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theguardian.com

@theguardian Wed, 10 Sep 2025 07:00:05

Zohran Mamdani’s identity may seem complex but to Ugandans he is simply their ‘own son’

Mamdani, who was born in Uganda, has faced backlash in the US over his identity – but in Kampala, Ugandans of Indian descent are unquestioningly considered AfricanAmid the trees clustered with jackfruit and the boda boda motorcycles weaving precariously around Kampala’s congested roads earlier this year was a campaign poster for Katongole Singh, an immaculately coiffed candidate who positively beamed alongside the president, Yoweri Museveni.With a Sikh Indian surname and an indigenous Ugandan first name, Singh is no rarity in the Ugandan capital, where people of Indian descent have lived for more than 125 years. Many people here boast a multi-hyphenated “African Indian” identity – as indeed does the Zohran Kwame Mamdani, the 33-year-old running for mayor of New York City. 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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