“If we do not save our heritage for

our children, who will?”

Community
Museums in Uganda
CCFU, 2012
 Marriage bangle, Human Rights Focus Peace Museum, Gulu.

Cover (clockwise from top left): Diviner’s stick, Uganda Martyrs University Museum, Nkozi; Wooden container, Edirisa Museum,
Kabale; Model hut, Cultural Assets Centre, Kibaale.
Table of Contents

1 Heritage – an evolving perception

2 Uganda’s culture – a growing appreciation

3 Community museums in Uganda

4 Contributing to national development

5 The journey of the Cross-Cultural Foundation

with community museums

6 Our cultural heritage: a collective responsibility


Decorated gourd for protection spirit,
St Luke Museum, Kyotera.
 1 Heritage – an evolving perception

F
or many years, museums the world over were seen as including in low income countries. Heritage is therefore increasingly
institutions to be treated with the utmost respect, where seen as involving all sectors of society. We have moved well away
visitors would admire in silence well-guarded objects on from the elitist concept of a few decades ago.
display. One’s national heritage often found its expression in
artefacts carefully presented in glass boxes, exhibited thanks to These trends are reflected in Uganda, as this publication focusing
public funds or the generosity of rich patrons. on people’s efforts to protect and promote their heritage,
demonstrates.
From the 1980’s, conservation and the role of museums were
redefined. The perception of heritage moved away from artefacts and In 2009, the Cross-Cultural Foundation of Uganda, a local NGO,
monuments alone to include ‘living museums’ and the ‘intangible’ launched an initiative to “Link past and future: People’s museums
heritage: the body of knowledge, traditions, customs, skills, even and cultural resource centres in Uganda.” Rather than focusing
values, that are so important in defining peoples, communities and on Government museums (that are often divorced from ordinary
nations, and without which the physical aspects of one’s heritage people), this concerns community museums, whose existence is
are devoid of much meaning. Tourism - including cultural tourism less well known, but where an attempt has been made by local
- also emerged as a major international industry; ‘heritage’ became organisations or individuals to connect past and future.
part of modern economies and increasingly driven by private sector CCFU is keen to support these efforts, as a means to harness
initiatives. At the same time, the need to protect the environment cultural specificity and diversity for development, and to strengthen
and to use resources sustainably became a growing global concern. Uganda’s national cultural consciousness. This publication is meant
With this evolution, punctuated by a series of UNESCO Conventions, to highlight these museums and to encourage readers to support
the ‘people dimension’ of heritage has become more prominent, them, especially by paying them a visit…
as well as the connection between heritage and development –


Model hut –Karamoja Women’s Cultural Group Museum, Moroto
 A passion for heritage:
Festo Karwemera, Edirisa
Museum, Kabale

“Before I was sent to school in 1936, my mother took me to a shrine,

placed my hand on top of a pot of local beer and told me to chant
the following words after her: “Now that I am going to battle, I pray
that I come back successfully.” I interrupted her with a question:
“Who are we talking to?” She told me not to worry, but to continue
chanting after her, which I obediently did. She continued intoning.
“Keep me safe from sickness and give me life”
“Many years later, when I had become a teacher, I began to think twice
about my mother’s prayer to I-did-not–know-whom. If my mother
was talking about me having life and being successful, she certainly
could not have been praying to Satan. While the missionaries thought
we worshipped Satan, I strongly feel that we were worshipping a
supernatural God whom we believed in. In 1927, the colonialists
and the chiefs burnt down all the shrines, claiming that they were
devilish. Our behaviour changed because of the missionaries.
“I decided to build this Museum for our children and grand children,
to teach the future generation about the past. I have not put anything
Western in the Museum. Young people come and are taken around.
Wooden container, Edirisa
 Museum, Kabale
 2 Uganda’s culture – a growing
appreciation

W
hen Uganda secured its independence in 1962, a nascent
tourism industry focused on national parks. A few
monuments and buildings were listed and protected. Our
national museum - exhibiting ‘tribal’ lore and natural history - had
recently moved to its current, grand premises. It was a building
ahead of its time, exhibiting much confidence in the future. The
value of Kasubi tombs and the Nyero rock paintings was recognised,
and a small district museum was in existence in Soroti.
As the country entered its turbulent political period, this optimism
vanished. Heritage protection and tourism seemingly went into
oblivion until the late 1990’s. It was also a time when culture
often came to be dismissed as dance and drama, or as backward
and irrelevant to a ‘modern’ society. As somewhat said, ‘culture
does not bring food on the table’. The 1990’s also showed that
the forces of globalisation often threaten Uganda’s culture: its
social fabric and values seem to be evolving in ways that many do
not approve of.
Today, we nevertheless find that certain forms of Uganda’s culture
are very resilient. These are however rarely exploited for progress.
Generally, development prescriptions neglect the country’s cultural
dimensions and rich diversity and, as a nation, we do not give a
high priority to cultural affairs. After all, we do not even have a 
 fully fledged Ministry of Culture! Our National Culture Policy
generally remains a dormant document, with hardly any financing.
And everywhere our built heritage is vanishing before our eyes,
unprotected by outdated laws or ravaged, such as the Kasubi tombs
fire, because of poor safety measures. The old must be replaced by
the new and shiny, and there is even talk of demolishing our one
and only National Museum…
But things are changing: we increasingly recognise that ‘heritage’
goes beyond the gorillas in Bwindi forest or our spectacular
landscapes. Local languages have been re-introduced as a medium of
instruction in primary schools. Tourism is increasing its contribution
to the national economy. A new museum has been built in Karamoja
and steps are being taken to reconstruct Kasubi tombs, a UNESCO
World Heritage Site. There is a growing realisation that our heritage
lies in our people – in other manifestations of our tangible heritage,
as well as the wealth and diversity of our intangible heritage.
And among people who inspire this recognition are those who
decided to start their own museums, to whom we now turn.


Three-mouthed pot for
Musoke deity, St Luke
Museum, Kyotera.
 3 Community museums in Uganda

T
hroughout the country, a few individuals, families and the preservation of culture for culture’s sake rather than, say, for
communities have initiated small museums, often to depict tourism. In all cases, a great effort has been made to constitute
and preserve the local cultural heritage. In most cases, a collection, usually without any external support, monetary or
these are private enterprises, stemming from the passion of one otherwise. The collections are shared with the public and differ in
or several Ugandans. The founder is usually the person-in-charge. sizes: some contain hundreds of items of varying interest, age and
Owners also include local organisations and community groups. rarity. Others consist of a handful of pieces. All are being developed,
Some institutions, such as universities, have followed suit and often by persuading local people to donate artefacts.
constituted their own collections of artefacts.
Museum owners have also made an effort to engage young people,
The word ‘museum’ might evoke a large, imposing building but for instance by inviting school children to visit their premises and
these are mostly small-scale initiatives, often in a makeshift or enhance their appreciation of heritage. External exhibitions are also
rented space. To date there are approximately 25 such museums held to attract wider audiences. Attempts have been made to adopt
in all parts of the country, sometimes along main transport routes museum ‘best practices’, such as by labelling artefacts, opening an
or in main towns, sometimes in more remote areas. They are fewer accession register and developing a catalogue.
in Northern and Eastern Uganda than elsewhere, because these
regions have recently been affected by war and displacement. Challenges of course remain: collections rarely have a strong
This has not only put immediate survival needs at the forefront, thematic focus and most of the initiators adhere to a traditional
it has also led to a breakdown of cultural values, especially among concept of museum – with the ‘living’ aspect absent. They also
the younger generation. By contrast, in the Central and Western often have a vision connected to the immediate environment and
regions, museums benefit from the growing tourism trade, from relevance to it, and these initiatives are hardly known beyond their
a relatively developed infrastructure and from the proximity of immediate locality. The degree of openness to the public differs
expanding urban centres. and opening hours can be erratic. They often still depend on the
founder for their energy and are isolated on the country’s cultural
These are self-driven initiatives by Ugandans who believe in landscape. Most worryingly, they remain under-resourced skills-
the value of their culture and feel they have a responsibility to wise and often eke a financial existence, as they depend on the
10 preserve and share it. The focus is often on ethnic culture and on voluntary spirit of those who established them.
 A Museum for local people first :
Emmanuel Masereka, Bulemba Museum, Rwenzori mountains

“Bulemba museum is a cultural museum. It is also a community is serving the people of the Rwenzori region, as well as the entire
museum, an education centre to interpret our culture. It is a talking world. [The museum] is promoting good relations with the National
tool for the Bakonjo. We bring together historical items on culture, Park authorities and the people themselves. We better understand
social life and on conservation for people to learn from. Our people, the value of conserving our natural resources and when we work
the Bakonjo, need to know what happened in the past and how with the Park, then eco-tourism will have meaning.
it can help them in the future. We are trying to teach people the
importance of culture and how culture should be handled in this “I want to tell people, particularly in the Rwenzori region, that
modern world, where there are many new developments. culture is a tool in sustainable development: we used to have old men
climbing the mountains for rituals and if you analyse these rituals,
“We are targeting children, students, researchers and tourists. It is a these are relevant to climate management, good health, and crops
tourist attraction and it involves many people around the mountains growing well”.
and people from the whole world, so it is important to all of us, but
especially for the Bakonjo. It is mainly for the local people, so that
we understand and appreciate our own culture; the tourists come
second.
“Today many people have been looking at culture negatively but they
are forgetting that culture can help in development because, when
they come to the museum, they can use what they have learned for
their personal and community development, to use it tomorrow and
design the future. So we meet a community need and the Museum 11
 4 Contributing to national development

A
s the dash towards ‘modernity’ sweeps anything older in its
wake, and as public and private resource focus on meeting
immediate ‘basic needs’, community museums play an
important role in preserving our heritage in a quickly changing
environment. As long as the state does not better recognise the
importance of heritage preservation, they constitute one of the few
ways to ensure that our cultural roots remain available to future
generations and that this important cultural right is respected.
But this contribution goes beyond preservation: because of their
focus on local cultural resources and their spread throughout
the country, community museums also play an important role in
highlighting and legitimising Uganda’s diverse cultural resources. In
making their statement, community museums therefore promote
important national values of tolerance, identity and respect for
diversity – a vital function in a potentially fractious country, where
many different ethnic groups have to engage with each other in
peace and harmony.
This is especially important for less numerous ethnic groups who

12 Spear and shield, Edirisa

Museum, Kabale
often see their identity threatened, and are powerless to influence
issues affecting them. Ethnic minority groups are still little known
by the general public, and the little that is known is tainted with
stereotypes. Community museums and similar initiatives present
an important avenue to guarantee that minorities’ cultural rights
are respected.
The contribution of community museums to our national prosperity
is also practical: they add to employment, to ancillary services and
infrastructure, and to the growing realisation that cultural tourism
can generate income, just as the more traditional safaris to national
parks do.
Finally, several community museums have recently established
linkages with neighbouring secondary schools, encouraging
students who are members of fledgling ‘heritage clubs’ to learn
from them. This is part of their wider contribution to education at
all levels – including at universities - and to their research function,
providing material and facilities to researchers engaged in many
fields of study.

13
Clockwise (from
top left): Water
pot, Igongo Cultural
Centre, Mbarara;
Karamajong baby
skirt, Uganda Martyrs
University Museum,
Nkozi; Regalia,
Nyamyaro Museum,
Bunyoro Kingdom,
Hoima, Twins’ band,
Uganda Martyrs
University Museum;
Royal trumpet,
Nyamyaro Museum;
Nine-legged royal
stool, Nyamyaro
Museum; Wooden
comb, Cultural
Research Centre, Jinja.
 Isolated communities have museums too:
Margaret Lomonyang from the Karamoja Women’s Cultural Group Museum

“I am a founder of community museums in Karamoja. What people what is done in Karamoja.

inspired me was my interest from the first books I read,
those written by the British before I was born in the 1960’s. “With modernisation, culture is forgotten because you find
They described things I was curious about and I inquired Karamojong children might grow up in the city, without even
from the elders. If at 47 I could do this, then what about my knowing their mother tongues. There is a lot of negligence.
children? So I took the initiative to look for people who had The community museum is used to educate youth about their
some materials connected to my culture, to show them to my different tribes and cultures. We advise them, take them for
children and the neighbours’ children. cultural competitions and show them how it is done and later
they get inquisitive. It’s more important for us to let the young
“I was once invited for a meeting in Nairobi. We were taken people know where we came from and where we are going:
to visit a museum and see the crafts Kenyan women made. I even if they are at school they should know something.
admired the women and their skills from all cultures. I found
out that they started with no money and they did this by “We do not have many visitors to support us and most of the
forming groups amongst themselves. So, when I returned, I work we do is done voluntarily. But I am contented, money
decided to form groups in every district in Karamoja (…) or not.”

“Karamoja is different: the way other cultural groups are

viewed is different, for example Tooro and Buganda are big
cultures and they even have kingdoms. We, as the Karamojong,
are really cut off and isolated and I want to push and see to
16 it that we can also be recognised as a culture and also show
Giraffe hide sandals, Karamoja Women’s
Cultural Group Museum, Moroto
 Museums and business:
James Tumusiime, Founder, Chairman and Executive Director, Igongo
Cultural Museum Ltd.

“We wanted to develop a community that treasures its tourism industry. We are on the main road; our museum is
heritage. So we started by putting up a museum where many a stopover for tourists, they buy food and drinks, and we are
artefacts were collected. It has brought a lot of enthusiasm constructing a hotel. We provide other facilities such as food,
within the first two years of opening from the community hospitality services to the community around, crafts, we sell
around the museum and beyond, and when the President books and many other things and in the process we employ
decided to come officially to the museum, it was very great close to 70 people.
for us. When launching the museum, we gave it a tag line
“Where the future meets the past”. Culture evolves but not “The more a country develops, the more its cultural industry
to the point of ignoring its roots, we are interested in the develops - if a country is not culturally developing, there
root, the foundation of our culture, the human and creative must be something wrong - because once people satisfy their
aspect. Then we build on that for the development of society. basics needs of food, shelter and security, next comes self-
So we are already anticipating the future. actualisation and discovery. As the capacity of the people to
spend increases, we are going to tap into that market. The
“We did not look at the museum in terms of profit because new developments like hotels, gardens, leisure centres will
you need children and other people of whatever means to bring more visitors who help to sustain the museum.
come and learn. But we put up facilities around it where we
can charge a reasonable amount and be able to subsidise the
museum. The good thing with a museum is, once you put it
up, the payback period is long but you do not have a lot to pay
in terms of operational costs.
“It has been a reasonably successful business venture:
18 reasonable in the sense that we are providing taxes to the
 19
(Left) Pot for smoking milk verses (right) Wooden milk container, Igongo
Cultural Centre Museum, Mbarara
 5 The journey of the Cross-Cultural Foundation
with community museums

C
ross-Cultural Foundation of Uganda staff first came across
community museums in 2009, as they visited the country
to identify initiatives that illustrated the positive role that
culture can play in development work. It was also the first time that
the concept of a ‘community museum’ was used in the country.
First, with support from UNESCO, and in conjunction with the
Uganda Government’s Department of Museums and Monuments,
a mapping exercise identified these initiatives. Thanks to radio
announcements and field visits, 13 viable museums were
enumerated. Owners and managers of museums then came
together and underwent training in museum management; in
documentation, publicity and marketing. Participants were also
guided to prepare practical action plans, on the basis of which seed
grants were awarded to 12 museums.
CCFU also helped the museums to publicise their existence
through brochures and a roadmap locating 15 museums in the
country. A monthly e-newsletter was launched to help them share

20
 information and experiences. To raise their profile and to link
them to potential supporters, again with UNESCO’s assistance, the
Foundation organised the first ever national Community Museums
Exhibition in 2010. The museums displayed unique and fascinating
artefacts from across the country which attracted much attention
and underlined Ugandans’ growing pride in their cultural heritage.
It was on this occasion that the Government of Uganda pledged
support, especially by recognising private museums in the relevant
national policy framework. The exhibition also provided the
participants with an opportunity to form their own association, the
Uganda Community Museum Association, which is now officially
registered as an NGO. The Association aims at preserving artefacts
and cultures throughout the country through community museums,
availing their collections to all generations, especially the youth.
As an NGO dedicated to promoting culture as essential for equitable
and sustainable development, CCFU feels justified in continuing to
support these exciting initiatives in the years to come.

21
Acholi hoe, Human Rights
Focus Peace Museum, Gulu
Nkisi figure (Democratic Republic
of Congo), Uganda Martyrs
University Museum, Nkozi
 Peace-building and connecting with the youth:
James Otto, Human Rights Focus Peace Museum, Gulu

“The idea of starting a Peace Museum came from a realisation “The challenges we face include funding. If we had space of
that the local communities were in despair, anxious for an our own, the museum items would be displayed in a more
immediate return of peace. So [we had] to re-activate the structured way. Presently, they are stored in a resource centre
Acholi cultural means of resolving conflicts and building the which leaves a very thin line between the role of a resource
peace. centre and the Peace Museum”.
“The Museum gives an opportunity to access those items “I know that people, after going through years of turmoil
which Acholis used in peace building. There are 101 such and incarceration in camps, would prefer handouts. But if
items. How many of these do young people know, sometimes they consider peace, they will be able to sustain themselves
zero. Missing out goes hand in hand with a diminished and that is how I see the Peace Museum making a big
belief. I recall that some of the youths who returned from contribution. It may not be tangible but it is there. The lesson
the bush[war] and were meant to step on an egg to atone should be: never again should we subject our community to
were scared. You could read fear on their faces, as if that violent conflict.
egg was on fire. Why were they scared? They did not know!
Why step on an egg? They needed to be educated. A typical
Acholi strongly believes that, once a member of a household
has committed an offence against a person who belongs to
another household, unless such rituals are performed, that
person will never live a normal life.

23
 6 Promoting our cultural heritage: a
collective responsibility

T
he dedication of community museum initiators alerts us CCFU’s support to community museums over the years has
to the need to promote our cultural heritage as useful underlined the vital role they can play in preserving and
and relevant to our nation. Throughout the globe, people promoting our cultural heritage, a role that is gradually becoming
are more actively than ever seeking alternative solutions to recognised by policy makers and the media. And the numbers of
development challenges, with cultural identity and its contribution community museums is growing. However, whereas community
ranking high in the search for sustainable answers. This however commitment to preserve and promote Uganda’s heritage is high,
requires a collective effort by all of us, our communities and our these museums need to professionalize their services and must
Government. actively seek support from government, the private sector, civil
society and others to fully realise their potential.
Although our National Development Plan for the first time
accords space to the need to nurture culture for development, As citizens, we must demand a better recognition by government
there is still much to do, in heritage education, in developing our - nationally and locally - of the culture sector; but we can also
cultural heritage infrastructure and in updating the outdated legal support our communities’ own efforts to promote our heritage.
framework. What better way to do so than visiting and encouraging our local
community museum?

24
National Community Museum Exhibition, Kampala, 2010
 Community Museums

26
in Uganda
1. African Research and Documentation Centre, Uganda 12. C.N Kikonyogo Money Museum (Bank of Uganda Museum),
Martyrs University, Nkozi, Tel. 0779664605 Kampala, Tel. 0752722453
2. Ankore Cultural Drama Actors Museum, Isingiro, Tel. 13. Human Rights Focus-Peace Museum, Gulu, Tel. 0772649642
0776121945 14. Ham Mukasa Museum, Mukono, Tel. 0712491009
3. Attitude Change Museum, Wakiso, Tel. 0775246974 15. Igongo Cultural Centre, Biharwe, Mbarara, Tel. 0774380848
4. Batwa Cultural Experience Museum, Kanungu, Tel. 16. Iteso Cultural Union Museum, Soroti, Tel. 0782540765
0774277324 17. Kawere African Museum, Nsangi, Tel. 0712841181
5. Buganda Museum, Kampala, 18. Kizonzo Language and Culture, Kasese, Tel. 0772357325
Tel. 0782168094 19. Karamoja Women’s Cultural Group Museum, Moroto, Tel.
6. Bulemba Museum, Rwenzori, Kasese, Tel. 0772978982 0772901081
7. Bunyoro Community Museum, Hoima, Tel. 0772686922 20. Nyamyaro Museum, Bunyoro Kingdom, Hoima, Tel.
0752580946
8. Butambala Heritage Centre of Civilisation Ssana Walukagga,
21. St. Luke Community Museum, Rakai, Tel. 0772957528
Mpigi, Tel. 0712486748
22. Mountains of the Moon University Museum, Fort Portal,
9. Centre of African Christian Studies, Kampala, Tel. 0414-
0775430081
510373
23. Museum of Acholi Art and Culture, Kitgum, Tel.
10. Cultural Assets Centre (Uganda Rural Development and 0772460229
Training Programme), Kagadi, Tel. 0774227663
24. The Home of Edirisa Museum, Kabale, Tel. 0752558222
11. Cultural Research Centre Museum, Jinja, Tel. 0772844221
 We love Uganda for her climate, the beautiful landscapes and the
fascinating sights and sounds of the countryside. But the magnificent
natural sites do not exist in isolation: the mountains, water falls,
vegetation, birds and animals are part of the cultural and historical
environment of a people who have a sacred attachment to them.

In various parts of the country, Community Museums are initiatives

by individuals, families or groups who, passionate about culture and
heritage, have collected artefacts, oral history, and other elements
of the local culture. Community museums have made an effort to
capture our vanishing heritage and to link past and future through
their collections, which are accessible to schools, local residents
and those from farther away.

This booklet tells their story.

The Cross-Cultural Foundation of Uganda gratefully acknowledges

the cooperation of community museums operators and managers
throughout the country, as well as the financial support extended
by the Prins Claus Fund, that have made this publication possible.

28 The Cross-Cultural
Foundation of Uganda