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theguardian.com

@theguardian Thu, 07 Dec 2023 06:00:01

Where have all the grasshoppers gone?: Uganda’s insect traders struggle to find protein-rich bugs

Professional trappers find it increasingly hard to fill their sacks for market as the country’s forests, grassland and swamps where the insects breed are lost

As night falls on Masaka’s industrial zone, Karim Damba’s work begins. He hauls large corrugated steel sheets into place and attaches them to empty oil drums lined with black polythene bags, propped up by long pieces of wood. At 8pm, he flicks on the fluorescent lights and waits for the grasshoppers to arrive.

“I have been doing this since 25 October,” says Damba, adjusting his skullcap. Damba is a grasshopper trapper in central Uganda. Between October and December his nights are spent waiting for the insects to hit the metal sheets and fall into the drums. The protein-rich bugs are wrapped and transported to market.

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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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