(12) Ignatius Sserulyo personal interview.

(12) Ignatius Sserulyo personal interview, Kampala, September 18 1997; Kiure Francis Msangi, personal interview, Nairobi, April 8 1998; Pilkington Ssengendo, personal interview, Kampala, August 19 1997; Jonathan Kingdon, interviewed by means of Carol Sicherman, Skidmore College, Saratoga Springs, recent York, May 1, 1998; Jonathan Kingdon, personal interview, Duke University, North Carolina, March 12 1999

(13) There was calm a time, right before the institution's transition ha 1949 to the status of a University society when the decision to terminate down the Art School was all unless finalized. Margaret Trowell's personal contacts, combined with her relentles attempts to persuade a male-dominated administration, was the simply reason it survived. (UNA, SMP s 88/36, item 10. Minutes of the 7th meeting of the guild Council, 8.10.1941, 10:00 a.m.; item 35 21st meeting of the guild Council, 27-29.8.1947. See also Trowell 1957:108-9 McPherson 1964:49 57)

(14) The art teachers had to engage in a two-prong fight in the 1960 upon the one hand was art education's ne to find legitimacy in a higher education scheme; forward the other hand its make an effort to preserve its own autonomy in such a manner that the peculiarities of art practice were not compromised when facing the demands of that larger educational enterprise (Jonathan Kingdon, personal interview, Duke University, North Carolina, March 12 1999)

(15) A colloquy on East Africa's cultural heritage was held in Nairobi in December 1965 the proceedings of which were published as a work Sam Ntiro's paper, titled "The what may occur hereafter of East African Art" (Ntiro 1966) which furnished alternatives for the development of art in the region in a combination of Margaret Trowell's views and Julius Nyerere's socialist principles, was an indirect critique of the contemporary education at the Art educate Jonathan Kingdon adversely criticized Ntiro's essay when reviewing the work (Kingdon 1967:45-7). Among other debates above the alleged elitism of the Art gymnasium one was sparked by a short essay by the agency of Michael Adams, who was single of the white instructors at the institute (see Adams 1962:35, 1963:7). Also, a Tanzanian former Makerere graduate named Winifred Obed delivered a paper titled "The Attitude and Transition of East African Art" at a workshop organized by means of the Chemchemi Cultural Center in Nairobi, in which he rigorously criticized the Art School. flat the Kenyan playwright Ngugi wa Thiong'o, a Makerere graduate, was unhappy with the Art School's agriculture at that time (Sicherman 1995:11-41)