Margaret Trowell School of Industrial and Fine Arts (MTSIFA)

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Browsing Margaret Trowell School of Industrial and Fine Arts (MTSIFA) by Subject "Art"
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    Art as a social practice: transforming lives using sculpture in HIV/AIDS awareness and prevention in Uganda
    (Sage, 2011-07) Nabulime, Lilian ; McEwan, Cherly
    This article explores the possibilities of art as social practice in the context of the fight against HIV/AIDS. It is inspired by notions of art having the capacity to move beyond the spaces of galleries into an expanded field, and thus beyond the visual and into the social. The article examines the potential for sculpture to play a transformative role in HIV/AIDS awareness and prevention, and in transforming the gender relations that shape the dynamics of the spread of the disease. These ideas are developed through discussion of research conducted in Uganda and in the UK, which sought to develop forms of sculptural practice for HIV/AIDS awareness and prevention in Uganda. The article explores the ways in which a series of soap sculptures are an effective tool in the fight against the disease, particularly in communities with high rates of illiteracy and in which discussion of sex and sexuality remains largely taboo. The article contends that countering taboo and facilitating dialogue between women and men, thus encouraging attitudinal and behavioural change, are perhaps the most significant impacts that this form of sculpture can make. This is because while awareness of the disease in Uganda is often high, having the capacity to discuss and act upon this awareness is often problematic, largely because of fear, stigma and taboo, and the unequal gender relations that determine the nature of men and women’s sexual lives. The article concludes that the transformative effects of the soap sculptures are revealed in the ways in which they challenge taboos, tackle fear and stigma, and facilitate dialogue between men and women. Online version can be accessed on : http://cgj.sagepub.com/content/18/3/275
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    Contemporary Ganda Catholic visual art: an analysis of its transitions and manifestations
    (Makerere University, 2023-08) Nanfuka, Joan
    This study focused on the transitions and manifestations of contemporary Ganda Catholic visual art in Buganda from 1879 to the present, focusing on the visual art works of the churches in Buganda. Africanisation in the Churches of Kampala Ecclesiastical Province found in Buganda has been underrepresented in theory as well as in the practice of Africanisation. Some clergy, laities and scholars are puzzled about the Africanisation happening in this art, as evidenced by the contrasting results regarding the presumed extent to which Ganda Catholic art has been culturally conscious, ranging from a large extent to a moderate and limited extent. The variations in these findings could possibly be due to a number of factors, such as the framework of inculturation that the Catholic Church has applied from 1962 onwards to successfully integrate the local African culture into church worship, has had challenges in the visual arts and the dearth of a pictorial art tradition in Buganda. Using a multiple case study research approach, the study analyzed a large corpus of visual artworks from Kampala Ecclesiastical Province, focusing on the transitions of this art and the changing manifestations of this art and it was discovered that Africanisation in terms of the visual arts in some churches is evident, mainly covering the theme of the Uganda martyrs. This study concluded that while Africanisation in the churches of Buganda specifically in the visual arts, has indeed happened, it has not been uniform, despite its implementation in some areas. This was attributed to the history of the Church, especially in communities where the veneration of the Uganda martyrs was deeply emphasized and followed. When the Catholic minister has interest in and is conscious of the Vatican II teaching on Africanisation then Africanisation will occur and vice versa. The Catholic ministers who were broad-minded and not in "fear" of their superiors also greatly contributed to the production of contemporary Ganda Catholic visual art.
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    Meaning-making in visual culture: the case of integrating Ganda idigenous knowledge with contemporary art practice in Uganda
    ( 2010) Kabito, Richard
    ABSTRACT It is apparent that in Buganda, art produced in the studio is detached from its community. This realization undermines the basic tenets of the indigenous systems of knowledge generation, acquisition, and practical usability, which enabled Ganda society to enjoy the benefits accrued from its cultural constellations. Any culture comprises unique and specific sets of beliefs, values, and norms that distinguish it from other cultures, and within these a priori institutions, individuals and groups adroitly realize their own physiological, psychological, and social needs. One of the requirements that humans rely on to cater for their needs, is art, which is fundamental at all levels of human development. Roger Fry, (cited in, Howells, 2003) notes that people have two kinds of life: “the actual and the imaginative, and the work of art was ‘intimately connected’ with the second” (p. 35). The Baganda in order to satisfy this set of human requirements developed an art form, which was mainly instrumental in satisfying functional needs as well as spiritual concerns. The Baganda, out of dire need to fit into the social and psychological worlds, established strategic systems of bodily practice and oral culture that they used for pedagogy, communication and propagation of knowledge structures across generations. Having survived since the 14th century when Kato Kintu reportedly first came to Buganda, these strategies could not last long especially when the Ganda people adapted to new ideologies that missionaries, Arab and Indian traders, and explorers brought to Buganda.1 Roscoe (1921) writes: “…the beautiful bark-cloth dress of the women has also given place to tawdry blouses and skirts introduced by Indian traders.…” (pp. 100-101). Further, “Arab traders taught the locals to read Swahili in Arabic characters; “Before this, no Muganda knew any system of transmitting his thoughts to writing or of making any permanent records…” (Roscoe, pp. 100-101). Father Lourdel through Mackay persuaded the king to sanction the worship of pictures: “Hence arose the enthusiasm of the Baganda for medals, scapulars, and other images distributed by missionaries” (Lugira, 1970, p. 155-157).2 This enthusiasm arose as a result of the king’s as “master and center of everything in Buganda” was in favor of the pictures. By so doing, many of the local systems of perpetuating life within communities gradually slid into oblivion, giving way to alien tenets that accelerated local histories.3 Communities became increasingly detached from their indigenous ways of life and among those values that suffered the alien invasion was art. This study therefore, attempts to rediscover some of the effective tools that the Baganda used to maintain all faculties of their society functionally together. This study proposes Oral Culture as a tool necessary to redefine the links between art and its community. It further proposes Remix as a means of reemphasizing the oral. The overall purpose in this study is to describe the ways in which narrative and remix aesthetics could aid in the constitution of meaning in plastic arts, which would in turn continue indigenous knowledge. I will argue that since narrative is an effective communicative tool, then it would be vital in forging a relevant and understandable visual culture to its community. In support, I will also argue that since Ganda material culture is familiar and locally accessible, then it will be influential in constituting visualization of narrative representations specific and thus adapted to their own locales. Although I do not level any claim against significantly changing something, in my study, people’s perceptions find renewed hope: the frames that once made gates turned out fully pledged and autonomous artworks; the doors mutated into narratives; and cloth became drapery–no longer off cuts. Tradition is dismantled and waist beads worn as necklaces. Questions flare. Ganda artifact is used in new situations but still in its old casing: this attracts attention of the passersby, while stories mutate into tangible ‘things’–for those who never had a chance of ‘seeing’ them. Reflection becomes part of process: Kato Kintu reflects history while Kintu maintains legend; Kaleeba emphasizes tradition while Matyansi Butyampa and Sewandeku focus on reality. Many reflections from various viewpoints that I cannot conclusively recount in this short text, form part of the transformation experienced in artistic research most of the time missed by ‘scientific’ methods. In general, the artistic project breaks with tradition and plies its own route. I received comments of uniqueness and novelty as a result.4 4
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    Re(de)fining boundaries: on art, deafness and maternity in Uganda
    (Makerere University, 2022-05-06) Asea, Doreen
    This study has explored Deaf Gain as a platform for activism, with the employment of sign language as Deaf culture and the Deaf female voice as a voice of reason, in the production of graphic and multimedia art, while contributing to voices challenging a patriarchy that limits the maternal rights available to women in Uganda. This contribution has been pursued through an exploration of the notions of Deaf Gain that are based on the unique experience of deafness that challenges social oppression and ignores minority voices, and suggests alternative ways through which human standards of living and functioning can be improved (Bauman and Murray, 2014) . Departing from the Health Policies (SDGs (goal 10) and Maputo protocol (article 14(1)), that view maternal health care as a right for all women and girls, in comparison to the high rates of maternal health complications, in addition to the study of Deaf gain, a studio project was carried out, in which deafness became a device for countervailing stigma against maternal health access of all women and girls in Uganda. The archives gathered for this study suggested that by employing the study of Deaf Gain, an alternative point of view can be sought to observe maternal issues, of which the barely explored Deaf female attitude was employed to inform this study’s studio project. The study was based its debt on the rate of maternal health complications remains elevated among Ugandan women. While policies are based on the assumption that, improved health provision will greatly reduce current maternal and infant mortality rates, though ignoring the overwhelming influence over policy by a patriarchy. Thus has Perpetuated gender inequality and violated the maternal rights of women, as well as limited women’s participation and access in the public sphere, to resources, decision making, and division of labour, besides normalizing prejudice norms to which women are subjected. This study suggested the relevance of Deaf Gain, to the production of graphic and multimedia art as activism. It did this by employing the Deaf female perspective, the use of Ugandan Sign Language, text, images and symbolism in art production, which resulted in the themes of antenatal care and postnatal care. As a result, this study developed art that contributed to the voices challenging a patriarchy that limits the maternal rights available to women in Uganda, by reaffirming maternal health as a right for all women and girls.
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    A studio based exploration of metaphors in the art of drawing in Uganda
    ( 2009-11) Ssenyondwa, Deusdedit
    This study explores the relationship between drawing and metaphors through studio practice in order to raise the artistic qualities in the art of drawing in Uganda. The study was initiated out of the researcher’s experience and the established need to use metaphors as a spring board to develop concepts in drawing based on individual artist’s analysis and discussion of socio-cultural issues amongst people in order to enhance communicative power in the art of drawing. Based on this background, the following investigations through qualitative research design and methods were carried out: examining the role of metaphors in the Arts, and the factors that affect the usage of metaphors in the Arts in Uganda. This gave an insight into the historical perspective of the meaning and use of metaphors in various disciplines of art thus highlighting the status-quo of Drawing in reference to the importance and usage of metaphors. Basing on collected data from written literature, interviewed persons and the researcher’s art education experience, the study analyzed scholarly views on the importance and usage of metaphors in the Arts. In view of symbolism, Luganda proverbs were selected as metaphoric content that were characterizing interdependence which is the theme of the study. The proverbs are literally explained in English-an official language -for purpose of catering for the national composition of multi-ethnic groups -to address a socio–cultural concern thus enriching the art of drawing in Uganda. Nevertheless, Luganda is an indigenous language made up of different dialects but etymologically with a common phonetic stem of the Baganda people belonging to the different ethnic groups such as: Basese, Bannabuddu, Baluuli, Bakooki, Bavuma to mention but a few whose homeland is Buganda. Norms and beliefs guiding the socio-cultural organization and functions in Buganda have been within the ancestry and principles based on kinship lineages that form Buganda. The lineage of relationship among the ethnic groups stretches right from an individual person through Enju, Oluggya, Omutuba, Essiga, Akasolya up to the huge group making the kingdom. Proverbs as a figurative way of using words echo the instructions of guidance based on norms and beliefs. Therefore this was hence regarded by the study as custodian and mirrors of cultural language images for Buganda people. Right from experimental to final drawings, the researcher basing on his personal interpretations derived and applied metaphors derived from selected Luganda proverbs. Through studio investigational practical works, an interpretation of both the compositions of line, form and tonal impressions from observed inspirations and the materials used in view of metaphors guided the execution of the drawings for this study. The final drawings were recorded through photography and advanced into photo copies. These photo copies of the drawings with analysis, conclusions and recommendations were compiled and expressed in the fourth and fifth chapters of the guide book of the study. The study concludes that metaphors can be used as a spring board for developing concepts trough studio practice; based on artist’s analysis of socio-cultural issues. The incorporation of metaphors into drawing to develop concepts that discuss socio-cultural issues among the people can raise the communicative levels amongst the artists, artwork and viewers for the sake of the art of drawing in Uganda. Recommendations were made for further investigations on drawings that focus on concepts to address socio-cultural issues reflected through oral languages which are the custodians of metaphors among the people in Uganda. Recommendations were also made for more research on the relationship between the materials, approach, formats and the metaphors used (the role of physical metaphoric content) in a drawing.
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    Uganda's visual environment: development and change
    (Triangle Arts Trust, 2002) Kyeyune, George
    The appropriation of external elements and their local domestication are important ingredients for the growth and survival of a distinct culture. Norbert Kaggwa, a student at the Margaret Trowell School of Fine Art, Makerere University, Kampala, 1960-1964, gives voice to a gratitude for social changes that led to rapid economic development, and at the same time to a dissatisfaction over repercussions of a rapidity so unprecedented that particular localities were taken by storm, allowing them no more than a moment for the adjustments necessary to their survival. This essay looks at the ways in which external factors were necessary currency for the emergence of new local modernism in the visual arts, and at the means by which local resources were used in this development in the wider context of rapid social and cultural change in Uganda