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theguardian.com

@theguardian Tue, 18 Nov 2025 14:26:22

Mahmood Mamdani on Zohran, Uganda and forced expulsion: 'Who is part of the nation and who is not?'

After being expelled from his homeland in 1972, the academic has grappled with questions of political belonging – a major theme of his son's mayoral campaignThe night before Mahmood Mamdani was expelled from Uganda in 1972, a senior professor from the university where he had been employed as a lowly teaching assistant wandered into his family home, looking for spoils. The rest of the family had already left – for the UK, the US and Tanzania – but 26-year-old Mamdani had decided to remain until the final day of the three-month period that Idi Amin, the Ugandan president, had designated for all Asians to leave the country. Passing over the furniture and other remnants of decades of family life, the professor hit upon a carton of Johnnie Walker Red, which Mamdani invited him to take home. 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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