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theguardian.com

@theguardian Thu, 24 Jul 2025 13:00:16

‘Controversy is always good fodder’: Uganda’s cartoonists turn their pens on president’s provocative son

Gen Muhoozi Kainerugaba’s inflammatory social media posts provide rich pickings for satirists in country where freedom of expression is usually curtailedA bulky man wearing a baggy green army uniform urinates on the ground. Another man, wearing sandals, stands in the puddle, looks down and says: “I’ve never seen such beautiful susu (urine).”In the scatological cartoon, which appeared on Facebook, the sycophantic man with wet feet is supposed to be Balaam Ateenyi, a Ugandan government minister. The man relieving himself is Gen Muhoozi Kainerugaba, head of the military, provocative social media poster and the presumptive heir to his father, President Yoweri Museveni. Continue reading...

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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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