List of Titles

Authors: Tumusiime, Amanda
Date: 2018
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/145687 , vital:38458 , https://0-muse.jhu.edu.wam.seals.ac.za/article/695397/pdf
Description: In her poem Our Voice (Chipasula and Chipasula 1995: 166–67) Noémia de Sousa (1926–2002) speaks about “our voice of Africa” as that voice that is liberative; that voice which opens “up new ways” and “lights up remorse … and burns glimmers of hope in the dark souls of desperate people” who cry out for emancipation from “slavery.” That voice which creates new possibilities by awakening a “cyclone of knowledge.” That voice which can persistently and effectively represent the aspirations of “millions of voices that shout, shout and shout!” for freedom and self-actualization.
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Date Issued: 2018

Authors: Tumusiime, Amanda
Date: 2017
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/145631 , vital:38453 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00344
Description: Alex Baine is a contemporary Ugandan woman artist who graduated from the Margaret Trowell School of Industrial and Fine Art (or MTSIFA) in 1989. During her final year, she painted a large work, Women's Emancipation in Uganda (Fig. 1) (1989), in which she represented women in domestic and nondomestic (conventional and unconventional) economies, spaces, and histories. Baine has not produced any other painting since her graduation. It is evident that Baine's art career, like those of several other female graduates of the Art School, has been interrupted by many issues including family, business, further education, and diversion into other professions. However, in this article I acknowledge that she championed women's emancipation in Uganda's contemporary art in the 1980s, a debate that I trace in her work.
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Date Issued: 2017

Authors: Simbao, Ruth K , Miko, William B , Ijisakin, Eyitayo T , Tchibozo, Romuald , Hwati, Masimba , NG-Yang, Kristin , Mudekereza, Patrick , Nalubowa, Aidah , Hyacinthe. Genevieve , Jason, Lee-Roy , Abdou, Eman , Chachage, Rehema , Tumusiime, Amanda , Sousa, Suzana , Muchemwa, Fadzai
Date: 2017
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/145886 , vital:38475 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00341
Description: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodically interrupted by unsolicited noise, revealing the difficulty of relating to others when sound is interrupted or there is an absence of voice. Voice, writes Chachage, is a “prerequisite for interlocution and the construction of discourse.” This work engages with the assertion that to “live means to participate in dialogue: to ask questions, to heed, to respond, to agree …” and to do so full heartedly with your “eyes, lips, hands, soul, spirit … whole body and deeds” (Bakhtin 1984:293).
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Date Issued: 2017

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