Institutionalism, Public Sphere, and Artistic Agency: A Conversation on 32° East Ugandan Art Trust

Full Te ms & Condi ions o access and use can be ound a h p://www. and online.com/ac ion/jou nalIn o ma ion?jou nalCode= cin20 Download by: [b-on: Biblio eca do conhecimen o online UL] Da e: 12 Oc obe 2017, A : 02:02 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 View C ossma k da a 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 © 2017 C i ical In e en ions: Jou nal o A ican A His o y and Visual Cul u e h ps://doi.o g/10.1080/19301944.2017.1363501 Downloaded by [b-on: Biblio eca do conhecimen o online UL] a 02:02 12 Oc obe 2017 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. INSTITUTIONALISM, PUBLIC SPHERE, AND ARTISTIC AGENCY | 117 In e en ions Downloaded by [b-on: Biblio eca do conhecimen o online UL] a 02:02 12 Oc obe 2017 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. 118 | Cas ellano C i ical In e en ions 11, Issue 2 2017 Downloaded by [b-on: Biblio eca do conhecimen o online UL] a 02:02 12 Oc obe 2017 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 INSTITUTIONALISM, PUBLIC SPHERE, AND ARTISTIC AGENCY | 119 Downloaded by [b-on: Biblio eca do conhecimen o online UL] a 02:02 12 Oc obe 2017 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 120 | Cas ellano Downloaded by [b-on: Biblio eca do conhecimen o online UL] a 02:02 12 Oc obe 2017 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 INSTITUTIONALISM, PUBLIC SPHERE, AND ARTISTIC AGENCY | 121 Downloaded by [b-on: Biblio eca do conhecimen o online UL] a 02:02 12 Oc obe 2017 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 C i ical In e en ions 11, Issue 2 2017 122 | Cas ellano Downloaded by [b-on: Biblio eca do conhecimen o online UL] a 02:02 12 Oc obe 2017 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 INSTITUTIONALISM, PUBLIC SPHERE, AND ARTISTIC AGENCY | 123 Downloaded by [b-on: Biblio eca do conhecimen o online UL] a 02:02 12 Oc obe 2017 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/. REFERENCES Diou , M., & F ede icks, R. (Eds.). (2014). The a s o ci i- zenship in A ican ci ies. In as uc u es and spaces o belonging. London, UK: Palg a e. Ha ney, E. (2004). In Sengho ’s shadow: A , poli ics, and he a an -ga de in Senegal, 1960–1995. Du ham, NC: Duke Uni e si y P ess. Kakande, A. (2016). A and he “ghos ” o “mili a y dic a o ship”: Exp essions o dic a o ship in pos -1986 con empo a y Ugandan a . S a : Jou nal o A s and Cul u e (Kampala), Decembe 14, 1–27. Re ie ed om h p://s a jou nal.o g/2016/12/a -and- he- ghos -o -mili a y-dic a o ship-exp essions-o -dic a o ship- in-pos -1986-con empo a y-ugandan-a / Kakande, A. (2008). Con empo a y a in Uganda: A nexus be ween a and poli ics (Unpublished doc o al disse a- ion). Johannesbu g: Uni e si y o he Wi wa e s and. Kas i , S. L. (2013). A ican a and agency in he wo kshop. Blooming on, IN: Indiana Uni e si y P ess. Kes e , G. (2015). On he ela ionship be ween heo y and p ac ice in socially-engaged a . Re ie ed om h p:// www.abladeo g ass.o g/ e ile-g ound/on- he- ela ionship- be ween- heo y-and-p ac ice-in-socially-engaged-a / Kouoh, K. (Ed.). (2013). Condi ion epo : Symposium on building a ins i u ions in A ica. Os inde n: Ha je Can z Ve lag. Kyeyune, G. (2003). A in Uganda in he 20 h cen u y (Unpublished doc o al disse a ion). London, UK: SOAS. Makhubu, N., & Simbao, R. (2013). The a o change in Sou h A ica. Thi d Tex Special Issue, 27, 299–302. Mamdani, M. (1996). Ci izen and subjec : Con empo a y A ica and he legacy o la e colonialism. P ince on, NJ: P ince on Uni e si y P ess. Namakula, E. (2014). Mapping Kampala wi h KLA ART 014. 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