ECONOMIC AGONY IN UGANDA
SCULPTING SHS 50, CRITIQUING THE ECONOMY: UGANDA'S LEGAL TENDER AS A RESOURCE FOR ART-MAKING AND MEANING-MAKING
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This study was based on the assumption that the point where the Shs50 mint coin (as a 'valueless' currency) gained new value as a pointed device that citizens can use to articulate their individual and collective demands for better governance was as political as it was culturally productive and could shape a sculptural project in which art-making as research and knowledge production begin to intersect. It addressed the following overarching question, namely: in what ways (if any) would a Shs50 coin, whose loss of value gaining new meaning as a device that citizens can redeploy to fight for bet...
This study was based on the assumption that the point where the Shs50 mint coin (as a 'valueless' currency) gained new value as a pointed device that citizens can use to articulate their individual and collective demands for better governance was as political as it was culturally productive and could shape a sculptural project in which art-making as research and knowledge production begin to intersect. It addressed the following overarching question, namely: in what ways (if any) would a Shs50 coin, whose loss of value gaining new meaning as a device that citizens can redeploy to fight for better governance, be explored in the production of a studio sculptural project in which the production of art is as much about activism as it is about research, meaning-making and knowledge production? I respond to this question in six chapters: In Chapter One (the Introduction) I introduced the study. Chapter Two provided the Literature Review. Chapter Three presented the methodology I used in this study. Chapter Four had the research design. In Chapter Five I followed Lwanga's notion of making sculpture for purposes of [self-]awakening.
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