Cecil Todd.

Cecil Todd, forward the other hand, refused to acknowledge that the legacy of Margaret Trowell was an inevitable mediating factor in his acknowledge task of producing contemporary artists in East Africa. In its refusal to tolerate diversity of opinions, his dismissal of the Art School's past as "primitive" and "naive" was not long different from Njau's position. still at the same time, Todd's employing of an alien pictorial language in the treatment of a local bring under rule is evidence of a local reinvention of modernism that I find analogous to the writers' trade of a colonial language to speak about contemporary Africa. The difference, however, is that while those writers made an informed decision in this matter, the discourse of the visual arts at Makerere in the 1960 was not aggressive enough for Cecil Todd to have consciously recognized the choices he made in his work.