INTRODUCTION WHO IS BANADDA GODFREY?

INTRODUCTION

[and who is Banadda godfrey the artist?]

When I asked my father as to why he named me Banadda, Daniel Bbosa replied: “Long ago, about 700 years past, there were wars which raged between the Baganda and Banyoro for territorial expansion. It was uncertain whether the Baganda fighters who went to fight against the Banyoro would ever come back alive, just like most fighters who go to battle”.

The name Banadda was hence coined to give an optimistic tint for the fighters to come back alive and not fall at the battle field. In Luganda, the name ‘Banadda’ connotes an English version of optimism; ‘They will come back’; meaning that the fighters were not expected to die while at war, but would come back alive.

Daniel Bbosa of the sheep clan was married to Esther Nakato Nalubowa; an identical twin, and daughter of the Late Tito Zabasajja Ssekulima of the Leopard clan. Nakato is still alive and aged about 75 years. Bbosa Daniel died on 13^th May 2012.

Nakato and Bbosa gave me the names I carry to date. While my father named me Banadda for the clan name, my mother named me Charles Godfrey as the names read from my baptism card issued from Namirembe Cathedral in 1958. I am hence called Banadda Godfrey.

The name Charles never took root and I do not recall at anyone time being addressed as Charles by either my late father or my mother; except by only one relative the late Nabbosa Costa, daughter of the late Galabuzi Matyansi of Bubezi Gayaza Mpigi Mawokota. Between the ages of two to three years, I may have stayed with Nabbosa for about one or two years, and she was the only person among my relatives who I have ever heard call me by the name Charles; which she seldom did.

None of my academic or official documents bears this name. It was not meant to stick and I do not miss it. After all, Godfrey as a name is closer to the belief in God and the faith I belong to; the Church of Uganda.

Discovering the Artist and Painter in me

My father was the head of the motor vehicle mechanics who worked with the Tsetse control department in Masindi located about four kilometers from Masindi Town in the direction of Hoima, and away from Kampala by 130 Miles. He mainly specialized in repairing Land Rovers and Bed Fords which were the types the Ministry of animal Industry used to import after Independence from British rule in 1962.

By 1971, I was a pupil in primary five at Nyamigisa Primary School which was for boys only and with a catholic background. In this school, we did handwork which involved the making of mats from papyrus as one of the subjects.

What I will never forget while making mats at this school is that the size of the mats I used to make was far too large for my age and body size; to the extent that Mr. Majune; who was in charge of handwork, always had no alternative but to award me with 100%. No mark in other subjects was ever better than what I used to score for handwork. But the trick I used to play was simple. Myself and other children, about four in number, would find time over the week end and go back to the swamp around a place called Kirasa, approximately six miles from the school in the direction of Kihande, on the road to kampala, and we would cut as many more papyrus as we had cut first time when the school officially took us out. This, we would carry out about twice in a term.

It was after growing up that I realized how much of a risky business we were involved in by going to the swamp alone and with out a teacher in our company. The swamp had a deep flowing river which could swallow any child below the age of fourteen! There were also snakes which we did escape at one time.

I am quite sure that it was at Nyamigisa Primary School that my practical skills were first put to test. The making of these papyrus mats did not only expose me to the skill of extracting sisal fibre from sisal blades, I also learnt how to make sisal strings with which I would tailor the mats. I used to get my sisal from a place called Nyangahya from the garden of a local bar owner by the name of John.

In terms of developing artistic talent while at Nyamigisa, nothing was taught to us beyond making mats from papyrus. There was no drawing or painting pictures at this school.

The closest I came to doing art or drawing at this level was when I discovered at home; that my father did own a book related to assembling and dismantling engine parts for Land Rovers. On the first page of this book was this attractive picture of a Land Rover, photographed in black and white. I remember being captivated by this picture, which I kept drawing all the time; each time I opened this book. I did perfect the drawing and I remember comments from neighbours and my sisters who expressed amazement for a child in primary five to have had the ability to draw almost perfectly. Beyond drawing the Land Rover, I remember spending a lot of time looking and scrutinizing other pictures of dismantled engine parts in the same Book. Little did I know at this age, whether I was an artist in the making.

From this stage, I started making my own toys of cars. I cannot say that they were of a particular prototype, but they had all the primary qualities and parts that led to their description as car toys. At least they had four wheels, a steering wheel and rod, together with an improvised lighting system which enabled me to drive them even at night. I could make a range of toys from pick ups, Busses and Lorries. At that age I had the ability to wire and connect two bulbs of 2.5 volts, of the type put in torches. With two batteries, I got all the light I needed to drive at night.

Later in 1974, I joined Mengo Senior School where my painting skills were unveiled. Many children have talents buried in them; and with which they die as adults, simply because they never joined the right institutions or environment from which to develop them. I would not be the artist I am today, if it was not for having been a student of Mengo Senior School.

I was introduced to Art in general, but to painting in particular, by the Late Anthony Kalule and Ssengendo who were both teachers of art at Mengo S.S. By the time I joined the school.

Ssengendo taught me first in senior one. He introduced me to general drawing of nature and still life. Around 1975, the Ministry of Education issued a change in the syllabus. The Ministry ordered that of the eight subjects done at O-level at that time, two of them had to be technical.

By then, Mengo S.S. was offering three technical subjects. These were: Technical drawing, metal work and fine art.

I found it hard and puzzling to choose the two subjects required; reason being that I was good in all the three.

Later, I decided to choose Technical drawing and Metal work for a couple of reasons. The first one being that my father was a mechanic and I wanted to relate to him by doing Metal work. Secondly, Technical drawing had a lot in common with Metal work. I therefore dropped off art and I never did it for the whole of the first term in senior two.

All went well with my options of Technical drawing and Metal work for the first term of senior two. I was actually one of the best first five students in senior two North.

The turning point came at the beginning of the second term in senior two, when the O-level East African examination results came out.

It was one bright morning and I was taking a stroll at break time around 10.00am, with a one Kato Sam, along the lane opposite the staff room. The senior two Art class now under Mr. Anthony Kalule had been assigned to paint the landscape in the area opposite the staff room and along the sprawling lane towards the metal workshop and Technical drawing rooms.

On the right hand side of the lane as one faces the Metal workshop, a male student was struggling to make a painting of the given landscape. I took a closer look of what he was doing and muttered to Kato Sam. “I think I could have done it better”.  “You mean you dropped Art?”. Kato asked me in astonishment. “Yes” I replied.

When I gave him my reasons stated earlier on, he disapproved of my decision and encouraged me to make a U- turn back to the Art class. Kato knew of my performance in senior one quite well.

To make matters worse, the performance in Metal work for that year was not encouraging. Many students had not performed well from the results pinned on the notice board for that year.

Little did I know that Kato was God sent to shape my destiny in the academic world and the one of Art in particular.

It would be normally hard, and often an insurmountable dilemma; for a boy in senior two to make a crucial carrier decision linked to his future and destiny in life. But at that age, I am sure I did make the right decision and I have never regretted having done so.

After having thought about my dilemma in 3D (three dimensions), I resolved to drop Metal work and revert to Art and Technical Drawing. That very day in the afternoon when another Art class was running, I went to Mr. Anthony Kalule the late, and expressed my interest to do Art in spite of having missed it in the first term of senior two.

Kalule was a handsome brownish man with side bands and with a good amount of hair on his head. He was approximately medium height and possibly measuring between 75 and 76 kilograms. He walked slowly, talked slowly and was often quiet. He rarely talked except in class while teaching. He was the head of the art Department.

Kalule slowly turned and looked at me. Slowly and almost quietly, he said to me: “It is a whole term missed; and besides, I have no knowledge about your previous performance in senior one.”  “Sir I was good and used to perform well” I replied. “I cannot prove it unless if you bring evidence from your former teacher in senior one.” He replied.

Fortunately, my marks in Mr. Ssengenddo’s class had never gone below a 78%. I went to him and explained that Mr. Kalule needed evidence of my performance if I was to join his Art class.

After my explanation, Mr. Ssengendo picked a small piece of paper upon which he wrote the following words: “please accept him in your class. He was one of my best students and his marks have never gone below an average of 78%”.

I rushed back to Mr. Kalule and delivered the note. Inclining his head on one side, the often quiet and soft spoken Anthony Kalule quietly read through the note Mr. Ssengendo had written. I was on tension as he did so, for I did not know what his response was going to be. He finally lifted up his handsome face and said: “Ok; you can join the class next lesson.” I was filled with joy. It occurred to me just then how much I liked the subject and I could have been hurt if he had negatively replied. The road to my destiny and journey for my future as a Professional artist had started. Bye-bye I said to the metal Workshop and the clatter and clamour of the hammers on anvils!

I was now carrying Technical drawing and fine Art as my two technical subjects as was required by the Ministry of Education by then. It was term two of my senior two. Two weeks had elapsed and I was now in the art class once more after a break off for the whole of the first term of senior two. I had to work hard to catch up with the rest of the class who were by general standards at that level, not in bad shape. Thanks to Kato Sam whose enquiry as to why I had left the painting class made me take an immediate decision which I have never regretted to date.

The churning sound of Lathe machines, the shrieks of drilling machines, the squeaks of files against pieces  metal fixed on anvils, and the thuds and clatter of hammers; all changed to a quiet soothing hum of painting brushes against sugar paper; intonated by occasional tapings of painting brushes against the brims washing containers. The smell of oil and burning metal on lathe machines changed to a sweet odour of powder paint which we mostly used at this level. The studio and workshop culture changed from talking at the top of our voices to outwit the noise from lathe machines, hammerings, drilling machines, and metal being filled, to a broody soothing quietness of students; each one busy sketching or painting; and occasionally stepping aside or backward away from their works; to have a better vantage point.

They would after these peculier gestures resume to paint in undisturbed quietness. It was a new environment of internal creative noise detached from external silence. It fitted just to well with my quiet nature and almost introvert characteristics.

My presence in this new class did not go unnoticed during the first week. We did a range of disciplines from drawing, modelling in Sculpture and Pottery, Textile Designing, Graphics and Painting. When it came to choosing disciplines of specialty, I selected painting which had the following range of papers:  Paper four (Imaginative Composition),  Paper eight; which was also related to imaginative composition; but the difference between the two was that for Paper eight, during the final and fourth year of O-level, eight pieces would be required for examination from the candidate. I also did Paper One (Still Life) and Paper Two (Nature). In total, I did four papers. Occasionally, I would also do some modelling in sculpture. I was seldom in for pottery.

I shouldn’t forget to mention that in the final year of senior four, I was the only student offering Paper eight. I stand to claim that I was good in all the papers I chose to pursue.

By the end of the month, I was at the top of my class and remained unbeaten until it came to senior three when the school brought in a new student from another school in first term. He was called Kalule, just like our teacher.

Kalule must have joined the school between 1976 and 1977 when there was a fuel crisis in Uganda which lasted for quite a period. I will always remember Kalule for two things. First, he was a good artist and a versatile painter. Secondly, he was now the second bull in the kraal after myself.

Because we were in different streams, we first heard about each other. We later locked horns in the same class as the practice was that during the Art class, we would converge in the same Art room from our different streams. I was in Three West and Kalule was in three North.

The first exercise which proved that Kalule was going to be an invincible force to reckon with was assigned by Mr. Kalule the Art Teacher. The topic to be painted was “The Fuel Crisis”. The composition made by Kalule, sent a chill up my spine! I knew I was in real danger of being eclipsed by this new student. “I had to remain visible”. I thought to my self.

Silent whispers went around the school. “Banadda has a competitor at last.” To be frank, kalule wasn’t going to be simple, he was good and tough! Not only did he know how to draw, he knew how to paint as well.

For some time, and for the whole of first term in senior three, the two competing bulls worked in silence in their separate corners. It was either him or me in terms of getting a good comment from Mr. Kalule the teacher, or having one’s successful piece selected to be pinned up in the dining hall of the school, as was the practice to make students work harder.

Having one’s work as a student selected, framed and put up in the dining hall was the most prestigious and conspicuous sign of the best painters in the school. My paintings and those made by Kalule the student; were regular selections. It therefore followed that we both ended up being known through out the whole school. It is not uncommon for me to find my O level contemporaries on the streets of Kampala, even those I may have long forgotten, addressing me by my real names after over four decades.

I and Kalule the student, eventually became good friends after acknowledging each other’s invisibility. By the time we came to sitting for our final examinations in senior four, we had subjected each other to so much competition that there was no alternative but  for both of us ending  up getting distinction one in the subject.

According to the history we gathered, the school had spent about 12 years without scoring distinction one. I learnt that Kalule the student died between1985–1987. May his soul rest in eternal peace! After Mengo Senior School, I went to the north of Uganda and did my higher school certificate from Lango College in 1978-1979. At Lango College, I was the only student offering Art. Mr. Opio Charles was my teacher at this level. Opio Charles is still alive. I don’t regret having met Mr. Opio Charles. He was also as intricate in supervision as was Mr. Kalule Anthony. At Lango College was also another Mr. Opio who used to teach in O- Level. He could also often check on me and give me good guidance. The latter Opio went an extra mile by checking on me even after I had graduated, and was already a lecturer at Makerere University.

In 1980, I joined Makerere University at the Margaret Trowel School of Fine Art and did fine art as my professional course. While at Makerere, art took on another face. There was a shift from the perception of the literal, to the philosophical and rational. From the lecturers, asking students questions like: what is this? Couldn’t you think beyond this? Couldn’t have a camera done this? What is the philosophy behind? Was not un common. These questions were to a large extent too confusing in first year; but we later caught up with their mind boggling stances and we also started asking similar question to fellow students.

While studying at Makerere, I was mainly under the guidance of Prof. Naggenda Francis, Prof. Musango Gwantamu, [the late], Mr. Mulindwa  Peter, Mr. Ignatious Sselulyo, Mrs Josephine Mukasa,  Mr. Ochiti Santos, and Mr. Mpagi Phabian, [the Late].

The group mentioned above guided me so well and I ended up scoring a First Class Honours Degree which hadn’t been given out for the last ten years as I learnt later.

Later in 1984, I did a post graduate diploma in education which I passed with honours.

In 1985, 1 was offered a job as district cultural officer Iganga. A position I held up to 1992, when I strategically asked for a transfer to Kampala because I had started picking interest in doing a masters degree. I did embark on this in 1993.  Later in 1995, I was appointed assistant lecturer; and in 1997, I graduated with a Masters Degree from the Margaret Trowel School of Industrial and Fine Arts. Mr. Sserulyo Ignatious was my postgraduate Supervisor. In 1997 I was appointed lecturer at the school of fine art; to mainly teach painting.

In 2000 I was appointed as the faculty examination coordinator. In 1997- 2015: Member Faculty Board. 1997 – 2013: Member Viva Vose Panel for eight times to examine MAFA finalists. 1997 – 2015 research supervisor to undergraduate students. In 2002, I was confirmed into university service. From 2002-2010; I was head of department Painting and art history.

Exhibitions Held

1983	Mounted an Art Exhibition at the School of Fine Art for Undergraduate Examinations.
1980 – 2009	Participated in several Joint Art Exhibitions organized by the Uganda Artists Association.
1996 1995 27thSept-26th.Nov	Mounted an Art Exhibition at the School of Fine Art for Postgraduate Examinations M.A.F.A. Seven Stories about modern art in Africa. Whitechapel Art Gallery London. Group Exhibition. See Catalogue Number: ISBN 0 85488 109 3. Page 174. A story from Uganda. The Last Hope. By Banadda Godfery.
1988 – 1989	Held in Absentia Three Art Exhibitions in U.K. Scotland at the Steps and Interdec Galleries in Edinburgh and Glasgow respectively.
1989 May	Participated in the May Fest International Art Festival in Glasgow Scotland at the Interdec Gallery with 30 Pieces; with sponsorship of the British Council Kampala and U.K. respectively.
1997 May 1999, 30th May-4th June.	Held a one man painting Exhibition in Kampala at Alliance Francaise with 50 paintings. Bronzes, Sculptures, Paintings and Ceramics. Makerere University Art Gallery. Kampala.
1997 – 2015                                      2007 July 2007 2008 2004 2003 2003 12th Oct – 16th Nov.	Participation in all Annual Art Exhibitions of MTSFA Makerere University. (Different But One). Cultures of Uganda. Nommo Gallery Kampala. Joint Exhibition. Moderne Afrikansk Kunsk. Mangfoldighed og Udvikling. Denmark. Curator. Frede Hansen. 11th December. All Artists Exhibition Dec. 2008 Nommo Gallery. Afric Art 2004. 28th March – 15th May 2004. Denmark. Ugandisk Kunstudstilling. 2003. Denmark. Livsglaede Dronninglund Kunstcenter Denmark. ISBN 87- 989721-1-1
Prizes Won
1987	Winner 1st Prize Art Competition in Painting organized by the Uganda Cuban Friendship Society.
	Theme: “The Struggle for Freedom against racism in South Africa”. 1ST (original) in Havana Cuba; 2ND (original 1989) Given by the state as one of the gifts to Nelson Mandela; (Former president for the republic of South Africa), when he first visited Uganda in 1997.
1997	Winner 1st Prize National Competitions in Painting Themes: “Know your Constitution”.
1998	Winner 3rd Prize National Competitions – Uganda Theme: “Corruption and Prevention”
Public Works Done
Designs
1984	Designed a Bill Board for Bulls General Agencies (Salompas) Kampala
1985 – 1992	Designed Badges, Logos, Letter Heads, Sign Posts for the following Institutions and companies
	·        Bulls General Agencies
	·        Uganda Neddagala Lyayo Association
	·        Iganga Secondary School
	·        Bukoyo Secondary School
	·        Iganga High School
	·        Iganga Women’s Savings and Credit Society
	·        Busega Maize Mill (Iganga) ·        Logo for Iganga Lotery Club
1998	Documentary Film (Visions and Dreams) By Zuleika Kingdon. “Contemporary Art in Uganda”. One of the four artists filmed. These were: [Banadda Godfrey, Lilian NbulimGeneral Eli Tumwiine, Ignatious SSerulyo].
Paintings
1996 – 1997	Three works for KAOS restaurant Kampala
1980 - 2015	Over  200 General theme paintings
1980 – 2009 2014	-  Over 50 Portraits  (a) Hanging sculpture composition with 11 birds; in new wing of Makerere University Library. Jointly done with Ass. Prof. George Kyeyune.        (b) Painting (Serendipic landscape) at the reception       of the new wing of Makerere University    Library.
Illustrations and publications
1995 2014	Seven Stories about Modern Art in Africa See Catalogue Number: ISBN 0 85488 109 3. Page 174. A story from Uganda. The Last Hope. By Banadda Godfrey. Frede Hansen 2014. Modernen afrikansk kunst og    design. Cover picture; Pg. 42, 43, 44. Forlaget Queenswood Dronninglund.
1997 1998	Designed book cover for a Novel by Julius Ocwinyo (Fate of the Banished) Fountain Publishers. ISBN 9970 02 101 x. Documentary Film by Zuleika Kingdon. Visions and Dreams. Contemporary art in Uganda. Hosted. Banadda Godfrey.Gen. Ellie Tumwiine, Lilian Nabulime and Ignatious Sserulyo.
1999	(a)    Designed a book cover for a Novel by LAURY LAWRENCE OCEN (The Alien Woman) Fountain Publishers. ISBN 9970 02 181 8. (b)  Made wall relief for Iganga Boys Primary School (THE LARK) fixed in the Lark Tower Building.
2001-2015	(a)   Designed 9 Editions of stamps for Uganda Posts and telecommunications Limited (now Posta Uganda). (b)  Designed Bill Board Illustration for Uganda Population Secretariat.
2002	(a)  Illustrated two books for Ministry of Labour and       Social Development (FAL PROGRAMME) Ref.Ngakarimojong and Lebthur (Primers) 2003
2002 2003	ACTION AND VISION. Painting and Sculpture In                           Ethiopia, Kenya and Uganda from 1980. 14th June – 30th   Sept. 2002. The Triangle Arts Trust. Pg. 78, 79. The Last Hope By Banadda Godfrey.        (a) Designed a book cover for a Novel by Julius     Ocwinyo. (Foot prints of the outsider). ISBN 9970 02 343 8.
2007	(a)  Illustrated two follow up readers (FAL PROGRAMME) Min. of Culture Youth and Sports.
Participation in other activities ·        I have just accomplished writing a text Book; on PAINTING.                   (Technical Tips For a Studio Artist). Not published. ·        WORK IN PROGRESS: Writing another text Book. Introduction to Visual Arts. Half way done. ·        Writing a Novel ( JANGA ISLAND) Half way done.
·        Photographing works of Art for the Art School on Slides ·        Photographic processing (black and white) ·        Chairman Quality Assurance Committee MTSIFA 2005 ·        Member Quality Assurance Committee MTSIFA 2005-2009
·        Chairman Examination Bank Committee 2005
·        Member Higher Degree Committee ·        Member Faculty Board. ·        Member Gallery committee; School of Industrial and Fine Arts. Makerere       University.
Certificates and workshops
1.      Certificate of participation, National Competitions, Struggle for freedom in South Africa 1987 (Winner 1st Prize). Uganda. 2.      National competitions Uganda Debt Network 1998. (Winner 1st Prize). Uganda. 3.      Certificate of participation Art Competion – 8th October 1997 1st Prize. Theme. Know your Constitution. Uganda. 4.      Shibori – Monoprint Textile and Photography Workshop 8th – 9th January 1999. Makerere University Kampala. 5.      Meritorious Award 3rd Prize Anti Corruption Awareness Art Competition 2000. Uganda. 6.      End User Training Programme (EUTP) Information Technology 31st March 2003. Makerere University Kampala. 7.      Coptad Community Orient Practical Training in Art and design 28th Feb – 4th March 2005. Makerere University Kampala. 8.      Higher Education Link H.E. Project Development, Production, Marketing and Improvement of Art and Crafts Practices 2004. Makerere University Kampala. 9.      Pedagogy. Basic Pedagogic Skills for Teachers of Higher Institutions of Learning 2003. Makerere University. 10. Enhanced Basic Principles of Decentralization 13th February to 17th February 2006 (Uganda Management Institute Kampala.) 11. Research management skills; Makerere University. 19th-23rd March 2007. 12. Leadership and Management skills for Heads of Departments. Makerere University.13th-15th June 2007. 13. Effective teaching and learning in Higher Education. At Uganda Christian University Mukono. 23rd-25January 2013. 14. Strengthening Arts in Medicine. 7th to 8th November 2013. CEDAT [ Makerere University College of Engneering, Design, Art and Technology]