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theguardian.com

@theguardian Wed, 14 May 2025 07:00:02

The deadly riddle of blackwater fever: the search for answers over illness killing Uganda’s children

A dangerous complication of malaria turns urine dark with blood – but only affects some young patients in rural areas and not others. Puzzled experts are trying to find out whyBy the age of six, Babirye Zainab had already contracted malaria several times. Her grandmother did not see it as a big problem though. “I would treat her with antimalarials and she would be all right,” she says.But then she developed a fever and started to have convulsions. Her urine was the colour of tea, and her grandmother, who shares the same name, was worried enough to take her on a motorbike to the local health centre. 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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