Category: Photography

Re-reading the Warps and Wefts in Trowell’s Mother and Child Print: Debates and Contests

Margaret Trowell has been called the ‘mother of contemporary art in Uganda and a feminist’ (Tumusiime 2012). This is because in the mid-1930s she introduced the teaching of contemporary art at Makerere University and wrote widely on issues concerning family, women and children. On the other hand, she also created art though only few of her artworks are in Uganda. However, on my part I am interested in a lino print, entitled Mother and Child (1940s), whose visual archive I have accessed through George Kyeyune (2003) and Angelo Kakande (2008). The print captures a dominant sitting mother-figure wrapped in white cloth and nursing a child. Trowell’s print seems to suggest the earliest expressions of her self-activism to emancipate mothers and children through modern art. I re-read Trowell’s Mother and Child and its multiplicity of meanings. I re-engage it to retrace the threads of the colonial hegemony that wove together Trowell’s instruction of modern art in Uganda. This debate is essential. It sets the gendered pedestal on which contemporary art in Uganda was born and became interlaced with – to use Trowell’s words – ‘warps and wefts’ (Trowell 1957) This paper, therefore, marks our entry into the gendered discourses that have continued to shape Uganda’s modern art to the present.

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Seeking that Coveted Photography Award

By Miriam Namutebi. I am a photographer. I love what I do. My journey in photography started when I excelled in my senior six examinations at the age of 18. My Dad rewarded me with a Fuji Film S200EXR camera. Up to today, I don’t know what led him to that choice for a gift. I immediately started using my camera and every photograph I took introduced me to a new world. I loved that.

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An Exhibition of the Un-Recognised

The selection of artists was diverse, alongside the more prominent names from the continent, such as Vitshois Mwilambwe Bondo and Helen Zeru, there were also some less familiar local artists. Some of these practitioners were previously un-recognised as ‘artists’ and even some of the more familiar names had appeared dormant in Uganda for most of the last decade, well at least in the public’s eye.

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