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theguardian.com

@theguardian Wed, 12 Mar 2025 17:32:52

Uganda is right to decolonise its historical and cultural landscape | Letter

By renaming streets and removing monuments in Kampala, it is shifting from imposed colonial commemorations to its own heritage, says Dina AhmedThe recent Ugandan court ruling to remove British colonial monuments and rename streets in the capital, Kampala, is a significant act of decolonial resistance, challenging the lingering presence of imperialist histories in public spaces (Campaigners celebrate court ruling to ‘decolonise’ Kampala, 4 March). It is great to see this positive outcome from the five-year campaign. The court ruling combats the persistence of colonial power structures in knowledge, culture and governance. I believe that decolonisation must extend beyond political independence to reshape how societies remember and represent their histories.I disagree with the critique by Nicholas Opiyo, who says these colonial monuments should remain and serve as “a constant reminder of our past”. The problem with erasure is that it washes over past injustices and, in this light, I can see his desire for colonial history to remain visible. While this perspective acknowledges the importance of historical memory, it risks maintaining colonial power structures under the guise of passive remembrance. Continue reading...

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@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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