Uganda Tourism Revenues Rises to $800m

Gas Shortage Hits Kampala

A shortage of diesel has hit Kampala due to a delay of vessels that were bringing in the product through the Kenyan port of Mombasa.

The shortage has already seen some dealers increase the fuel prices although others have maintained the old prices.

Diesel has increased generally from sh3080 to as high as sh3200 at most filling stations.

A few stations have also taken advantage of the situation to increase petrol prices from sh3500 to sh3580 especially when their competitors run short of the products.

The increase has been noticed at several Shell, Kobil and Total filling stations in and around the city. However, some stations like Gapco Bwaise, Mo Petrol Kagoma and Total Keti Falawo along Bombo road were still selling petrol at between sh3450 and sh3500.

Diesel is the most used oil product in Uganda with over 1,585,000 litres used per day, according to the energy ministry data. But petrol which is consumed at 940,000 litres daily is now on higher demand.

A dealer who did not want to be named said there has been a delay in the supply of diesel in the last 10-14 days, forcing some dealers to increase prices out of speculation.

“There is a general shortage of diesel on the market.  But it should not be a basis for increasing prices because the product is still on the market especially among big dealers,” the dealer noted. He, however, anticipated that the supply would normalize by Monday next week.

Rajni Tailor, the petroleum dealers’ national chairman said the shortage has been noticed not only in Uganda but also in Kenya. Tailor appealed to government to work on storage facilities arguing that; “Delays should not cause a shortage of fuel. Like I have said before, government should work on the reserves because when you have reserves you can run for a whole week even if vessels delay.”

Tailor also suggested that the MV Amani ferry that is operating along the Port-Bell Luzira-Mwanza route should also be used to bring in fuel through Tanzania.

“The ferry has a capacity of loading up to 40 wagons,” said Tailor. MV Amani with a seating capacity of 150 passengers is operated by Earthwise and plies the Port-Bell Mwanza and Port Bell-Kalangala routes.

In July this year, a shortage of petrol hit mostly Total filling stations in and around Kampala, resulting into panic buying by motorists causing the little available stocks to run out fast.

The shortage that was also caused by a delay in the vessel, resulted into hiking of petrol prices from sh3550 to as high as sh3900 with small dealers like Rio Oil, City Oil and Eagle, taking advantage of the situation

Oldest Fossil Ever Discovered on Earth Returned to Uganda

Remains of what is believed to be the oldest fossil ever discovered on Earth has been returned to Uganda. The fossil was discovered by a joint team of Ugandan and French scientists last year on July 18th 2012 at Napak, near mount Moroto, in Karamoja, North Eastern Uganda and is called Uganda pithecus Major.

This is the oldest, most complete ape fossil ever to be discovered on Earth and is believed to be aged between 19 and 20 million years. He has been returned after spending about a year in the French capital Paris where the skull fragments discovered were used to make a reconstruction of what the skull may have looked like.

Dr. Martin Pickford, a member of the team that discovered the fossil said that it could not be reconstructed here because it was so delicate and we lacked the necessary equipment to carry out the reconstruction.

He explained that the skull belonged to a tree climbing herbivore that must have died when it was about 10 years old, in its adolescence stage. The original fossil will be displayed as it was discovered, in pieces. Researchers in Paris scanned the fossil and using their knowledge of hominid development and a chimpanzee skull for comparison were able to digitally rebuild the skull.

true

Prof. Brigitte Senut of the Paris National Museum of Natural History who headed the project from the French side noted that multiple reconstructions were done in order to arrive at the most likely reconstruction of the skull.

Minister of Tourism, wildlife and Heritage Prof. Ephraim Kamuntu commended the scientists, calling their discovery a major one. “This fossil is very special. It’s like winning a gold medal at the London Olympics. We take pride in the fossil because it was found in our land. It is our contribution to the understanding of the origin of man.’’

The minister rubbished rumours that government intended to demolish the National Museum to give way for the construction of a mega building, saying the rumours were baseless.
“We can’t destroy our heritage like that. When you see the president giving sh2b for the reconstruction of the Kasubi tombs, it means we take our cultural heritage very seriously.’’

He said the fossil would be put in the museum so scholars and other people all over the world who were curious to know about the origins of mankind could come see it. Casts made of the fossils, will also be sent to competing paleontologists worldwide to increase the chances of getting an accurate reconstruction.

“If we attract more people to Uganda this means more revenue for the country.’’This year lonely planet, the largest travel guide book in the world, named Uganda the favorite tourist destination in the world.

He thanked the French government, which he said has been consistent in funding tourism related activities in Uganda. The minister revealed that in March this year the French people reconstructed a museum—the Karamajong Cultural Museum in Moroto—after the people of Karamoja expressed to the French Embassy in Uganda their need for a museum focused on their cultural heritage.

Prof. Senut said they returned the fossil back to Uganda because the fossil belongs to Uganda. It is part of Uganda’s heritage and the knowledge to be had from it represents yet another of Uganda’s contributions to the scientific community.

Uganda Tourism Minister opens new Heritage Museum

The Uganda Minister of Tourism, Prof. Ephraim Kamuntu, lamented the lack of funding when opening a new privately-owned heritage museum in Mbarara just before Christmas. He used the opportunity to ask for equitable funding for his ministry and the tourism sector, commensurate with the contribution of the sector to the national economy, which he pegged at over 9 percent of GDP, and yet in his own estimate, his ministry was receiving a paltry 0.13 percent from the national budget allocation.

Only recently was Uganda elevated by “Lonely Planet” as THE destination for 2012, but in the absence of sufficient funding, matching the promotion and marketing expenditures of say Kenya or Rwanda, Uganda is expected to fail capitalize on this unique opportunity, leave alone being able to produce some very special promotional campaign as the country enters its 50th independence year.

President Museveni, who was present at the opening ceremony of the new museum in Biharwe township in Mbarara, Western Uganda, was seen nodding to the remarks, giving some hope that a directive to the finance ministry may yet come forth, but its value immediately put in doubt considering the general budgetary constraints of government, in the light of economic developments and runaway inflation.

While most lodges were booked up over the Christmas holidays, fewer than normal Ugandans were seen entering the parks, leaving the field to wealthier expatriates who are not hit by the devaluated shilling as they are paid in hard currency, countering a policy of bringing more and more Ugandans into the national parks and game reserves and staying in the safari lodges and safari camps, unlike in Kenya where the Kenya Tourist Board together with Kenya Wildlife Services has launched the #TembeaKenya campaign, having to get Kenyan know their country better.

Nnyanzi Art: Visual Feast From The Pearl Of Africa

Two artists who share the same heritage chose to share their artistic creations with the community and visitors of Whitstable from May 11th to 24th, 2005 at the Horsebridge Arts and Community Centre.

The exhibit, which attracted more than 800 visitors, showcased Nansubuga Kolawole’s poems, which successfully illustrate Nuwa Wamala Nnyanzi’s most recent works of art.

Nansubuga, is married with two children, has a bachelor’s degree in Law from the University of Bristol, UK and a Masters in Science in Development Studies. Nansubuga is a new entrant in the field of art. Nnyanzi is a veteran of twenty-six years. Nnyanzi a self-taught visual arts practitioner recently graduated with a first class MA Design (Professional Practice) degree from Middlesex University, UK.

Nansubuga grew up appreciating art and later on became a collector. Nnyanzi’s art so inspired her that not only does she collect it but promotes it too and is responsible for organizing the exhibitions. Nansubuga said that as a compliment to her cousin’s illustrious career spanning a quarter of a century, she decided to put her feelings and interpretation in poem form.

One of her poems; ‘I Will Be Here For You’ appropriately hang next to Nnyanzi’s ‘You Are My World’, a batik painting portraying a mother holding her child in a loving and tender manner. Nnyanzi’s use of mono colour and simple lines to capture motion and emotion is clearly manifest in this piece. So is Nansubuga’s choice and arrangement of words.

Another example of the successful collaboration between the two cousins is demonstrated in Nnyanzi’s ‘Gender Issues’, in which a woman clad in busuuti (one of Ugandan women’s traditional dress) is portrayed writing on a banner words, which read; ‘Empower Women.’ The same banner on the left hand side; is supported by a woman clad in munagiro (yet another Ugandan women’s traditional attire). While on the right side is a man pounding food, a role that is traditionally dominated by women. The man’s mortar is raised and at the top it serves as a flag post for the banner.

Nnyanzi’s legendary commitment to his faith also manifests itself in some pieces such as; ‘The Pentecost’, ‘Taking Care of Humanity’, ‘The Trinity’, while his pan-Africanism is vivid in: ‘African Defence Symbols’ and ‘African Connection.’

Although a pan-Africanist, Nnyanzi without apologies is proud of his roots in the centuries old kingdoms of Bunyoro Kitara and Buganda located in the great lakes region. It comes out clearly in the newly created pieces such as; ‘Mujaguzo’, ‘Emotionally Engaged’, ‘Rhythm and Emotion’, and ‘The Joy of Life.’ The two also addressed other areas in the show, which included responsible parenthood, love, royalty, effects of war, and challenges the youth face.

The art exhibit attracted a cross section of people. Basing on the comments recorded in the guest book and exchanges between guests and artists; viewers seem to have been emotionally touched. Among the visitors were children, youth, middle aged, and senior citizens. The majority of them especially those who were seeing that type of art for the first time were impressed by the application of colour, mastery of depicting motion and emotion, the choice and arrangements of words and titles.

The first weekend attracted over four hundred visitors from different parts of the world because Whitstable is a very popular tourist destination. The majority of them had no idea where Uganda is located on the map. With the help of a map and a lot of story telling they were more informed by the time they left.

A six year old girl on seeing the piece titled ‘The Pentecost’, which portrays the Apostles raising their arms to receive the Holy Spirit, while emulating the gesture she broke into a song; YMCA. It is clear that the gesture reminded her of The Village People’s song YMCA and the video clip, which shows people singing and raising their arms to form letters that make up YMCA. That was her personal interpretation.

Artists who were exhibiting in the neighboring gallery also expressed their fascination with the art they were seeing for the first time. One of them, a retired swimming pool designer described the art as; ‘Very African on the outlook yet with many key elements of European art’. He added; ‘It is very tranquilizing’.

An eighty year old woman who was the first to acquire a piece from the collection turned her bag inside out in search of money but could only come up with less than what was necessary. But she was not to be outdone. She rushed home to collect the balance. Luckily for her, on her way home she met with her husband who gave her the entire amount. As she was trying to explain to him why she desperately needed to get the art, he just waived her off saying: ‘seeing how excited you are about it. I will like it too. So go ahead and get it darling’.

Art students from the University of Canterbury also found the art show very useful in terms of exposure to new forms of art. They also saw it as a valuable resource material for their projects. A teacher of a school for disabled children booked a day to bring his students to the exhibit because he felt that they were likely to benefit from it in terms of visual entertainment and emotional therapy.

A husband to one of the artists exhibiting in the neighboring gallery described Nnyanzi’s art as graphic, colourful and very moving. He said that if he were to buy he would go for ‘At Peace With Each Other’ because of the shapes and forms, which when put together bring out how the woman and man in the piece feel about each other. The woman’s hand tenderly and possessively holds the man’s head close to her bosom. The man obligingly, with eyes closed rests peacefully and seems to be enjoying every moment of it. And the woman with her eyes closed and a faint yet revealing smile on her lips says it all.

Artist Olive Powel’s husband, a retired designer of swimming pools, on walking into the exhibition hall said he felt like collapsing in a rocking chair in front of the art pieces and taking in everything. He described the works of art as soothing and musical. He suggested to his wife that next time she felt like giving him a present she would be well appreciated if she bought him; ‘At Peace With Each Other.’

John Winston Jenkins, a trained draughtsman and visualiser who had worked for a big landscaping firm and later established his own consultancy in the swimming pool industry found Nnyanzi’s art refreshing.

Michael Stringer aged 71, retired designer and painter, and a remarkable storyteller described Nnyanzi’s art as very African and detected some resemblance with the French artist whom he believes influenced Pablo Picasso. Unfortunately he could not recall his name. But he promised to go and find out from the library where he had seen it. With his walking stick he slowly made his way to the library and was back later with the name and an interesting story to tell. The name of the artist happened to be Ferdinand Leger. He talked about a book on the lives of Picasso, Braque and another famous French artist whose art Picasso did not want to compare with his. But on the author’s insistence, at the breakfast table Picasso leaned forward, both hands on his cheeks and blurted out ‘That bastard can paint.’

The most popular pieces in the exhibit were: ‘At Peace With Oneself’ and ‘Outdoing Each Other.’

The work reminded Peter Hackford of Egypt where he had come across the quote’ I hold you in my heart like a reed in the arms of the wind’ To him the curves and embrace were a show of love.

All in all the exhibit was successful in terms of exposure and there is need for a more exhibits in future to make the people more familiar with our art. As a result more people may develop a taste for our art to the level of acquiring it. With the policy of fair trade being promoted by European countries it is likely that the visual arts industry will benefit greatly from the move. Besides it is high time Uganda contributed to global culture instead of just being consumers.

All the new pieces on show plus others, which are yet to be revealed to the public will soon be posted on; www.nnyanziart.com

Tooro Kingdom: A Sneak Peek

In the South Western part of the country, adjacent to the Great East African Rift Valley’s western arm, at the foot of the magnificent Rwenzori ranges, the �Mountains of the Moon�, lies one of Africa’s oldest societies.

It is recorded that until the 1830s, Tooro was part of Bunyoro-Kitara, one of the ancient kingdoms in this region. In 1836 Olimi Kaboyo the son of Kyebambe III Nyamutukula of Bunyoro-Kitara, set up Tooro as an independent Kingdom. However, in 1867 Kabalega was crowned king of Bunyoro- Kitara and invaded Tooro under the reign of Nyaika Kasunga, the son of Kaboyo 1. Nyaika had just assumed power after killing his brother Rukidi I. British colonial era set in at the time as 1891 saw the arrival of Lugard with his intimidating Maxim gun. He promptly installed the young Kasagama as King Kyebambe IV of Tooro.

Abwoli Kansiime is from Tooro, she echoes nearly 90 percent of Batooro sentiments and mannerisms you come across on any given street, even with her university education. �Something deep inside me was moved beyond words,� she said. �When they said we now have our king, it was like my spirit was lifted way up and there and then the kingdom was a part of me.� Abwoli recalled the restoration of kingdoms in 1995 with a glittering face, voice stuttering and glistening eyes. A warm smile spreads all over her beautiful face as she falls back in deep thought. Approaching her mid forties now, Abwoli was in her teens when the Uganda government, under Milton Obote, abolished all kingdoms in 1966.

Libya�s President Ghadaffi has turned out to be a blessing to the kingdom under the reign of twelve-year-old King Oyo Nyimba Iguru. Ghadaffi has funded the rehabilitation of the palace plus additional contributions to this kingdom.

Those watching Ghadaffi in Tooro continue to miss the cue to what seems to be an earnest search of cultural rebirth. All the speculations are clouded in the stunning beauty of the Batooro, saying that he has been stricken by the exquisite looks of Tooro Queen Mother Best Kemigisa, romantically linking them together. She dispels the speculations saying that they just happen to be friends and that that is why Tooro now has a beautiful palace.

Still recovering from years of neglect as a kingdom, the Batooro now face the same questions being asked by other kingdoms. Where to place these cultural institutions in Uganda’s regional governments? Will it work and what will it mean for the Batooro?