The home of African art and crafts
THE narrow corridor between the National Theatre building and its expansive courtyard leads down to a well-tended enclosure of small tiled buildings. If you are not careful, you could miss this place, which somewhat shies away from the bustle of the busy theatre, car park and shopping malls.
By Stephen Ssenkaaba
THE narrow corridor between the National Theatre building and its expansive courtyard leads down to a well-tended enclosure of small tiled buildings. If you are not careful, you could miss this place, which somewhat shies away from the bustle of the busy theatre, car park and shopping malls.
Sandwiched between the noisy Dewinton Road and the imposing theatre, the cultural village, a depository for some of Uganda’s and indeed Africa’s most treasured arts and crafts, finds peace in a perimeter of green grass.
The village has been the subject of interesting developments in recent months. Art producers and dealers under the National Arts and Crafts Association of Uganda (NACAU), appealed to the Minister of Gender, Labour and Social Development over the exorbitant ground rates imposed on them by National Cultural Centre.
The self-supporting dealers and producers were shocked at the over 100% increment of rates from sh9m to over sh20m ground rate every quarter.
It also underwent a facelift in preparation for the Commonwealth Heads of Government Meeting (CHOGM) in which the corrugated iron sheet roofing was replaced with the sparkling orange one.
However, the village did not do good CHOGM business as it was overshadowed by crafts vendors who were strategically placed in the theatre front yard by the CHOGM organisers. Today, the village exudes a new, improved look and nostalgic memories of a CHOGM raw deal.
Nevertheless, it remains one of the most visited cultural centres in the country, attracting an average of 150 visitors of different nationalities everyday. “There are unique artifacts that remind one of the warm, cultural diversity in Uganda and other African countries,†said one British tourist on a visit there.
In a span of ten years, the village has hosted Jimmy Carter, former US president, His Highness Godwin Zwelithini, King of the Zulu, Mrs. Hashemi Rafsanjani, wife of the former President of Iran, Ron Brown the late former US Treasury Secretary, ambassadors and various foreign dignitaries.
Interestingly, not many government dignitaries have found time to visit it. The village is made up of over 40 stalls lined in a semi circle from one end to the other. Each has an assortment of artworks and crafts from Uganda and other countries.From handcrafts to paintings to rare African sculptures, the cultural village offers a variety of functional and decorative works of art. Most of the items on sale are locally-made, while some are imported from Kenya, Congo and Tanzania, among others.
From original pottery and urns, necklaces, bracelets, sandals, baskets, African textile designs, stools and traditional music instruments, the village reflects the cultural diversity in Uganda.
And yet, today, it still struggles to assert its relevance in a society that has little appreciation of the value of art. Since its creation, this cultural home is yet to attain the much-needed recognition from the Government as an important stakeholder in the promotion of the tourism industry. “We play an important role in promoting culture and tourism through selling and showing Ugandan arts and crafts, but we have been undermined and neglected by government.
We call for a national policy to protect, market and subsidise arts and crafts,†says Nuwa Nnyanzi, a specialist in batiks and a promoter of young artists.The cultural village was founded in 1994 in the aftermath of the Pan African Conference in Uganda. It was the brainchild of Gen. Elly Tumwine, then a chairperson of Uganda National Cultural Centre (UNCC) Board of Trustees, who, after an art exhibition in Lugogo, felt that artists ought to get a permanent home to exhibit and sell their products.
UNCC then allocated a vacant piece of land next to the National theatre to artists, producers and art dealers, who were ready to construct their own stalls.
Vibrant art producers and dealers, including those that operated privately and others who were based at Bat Valley and Imperial Hotel, came together and occupied the place. Now other art and crafts centres have sprung up at Buganda Road, on Masaka Road and other places. Despite its rich cultural heritage, Uganda is yet to acknowledge arts and crafts as a potential tourist attraction and income generating activity.
This is a far cry from countries where Governments get directly involved in promoting the crafts. Kenya, for example, banned importation of crafts from other countries in the 70s to protect its thriving arts and crafts market.
Today, the Kenyan kiondo, the Makonde and kisii soapstones are among the most sought after works in the world as a result of robust polices to market valuable national artifacts. Uganda could learn a thing or two from its neighbours.
THE narrow corridor between the National Theatre building and its expansive courtyard leads down to a well-tended enclosure of small tiled buildings. If you are not careful, you could miss this place, which somewhat shies away from the bustle of the busy theatre, car park and shopping malls.
Sandwiched between the noisy Dewinton Road and the imposing theatre, the cultural village, a depository for some of Uganda’s and indeed Africa’s most treasured arts and crafts, finds peace in a perimeter of green grass.
The village has been the subject of interesting developments in recent months. Art producers and dealers under the National Arts and Crafts Association of Uganda (NACAU), appealed to the Minister of Gender, Labour and Social Development over the exorbitant ground rates imposed on them by National Cultural Centre.
The self-supporting dealers and producers were shocked at the over 100% increment of rates from sh9m to over sh20m ground rate every quarter.
It also underwent a facelift in preparation for the Commonwealth Heads of Government Meeting (CHOGM) in which the corrugated iron sheet roofing was replaced with the sparkling orange one.
However, the village did not do good CHOGM business as it was overshadowed by crafts vendors who were strategically placed in the theatre front yard by the CHOGM organisers. Today, the village exudes a new, improved look and nostalgic memories of a CHOGM raw deal.
Nevertheless, it remains one of the most visited cultural centres in the country, attracting an average of 150 visitors of different nationalities everyday. “There are unique artifacts that remind one of the warm, cultural diversity in Uganda and other African countries,†said one British tourist on a visit there.
In a span of ten years, the village has hosted Jimmy Carter, former US president, His Highness Godwin Zwelithini, King of the Zulu, Mrs. Hashemi Rafsanjani, wife of the former President of Iran, Ron Brown the late former US Treasury Secretary, ambassadors and various foreign dignitaries.
Interestingly, not many government dignitaries have found time to visit it. The village is made up of over 40 stalls lined in a semi circle from one end to the other. Each has an assortment of artworks and crafts from Uganda and other countries.From handcrafts to paintings to rare African sculptures, the cultural village offers a variety of functional and decorative works of art. Most of the items on sale are locally-made, while some are imported from Kenya, Congo and Tanzania, among others.
From original pottery and urns, necklaces, bracelets, sandals, baskets, African textile designs, stools and traditional music instruments, the village reflects the cultural diversity in Uganda.
And yet, today, it still struggles to assert its relevance in a society that has little appreciation of the value of art. Since its creation, this cultural home is yet to attain the much-needed recognition from the Government as an important stakeholder in the promotion of the tourism industry. “We play an important role in promoting culture and tourism through selling and showing Ugandan arts and crafts, but we have been undermined and neglected by government.
We call for a national policy to protect, market and subsidise arts and crafts,†says Nuwa Nnyanzi, a specialist in batiks and a promoter of young artists.The cultural village was founded in 1994 in the aftermath of the Pan African Conference in Uganda. It was the brainchild of Gen. Elly Tumwine, then a chairperson of Uganda National Cultural Centre (UNCC) Board of Trustees, who, after an art exhibition in Lugogo, felt that artists ought to get a permanent home to exhibit and sell their products.
UNCC then allocated a vacant piece of land next to the National theatre to artists, producers and art dealers, who were ready to construct their own stalls.
Vibrant art producers and dealers, including those that operated privately and others who were based at Bat Valley and Imperial Hotel, came together and occupied the place. Now other art and crafts centres have sprung up at Buganda Road, on Masaka Road and other places. Despite its rich cultural heritage, Uganda is yet to acknowledge arts and crafts as a potential tourist attraction and income generating activity.
This is a far cry from countries where Governments get directly involved in promoting the crafts. Kenya, for example, banned importation of crafts from other countries in the 70s to protect its thriving arts and crafts market.
Today, the Kenyan kiondo, the Makonde and kisii soapstones are among the most sought after works in the world as a result of robust polices to market valuable national artifacts. Uganda could learn a thing or two from its neighbours.