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theguardian.com

@theguardian Wed, 01 May 2024 10:00:53

Threats, accusations and assault: the dangers of running an LGBTQ+ health clinic in Uganda

Brian Aliganyira sees first-hand the devastating consequences of a draconian anti-gay law, as fear and misinformation prevent people getting help

Driving to work one morning last summer, Brian Aliganyira was forced off the road and into a ditch by motorcycle riders surrounding his car on both sides. He was left bruised, and still suffers from shoulder pain.

He later received a text message saying he had been targeted because of his work, running a health clinic for the LGBTQ+ community in Kampala, Uganda. The message said his assailants wanted to “protect children”.

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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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