Margaret Trowell School of Industrial and Fine Arts (MTSIFA)

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Browsing Margaret Trowell School of Industrial and Fine Arts (MTSIFA) by Title

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    Art and Gender: Imag[in]ing the new woman in contemporary Ugandan art, Book 1
    (University of South Africa, 2012-04) Tumusiime, Amanda Evassy
    This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies.
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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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    Art as a social practice: transforming lives using sculpture in HIV/AIDS awareness and prevention in Uganda
    (SAGE Publications, 2010) Nabulime, Lilian ; McEwan, Cheryl
    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.
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    Art in Uganda in the 20th century
    (University of London, 2003) Kyeyune, George
    This study examines the major trends and transformations in Uganda’s modern art practice since its inception at Makerere in the 1930s by Margaret Trowell. In the early stages of its development, Trowell was driven by her belief in an African aesthetic. She introduced a curriculum that subordinated technique in favour of subject matter derived from local themes. However differences in opinion soon emerged between herself and her assistants. By the 1950s, Gregory Maloba argued that modernisation had been advantageous; hence it was unnecessary to cling to the mythologized past, while Sam Ntiro was a confirmed disciple of Trowell. The Slade supervised diploma, which came into being in 1953 confirmed Maloba’s point. When Cecil Todd took over the Art School in 1958, Makerere’s emphasis was already shifting towards a detailed consideration of technique and art history as an academic discipline, which Todd encouraged. However, this trend was criticised, as Uganda had just achieved independence in 1962; the intellectual climate resounded with debates about indigenisation. Against this ideological backdrop of cultural renewal and discovery, some artists returned to a version of Trowell’s philosophy of Africanising of art education. The promising political climate of the 1960s was soon replaced by repression and the civil war between 1971 and 1985. These conditions led to three important developments. Firstly, artists continued to create overtly political images, which expressed disgust for leaders. Secondly, new media like batik, better adapted to economies of scarcity, proliferated. Lastly, with shortage of imported materials and tools, artists investigated local materials under the influence of Francis Nnaggenda. Ironically, an art that utilised local themes and resources arose from the adversity of the 1970s, rather than the favourable climate of the 1960s. This can also be seen as the revival of the experimental art education pioneered by Elimo Njau also an early student of Trowell. The stability of the 1990s freed artists from investigating political issues and interest in the general themes of technique and design were revived. Fostering international links, and survival in a competitive art market, are pressing current concerns.
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    The art of recycling: a studio development of art about the girl child education in western Uganda using found materials.
    (Makerere University, 2023-12-21) Zawedde, Hellen
    This study sought to explore a studio development of art inspired by the girl child education in Western Uganda, from recyclable found materials. It was based on the fact that the art of recycling has existed for years. Though for the sake of creating aesthetically appealing and functional products it has been over popularized, mostly during these contemporary times in Uganda and Africa mainly due to limitations to access modern art materials, plus the current need to depollute the environment, and a strong desire by artists to experiment with materials, methods and processes in art. It is usually through the lenses of politics, social life and economics, with little or none in the topics of education, more so the girl child. Therefore, this research seeks to explore the narration of the girl child education through the art of recycling. It was based on the dual processing theory, and research where the literature on visual narrative art, and storytelling theory and practice literature, support the propositions and case study that this research reported. This research was carried out through a descriptive and exploratory approach which will emphasize the art of recycling waste to create a volume of about 15 artworks. Findings reveal that artists like Sanaa Gateja have created jobs for women and orphans, while others like Xenson are helping their communities to develop through the art of recycling. More so artists like Benon Lutaya have used recycling, to address the issue of the street child and to narrate a story of changing life from the street to becoming an international artist from which this research also borrows. It further found out that different colors of fabric scrap can be used to create aesthetically pleasing art works, such as books versus booze, rainbow and opportunities. Furthermore, recycled materials can be used to address the plight of the girl child education and boys as well as girls should be sensitized on mental health issues to avoid stigma. Inclusivity should be prioritized in schools/institutions for the benefit of all gender, plus the special needs students. With much attention given to the Rural areas through providing girls with sanitary towels, under garments, stationary among others. This study concludes that the government, ministry of education, stakeholders, parents, opinion leaders, should implement the policies that were put in place by the government, plus the international policies like Education for All (EFA), Millennium Development Goals (MDGs), among more, in order to alleviate the issues hindering girl child education.
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    Baganda Cultural Practices; Visual Narratives from Divination and Exorcism
    (Makerere University Art Gallery, 2019-11-13) Kekimuri, Joan
    Cultural practices play an important role in society. It is through cultural practices that societies define their cultural background and boundaries. Through cultural practices, societies define their common values and create differences between themselves and others. Cultural practices are the foundations of any society and through them a society reveals its invisible soul, constructs new meanings and deconstructs old meanings in context of time and space. Through cultural practices, a society demonstrated its level of creativity, history and progress. In her visual publication, titled: Baganda cultural practices: Visual Narratives from divination and exorcism, Kekimuri Joan, a PhD student at Makerere University, MTSIFA, visually articulates the embedded meaning of the Baganda traditional practices with emphasis to divination and exorcism. Through a subjective interpretive approach, she has created painterly ideas resulting from her interaction with the art forms used in divination and exorcism at shrines owned by the Baganda traditional healers involved in divination and exorcism. Her work is an example of what critical study and analysis of art forms can offer in terms of knowledge creation and interpretation. In societies like those of Africa, where the art of western writing is a recent development through colonialism, most of our knowledge systems are embedded in art forms, music, dance, drama and other cultural practice
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    Bwola dance: an icon of peace-building in the post-war Acholi society, as inspiration for textile design
    (Makerere University, 2019-12) Lamachi, Jackline Martina
    The arts, especially drama, dance and music, have been one outlet for grassroots people to culturally express the deep-rooted conflicts in their society and to reach out to communities for justice and reconciliation. This study therefore focused on the arts as an alternative framework to communicate and deliver transitional justice and sustainable peace in Greater Northern Uganda. The study specifically addressed the importance of Bwola Dance and cited Bwola Music as inspiration to generate textile design concepts drawn from the story of the LRA war period, the impact of bwola during these years, and how dance and music contributed to the notion of peace, justice and reconciliation among the Acholi Community. Bwola is a rich dance that in many ways represents the Acholi people and culture. This study thus sought to examine and visually explore its elements of; movement, rhythm and formation of the dance, using the tools of textile design, and addressed the question why bwola plays an iconic role in promoting peace and unity in the post-war (2008 to 2019) Acholi society.
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    Coding narratives associated with mnemonic objects: Embedding photographs with technologies for contemporary photography space
    (Makerere University, 2023) Mutebi, Hector Mulwana
    Despite the influence of photography as a tool for archival and documentation of moments, over the years family albums become presentations and not representations, as the originators (chroniclers) of archives transition to the afterlife. The meanings bene ath photographs become disconnected with younger generations, leading to loss of information. Therefore, this qualitative phenomenology study documents (photographs) mnemonic objects, captures stories about them and explores technology that can embed these personal experiences. The study stories towards archival of social history and examined artists performance to explore humanwho use photography, video, sculpture and object relationships and document memory objects. The objects found in the custody of elderly people in Kampala, Wakiso and Mukono districts were categorized by function : art, diversions, adornment, modifications of landscape, applied arts and devices. The participants disclosed detailed descriptive accounts about the object, or about the giver. Some stories had no concrete plot, while others were ‘high narrative feature’ life events, and impressive personal moments. Using Ricoeur’s stories of festivals, major (1984) emplotment and mimesis to analyse the indepth interviews revealed narrative theories of how objects gain agency This allowed the researcher to reinterpret a nd use image compositing . in Adobe Photoshop to produce photographic artworks . Thereafter, audio narratives were embedded Technology provided tools and techniques that allowed the researcher to rein to the images. tell the stories and furthermore, opened up possibilities of archival and unlimited access to digital content. As such, technology in its many forms should be considered to support preservation of cultural heritage for generations to come.
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    Coloured sculpture: an analytical visual study of the use of colour in sculpture: a guide to a practical study of the use of colour in sculpture in Uganda with special reference to Makerere University School of Fine Art
    ( 2013-07-05) Kasule, Kizito Maria
    The principle objective of this study is to find out whether the enhancement of sculpture content, could be achieved through practical study and use of colour and it's effects. In order to achieve the above, the researcher produced both two and three dimensional sculptural forms on which colour was applied, which some art pieces were left un coloured as control pieces for the purpose of comparison. A quantitative method of research with a self administered questionnaire with closed ended questions has been used in this project to collect and analyse the data. A Total of 80 respondents participated in the study and their opinions about the use of colour in sculpture has been recorded. The results obtained from the research project, suprisingly indicate that the lay people tend to appreciated colour application in sculpture than the professionally trained artists. Undergraduate art students also prefer the use of colour in sculpture than the professionally trained artists. But by looking at the research in its full totality, the general public whether artsits or not agree that if colours are applied in sculpture, do enhance the scuptural content in terms of emotional associations, message conveyance and contrast.
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    A comparative study of Chinese opera masks and African ritual masks in soft sculpture from a cross - culture perspective
    (Makerere University, 2023-10-24) Fu, Yanyan
    This thesis focused on Chinese Opera masks and African ritual masks, centred on aesthetic design theory (Liangmei, Peking University Press, 2019), it's exploratory and qualitative in approach. This thesis discussed the differences and development of traditional Chinese Opera masks and African Ritual masks, summarized the artistic characteristics of mask colours, studied the historical and cultural connotations in the mask color system, and explored the coloring patterns and essential significance of traditional Chinese Opera and African Ritual masks. Through comparative research, the researcher have found that seemingly unrelated Chinese Opera masks and African Ritual masks share many similarities and differences in their historical development and the spiritual aspects they represent. The researcher have created a new "blended" mask form based on traditional Chinese and African cultural elements, using soft materials and making bold attempts in both conceptual and material selection. We have learned that both Chinese Opera masks and African Ritual masks originate from Worship, serving as tools for communication between humans and gods, and are closely related to traditional culture. They have had a greater or lesser impact on other forms of art and are widely used in contemporary art creation. The researcher believes that this thesis can not only provide reference for future researchers interested in Eastern mask art and African mask art, but also expand the possibilities for mask art production through the use of soft materials.
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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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    Contemporary Ugandan art and the ctrique on corruption? A look at Mutebi's strategies, symbolisms and symbols.
    ( 2009-05-28) Kakande, Angelo
    Some contemporary artists in Uganda have converted traditional objects and activities into a pointed vocabulary which they use to critique government and governance. Fred Kato Mutebi is active in this area. In this paper I have read and contextualised the politics in some of his works. I have traced the intricate link between his visual expression, public opinion and political activism. I have probed the ways in which an artist has transformed cultural symbol[ism]s into sites for political activism.
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    Contribution of woven mudfish basket to the development of weaving in Uganda
    (Makerere University, 2023-12-11) Kirumira, Musoke Ahmed
    Mudfish basketry is intertwined with nearly every aspect of Ugandan families, communities, identity, and social memory, but the status of Mudfish baskets is changing due to different challenges specifically the immediate extinction because of the ageing of weavers, has no formal training and no original research has been made on it, which has inspired the researcher to look at practices of weaving, allowing the understanding of mudfish baskets in broader social, economic and historical contexts. The study was guided by three (3) specific research objectives, namely; i) To examine the socio-cultural and economic practices under which mudfish basket weaving has evolved; ii) To analyze the techniques and materials used in mudfish basket weaving; and iii) To create contemporary woven products inspired by traditional mudfish basketry. The study followed a descriptive research design, gathering data from 10 purposefully selected participants, who included fishermen and weavers around the shores of River Mayanja, through interviews. Researcher’s observations and secondary data sources also supplemented the primary data. The data was analyzed through thematic content analysis techniques as well as studio production to illustrate mudfish basket weaving knowledge, techniques, designs, and materials to preserve indigenous knowledge. The study found that the weaving techniques used in weaving mudfish baskets are developed through individual engagement with society, where they get inspiration from those that participate in mudfish basket weaving, thus preserving the skill from extinction. The study concluded that, mudfish basketry emerges not only as a vital cultural heritage but also a source of inspiration for the development of weaving in Uganda. To ensure its continued legacy, the study proposes that weavers draw inspiration from the shores of River Mayanja, adapting mudfish basket materials, techniques, and processes to create diverse contemporary woven products. The study further recommends the use of artificial fibers like nylon code, flexible wires, iron bars and other flexible materials in weaving Mudfish Baskets to make the weaving tradition more innovative. Futher still, the research recommends diversification of woven products. Products like Lampshades, hammocks, swings, mats, and more could be crafted, preserving the essence of mudfish basketry in Uganda’s weaving landscape.
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    Contribution of woven mudfish basket to the development of weaving in Uganda.
    (Makerere University, 2023-12-11) Kirumira, Musoke Ahmed
    Mudfish basketry is intertwined with nearly every aspect of Ugandan families, communities, identity, and social memory, but the status of Mudfish baskets is changing due to different challenges specifically the immediate extinction because of the ageing of weavers, has no formal training and no original research has been made on it, which has inspired the researcher to look at practices of weaving, allowing the understanding of mudfish baskets in broader social, economic and historical contexts. The study was guided by three (3) specific research objectives, namely; i) To examine the socio-cultural and economic practices under which mudfish basket weaving has evolved; ii) To analyze the techniques and materials used in mudfish basket weaving; and iii) To create contemporary woven products inspired by traditional mudfish basketry. The study followed a descriptive research design, gathering data from 10 purposefully selected participants, who included fishermen and weavers around the shores of River Mayanja, through interviews. Researcher’s observations and secondary data sources also supplemented the primary data. The data was analyzed through thematic content analysis techniques as well as studio production to illustrate mudfish basket weaving knowledge, techniques, designs, and materials to preserve indigenous knowledge. The study found that the weaving techniques used in weaving mudfish baskets are developed through individual engagement with society, where they get inspiration from those that participate in mudfish basket weaving, thus preserving the skill from extinction. The study concluded that, mudfish basketry emerges not only as a vital cultural heritage but also a source of inspiration for the development of weaving in Uganda. To ensure its continued legacy, the study proposes that weavers draw inspiration from the shores of River Mayanja, adapting mudfish basket materials, techniques, and processes to create diverse contemporary woven products. The study further recommends the use of artificial fibers like nylon code, flexible wires, iron bars, and other flexible materials in weaving Mudfish Baskets to make the weaving tradition more innovative. Further still, the research recommends diversification of woven products. Products like Lampshades, hammocks, swings, mats, and more could be crafted, preserving the essence of mudfish basketry in Uganda’s weaving landscape.
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    Designing apparel for the global stage inspired by Bakiga proverbs to depict women’s social status.
    (Makerere University, 2023-10-18) Mbabazi, Elizabeth
    The Rukiga language is represented in an oral culture which manifests a propagation of art forms expressing the Bakiga’s wealth of music, dance, drama and other oral art forms(Kanyesigye, 2019). The Rukiga culture is engraved in speech usage with proverbs that can be used for apparel/clothing in the oral expression of the Bakiga artefacts. This study selected some of these proverbs to design apparel for the global stage that could depict women’s social status. Geographical lines have been demystified by the access through technology, the internet and travel. They present a “glocal”- global stage space that presents vast opportunities for exchange and exposure. Proverbs were and are part of the communication channels and the global stage, the study sought to view proverbs on the global stage in order to depict women’s social status. While establishing that patriarchal structures and values are transmitted through proverbs, the study also interrogated the selected proverbs’ meanings and messages within a set context, as such messages could be context-bound. Women may, therefore, use proverbs to discuss, contest and, from time to time navigate gender ideologies to depict the women’s social status on the global stage. The study employed a cross-sectional research design and semi-structured questionnaires to collect data from a randomised population. In addition, a creative design studio exploration was conducted so as to explore the tactile and visual quality of the selected proverbs. The studio exploration study provided a forum to create apparel with inspiration from the selected Bakiga proverbs. This process increased the space for discussion, exposure, and awareness of the selected proverbs. The fashion designs presentation in a digital format for the global stage presented a discourse forum breaking geographical boundaries and giving voice to the local proverbs and the pertinent engendered context masked within these proverbs through the global feminist phenomenon. The study analysis indicated that gender inequality existed massively before this modern time, it had reduced; incidences that still exist today are being aggressively dealt with by especially with the civil society entities and human rights institutions and agents. The increased literacy and education rates have also played a role in raising the awareness levels. The analysis further indicated that there are such efforts to dissuade the misinterpretation of the proverbs during translation into universal languages onto the global stage. Furthermore, the usage of proverbs that stereotype women, has progressively and significantly reduced. Commendable numbers of people are using proverbs that are affirmative and praise women as the backbone of the family and a nation on the global stage. It is therefore imperative that stereotypical proverbs against women are less entertained in this modern era in order to depict and uphold a positive social status.
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    Designing sonko: an interactive game application exploring visual communication through user experience/user interface design based on child labour
    (Makerere University, 2023-11-22) Kamo, Brian
    This study explored the role of interactive design, specifically user experience/user interface (UX/UI and game) design, in disseminating information about child labour focusing on scrap collection as a case study. It focuses on the visual aesthetics and functionality of interactive design and its potential to foster meaningful dialogues between users and products (Sonko). The research adopted a constructivist (learners construct knowledge rather than just passively take in information) perspective and employed Nikolov’s aesthetic theory of functional and aesthetic usability to analyse game and product (UX/UI) design construction. Using a qualitative case study methodology, participants were selected from various stakeholders, including truck drivers (TD), organisations, UX/UI designers, parents/guardians (PG), game users/centres, and children to uncover significant issues, consider user input, and enhance design outcomes. Data collection involved field observations, interviews, and document analysis, with thematic analysis used to identify patterns and themes. The findings shed light on different forms of child labour, such as scrap collection, and highlight the implications on children’s health and education with data triangulation enhancing data validity. The study also examined various communication modes for mitigating child labour, including traditional, social media, community-based initiatives, and stakeholder engagement. This influenced the study’s studio practice for interactive design (UX/UI) and exploration of their effectiveness when combined to communicate. In conclusion, the study identified widespread areas of child labour, emphasising the importance of parental guidance, community engagement, and advocating for sensitising children about scrap collection. It further recommended government and non-governmental involvement and exploration of the potential of incorporating sound and future technological developments, including Neuralink, to revolutionise user interfaces. It concludes by suggesting further research on cognitive processes, ethical considerations, and privacy concerns related to Neuralink.
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    Dr. Nabulime's new languages in art
    ( 2011-10-13) Kyeyune, George
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    Embodying social being
    (Almas Art Foundation, 2023) Nabulime, Lilian Mary
    Nabulime is distinctive as an artist whose practice is concerned with traditional and contemporary sculptural values, but who also engages directly with pressing social issues. Since 2001 she has been developing a body of work that addresses taboos and stigmas around HIV/AIDS - a project that began during her doctoral studies at Newcastle University. Her understanding of the value and importance of art within society is subtle and profound.
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    Enhancing obstetric fistula information visibility and absorption among Peri-urban and rural women in Uganda.
    (Makerere University, 2023-11-28) Apolot, Anna Grace
    This research aims to improve how information on Obstetric Fistula is developed and packaged through design to increase its visibility and absorption by rural and peri-urban women in Uganda. Obstetric fistula is a devastating health condition that affects millions of women worldwide, yet it remains largely invisible and misunderstood. By examining the current state of fistula awareness, identifying design strategies, and evaluating their effectiveness, this study seeks to provide insights and recommendations for designing impactful campaigns that promote understanding, empathy, and action towards addressing Obstetric Fistula. Although the Ministry of Health (MOH) has carried out extensive countrywide awareness campaigns on Obstetric Fistula, there is still a lack of visibility and low absorption of the information passed on to the key users. This study sought to develop, redevelop, and package the information disseminated to rural and peri-urban women to increase its visibility and absorption so that they use it more effectively. This required examining the current communication materials by the Ministry of Health on fistula information, its uptake, and the perception of fistula among the rural and peri-urban women. As a remedy, it was imperative to explore how the human centered public awareness campaigns can be applied to create effective communication on obstetric fistula among rural and peri-urban communities. The study applied an ethnographic study design to capture insights of the obstetric fistula in Uganda so as to understand subjective experiences, beliefs and concepts and in-depth knowledge on fistula and explore misconceptions around the problem. The study recruited referrals of women aged 18-49 years with obstetric fistula seeking health services at the fistula Repair Centre at Kitovu Hospital and Mulago Specialized Women‘s Hospital, who were predominately from rural and peri-urban areas. Also included in the study were senior medical staff at these facilities including fistula ward nursing staff, one gynecologist, one medical officer, one fistula surgeon and caretakers of fistula patients. Human Centered Design created the backbone for studio practice in order to generate visuals that were used to widen the spread of maternal health information with a bias towards obstetric fistula in Uganda. The study found that several patients only got to know of the condition after getting the Obstetric Fistula injury. Findings also point towards making maternal health education essential not only to women but also to men, since men are key decision makers in the family. The study thus recommends that the Ministry of Health should consider using more effective design strategies that are user-centered. Improving visibility of Obstetric Fistula information flow and uptake will help communities make prompt informed decisions about the place of delivery when a woman is in labour. This will also help dispel misconceptions about fistula, increase disclosure about the condition, and increase community acceptance and support for women with fistula. Consequently, women‘s quality of life will improve.