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theguardian.com

@theguardian Thu, 28 Sep 2023 05:00:18

Kidnapped and forced to marry their rapist: ending ‘courtship rape’ in Uganda

In Karamoja, one of the country’s poorest regions, schoolgirls face forced sex and abduction as an accepted route to marriage

The walk to school can be dangerous in Karamoja. In this region of north-east Uganda, one of the poorest in the east African country, marriages can begin with a man abducting a woman, raping her and keeping her captive at his house until it is unacceptable for her to return to the life she had. Girls on their way to school are a target.

“Most children drop out of school when their mothers cannot always escort them. Other mothers, out of fear, stop sending their girls to school,” says Christine Akello, from the Uganda Association of Women Lawyers in Karamoja.

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theguardian.com

@theguardian Sun, 04 Oct 2026 07:04:58

Wakaliga Uganda review – a blistering superhero movie with hardboiled cops and a nefarious 'girl with a voluminous bum'

Chisenhale Gallery, LondonA young man possessed by the spirit of a mythical Buganda warrior leads the film-making collective's explosive new diatribe against the theft of cultural artefacts – with the help of a 'video joker' Wakaliga Uganda makes action movies with a cast from the Kampala streets, props built out of scrap, desktop special effects and a bucketload of wit. The studio's breakout hit, Who Killed Captain Alex?, followed a martial arts master on a mission for revenge against the mafiosi who killed his brother, a Ugandan military officer sent to clean up the capital's slums. Featuring helicopter gunships, shootouts and kung fu showdowns, and reportedly made for a few hundred dollars, this blockbuster bears little relation to the films you might expect to find in an art gallery (setting aside the shoestring budgets). Which is to say, it is very good fun to watch.Founded by Harriet Nakasujja and Isaac Nabwana, the film studio also known as Wakaliwood came to the attention of the wider art world in 2017 when it was included in the German art festival Documenta. That influential show was part of a general turn towards the culture being made by independent collectives outside Europe and North America, especially those that pioneer unconventional ways to fund their activities (indicatively, the studio used the money to install fibre-optic cables in its neighbourhood). Its entry on to the international art circuit brought higher production value and – if the new commission now showing at the Chisenhale is any guide – a subtle shift in direction and purpose. Continue reading...

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