Njabala Holding Space

An exhibition on rest, care and labour

Makerere Art Gallery

8th - March - 2023

The Annual Njabala Exhibition (ANE) is the main event on the Njabala Foundation’s calendar. Centered on and inspired by the Njabala folklore,ANE seeks to facilitate visibility for women artists through thematically curated exhibitions exclusively featuring women artists. The first iteration of ANE was held on 8th March 2022. Titled Njabala This is Not How and featuring eightUgandan women artists, the exhibition explored subverting silence through presenting various works imbued with love, memory and activism.

The 2023 iteration titled Njabala: Holding Space is an exhibition about the efforts to rest and organize time in a world designed to constantly exploit women. Inspired by Njabala folklore's portrayal of Njabala as the “lazygirl”, the exhibition explores (mis)interpretations of rest, care and labor, especially in a Ugandan context. Ugandan artist Pamela Enyonu as well as the three artists who were accepted for the Annual Njabala Open Call of 2021 namely Birungi Kawooya, Mable Akeu and Pepita Biraaro have been reflecting on the themes through 2022 and have made new works for the exhibition.

Njabala: Holding Space exhibition is preceded by a rest session organized by Njabala Foundation in partnership with Iraa the Granary and Buuka space, one year earlier, on 8th March 2022 at 8:00 am, in which we convened women artists and cultural professionals to speak about rest. Relatedly, Njabala Foundation has conceived a couple of events such as walks, walkabouts, offsite performances and workshops to hold conversations about rest, care and labor throughout the duration of the exhibition.

Artists

Collaborators:


Excerpt from Gloria Kiconco’s commissioned essay on Rest in a Ugandan context for ANE 2023

In the story of Njabala, Njabala’s only crime was to live the African dream

In music there are notes to indicate when to play and when to rest. In texts there is punctuation to indicate when to read and when to stop. How to pace. There is space between the lines like a silent breath. In life there is between heart beats. There are stop lights. There is a rhythm to most things. But there is no one conducting our orchestra. There is no sheet music to say play, pace, and pause. There is only productivity and how to guides on why it is your fault you are not more productive and not more rested and 20 things you can do to change it.

Today, the global discussion about rest is largely in response to a productivity culture that claims our every waking moment. We know we are feeding a machine whose input is exploitation and output is distance: the wealth gap, the gender gap, the racial divides. We leap in and come out the other end farther from others and farther from our dreams. Not only does it devour our days, for some, it seeps into our sleep. The unfinished tasks of the day reappeared in dreams.

We learn so early to speed up instead of slow down. To do more to meet ever higher demands. I remember my colleagues who would be up at 4am to rouse the house and get every one off to an early start. Mothers who were the ticking clock of their house. They would drop the children off at school and be in at work by 6am to put in enough hours to leave early enough to pick their children in the rushing evening hours. Home in time to eat. Home in time to sleep and reset the clock.

An African woman at rest, does not tend to stay at rest. No one will let her (not even her self). She is an endless helping hand, forever stoking charcoal, weeding, washing dishes, looking after children. She is taught, at least in Uganda, that to be the proper woman she will be the first to rise and the last to sleep. She will close the kitchen and close the day with the sigh of the last embers in the stove. Tomorrow, she will rise with the sun and start again.

In the story of Njabala, Njabala’s only crime was to live the African dream. To grow up with parents that provided everything for her so that she didn’t have to work as they did. It was only once they had died and she had to marry that she had to clean and till and cook. When she couldn’t her husband beat her. As if to say, her soft hands had earned her violence. In Njabala’s world, the world of Ugandan girls, idleness is a vice and productivity a virtue. Produce work, produce results, produce children.

We fight for the privilege to rest, just as our parents did. We fight to have enough to earn time off, a vacation, retirement. We know that our time on earth is limited, 4000 weeks on average. We know our energy is limited and often compare ourselves to devices – battery low, please recharge. We are pummeled with messaging around life-work balance and somehow it has become our individual duty to dig ourselves out of this collective hole.

Watch out for the full text and more information about the artworks in the exhibition catalog.

Installation shot. Photo by Royal Kenogo

Installation shot. Photo by Royal Kenogo

Artists and exhibited projects

By Mable Akeu

Images: Selfcare, Mable Akeu, charcoal and coloured pencil on paper, 86 x 61 cm 2023. Smile, Mable Akeu, charcoal and coloured pencils on paper, 86 x 61 cm,2023. A chat with Mum, Mable Akeu, charcoal and coloured pencil on paper, 120 x 89 cm, 2023.

This ongoing body of work is inspired by a practice locally known as okumwa ekyenyi (shaping the hairline). I am particularly drawn to shaping the hairline by a mother to her daughter. Its one of the bonding and self care activities women engage in as a way to rest and unwind especially after chores. During this practice, the mother and daughter sit facing each other with the mother on a raised seat and the daughters on the floor. The mother then starts to slowly shape the hairline as they share thoughts and con- versation. As a daughter who still shares this tradition with my mum, it is of sentimental significance to me. In these rare moments of light heartedness and laughter with her, I get to unwind and disconnect from the world. I feel loved, cared for and above all I feel rested.

Ikwamin (The Winds) I &ii

Images: Ikwamin (The Winds) I &ii , Pamela Enyonu, acrylic and marker pen on canvas, 160 x 130cm, 2022.

A Few Burning Questions

“A Few Burning Questions” serves as an invitation to en- gage in honest and vulnerable conversations with one an- other, particularly with our elders, even if such conversations may be uncomfortable. Inspired by a daughter’s inquiries to a maternal figure, this piece aims to explore the nature of dialogue, particularly between parental or mentor figures and their younger counterparts. What is shared and what is withheld in these conversations? What are the reasons behind such selective communication, and what are the consequences of withholding certain truths? Maintaining silence only perpetuates the status quo and the lies we tell ourselves to avoid disrupting the patriarchal and capitalistic systems that dominate our society.

Image: A few burning questions, Pamela Enyonu, mixed media installation,2023.

 Past –Birungi, you are (not) hysterical,Birungi Kawooya, bark cloth,banana fibres,wax pastel...

Images: Past –Birungi, you are (not) hysterical,Birungi Kawooya, bark cloth,banana fibres,wax pastel, 2 0.85 x H 1.1 m, 2023. Present – You need to work twice as hard to recover from..., Birungi Kawooya, barkcloth,banana fibres,wax pastel W 1.75 x H 1.2 m, 2023, Future – fly Birungi,Fly!, Birungi Kawooya, Bark cloth,babana fibre, Wax pastel, H 2.5 x W 1.3 m, 2023.

Can you rest? Palm and banana fibre mukeka. Bark cloth sheet. W 1.2 X H 2m,2023

Can you rest? Palm and banana fibre mukeka. Bark cloth sheet. W 1.2 X H 2m,2023

Past, present and future self-portraiture triptych

Stemming from my daily journaling practice where I write about my ideal future and present, so I can stop reliving past trauma and maintain anxiety, I have created a triptych of a Past, Present and Future Self-Portraits. By creating a visual representation of my writing practice, I hope to confront the initial source of the trauma inflicted by my Father and depict my past, present and future selves healing and restoring my humanity.

Past – Birungi, you are (not) hysterical.

On the reverse of natural lubugo surface, I am depicted in a wax pastel with my hand covering my mouth, crouching behind an in- terpretation of a Ganda shield which is em- bedded with a panga. A banana tree that has been cut will also represent the pain of being gaslit by my Father. I choose lighter side of the lubugo to signify the UK, where I lived at the time. The words on the panga read “patriarchy white supremacy imperial- ism ableism classism as these are the forces which traumatise me.

Future – fly Birungi, fly!

On a black lubugo canvas, my future self is upright and strong. The multiplicity shown in her stance, she is dancing, holding a spear and shield and possibly levitating like the title suggests and the expanse of black lubugo reflects the myriad of choices and modes of being open to her. The spear reads “RESISTANCE”. I hold the trace of a shield, it no longer covers me. I have my back to the viewer as I move towards a fully grown banana tree whose three leaves are full and torn. The banana tree is fruiting.

Can you rest?

The installation invites womxn, femmes and non-binary folk to rest and meditate. It is a mukeka made of white palm, dark brown and light brown ebyaayi, natural lubu- go as a cover and a basket as headrest.

Materials and significance

I have chosen to work on a canvas of lubugo, traditionally used by the Ganda tribe as a shroud, a metaphor for the death of my past selves and toxic beliefs I am working to purge. Collaging with ebyaayi, a strong and versatile material, I get to further engage with cultural significant materials capable of transforming, when I was told by my Father that I didn’t understand my culture. Working with these materials, I am asserting my right to access and re- interpret my culture and develop my own voice, when I have felt silenced.

A project by

Njabala

In collaboration with

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With financial support from

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Vectorised Logo AKKA Project