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theguardian.com

@theguardian Thu, 07 Sep 2023 06:00:19

A ban on used clothing imports isn’t the answer – Uganda must find homegrown solutions | Bobby Kolade

Secondhand fashion supports many livelihoods, but by nurturing local resources the country can wean itself off the used rag trade

“Stop buying secondhand clothes, these clothes are for dead people.” At the opening ceremony of the Sino-Uganda Mbale industrial park in late August, our president announced an unexpected ban on imported secondhand clothes. The audience responded to Yoweri Museveni’s rhetoric with laughter. A dead white person’s clothes being packed and shipped to Uganda is a compelling image with which to galvanise the masses.

But secondhand clothes don’t come from the dead. That’s not how fast-fashion systems work. People don’t die quickly enough for fast fashion, only trends do.

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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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