Margaret Trowell School of Industrial and Fine Arts (MTSIFA) Collections
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ItemBwola dance: an icon of peace-building in the post-war Acholi society, as inspiration for textile design(Makerere University, 2019-12)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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ItemDesigning apparel for the global stage inspired by Bakiga proverbs to depict women’s social status.(Makerere University, 2023-10-18)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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ItemContribution of woven mudfish basket to the development of weaving in Uganda(Makerere University, 2023-12-11)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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ItemReclaiming women’s voices: fashion design inspired by princess Elizabeth Bagaaya’s biography as shaman in Sheena queen of the jungle.(Makerere University, 2023-12-04)This study focused on creating fashion design statements that SPEAKS TO the African voice of women pushing back against stereotypes. It is inspired by a visual archive embodied in the biography and narratives of Princess Elizabeth Bagaaya of Tooro (known as Bagaaya in this study) in relation to a character known as Shaman, whom she impressively plays in the film, Sheena, Queen of the Jungle (Sheena, 1989). The research explored the visual archives and narratives from an autobiography and the portrayal of the film character, Shaman as a source of fashion design that liberates and amplifies women‘s voices into a collective African voice speaking of histories, triumphs and hopes,hereby reclaiming the voices for a productive reference. The primary source was the autobiography of Princess Elizabeth Bagaaya of Tooro – Elizabeth of Toro: The Odyssey of an African Princess (Nyabongo, 1989) . Through tracing the narratives found in the autobiographies and visual archives of Bagaaya of Tooro and Shaman of Sheena a reservoir for productive reference emerged: one that Uganda‘s fashion does not often look for as a source of inspiration. I assumed that this reservoir is representative of lived experiences for women across national, regional and African contexts. They can be considered a contribution towards a ̳collective African voice‘. Based on this assumption, the study provided knowledge on the interplay between fashion design and the lived experiences aimed at voicing the contributions made by African women within unique contexts This study through narrative inquiry explored how meaning can be derived from the biography and visual narratives of Bagaaya, used as a literary and visual canon source for inspiring fashion designs. This was done using Artistic research methods and narrative theory. The study provides a podium and a productive reference for creating designs and wearable items as fashion statements that push back against stereotypes and so begin to represent, reclaim, amplify the voices of women in spaces that are deeply laced with patriarchal power. x Shaman woman as a subject (and not as an object) in an idyllic space in which power and gender intersect to shape the destiny of a traditional kingdom. By departing from the position that this film is a metaphor – defined by cultural and historical contexts that have framed the lives of women in Uganda and the African continent at large – the research uses the fashion ̳voice‘ of Princess Bagaaya to speak with and for the muffled voice of Shaman and the stereotyped position of women over time. Princess Elizabeth Bagaaya of Tooro is a prominent figure in Ugandan history and has made significant contributions to her kingdom, country and the fashion world. Shaman, on the other hand, is a fictional character who is portrayed as a dispensable platform of which Sheena, the Caucasian heroine of the movie, is launched to save the day. ̳Shaman‘ is not a name, merely a title that has come to be associated with a spiritual witch-like persona. Therefore, in essence, the Shaman character was not even given the dignity of a name. This in spite of the fact that she adopts, names and raises the orphaned Sheena, teaching her everything she knows that enables her to shine as a heroic saviour-figure. Despite knowing all, Shaman has a muzzled voice. In spite of, or perhaps because of, this paradox, Bagaaya asserts that her performance in the movie did not require acting on her part because of the parallels between her life and that of Shaman. This study highlights and uses those parallels and intersections to create fashion that amplifies the voice of Shaman, and through her, the African woman in all the glory of her lived experiences.The study is an explicit example of the intersection between autobiography and creativity as spaces that amplify and reclaim the voices of women that deflected instances of stereotypes and transform them into wearable items in fashion design.
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ItemContribution of woven mudfish basket to the development of weaving in Uganda.(Makerere University, 2023-12-11)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.