Katesi Jacqueline Kalange works with the communities of Nubuke in Ghana to create a home for the story of Badere, the spider who hoarded knowledge.
(A message to the reader.)
The Nubuke Foundation for Clay and Textiles is located in the East Legon, Accra, and Wa, Upper West region, Ghana. It was established in 2006 by Odile Tevie, Kofi Tutu Agyare, and Kofi Setordji. It includes a gallery for exhibiting contemporary African art, children’s workshops, a self-directed artist residency, Woori festival of clay and textiles, school for the blind, weaving workshops.
As an example of the activity they foster, we invited a recent artist in residency from Uganda, Katesi Jacqueline Kalange, to share her experience.
✿ How did you come to take up the residency at Nubuke? What did you hope to achieve?
I embarked on this residency thanks to both a recommendation and generous financial backing from 32 Degrees East Ugandan Arts Trust in collaboration with the Nubuke Foundation. My goal was to foster artistic development and push myself beyond my artistic comfort zone by immersing myself in a new geographical context. I sought to cultivate fresh collaborations within the Ghanaian community, immerse myself in their way of life and culture, and explore how this experience would enrich my artistic perspective as well as impact on the community in Wa-Loho.
✿ Can you describe the experience of arriving there? What are your strong memories?
Nubuke Foundation is a haven where art and creativity flourish, blending tradition and culture—an ethos deeply resonant with my own artistic pursuits. Stepping into Nubuke foundation was like realizing a cherished dream. I owe immense gratitude to my parents Mr and Mrs Ntende and family, 32 Degrees East Ugandan Arts Trust and Nubuke Foundation for making this possible.
Among the many poignant moments of my residency, one stands out vividly: my collaboration with the Wa-Loho community surrounding the Nubuke Foundation, Center for Clay and Textiles. It marked my most expansive collaboration to date, and I remain profoundly grateful for the profound exchange of Indigenous knowledge and creativity it fostered.
During this collaboration, I had the privilege of engaging with a diverse array of individuals: the children of the community, who shared with me captivating tales of “Badere” (the spider) passed down through generations; students from the school of the blind and deaf who generously shared their phenomenal art of weaving furniture as well as the local artisans, including women, children, men, and their apprentices, who generously imparted the intricate weaving techniques of “smocks,” which served as inspiration for our collective weaving endeavour; Bilal, the welder, along with his apprentices Jelilu and Jute, who contributed their skills and expertise; market women and men from the Central market, who shed light on the challenges surrounding the importation of second-hand clothes from the global North into their country Ghana, influencing our choice of materials; the school children of Loho RC primary schools in the Upper west region of Ghana, and the youth and children who enthusiastically joined me in applying clay and woven fabrics onto the armature.
…the aroma of Kundisawu’s delectable meals permeated the air, mingling with the scent of clay as we layered it onto Badere.
I was struck by the remarkable willingness and generosity of the Wa-Loho community to exchange knowledge. Their openness to share their traditions and provide a platform for me to reciprocate the same energy enriched our collaboration. I can still feel the warmth in the words of the local artisans and the community as they introduced me to their weaving and clay techniques, alongside the remarkable school of the blind and deaf, who showcased their unique form of weaving. Witnessing the passion and joy in the children’s eyes as they recounted the folklore of Badere, along with the invaluable lessons embedded within, was truly inspiring. Not forgetting the aroma of Kundisawu’s delectable meals that permeated the air, mingling with the scent of clay as we layered it onto Badere. In these intricate moments, our collaboration blossomed, weaving together our paths in a tapestry of shared experiences and mutual understanding.
✿ How did the idea of using the Badere story come about? Did you already know it?
During the initial weekend of my residency, I had the opportunity to engage with children from the community who regularly participated in Nubuke Foundation’s weekend program. Assuming the role of their facilitator, I led them through storytelling sessions inspired by Ugandan folklore, including tales like “Njabala” and “Nsangi.” Encouragingly, I invited them to reciprocate by sharing some of their beloved Ghanaian folklore and their personal interpretations of these stories.
Most of the children eagerly recounted the tale of Badere and its significance. It was then that I realized its meaning: “No man is an island, we all need each other!” held a strong and familiar connection to that of many traditional folklores in Uganda.
This interaction led me to a poignant realization: the rich tradition of oral storytelling in Ghana, akin to that in Uganda, was gradually fading away, particularly within our modern, urbanized environments. Yet, many individuals within these spaces grappled with contemporary challenges, including the profound impacts of global climate change.
Reflecting on these narratives, I was struck by the inherent wisdom embedded within African indigenous traditions. It became evident to me that the solutions to many of our present-day challenges lie within our ancestral knowledge. I often refer to this concept as “Sankofa,” a word derived from the Akan tribe of Ghana, which encourages looking back to our roots to move forward as well as inform our current actions and decisions.
✿ Where did you learn the building technique involving clay?
Hailing from Uganda, I am deeply rooted in the Busoga culture, where the use of sustainable materials such as clay, mud, straw, and cow dung, to construct vernacular architecture commonly and natively known as “Enhumba ye’itaka” (mud houses) holds significant cultural and environmental importance. This not only defines us but also reflects our selfless and respectful relationship with other beings within shared ecosystems. However, the rapid pace of urbanization has led to the decline of these eco-friendly building practices, even in rural areas, in favour of more modern and supposedly durable construction materials and methods. Unfortunately, most of these modern approaches contribute significantly to climate change through the emission of high amounts of carbon into the atmosphere.
Arriving at Nubuke Foundation in Ghana, particularly at the Center of Clay and Textiles, offered me my inaugural opportunity to practically explore clay as both a protective and decorative material added onto the woven denim, second hand jeans. This choice was ignited by the community I collaborated with, particularly through my interactions with the children and Mr. Bart, a staff member at Nubuke Foundation who provided valuable guidance on working effectively with clay.
Working with the primary school children in Wa-Loho
✿ Where did the textiles come from?
These second-hand textiles were sourced from various channels. Initially, through the foundation, I initiated an open call to schools and communities nearby, encouraging them to gather their old clothes and exchange them for new ones at the foundation every Wednesday and Saturday. Additionally, textiles were procured from traders in the Central market of Wa-Loho. Furthermore, a significant portion of these textiles was purchased from traders in Kumasi market encompassed mostly poorly-conditioned second-hand clothes considered as financial losses, which were to be disposed of in landfills. I also directly purchased good-condition second-hand clothes from these traders, intending to exchange them for old ones within the community. Furthermore, the staff at Nubuke Foundation actively participated in this initiative by contributing some of their old clothes for collective recycling efforts.
✿ Where did the clay come from?
The clay was procured from residents of a neighbouring village called Charia, as suggested by Mr Bart, a staff member at Nubuke Foundation.
✿ What are some memories of building the Badere?
Reflecting on the collaborative process of building Badere at Nubuke foundation, with the community of Wa-Loho, I am profoundly moved by the collective effort that brought this project to fruition, as I’ve previously expressed. The journey of creating Badere echoed the sentiment of the African proverb, “It takes a village to raise a child.” This truth resonated deeply throughout every aspect of the project, leaving me speechless at times as I witnessed my metaphorical fourth child, Badere, uniting individuals from diverse backgrounds under one roof.
Together, we shared meals, exchanged stories, and supported each other through both joyous and challenging moments. It was a powerful experience to see people from different walks of life, including myself, come together and communicate in a shared yet distinct language, embodying the essence of unity and community.
While I could endlessly recount the invaluable experiences and lessons learnt from collaborating with the community, I am reminded of the profound Ubuntu philosophy: “I am because we are.” This project would not have been possible without the collective contributions and support of everyone involved.
“I am because we are.”
I extend my deepest gratitude once again to my parents Mr and Mrs Ntende and family, 32 Degrees East in collaboration with Nubuke Foundation, alongside their partners Prince Claus Fund and Programmeawa, as well as to the community of Wa-Loho. “Barika yaga yaga!” (a heartfelt Dagaaba expression of gratitude)
✿ Have you done anything like that before? What is coming up for you next?
Certainly, I’ve undertaken similar projects in the past, albeit utilizing different recycled materials. For instance, there’s “Nature Invasion: Ndegeya,” my inaugural public work conceived during my bachelor’s degree at Kyambogo University in Uganda, executed between 2017 and 2018, and subsequently refurbished in 2023. Additionally, there’s “Nature Invasion: Omulondo 1,” showcased during the Kla Art Festival 2021 organized by 32 Degrees East in Uganda, and “Nature Invasion: Omulondo 2,” briefly exhibited at Goethe Zentrum in Kampala.
Looking ahead, I’m eager to advance the research initiated during my residency at Nubuke Foundation, encapsulated by the theme of drawing inspiration from African indigenous wisdom, particularly vernacular building techniques. The aim is to integrate sustainable materials like clay, mud, cow dung, among others into contemporary building practices, thereby mitigating or eliminating the environmental harm associated with some conventional construction methods. This endeavour has already gained momentum, evidenced by my engagements with the Ugandan community regarding my findings. Furthermore, this research continues to evolve as part of my ongoing residency program at GAS Foundation in Lagos.
The story of Badere
There was a spider called Badere, that resided in a vibrant village teeming with life. He endeavoured to amass wisdom from every corner. He carried a pot to gather this wisdom, intending to hoard it for himself by placing it atop a tree, thereby becoming the wisest being. However, he faced a challenge: he couldn’t ascend the tree while carrying the pot in his hands. A passing goat offered a simple solution: “Carry the pot on your back” Angered by the idea that he had monopolized wisdom yet he couldn’t solve such a simple challenge by himself, Badere threw the pot, shattering it! Wisdom scattered, dispersing back into the village and the world, affirming the truth that no individual possesses all knowledge. This tale underscores the interdependence of beings and the adage that “No man is an island”, we all rely on each other for knowledge and growth!
Photos by Inkz_photography
About Katesi Jacqueline Kalange
My name is Katesi Jacqueline Kalange aka the Kalange, a female visual artist from Uganda. I hold a master’s degree in Art and Industrial Design from Kyambogo University. My multidisciplinary work, incorporating a tapestry of sculpture, architecture, research, installation and performance art, draws deeply from African indigenous wisdom to address global contemporary challenges like climate change and inadequate waste management. By emphasizing upcycling and recycling inspired by traditional techniques of making, I aim to ignite public discourse on sustainable practices as well as encourage a harmonious co-existence of humans alongside other beings within shared ecosystems. I am currently an artist in residence at GAS Foundation, Nigeria where I am deliberately extending my research into recycling single-use plastics and second-hand clothes inspired by the materials and techniques used in building traditional Nigerian vernacular architecture. Follow @the_kalange_official
Visit Nubuke Foundation and follow @nubuke_wa.
