODERNISMS By PATRICK MUMBA A thesis submitted in partial fulfilment of the requirements for the degree of MASTER of FINE ART of RHODES UNIVERSITY November 2015 Supervisor: Tanya Poole Co-Supervisor: Prof. Ruth Simbao ABSTRACT This submission for a Masters of Fine Art consists of a thesis titled Abstract Art and the Contested Ground of African Modernisms developed as a document to support the exhibition Time in Between. The exhibition addresses the fact that nothing is permanent in life, and uses abstract paintings that reveal in-between time through an engagement with the processes of ageing and decaying. Life is always a temporary situation, an idea which I develop as Time in Between, the beginning and the ending, the young and the aged, the new and the old. In my painting practice I break down these dichotomies, questioning how abstractions engage with the relative notion of time and how this links to the processes of ageing and decaying in life. I relate this ageing process to the aesthetic process of moving from representational art to semi-abstract art, and to complete abstraction, when the object or material reaches a wholly unrecognisable stage. My practice is concerned not only with the aesthetics of these paintings but also, more importantly, with translating each specific theme into the formal qualities of abstraction. In my thesis I analyse abstraction in relation to ‘African Modernisms’ and critique the notion that African abstraction is not ‘African’ but a mere copy of Western Modernism. In response to this notion, I have used a study of abstraction to interrogate notions of so-called ‘African-ness’ or ‘Zambian-ness’, whilst simultaneously challenging the Western stereotypical view of African modern art.
    [Show full text]