'DEFEND’ takes centre stage at the 2025 Human Rights Are Universal Arts Festival in Kampala
Organised by East Africa Visual Artists (EAVA), the visual art, poetry, film and music all centered on the urgent need to protect human rights, democracy and freedom of expression.
An attendee taking pictures with her favourite art piece at Xenson Art Space in Kamwokya
On Independence Day, the fourth edition of the Human Rights Are Universal Arts Festival (HRAUAF) opened with powerful resonance at Xenson Art Space in Kamwokya, Kampala. Under the theme, “DEFEND,” the festival brought together artists, activists and cultural thinkers.
Organised by East Africa Visual Artists (EAVA), the visual art, poetry, film and music all centered on the urgent need to protect human rights, democracy and freedom of expression.
The theme is grounded in four critical pillars where the defense of human rights is most acutely needed: climate change & environment, discrimination & social exclusion, democracy and freedom of expression.
A key feature of this year’s edition is the EAVA Artists Residency, a new initiative launched in 2025 to support emerging visual artists working at the intersection of art and social justice.
The four-month residency provides mentorship, studio space, materials and a platform for public engagement. Six artists were selected through an open call. They are Lyara Norah Karabo, Roselock Namirimo, Agaba Hillary, Wamala Nyanzi, Biira Shalote Mayani and Aksanti B. Bienfait. Their works were unveiled during the festival, offering audiences a visceral, thought-provoking experience.
Among the standout pieces was Empty Seat in the Forest by Biira Shalote Mayani. It is a haunting oil on canvas work depicting a solitary chair amidst a devastated forest, symbolizing the absence of collective responsibility in defending the environment. The piece quickly became a highlight of the exhibition, sparking animated discussions among visitors.
Other featured works made out of different media included History of Violence, Shared Identities and The Empty Seat by the Stream. Cycle of survival and Silent death of nature also offered layered commentaries on displacement, memory and the struggle for belonging.
Rooted in social practice, the artworks were not created in isolation but emerged from conversations with communities and collective experiences. Conversations spilled into the open courtyards, where live poetry and music continued the festival’s momentum.