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C i ical In e en ions
Jou nal o A ican A His o y and Visual Cul u e
ISSN: 1930-1944 (P in ) 2326-411X (Online) Jou nal homepage: h p://www. and online.com/loi/ cin20
Ins i u ionalism, Public Sphe e, and A is ic
Agency: A Con e sa ion on 32° Eas Ugandan A
T us
Ca los Ga ido Cas ellano
To ci e his a icle: Ca los Ga ido Cas ellano (2017) Ins i u ionalism, Public Sphe e, and A is ic
Agency: A Con e sa ion on 32° Eas Ugandan A T us , C i ical In e en ions, 11:2, 116-131, DOI:
10.1080/19301944.2017.1363501
To link o his a icle: h p://dx.doi.o g/10.1080/19301944.2017.1363501
Published online: 11 Oc 2017.
Submi you a icle o his jou nal
View ela ed a icles
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INSTITUTIONALISM,PUBLIC SPHERE,AND ARTISTIC AGENCY:
AC
ONVERSATION ON 32EAST UGANDAN ART TRUST
Ca los Ga ido Cas ellano, Uni e sidade de Lisboa
In 2003, Koyo Kouoh (2013, p. 17) posed
he ollowing ques ion: “How is A ica, a e i y
yea s o independence, eally de e mining i s a is-
ic landscape?” This issue a ises as a cen al con-
ce n in o de o con on some o he mos
decisi e elemen s in play in con empo a y A ican
a . Kouoh’s ques ion echoes a gene al conce n
abou he ole o cul u al policies and ins i u ional
dynamics in p oducing sus ainable engagemen
wi hin a is ic and non-a is ic communi ies and
e ec i e in e en ions in o he A ican public
space. A he co e o he wo ds lies an in e es in
explo ing he po en iali y o o ganiza ional and
collec i e agency in shaping cul u al agendas bo h
locally and ansna ionally. The complexi ies
de i ed om ope a ing simul aneously a di e en
le els, as well as om dealing wi h agencies and
agendas ha in some cases ha e no p e ious expo-
su e o con empo a y a , o ce us o econside
he e ms unde which in as uc u al ac i is p oj-
ec s (Smi h, 2012, p. 251) a e c i ically amed.
Kouoh’s ques ion also aises ine i able issues
o au onomy, social ele ance, and sus ainabili y.
Al hough he con e sa ions on ins i u ional and
in as uc u al a is ic p ac ices ha e gained
momen um ecen ly (c . Diou & F ede icks,
2014; Ha ney, 2004; Kas i , 2013; Makhubu &
Simbao, 2013; Okeke-Agulu, 2010; Okeke-Agulu
& Hassan, 2008; Pin he & Smoo h, 2015), his-
o ies o A ican a ha e adi ionally ocused
mo e on discou ses and ep esen a ions a he
han on ins i u ional and ins i uen modes and
p ac ices. In ha sense, he ac i i y o al e na i e
pla o ms and ins i u ions has been undamen al
in complica ing he limi a ions o a c i ique based
undamen ally on discu si e and ep esen a ional
achie emen s. I , as Mamdani (1996, p. 4) a gued,
ins i u ionalism is “ ha pa o he colonial legacy
[...] which emains mo e o less in ac ,” his ully
applies o a is ic p oduc ion. Con on ing his
legacy means paying a en ion o how economic
and cul u al cons ain s o en hwa A ican c ea-
i e pla o ms and independen ins i u ions. In he
same ex , Kouoh (2013, p. 17) de ined A ican
al e na i e a ins i u ions as “powe s a ions” ha
“ques ion hegemonic iewpoin s, canons and na -
a i es o a , and de elop and mani es
app oaches o knowledge p oduc ion ou side s a e
ins i u ionaliza ion.” My main objec i e in his
essay is o unde s and he po en ial and limi a ions
o hose powe s a ions and wha kind o o ces
hey se in o mo ion.
The ollowing in e iew wi h he cu en s a
o 32Eas Ugandan A s T us (Teesa Bahana,
F ed Ba ale, Nikissi Se umaga) summa izes
he exchanges I held in Kampala du ing a
mon h-leng h esea ch s ay in No embe 2016
(Figu e 1).
1
Al hough Bahana and Se umaga
joined he ins i u ion ai ly ecen ly, hey we e
in ol ed in p e ious ac i i ies in a ious ways.
The con e sa ion hinges in en ionally on p ac ice
and decision-making, a emp ing hus o chal-
lenge any clean and bu eauc a ic memo y o he
ini ia i es o ganized by 32Eas . By s essing
p ac ical ques ions o e in en ionali y and iden i-
ica ion, i a emp s o show how ini ia i es such
C i ical In e en ions 11, Issue 2 2017
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as 32Eas couple heo y and p ac ice, aes he ic
and social in e en ions (Kes e , 2015).
Founded in 2012 by Rocca Gu e idge
and Nicola Elphins one, 32Eas has been
behind much o he de elopmen o con em-
po a y Ugandan a aking place in he las
i e yea s. Mo e o ien ed owa d p ocessual
han o exhibi ional ac i i ies, he T us o e s
a esidency o a is s and cu a o s, a wo k-
place o he local a is ic communi y, and an
open a ea o mee ings and discussions. The
p ojec ’s space also unc ions somehow as an
a chi e, ga he ing ca alogs, isual ma e ial, and
p ess eleases o i s own and o he spaces’ ini-
ia i es. This is especially impo an in a con-
ex wi h no adi ion o documen ing cul u al
ac i i ies, and which se iously lacks a chi al
and w i en eco ds conce ning con empo a y
a .
2
In ha sense, he T us documen s he
expe imen s p oduced in ela ion o i , includ-
ing hose ha ook place in public loca ions.
This is made e iden bo h by he cen e ’s
lib a y, he only one in he ci y ocusing on
con empo a y A ican a , and by he 32Eas
space i sel , whe e many o he a wo ks
de eloped by a is s in esidency a e kep and
in eg a ed in o he o ganiza ion’s g ounds.
Alongside ha a chi al pu pose, 32Eas has
a emp ed o anscend he eli ism wi h which
con empo a y a is s ill associa ed in Uganda,
despi e he eme gence o a conce n o and in e -
es in socially d i en collabo a i e p ac ices and
public a .
3
This has been done h ough wo ini-
ia i es: he A acha p og am and he KLA A
Fes i al. The i s consis s o a se ies o alks ak-
ing place a 32Eas ’s space in he Kansanga dis-
ic , and ocusing on a wide a ie y o opics,
among hem public a , cul u al indus ies, a
policies, en ep eneu ship, and Kampala’s public
space as an a is ic enue. Ini ially de eloped by
Gu e idge in Sco land be o e 32Eas was
ounded, he ini ia i e became loca ed in
Kampala in 2013, whe e i began o add ess
p essing ma e s o he local communi y.
4
Al hough he discussions we e ollowed p ima ily
by people al eady in e es ed in isual a s, he he-
ma ic scope o he deba es has widened he each
o collabo a o s in o de o include o he
“c ea i es” and publics no necessa ily linked o
he academy o he galle y wo lds. Limi ed as i
is, he expe ience has been aluable in b inging o
he o e key issues on u banism and accessibili y,
public cul u e, ci ic engagemen , and esou ce
managemen , and i has he e o e expanded con-
side ably he scope and ocus o con empo a y
a , while con inuing a ajec o y o poli ically
cha ged aes he ics.
5
Whe eas hose deba es a e
connec ed wi h o me deba es on au hen ici y,
iden i y, and ep esen a ion held abo e all a
Make e e Uni e si y (Kyeyune, 2003), hey also
a emp o enhance con empo a y a ’s social el-
e ance, add essing a he same ime he con a-
dic ions de i ed om he impac o neolibe alism
in pos -dic a o ial Uganda. Agains he backd op
o collapsing na ional ins i u ions and a galle y-
d i en a pano ama, he emphasis on p ocessual
and collabo a i e p ac ices o e a is ic p oduc-
ion we ind in 32Eas ’s ac i i ies e idences a
Figu e 1. 32Eas Ugandan A T us Space in
Kansanga, Kampala. Copy igh Ca los Ga ido
Cas ellano.
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ce ain malaise wi h Ugandan cul u al policies.
This leads o expe imen ing wi h o ms o c ea-
i i y bound o he con adic ions o p esen -day
Kampala. 32Eas add esses his issue by di e si-
ying hei ac i i ies in o de o each mul iple
audiences and se e as a nexus o con empo a y
a in he ci y (Figu es 2–5).
6
The second ini ia i e ueled by 32Eas is
he KLA ART Fes i al, whose hi d edi ion is
p og ammed o 2017. KLA ART was i s p o-
duced in Oc obe 2012. In i s i s edi ion, he
es i al consis ed o a public a exhibi ion called
12 Boxes Mo ing, which esul ed om he join
collabo a ion o eigh local ins i u ions, among
which 32Eas was ep esen ed.
7
A e launching
an open call o a is ic p ojec s, 12 we e dis ib-
u ed in an equal numbe o con aine s spa se
h oughou he ci y.
8
The choosing o he con-
aine s as a is ic enue holds a s ong symbolism
in he Ugandan con ex : con aine s e oke ansi-
i eness, mobili y, and mul ipu pose usage; hey
e e o he ansi and exchange o goods, bu
Figu e 3. 32Eas Lib a y on A ican A . Copy igh
Ca los Ga ido Cas ellano.
Figu e 2. 32Eas Lib a y and Media Cen e .
Copy igh Ca los Ga ido Cas ellano.
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also o he in o mal economies wi hin he ci y
landscape, whe e hey a e a common sigh . The
idea behind his choice, u he mo e, was o aise
public awa eness o con empo a y a , a phenom-
enon Ugandans usually iden i ied wi h galle y
spaces and go e nmen - uled museums. In ha
sense, he accomplishmen a ied om p ojec o
p ojec : some aimed o in e ac i i y and pe -
o ma i i y, while o he s we e simply limi ed o
hanging he a wo ks inside he space.
9
Whe eas
some c i icism ocused on he ac ha he con-
aine s we e also “enclosing” a and con aining i
in public spaces al eady exposed o “cul u al o -
ms,” he es i al did challenge he public’s iews
on a ’s pu pose ulness, owne ship, and ele-
ance. I also ini ia ed a las ing dynamic o ins i-
u ional collabo a ion binding oge he public
and p i a e s akeholde s. Ka in Pie e s (2015, p.
65), who ecen ly dedica ed a long essay o public
a in Uganda, men ions ha “KLA ART 012 was
a pilo , an expe imen in many ways, om he
ou se wi h he in en ion o ollowing edi ions in
wo o h ee-yea in e als. The main aims we e
o c ea e new physical and men al spaces o
isual a p ojec s and o in e ac wi h new and
di e en audiences. The es i al was s ic ly non-
comme cial o allow o ideas beyond a di ec
saleabili y.” She added ha “ he es i al had a
isiona y, expe imen al aspec , a emp ing o
open up a space o new a is ic bu also cu a o-
ial app oaches” opposed o he long adi ion o
solo shows mo i a ed mos ly by ma ke able ends.
KLA ART 14, he second edi ion o he
e en , was coo dina ed by 32Eas and b ough
in e es ing no el ies o he Ugandan a is ic
a ena. Ti led Unmapped, he es i al a emp ed a
mo e in ensi e p ojec ion in o he public space.
In o de o achie e ha , he ini ia i e was spli
in o h ee in e ela ed p ojec s: a mo e con en-
ional exhibi ion ha ook place a he Uganda
Railways s a ion in Cen al Kampala,
10
a se ies o
s udio isi s highligh ing he wo kplaces o local
a is s,
11
and a se o in e en ions called The
Boda Boda P ojec . The la e , which was no
in ended o be he nucleus o he e en no he
deposi o y o he majo pa o he unding, ou -
numbe ed he egula galle y exhibi ion in e ms
o isi o s and c i ical esponse. All he local
newspape s and cul u al jou nals dedica ed a
space o he e en , and he Con empo a y& online
pla o m published a special ocus on a in
Kampala.
12
The ini ia i e consis ed o a se ies o
collabo a ions be ween Ugandan a is s and he
boda boda d i e s, whose ehicles we e cus om-
ized and hen used egula ly h oughou he ci y.
Figu e 4. De ail o a sculp u e made by an a is in
esidency in 32Eas , now pa o he egula display.
Copy igh Ca los Ga ido Cas ellano.
Figu e 5. De ail o 32Eas ’s lib a y, s udios, and
wo kshop space. Copy igh Ca los Ga ido Cas ellano.
In e en ions
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The boda bodas, mo o bikes p o iding axi se -
ices, a e he mos common mean o anspo in
Uganda and Eas A ica. They also cons i u e a
co ne s one in Kampala’s popula cul u e and
in o mal ade ne wo k.
13
Choosing hem bo h
as a is ic enue and as a ge communi y o col-
labo a e wi h acknowledges hei ole in con igu -
ing Kampala’s u ban landscape and ecognizes
hei legi imacy (Figu es 8–10). A he same
ime, i aises ques ions abou he capaci y o
one- ime a is ic in e en ions o aising awa e-
ness o egula o y and cus oma y issues. Pa ici-
pa ion in KLA ART was amed h ough
he cus omiza ion o al eady exis ing boda bodas
(Figu es 6 and 7).
The in e en ions, again, a ied om p ojec
o p ojec , bu in his case he e ms o he dia-
logue we e now mo e balanced and ho izon al,
wi h each a is in e ac ing wi h he d i e s in
a sus ained way. The Boda Boda P ojec also
unc ioned di e en ly in e ms o space, ading
he ela i ely con olled loca ions whe e he
con aine s we e ins alled in KLA ART 2012 o
mo e da ing ou es pa onized by boda boda
d i e s.
In a ecen a icle, Angelo Kakande (2016,
pp. 18–25) showed how Ugandan a is s a e
inc easingly adop ing pa isan posi ions conce n-
ing he in luence o ex alegal o ms o iolence
in he de ini ion o he deba es on Ugandan
public space. The p ojec s belonging o The Boda
Boda P ojec make e iden ha conce n. Among
he issues aised we e e e yday iolence agains
ma ginalized g oups, o example, in he a is ic
p ojec s o Adonias Ocom Ekuwe and Xenson,
Figu e 8. De ail o one o 32Eas ’s con aine s
du ing an exhibi ion opening. Image cou esy o
Teesa Bahana.
Figu e 6. Wo kshop a 32Eas space linked o he
p epa a ion o he Boda Boda P ojec . Image cou esy
o Teesa Bahana.
Figu e 7. De ail o one o he pe o mances
in eg a ing he Boda Boda P ojec . Image cou esy o
Teesa Bahana.
C i ical In e en ions 11, Issue 2 2017
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he liabili y o passenge s and d i e s alike and
he lack o espec o passe sby, which was he
case o he p ojec s o Ronex Ahimbisibwe, Pe o,
Babi ye Leilah Bu ns, o he in isibili y o boda
boda wo ke s despi e cons i u ing a cen al sec o
o Kampala’s economy, as Kino Musoke, Enock
Kalule Kagga, and Sand a Suubi did. O he a is-
ic p ojec s celeb a ed Ugandan popula cul u e
and e nacula c ea i i y such as S acey Gillian
Abe’s, Joshua Kagimu’s, Ka umba Simon Pe e ’s,
Ogwang Jimmy John’s, o Kizi o Mbuga’s.
Finally, ye a hi d g oup o p ojec s s essed he
choosing o he indi idual o collec i e wi h
whom he collabo a ion ook place o e he p o-
duc ion o symbolic alue: De ick Komakech
Figu e 10. De ail o one o he a con e sa ion
sessions held a 32Eas ’s ya d. Image cou esy o
Teesa Bahana.
Figu e 9. A acha lye . Image cou esy o Teesa Bahana.
In e en ions
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chose o wo k wi h one o he ew emale boda
boda d i e s, while he Disabili y A P ojec
Uganda (DAPU) de eloped a wheelchai o be
a ached o a mo o bike, a emp ing a a ime o
deal wi h social ecogni ion and u ban exclusion.
In his las case, a is s and audience join o ces
om he concep ualiza ion o he p ojec o i s
inal de elopmen and ma e ializa ion
14
While
many o he in e en ions a ose wi h a cen al
opic on mind ha was supposed o de elop in o
a mobile a wo k ela ed o i ,
15
he o ma
allowed o mo e complex and in e es ing o ms
o collabo a ion. The 2014 edi ion o KLA ART
gene a ed mos ly posi i e c i ical esponses (see
Namakula, 2014; Se ubi i, 2015), and i was
pe cei ed by many o hose in e iewed as he
beginning o a “new mood” in con empo a y a ,
in e ms o i s p ojec ion in o he public space
and deepening o he e ms o collabo a ions se
in o mo ion.
Besides ope a ing a a local le el, 32Eas has
also a emp ed o ede ine he geopoli ics o
Ugandan a a a egional and ansna ional le el
h ough se e al ini ia i es. To he al eady men-
ioned pa ne ship ha led in o KLA ART 012
we can add i s pa icipa ion in he Eas A ican
a is ic exchange p og am, a esidency ne wo k
linking Uganda, Kenya, and E hiopia, he collab-
o a ion in A ican and in e con inen al pla o ms
such as PAN!C o A sCollabo a o y,
16
and he
elabo a ion o join cu a o ial expe iences such as
he Boda Boda Lounge p ojec .
17
32Eas ’s pa ic-
ipa ion in hose pla o ms has b ough new ques-
ions in o he deba es on a in Uganda, some o
which a e add essed in he con e sa ion ha ol-
lows: he ole o a esidencies in he de elop-
men o egional solida i ies, he possibili ies and
limi a ions o ex e nal unding in de e mining
he a is ic au onomy o local ini ia i es, and be -
e ways o p oducing a sus ained engagemen
wi h he local communi y while a he same ime
add essing mul iple and he e ogeneous audien-
ces. Those elemen s a e a he cen e o he ol-
lowing con e sa ion. The in e iew has been
ansc ibed as is o p ese e he oice and syn ax
o he speake s.
Cas ellano: Hello Teesa, F ed, Nikissi.
All o you joined he 32Eas P ojec
ecen ly. Wha b ough you he e?
Teesa Bahana: F ed has been a ound o
a longe ime, I s a ed in Janua y and
Nikissi wo mon hs ago.
F ed Ba ale: Good ques ion. I had jus
inished school, and I saw on he In e ne
ha 32Eas was doing KLA ART, and
hey wan ed olun ee s. So, I wan ed o
ge exposed o he a ou side om he
school se ings, because I had inished, I
wan ed o explo e wha was happening,
so I applied o olun ee wi h KLA
ART. The e we e wel e con aine s, so
each olun ee was going o wo k wi h
one a is on one con aine , and hen he
ask o hose olun ee s was opening
hose con aine s, which had a wo ks
inside, alking o people abou he exhi-
bi ion, so you had o be knowledgeable
abou he wo ks and he a is s. They
accep ed me, Lillian Nabulime was pa -
icipa ing,
18
and she wan ed me o wo k
u he wi h he . We wo ked a Kampala
In e na ional Uni e si y, i was he e
whe e ou con aine was loca ed, and
hen la e a e he es i al 32Eas was
es ablishing, hey s a ed pu ing con-
aine s, s udios, and so on, so I wen
ahead o know which o ganiza ion pu
up his exhibi ion, and I came he e o
know mo e abou 32Eas and he
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oppo uni ies hey had. Tha ’s how I
came and engage wi h hem. When I
alked wi h Rocca [Gu e idge, one o
he p ojec ’s ounde s], she saw an
oppo uni y o me coming o wo k wi h
hem, she was happy wi h he wo k I
did. I wen ahead and applied, when she
showed me ou , she men ioned he e was
going o be a lib a y, I asked who was
going o be he lib a ian, he e was
nobody, so I saw ha as an oppo uni y.
I applied o be a lib a ian, and I s a ed
co e ing some asks, we collec ed in e -
es ing books, we engaged he a is s
asking hem o sugges eadings which
we could buy o he lib a y.
Cas ellano: Was i in 2012?
Ba ale: Yes, i was KLA ART 012, i
happened in Oc obe , bu I s a ed
wo king he e in Feb ua y 2013.
Bahana: I me Rocca om a iend, we
had some con e sa ions, and she asked
me wha a e you in e es ed in, wha do
you like, and ques ions like ha . Tha
was o e a yea , she was b inging hese
up eally o en. I was wo king a ha
ime wi h a woman who an an NGO
and a consul ing, I was doing communi-
ca ion o he , and hen on he side I was
wo king wi h music es i als, I was on
he eam in cha ge o making i happen.
Th ough ha expe ience I enjoyed being
in ouch wi h c ea i e spaces, bu I also
acknowledged ha I am no ha c ea-
i e. I had been hinking abou doing
my mas e ’s [deg ee] a e he job wi h
ha woman, a p og am in c ea i e cul-
u al en ep eneu ship. I was wha I
wan ed o do, a so o o ganiza ional/
business hinking, bu in c ea i e spaces,
ha was pe ec . Bu hen I me Rocca
and she in i ed me o wo k a 32Eas ,
she o iginally said i was going o be
ope a ional asks, bu in ac , she wan ed
me o ake o e om he . I did no
know i I could do ha , he p ojec was
e y big and I do no ha e a backg ound
in a , which made i kind o in imida -
ing, bu hen I hough abou all he
o he easons why I wan ed o do his
mas e ’s deg ee, and I saw i as p ac ical
applica ion o ha . I was gi ing me he
oppo uni y o pu ing in o p ac ice he
ideas ha you ha e. I had been a 32
Eas a ew imes be o e, when I came
back o Uganda in my ee ime while I
was li ing ou side o he coun y.
I s a ed inding ou wha was going on
in he a communi y, abou he di e -
en galle ies and people a ound. Fi s o
all, I enjoyed he space, which is e y
much a hea en in c azy Kampala, and I
also hough i as a base o a lo o hings
o happen ou side o i , a pla o m o
o he people’s c ea i i y.
Nikissi Se umaga: My backg ound is in
ilm p oduc ion and ilm es i als (I am
igh now a bi ou o wo k...). I ha e
been wo king o a es i al, I disco e ed
ha his posi ion was a ailable and I
wan ed o apply, bu I had also de el-
oped a connec ion wi h 32Eas be o e,
because I eally ne e li ed a om he
space, so I used o come he e qui e o en
o see wha was going on, and hen also
one o he p ojec s I ha e been wo king
on came o 32Eas , so he e was a lo o
in e ac ion wi h i be o ehand. I also saw
In e en ions
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2000s, when she s a ed expe imen ing wi h
sculp u e as a way o gene a ing social awa eness
abou HIV/AIDS among illi e a e communi ies
in Uganda. Ha ing al eady a as expe ience in
a is ic collabo a ion, o he in e en ion in
2012 Nabulime s ood in on o he con aine ,
dialoguing wi h he audience abou he meaning
o he sculp u e and he social ele ance o
AIDS.
10
Closed in 1992, wi h KLA ART he s a ion was
eco e ed o he i s ime since hen o public
usage.
11
This elemen was o iginal in Ugandan a . Besides
“placing he a is s in o he map,” i se ed o
encou age a clima e o dialogue among he com-
muni y o c ea o s and he es i al’s audience.
12
See h p://www.con empo a yand.com/maga
zines/kla-a -pu s-eas -a ican-a -on- he-map/.
13
I is essen ial o ema k he e on he exis ence o a
s ong adi ion o cus omizing and di e si ying
boda bodas, ma a us, and o he ehicles dedica ed
o in o mal anspo . KLA ART 014 seconds
his phenomenon, using a o channel some o
he—again—al eady exis ing aspi a ions o
social ecogni ion and imp o emen s in secu i y
condi ions o he sec o , while bene i ing om
he ib an isual in en i eness o Kampala’s
e nacula scene. I in no way ini ia ed his con-
ex o p ac ice.
14
On DAPU, see h p://www. ee ocha i ies.o g.
uk/dapu/abou us.h ml.
15
The boda boda p ojec was no exemp om a
su p ising and lashy e ec . Fo many, he a is ic
cus omiza ions o boda bodas migh ha e been
pe cei ed as c azy objec s amid he ows
o ehicles popula ing Kampala. While ha gim-
micky dimension was p esen in he ela ions
be ween a is s, d i e s, and audiences, i canno
accoun o he whole di e si y o expe iences
and exchanges engende ed by he ini ia i e.
16
See h p://panicpla o m.ne /; h p://www.a s
collabo a o y.o g/.
17
The Boda Boda Lounge p ojec is a biennial ideo
es i al linked o A ican u ban p ac ices. Since
i s i s edi ion in 2014, i has i ine a ed ac oss
se e al A ican coun ies, ac i a ing a numbe o
side e en s and ini ia i es in he di e en con-
ex s whe e i lands.
18
See h ps://ceda .mak.ac.ug/s a -p o iles/lilian-
ma y-nabulime.
19
See h p://www.a scollabo a o y.o g/.
20
See h ps://immymali.wo dp ess.com/.
21
See h p:// ansa.co.za/.
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