The spiritual space of Mubende Hill in Uganda: rethinking “awaka w’ensi aw’omweyimirize, Maama Nakayima” as a symbol of ritual and spiritual performance
- Authors: Nalukenge, Claire
- Date: 2024-10-11
- Subjects: Mubende (Uganda) , Rites and ceremonies Uganda Mubende , Spiritual practice , Ritual objects and ceremonial , Ritual in art , Spirituality in art
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/467050 , vital:76810 , DOI https://doi.org/10.21504/10962/467050
- Description: This doctoral dissertation in art history investigates the dynamic relationships between ritual objects, rituals, spiritual performances, and their representations in specific cultural contexts. The main research question is: How do the ritual objects at Mubende Hill shape and communicate the meanings of the rituals, considering their performative contexts and embodied interactions? This thesis examines the ritual objects at the spiritual space of Mubende Hill in Uganda, which have various meanings and associations for different groups of people. It critically analyses how related objects are interpreted and represented by select Ugandan contemporary artists, including the 2019 history students of Margaret Trowell of Industrial and Fine Arts and the Uganda Museum. The difference between the above components is that the spiritual space, the artists, and the students represent objects as animate, whereas the Museum represents objects as obsolete. The spiritual space of Mubende Hill is a living space where people engage with ritual objects such as calabashes, clay pots, bowls, milk containers, and coffee beans in performative ways. Some of these objects are placed in various partitions of the sacred Omweyimirize tree at the spiritual space, and the objects become efficacious when engaged with through spiritual and ritual performance. In contrast, the Uganda Museum exhibits objects as inanimate, static, and enclosed in glass compartments. As such, the objects are rendered inactive. I examine the way the museum exhibits, frames, and labels these objects, and how this shifts people’s relationships with ritual objects. In contrast, I also analyze how selected Ugandan contemporary artists and the 2019 history students represent similar objects through their artistic practices, thereby opening up the meaning of these objects. This thesis addresses the critical need for a comprehensive reading and representation of objects within their living social and cultural contexts, a focus often overshadowed by museums. In trying to grapple with questions of representations of objects, I employed qualitative research methodologies, including extensive fieldwork, analysis of primary and secondary sources, participant observation, interviews, and photographic documentation The primary information was gathered from individuals at the spiritual space of Mubende Hill, Uganda, specifically the ritual specialists and the Balyammere, select contemporary Ugandan artists, and final year 2019 art history students from the Makerere Art School and select individuals from the Uganda museum. By comparing objects within their original contexts to decontextualized objects in museums and artistic and scholarly representations of objects, I analyze various art historical approaches to objects that grapple with issues of object representation, functionality, purpose, performance, and the movement of objects. I utilize this analysis of objects to critique colonial and contemporary neo-colonial approaches to ritual objects and develop decolonial understandings of objects that are embedded in personal experiences, stories, and narratives of text accompanied with visuals from the Balyammere’s object-ritual and spiritual performances. The study argues that ritual objects possess active agency, extending beyond mere aesthetic appreciation, and they are intertwined within their performative spiritual and cultural contexts. Analyzing these objects and their roles in rituals and spiritual performances allows us to deeply comprehend their meanings and significances as embedded in cultural, spiritual, and social fabrics. The study emphasizes a need for art histories that prioritize African-based scholars at the forefront of knowledge production and appreciate diverse, non-Eurocentric perspectives, suggesting a multidisciplinary approach to understanding art. A deeper understanding of the relationship between objects, rituals, and spiritual performances cannot only expand the knowledge in art history but also suggest alternatives to conventional object perspectives and practices, arguing for a comprehensive, culturally sensitive, and inclusive approach to understanding objects and art within their performative contexts. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2024
- Full Text:
- Authors: Nalukenge, Claire
- Date: 2024-10-11
- Subjects: Mubende (Uganda) , Rites and ceremonies Uganda Mubende , Spiritual practice , Ritual objects and ceremonial , Ritual in art , Spirituality in art
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/467050 , vital:76810 , DOI https://doi.org/10.21504/10962/467050
- Description: This doctoral dissertation in art history investigates the dynamic relationships between ritual objects, rituals, spiritual performances, and their representations in specific cultural contexts. The main research question is: How do the ritual objects at Mubende Hill shape and communicate the meanings of the rituals, considering their performative contexts and embodied interactions? This thesis examines the ritual objects at the spiritual space of Mubende Hill in Uganda, which have various meanings and associations for different groups of people. It critically analyses how related objects are interpreted and represented by select Ugandan contemporary artists, including the 2019 history students of Margaret Trowell of Industrial and Fine Arts and the Uganda Museum. The difference between the above components is that the spiritual space, the artists, and the students represent objects as animate, whereas the Museum represents objects as obsolete. The spiritual space of Mubende Hill is a living space where people engage with ritual objects such as calabashes, clay pots, bowls, milk containers, and coffee beans in performative ways. Some of these objects are placed in various partitions of the sacred Omweyimirize tree at the spiritual space, and the objects become efficacious when engaged with through spiritual and ritual performance. In contrast, the Uganda Museum exhibits objects as inanimate, static, and enclosed in glass compartments. As such, the objects are rendered inactive. I examine the way the museum exhibits, frames, and labels these objects, and how this shifts people’s relationships with ritual objects. In contrast, I also analyze how selected Ugandan contemporary artists and the 2019 history students represent similar objects through their artistic practices, thereby opening up the meaning of these objects. This thesis addresses the critical need for a comprehensive reading and representation of objects within their living social and cultural contexts, a focus often overshadowed by museums. In trying to grapple with questions of representations of objects, I employed qualitative research methodologies, including extensive fieldwork, analysis of primary and secondary sources, participant observation, interviews, and photographic documentation The primary information was gathered from individuals at the spiritual space of Mubende Hill, Uganda, specifically the ritual specialists and the Balyammere, select contemporary Ugandan artists, and final year 2019 art history students from the Makerere Art School and select individuals from the Uganda museum. By comparing objects within their original contexts to decontextualized objects in museums and artistic and scholarly representations of objects, I analyze various art historical approaches to objects that grapple with issues of object representation, functionality, purpose, performance, and the movement of objects. I utilize this analysis of objects to critique colonial and contemporary neo-colonial approaches to ritual objects and develop decolonial understandings of objects that are embedded in personal experiences, stories, and narratives of text accompanied with visuals from the Balyammere’s object-ritual and spiritual performances. The study argues that ritual objects possess active agency, extending beyond mere aesthetic appreciation, and they are intertwined within their performative spiritual and cultural contexts. Analyzing these objects and their roles in rituals and spiritual performances allows us to deeply comprehend their meanings and significances as embedded in cultural, spiritual, and social fabrics. The study emphasizes a need for art histories that prioritize African-based scholars at the forefront of knowledge production and appreciate diverse, non-Eurocentric perspectives, suggesting a multidisciplinary approach to understanding art. A deeper understanding of the relationship between objects, rituals, and spiritual performances cannot only expand the knowledge in art history but also suggest alternatives to conventional object perspectives and practices, arguing for a comprehensive, culturally sensitive, and inclusive approach to understanding objects and art within their performative contexts. , Thesis (PhD) -- Faculty of Humanities, Fine Art, 2024
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The development of ionic zinc(II) phthalocyanines for sono-photodynamic combination therapy of cervical and breast cancer
- Authors: Nene, Lindokuhle Cindy
- Date: 2023-03-31
- Subjects: Phthalocyanines , Sonochemistry , Photochemotherapy , Cancer Treatment
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/422565 , vital:71958 , DOI 10.21504/10962/422565
- Description: This study focuses on the development of the sono-photodynamic combination therapy (SPDT) activity of phthalocyanines (Pcs) on the cervical and breast cancer cell lines in vitro. The SPDT technique utilizes ultrasound in combination with light to elicit cytotoxic effects for cancer eradication. In this work, a selection of tetra-peripherally substituted Zn(II) cationic and zwitterionic Pcs were prepared. The photophysical parameters of the Pcs were determined including their fluorescence behaviours and efficiency of the triplet excited state population. The effects of the ultrasonic parameters (frequencies (MHz) and power (W.cm-2)) on the stability of the Pcs were evaluated. Four parameters were evaluated: Par I (1 MHz: 1 W.cm-2), Par II (1 MHz: 2 W.cm-2), Par III (3 MHz: 1 W.cm-2) and Par IV (3 MHz: 2 W.cm-2). The stability of the Pcs reduced with the increase in the ultrasonic power (for Par II and Par IV). The Par I showed the least degradation compared to the other parameters and was therefore used for the SPDT treatments. The sonodynamic (SDT), photodynamic (PDT) therapy activities of the Pcs were studied and compared to their SPDT efficacies. The Pcs showed reactive oxygen species generation during the SDT, PDT and SPDT treatments. For the SDT and SPDT, singlet oxygen (1O2) and hydroxyl radicals (•OH) were detected. For PDT, only the 1O2 were detected. The cell cytotoxicity studies for the Pcs showed relatively higher therapeutic efficacies for the SDT treatments compared to the PDT treatments, where the SPDT showed higher therapeutic efficacies compared to both the SDT and PDT monotreatments on both the cell lines in vitro. Overall, the combination treatments were better compared to the monotreatments. The activities of the Pcs were compared by their differences in structures, including the type of R-group, type of quaternizing agent and type of nanoparticle conjugates. , Thesis (PhD) -- Faculty of Science, Chemistry, 2023
- Full Text:
- Authors: Nene, Lindokuhle Cindy
- Date: 2023-03-31
- Subjects: Phthalocyanines , Sonochemistry , Photochemotherapy , Cancer Treatment
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/422565 , vital:71958 , DOI 10.21504/10962/422565
- Description: This study focuses on the development of the sono-photodynamic combination therapy (SPDT) activity of phthalocyanines (Pcs) on the cervical and breast cancer cell lines in vitro. The SPDT technique utilizes ultrasound in combination with light to elicit cytotoxic effects for cancer eradication. In this work, a selection of tetra-peripherally substituted Zn(II) cationic and zwitterionic Pcs were prepared. The photophysical parameters of the Pcs were determined including their fluorescence behaviours and efficiency of the triplet excited state population. The effects of the ultrasonic parameters (frequencies (MHz) and power (W.cm-2)) on the stability of the Pcs were evaluated. Four parameters were evaluated: Par I (1 MHz: 1 W.cm-2), Par II (1 MHz: 2 W.cm-2), Par III (3 MHz: 1 W.cm-2) and Par IV (3 MHz: 2 W.cm-2). The stability of the Pcs reduced with the increase in the ultrasonic power (for Par II and Par IV). The Par I showed the least degradation compared to the other parameters and was therefore used for the SPDT treatments. The sonodynamic (SDT), photodynamic (PDT) therapy activities of the Pcs were studied and compared to their SPDT efficacies. The Pcs showed reactive oxygen species generation during the SDT, PDT and SPDT treatments. For the SDT and SPDT, singlet oxygen (1O2) and hydroxyl radicals (•OH) were detected. For PDT, only the 1O2 were detected. The cell cytotoxicity studies for the Pcs showed relatively higher therapeutic efficacies for the SDT treatments compared to the PDT treatments, where the SPDT showed higher therapeutic efficacies compared to both the SDT and PDT monotreatments on both the cell lines in vitro. Overall, the combination treatments were better compared to the monotreatments. The activities of the Pcs were compared by their differences in structures, including the type of R-group, type of quaternizing agent and type of nanoparticle conjugates. , Thesis (PhD) -- Faculty of Science, Chemistry, 2023
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