Positive peace public sculptures (thesis)

AN INVESTIGATION ON PUBLIC SCULPTURES IN COMMUNICATING THE POSITIVE
PEACE PARADIGM
A CASE STUDY OF SELECTED PUBLIC SCULPTURES IN KAMPALA CITY CENTRE AND
ENTEBBE TOWN
BY
NATUMANYA PATRICK
BED (Hons), UCU
2015/AUG/MCIAD/M701/WKD
A RESEARCH DISSSERTATION SUBMITTED IN PARTIAL FULFILLMENT FOR THE
REQUIREMENT FOR THE AWARD OF A MASTER OF ARTS IN COMMERCIAL,
INDUSTRIAL ART AND DESIGN OF NKUMBA UNIVERSITY
OCTOBER 2017

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DECLARATION
I, NATUMANYA PATRICK, hereby declare that this dissertation is my own work and has not been
submitted to any University for any award before.
SIGNATURE ………………………………………. DATE.………………………………….
NATUMANYA PATRICK

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APPROVAL
This dissertation entitled ‘An investigation on public sculptures in communicating the positive peace
paradigm’ has been submitted for examination with my approval.
1st
Supervisor;
Ms. Josephine Wanyana Mukasa
Signature ____________________________________
Date ____________________________________
2nd
Supervisor;
Mr. Eria Nsubuga
Signature ____________________________________
Date ____________________________________

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DEDICATION
This dissertation is dedicated first to my Heavenly Father (God) for the fulfillment of His purpose over
my life that through His Grace and Mercy has made me what I am in the field of Fine art, specifically
sculpture. Also to Ugandan sculptors, all my lecturers, parents, sisters, brothers and friends.

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ACKNOWLEDGEMENT
This Dissertation is a collection of efforts and support of my friends and family. I owe genuine
gratitude to my supervisors; Ms. Josephine Wanyana Mukasa and Mr. Eria Nsubuga for the interest,
professional guidance and commitment they showed when helping me to complete this work.

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Table of Contents
DECLARATION.....................................................................................................................ii
APPROVAL ...........................................................................................................................iii
DEDICATION........................................................................................................................iv
ACKNOWLEDGEMENT....................................................................................................... v
LIST OF PLATES ................................................................................................................viii
LIST OF TABLES................................................................................................................viii
ABSTRACT............................................................................................................................ix
CHAPTER ONE...................................................................................................................... 1
INTRODUCTION ................................................................................................................... 1
1.0 Introduction........................................................................................................................ 1
1.1 Background of the study.................................................................................................... 1
1.1.1 Historic background of Sculpture ................................................................................... 1
1.1.2 Interpretation of Peace .................................................................................................... 3
1.1.3 Iconography as a means of selecting sculptures relating to peace.................................. 3
1.1.4 Sculpture and Peace ........................................................................................................ 4
1.1.5 Theories on Peace ......................................................................................................... 13
1.2 Statement of the problem................................................................................................. 14
1.3 Purpose of the study......................................................................................................... 15
1.4 Objectives ........................................................................................................................ 15
1.5 Research questions........................................................................................................... 15
1.6 Significance of the Study................................................................................................. 16
1.7 Scope of the Study ........................................................................................................... 16
1.7.1 Time scope.................................................................................................................... 16
1.7.2 Geographical scope....................................................................................................... 16
1.7.3 Population sample......................................................................................................... 16
1.7.4 Content scope................................................................................................................ 17
1.8 Definition of Operational Terms...................................................................................... 17
1.9. Limitations of the study .................................................................................................. 18
1.10 CONCEPTUAL FRAME WORK................................................................................. 19
CHAPTER TWO ................................................................................................................... 20
LITERATURE REVIEW ...................................................................................................... 20
2.0 Introduction...................................................................................................................... 20
2.1 Ways through which art has communicated the concept of peace .................................. 20

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2.2 Selected sculptures communicating the Positive Peace Paradigm .................................. 26
2.3 Selected sculptures that seem not communicating the Positive Peace Paradigm ............ 36
2.4 How the public sculpture may communicate the positive peace paradigm..................... 53
2.5 Contrast between a Positive peace sculpture and one which is not ................................. 55
2.6 Importance of the Art of Sculpture .................................................................................. 57
CHAPTER THREE ............................................................................................................... 58
RESEARCH METHODOLOGY........................................................................................... 58
3.0 Introduction...................................................................................................................... 58
3.1 Research Design............................................................................................................... 58
3.2 Population and Study Area .............................................................................................. 59
3.3 Sample Size Determination.............................................................................................. 60
3.4 Sampling methods............................................................................................................ 60
3.5 Data Collection Method................................................................................................... 60
CHAPTER FOUR.................................................................................................................. 64
PRESENTATION, ANALYSIS AND DISCUSSION OF THE FINDINGS ....................... 64
4.0 Introduction:..................................................................................................................... 64
4.1 Subject matter of the selected public sculptures in Kampala city and Entebbe town...... 64
4.2 Iconographic relevance of the selected public sculptures................................................ 67
4.3 Experimentation and Execution of positive peace public sculptures............................... 69
4.3.1 Studio Experiments....................................................................................................... 72
4.3.2 Proposed Public Sculptures towards the positive peace paradigm ............................. 116
4.3.3 Executed Public Sculptures communicating the positive peace paradigm................. 122
CHAPTER FIVE: ................................................................................................................ 124
DISCUSSIONS, CONCLUSION AND RECOMMENDATIONS..................................... 124
5.0 Introduction.................................................................................................................... 124
5.1 Discussion...................................................................................................................... 124
5.2 Conclusions.................................................................................................................... 124
5.3 Recommendations.......................................................................................................... 125
BIBLIOGRAPHY................................................................................................................ 127
REFERENCES .................................................................................................................... 129
APPENDICES ..................................................................................................................... 145
APPENDIX A...................................................................................................................... 145
APPENDIX B:..................................................................................................................... 153

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LIST OF PLATES
Plate No. Theme Page No.
Plate 4.1 Selflessness 76
Plate 4.2 Openness 78
Plate 4.3 Supportiveness 80
Plate 4.4 Commitment to genuine human development 82
Plate 4.5 Oneness 85
Plate 4.6 Seeking Together 88
Plate 4.7 Appreciation of the other 91
Plate 4.8 Internationalism 93
Plate 4.9 Organization 97
Plate 4.10 Integration 100
Plate 4.11 Interconnectedness with others and the creation 103
Plate 4.12 Active participation 105
Plate 4.13 Sense of belonging 106
Plate 4.14 Concern for common good 109
Plate 4.15 Equality 113
Plate 4.16 Consensus 115
Plate 4.17 Endurance 116
Plate 4.18 Radicle love 117
Plate 4.19 Equality II 118
Plate 4.20 Supportiveness II 119
Plate 4.21 Commitment to genuine human development II 120
Plate 4.22 Integration II 121
Plate 4.23 Consensus 122
Plate 4.24 Active co-existence 123
LIST OF TABLES
Table No. Theme Page No.
Table 4.1 Themes through which sculptures communicate Positive Peace Paradigm 70

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ABSTRACT
The study investigated the apparent lack of emphasis on sculpture making for public spaces in the local
context on the positive peace paradigm (PPP), with more focus having been placed on the concepts
desired by those who commissioned for the public sculptures.
The study had three objectives namely; to establish the subject matter of the selected public sculptures
in Kampala city centre and Entebbe town; to study the iconographic relevance of the selected public
sculptures in Kampala city centre and Entebbe town to the positive peace paradigm and to experiment
the different ways through which the positive peace paradigm can be depicted in the public sculptures.
The literature study through photographic information and document review, established that there
was no subject matter specifically directed to the aspects of the positive peace paradigm among the
selected public sculptures in Kampala city centre and Entebbe town. The existing public sculptures
were mainly commemorating past events and telling the societal situations. There were hardly any
aspects and images that promoted positive peace, for example; unity, integration, radical love, oneness
and endurance pointing to a need for more public sculptures to be made based on the aspects of positive
peace.
The interview guide, analytic presentation and observation from the sculpture lectures, students
offering sculpture, peace and reconciliation centre officials showed that there were two public
sculptures that readily communicated peace positively and the other six were not. This was about the
iconographic relevance of the selected public sculptures to the positive peace paradigm.
The methodology study used Qualitative research design and explored experimental design involving
eight selected public sculptures in Kampala city centre and Entebbe town, regions of Uganda which
were selected purposively. Qualitative, descriptive and analytical data collection from observation,
questionnaire, interview guide and participatory discussions were employed according to the
objectives and analysed using thematic and critical judgement method.
The positive peace public sculptures were executed through studio experiments which involved the
drawings of sculpture sketches and execution of maquettes communicating positive peace by the
researcher based on the aspects of positive peace; such as unity, integration, radical love,
internationalism, selflessness, oneness, endurance. The study involved conducting exhibitions and
finding the public perception through interviews about the executed work, presenting proposals to
Kampala Capital City Authority about public sculpture works that would be executed for specific
public spaces in Kampala city centre. There was execution of two public sculptures communicating

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positive peace to the people which were located at Uganda Christian University main campus -
Mukono.
The informants showed a clear preference for the positive peace paradigm depicted in public sculptures
rather than the perceived subject matter by those who commissioned the existing public sculptures in
Kampala city centre and Entebbe town. This would prompt the formation of more public sculptures
communicating the positive peace paradigm be made and spread all over Uganda

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CHAPTER ONE
INTRODUCTION
1.0 Introduction
This research work will take the qualitative approach to investigate public sculptures in
Communicating the Positive Peace Paradigm in Entebbe town and Kampala City Centre. This chapter
presents a comprehensive background to the study. The investigation of the topic of study was focused
on; (i) Establishing the subject matter of the selected public sculptures in Kampala city centre and
Entebbe town. (ii) Studying the iconographic relevance of the selected public sculptures in Kampala
city centre and Entebbe town to the positive peace paradigm. (iii) Experimenting the different ways
through which the positive peace paradigm can be depicted in the public sculptures.
1.1 Background of the study
1.1.1 Historic background of Sculpture
Jennett (2008) states that the Femme a la corne (Plate 1.1) “Woman with horn” discovered by a
physician named J.G. Lalanne in 1908 is unique because it is a fixed rock carving in the wall of a
limestone rock shelter which has been a mainstay in prehistoric art textbooks ever since. It is the largest
of the Venuses at forty-three centimetres tall and was created between 22,000 and 18,000 B.C.E.
Roosevelt (1988) interprets the female images in pre-Columbian art, discovering a theory that the
figures were specifically related to a cult of human female fertility, a demographic strategy appropriate
for the expanding economies of early sedentary agricultural societies. She suggests that the images are
characteristic of chiefdoms or early states and that they disappeared shortly after state development,
with its focus on war and royalty.

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Sikuzani (2016) states that women and girls also continue to be victims of discrimination and
intolerable violence, often at the hands of their spouses or their close relations in their house, like at
school, in the work place and in society. Being a woman is often synonymous to being without a
defense. And in a number of regions facing conflict, sexual violence deliberately and systematically
serves to intimidate women and the whole society. Although the gap between men and women on the
matter of education is closing, important disparities exist between the countries and within countries,
and far too many girls are already deprived of schooling, quit school prematurely, or finish their period
of study with little expertise and still less prospects.
Plate 1.1: Venus de laussel / Femme a la corne (Made 20,000 years ago, discovered in
1911) Size 54 X 36 X 15.5cm, Laussel France, ca. painted limestone bas relief sculpture
in open air. (Source; The Church of St Mary & St John, 2013)

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1.1.2 Interpretation of Peace
According to Maher Nasser, the Director of the United Nations Information Service (UNIS), "Art is
not only about beauty, but also about evoking emotional responses that trigger a thought process. Since
the 20th
century up to the present day, monumental sculptures have contributed to peace building in
society through provoking thoughts and a discussion on the culture of violence” (United Nations
Information Service, 2010). Peace is the state of harmony characterized by the lack of violent conflict.
Commonly understood as the absence of hostility, peace also suggests the existence of healthy or newly
healed interpersonal or international relationships; this could mean prosperity in matters of social or
economic welfare, the establishment of equality, and a working political order that serves the true
interests of all (“Definition of Peace”, n.d., para 8).
The concept of peace is more elucidated in the holy bible (2007): Mathew 11:28-30 shows how
Christians believe that Jesus of Nazareth is the Prince of Peace, the Messiah (Christ) who established
a kingdom of peace where persons, societies, and all of creation are to be healed of evil.
The Dove was considered to be the symbol of peace from the different stories of the Bible through its
appearance in the account of the flood and Noah’s ark (Genesis 6-8) and an emblem of purity and
harmlessness (Matthew 10:16). It was also visualized in the account of the baptism of Jesus by John
at the Jordan river (Matthew 3:16).
Edward (2010) states that peace monuments promote values associated with peace or peace building.
Peace sculptures have been created for many different reasons, such as symbols of peace, testimony
of war, those which are anti-war, expressing religious concepts of peace. Some peace monuments
acknowledge specific peace icons such as Jesus Christ, Eirene, Nelson Mandela, Mahatma
Gandhi, Martin Luther King, Jr., or other Nobel Peace Prize laureates. Other Sculptures promote
themes such as world peace, reconciliation, tolerance, non-violence, racial harmony, and pacifism.
1.1.3 Iconography as a means of selecting sculptures relating to peace
Iconography is a term that collectively describes the symbols and images that make up the content of
a work of art. They speak the cultural language specific to the historical context of the piece, and the
symbolic and allegorical implications of the iconography come from its cultural usage. Interpreting
the iconography reveals the underlying “meaning” of the work (Joukowsky Institute for Archaeology
& the Ancient World, n.d.). Iconography involves the investigation of an object of art in terms of

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description and classification. This study involves identification of the object and interpreting its
content, such as recognizing themes, symbols, and allegories.
According to Lash (1998) one of the principal concerns of iconography is the discovery of symbolic
and allegorical meanings in a work of art.
Michaud (2012) states that Symbolism is the use of symbols to represent ideas or qualities. A symbol
is an object that stands itself and a greater idea; it creates a direct, meaningful link between a special
object, scene, character or action and abstract ideas, values, persons or ways of life (Ifissel, 2008).
Allegory is a story, poem, or picture that can be interpreted to reveal a hidden meaning (Michaud,
2012). Allegory is a complete and self-contained narrative that can also be applied to a parallel set of
external situations which maybe political, moral, religious or philosophical. In other words, it tells a
real story and a symbolic story simultaneously.
Symbolism and allegory are modes that expand meaning (Ifissel, 2008). Therefore, the researcher used
the symbolic and allegorical reviews to justify some sculptures as communicating peace positively and
those which were not.
1.1.4 Sculpture and Peace
According to Poulton and Ibrahim (1997), The Flame of Peace (Plate 1.2) became a defining moment
in Malian modern history. It has burned into the mythology of peace-making across Africa. Far more
valuable than the financial cost of the weapons, is the symbol of national cleansing which the Flame
represents.

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The important thing is that the Flame of Peace symbolizes the end of ethnic violence in Mali, and the
return of the Touaregs and Arabs into the Malian nation. The Flame of Peace is also a triumph for
United Nations diplomacy encouraging the armed movements to surrender their weapons.
Plate 1.2: The Flame of Peace (2000) in Timbuktu ( Source: The Unwilling Traveler, 2011)

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According to Shirley, (2009) the original Eirene and Ploutos, (Plate 1.3) a bronze statue dates back to
the classical period in Greek art, a time when Greek sculpture was at its peak and was created in the
4th
Century (B.C.E). Carlos (2010) A. Martins De Jesus sights Eirene (Peace) and Ploutos (Wealth),
the two gods represent scenarios of prosperity, poetically and pictorially.
Shirley further states that the idea of peace seems to relate through time as a gift, the goddess Eirene
brought the gift of Peace to the Greeks and to the Romans at different times in history.
Plate 1.3: The original Eirene and Ploutos (c.375-350 BCE),
Size: 1.99m, a Marble Statue, originally made by sculptor Kephisodotos.
Location of original: Munich Glyptothek 219 (Source: Wikimedia
Commons, 2011 - File: Eirene Ploutos Glyptothek Munich 219 n1.jpg)

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According to Becker (n.d), The Altar of Peace, (Plate 1.4) (13-9 B.C.) is one of the great monuments
of Roman art, built long after Greece had become a Roman possession and dedicated to peace due to
Augustus’s successful administration. The Greeks contributed to the general wall design like the Altar
of Peace and the Column of the Trajan (C. A.D. 113).
To define peace, variations with religion, culture or subject of study are considered. It is seen as getting
right with God, freedom from disturbance; quiet and tranquility and also used as a greeting. (Gombrich,
1990)
Globally, there are a significant number of sculptures and monuments whose iconography
communicates the values of peace. The most significant ones include among others; “The Timbuktu”
in the west African country of Mali, “African Renaissance Monument” in Senegal. Human historic
figures like “The broken Christ” in Mexico, “The Statue of Nelson Mandela” in London, “Mahatma
Gandhi” in Jinja.
However, the available literature shows that formation of these sculptures inspired by peace are
influenced by a number of factors ranging from consequences of war, human freedom, reconciliation
to unity. For instance;
Plate 1.4: The Ara Pacis or Altar of Peace (erected between 13 and 9 BC) Rome (Source:
Wikipedia, 2009 - Ara Pacis)

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Timbuktu is an ancient site in western Africa which began as a trading city but in time it developed
into the educational and spiritual center. By 1330, Timbuktu (Plate 1.5) became part of the kingdom
of Mali. Mansa Musa built a great mosque in Timbuktu. The mosque attracted scholars from as far
away as Saudi Arabia (Dowling, 2016). The Timbuktu as a city was a peace monument for its
purposive development of trade, education and religion which were of good intentions that helped do
away with ignorance and therefore the key sources in development of peace.
Plate 1.5: The Timbuktu city, Sankore mosque, Mali (1100 CE). Seasonal camp by Tuareg nomads. (Source:
Encyclopedia Britannica, n.d. - Timbuktu, Mali)

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In the African context, political factors shaped the nature of many monumental sculptures of peace.
The desire for human freedom and gaining independence from former colonialists influenced those
monumental sculptures. For instance, The Africa Renaissance Monument (Plate 1.6) At 160 feet tall,
is over one-and-a-half times the height of the Statue of Liberty. It depicts a man with a bare, ripped
torso holding an infant aloft in one arm and guiding a woman with the other. The infant points ahead
to indicate the glorious future, while the woman extends her arm behind to acknowledge the troubled
past. Her hair is swept back by the wind, as are her scant, gossamer-like garments (Morton, 2014).
Former President Wade said that the “Monument to the African Renaissance" is meant to symbolize
Africa’s potential, rebirth and liberation from "centuries of ignorance, intolerance and racism (Pope,
2012).
Plate 1.6: The African Renaissance Monument statue (2010), 49m
tall, bronze statue, Collines des Mamelles, outside of Dakar, Senegal.
(Source: Nina Simone, n.d.)

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The monument of Jesus Christ represents peace through his death on the cross for our sins, hence
called Prince of peace. The monument “The Broken Christ” (Plate 1.7) was designated at San Jose de
Gracia, Aguascalientes in Mexico. Kuriositas (2013) states that the very unusual take on the giant
Christ statue comes from San Jose de Gracia, Aguascalientes in Mexico. El Cristo Roto attracts many
thousands of pilgrims each year and as a result the infrastructure of the municipality is increasing in
order to handle the high demand for this tourist target. Perhaps the reason for the statue’s broken state
is best summed up with the words at its base.
"Leave me broken… I’d like that when you look at me broken like this, you’d remember many of your
brothers and sisters who are broken, poor, indigent, oppressed, sick, mutilated… without arms:
because they are incapacitated, left without any means to work; without feet: because they are impeded
to walk their way; without face: because they have been robbed of their honor and prestige. They are
forgotten… those who see them turn away since they are like me – a broken Christ!"
Plate 1.7: The Broken Christ Statue (2006) at Aguascalientes in
Mexico. Bronze sculpture, height 25 meters (82 feet). (Source:
Pinterest, n.d. - The Broken Christ – Mexico Height 82ft)

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Nelson Mandela was an activist and a former president of South Africa who embraced the spirit of
peace and reconciliation. His statue (Plate 1.8) at parliament square originally proposed by Donald
Woods 2001 was unveiled on 29th
August 2007, created by an English sculptor Ian Walters. Mandela’s
statue at Parliament Square made him the first black man to join a pantheon of mostly British statesmen
memorialized at that historic site.
Nelson Mandela stated that “though this statue is of one man, it should in actual fact symbolize all of
those who have resisted oppression especially in my country.” (Mandela 2007)
Plate 1.8: The Statue of Nelson Mandela by Ian Walters (2007) Parliament
Square, London (Source: Wikipedia, 2012 - File: Nelson Mandela on
Parliament Square, Westminster - geograph.org.uk - 1229312.jpg)

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Mahatma Gandhi is recognized as a universal apostle of peace and non-violence as written beneath
the Bust. Gandhi is remembered in the world for four major virtues’ which include non-violence, truth,
love and fraternity teachings. Gandhi’s bust is recognized and commemorated in Uganda mostly by
the Indian community since he was also an Indian and that his ashes were immersed in the River Nile.
This leaves Ugandans wanting to know what kind of man he was, work and virtues hence embracing
the desire for peace.
Plate 1.9: Mahatma Gandhi, (2nd
.10.1869 – 30th
.01.1948) River Nile Jinja
(Courtesy of Phelan, 2013).

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1.1.5 Theories on Peace
Jowett (2012) states that the use of propaganda has been an integral part of human history and can be
traced back to ancient Greece for its philosophical and theoretical origins. Used effectively by
Alexander the Great, the Roman Empire, and the early Christians, propaganda became an integral part
of the religious conflicts of the Reformation. The ancient world, prior to 500 B.C.E., provides many
examples of effective propaganda techniques being used by rulers, mostly in support of war or religious
persuasion. Egyptian pharaohs best exemplified this trend, and they devised their own unique,
personalized style of propaganda in the form of spectacular public monuments, such as the Sphinx and
the pyramids. Alexander indicated his sincere desire to create a unified empire under his leadership
and to underscore his belief that all his “subject” peoples were equal in his eyes. This symbolic act of
propaganda reconciled the two cultures in a way that no political treaty ever could. He commissioned,
or allowed to be built, many statues and monuments in his honour, and representations of his portrait
were to be found everywhere in his empire, adorning pottery, coins, buildings, and formal art. These
strategies are still widely used today.
According to Galtung (1967), the meanings of "peace" seem to be in three directions of precision. First
of all, there is the old idea of “peace as a synonym for stability or equilibrium”. This conception of
peace also refers to “internal states of a human being, the person who is at peace with himself”. It also
covers the "law and order" concept, in other words the idea of a predictable social order even if this
order is brought about by means of force and the threat of force. In general, this concept does not
exclude violence, since the soldier can have peace with himself on the battlefield.
And then there is a concept of peace which is less clearly defined. This is “peace as a synonym for all
other good things in the world community, particularly “cooperation and integration between human
groups”, with less emphasis on the absence of violence”. We shall refer to it as positive peace and
clarify it later in this section only add here that the concept would exclude major violence, but tolerate
occasional violence. It is a concept that seems to be particularly widespread in underprivileged groups,
groups that are less status quo oriented, whereas both the first and the second concepts would meet
with more ready acceptance in over privileged groups: they are interested in stability, law and order,
and uninterested in violence since any violence would be directed against themselves.
Shank and Schirch, (2008) in their article ‘Strategic Arts-based Peacebuilding’ provide examples of
and the conceptual frameworks in which by strategic, they mean that arts-based methodologies be
conceptually grounded, coordinated with other forms of peacebuilding approaches, infused with a

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long-term perspective vis-à-vis the nature of social change, and serious about evaluating their
effectiveness and impact.
By arts, Shank and Schirch mean an expressive vehicle for communication. Art defies easy
categorization. In this article the authors define the arts broadly to include both ephemeral and more
classical approaches, and embrace the wide variety of forms including visual arts, literary arts,
performance arts, and movement arts.
Uganda’s art industry has evolved from time to time; however, this industry is dominated by literal
and performing arts at the expense of the visual art including sculptures, with apparently little known
of its importance.
Ugandan artists engage themselves in other arts at the expense of visual art like public sculptures.
Possibly due to financial constraints and the available market may not be able to sustain the interested
sculptors. Even the art education syllabus in Uganda at high school level has not emphasized the
teaching of sculpture and how it can communicate to the public. To the contrary, in the developed
communities, visual and industrial arts have been popularized as a means to facilitate participation by
communities in development.
1.2 Statement of the problem
The positive peace paradigm seems not have been given attention in the execution process of Public
Sculptures in Kampala city centre and Entebbe town.
The Public spaces in Kampala city centre and Entebbe town, are endowed with several public
sculptures like the Stride Monument at the parliament avenue, the Mutesa II Presidential Monument,
the Journey Monument at Kololo Airstrip, the Independence Monument at Speke road, The Muzinga
Park Monument in Entebbe and others. In spite of the presence of these public sculptures, the
researcher investigated that the visuals in most of the public sculptures tend not to bring about the
positive peace paradigm. For example, in the Stride Monument (plate 2.26) was said to be a depiction
of a husband, wife and son moving forward symbolizing the common wealth of countries developing
together as a family (Lizzie, n.d.), however the researcher observed that the son to the husband and
wife in a family does not embrace the CHOGM banner in a mode of not participating equitably in the
development process.

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The Muzinga Park Monument (plate 2.24) in Entebbe is a monument on the roadside from the only
international airport of Uganda which demonstrates a scene of war through the setting of the soldiers
and the ammunitions as observed in the sculpture composition.
The Independence Monument (plate 2.27), according to the sculptor Maloba (Duerksen, 2012), seems
to have invoked his Christian faith by implying that the baby Uganda would need plenty of prayers for
its future. The monument presents Uganda as childlike, therefore immature as a subject matter set for
a specified time.
There seemed to be a lack of positive peace in the iconography of the sculptures made for public spaces
in Kampala city centre and Entebbe town with regard to a nation trying to build on the pillars of peace.
One of the few examples of positive peace sculptures is the bust of the 1st
President of Tanzania,
Mwalimu Julius K. Nyerere (plate 2.13) which signified his active involvement in Pan-Africanism and
liberation struggles in Africa like the antiapartheid struggle as a frontline state, and the creation of the
East African community (EAC), the southern African development community (SADC), and the
organization of African Unity (OAU), (Otunnu 2015). The study focused on the ways of using the
aspects of positive peace in the iconography of the public sculptures as a means of sustaining peace.
1.3 Purpose of the study
The purpose of the study was to highlight the messages connected to the selected public sculptures in
Kampala city centre and Entebbe town, enlighten the significance of the visuals used in the selected
public sculptures and therefore explore ways through which the positive peace paradigm can be
strategically promoted in the iconography of the public sculptures by those who commission the public
sculptures and the sculptors as a perspective towards impacting the long term peace building means
for the public and government observers.
1.4 Objectives
i. To establish the subject matter of the selected public sculptures in Kampala city centre and
Entebbe town.
ii. To study the iconographic relevance of the selected public sculptures in Kampala city centre
and Entebbe town to the positive peace paradigm.
iii. To experiment the different ways through which the positive peace paradigm can be depicted
in the public sculptures.
1.5 Research questions
1. What is the subject matter of the selected public sculptures in Kampala city centre and Entebbe
town?

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2. How is the iconography of the selected public sculptures in Kampala city centre and Entebbe
town relevant to the positive peace paradigm?
3. What are the element / aspects of the positive peace sculptures?
1.6 Significance of the Study
Positive peace paradigm aims at developing a long lasting peaceful quality of life in the community.
The people would be reminded by the public sculpture concepts and images for example unity,
freedom, integration and supportiveness. The public is expected to refer to the public sculptures in the
environment and be able to reconcile, communicate together, support each other, love and participate
willingly. In order to achieve this the people must be surrounded by positive peace sculptures and
should be able to interpret and understand the messages they carry.
1.7 Scope of the Study
1.7.1 Time scope
The research was conducted on public sculptures in Kampala city centre and Entebbe town, that were
made since 1962 to 2012.
1.7.2 Geographical scope
The experiments on the depiction of the Positive Peace Paradigm as an inspiration for sculpture were
conducted at Uganda Christian University - Mukono. For the part of the study that required gathering
information, the geographical focus was on the public sculptures that communicated the positive peace
paradigm in Kampala central division (Nakasero and Kololo areas), Kawempe division (Makerere hill
area) out of the five divisions that make up Kampala the capital and largest city of Uganda) and
Entebbe town which is situated in Wakiso District, approximately 37 kilometres south west of
Kampala. These regions of the country Uganda were selected because they had the highest number of
public sculptures that seemed to communicate peace and also had a very high population that easily
acknowledges them.
1.7.3 Population sample
Kampala city centre had seven selected public sculptures communicating about peace and one in
Entebbe town. Two out of the eight public sculptures from both areas where communicating the
positive peace paradigm and six communicating concepts as desired by those who commissioned them.
Sixteen sculpture students, four from each university such as Makerere University, Kyambogo
University, Uganda Christian University, Nkumba University were interviewed using a questionnaire
to find out the iconographic relevance of the selected public sculptures in Kampala city centre and

17
Entebbe town to the positive peace paradigm. Five sculptors were interviewed including; Oloya Peter,
Lwanga Emmanuel, Maria Naita, Robert Ssewanyana and David Kigozi.
The researcher interviewed twelve Peace and Reconciliation Centre officials from “St. Paul’s
Reconciliation and Equality Centre - Bukoto”, “The Peace and Conflict Studies Centre, – Makerere
University”, “John Paul II Justice and Peace centre – Nsambya, Kampala”, “World Vision – Kuret
Upper Kololo Terrace, Kampala”, “Action Aid Uganda (AAU) – Ggaba road, Kansanga”, “Human
Rights Network - Uganda (HURINET) - Kampala” by selecting two from each centre. 46 members of
the general public were interviewed from Kampala City Council Authority office compound and
Uganda Christian University library entrance.
The researcher executed 21 marquettes and two public sculptures that were located at Uganda Christian
university.
1.7.4 Content scope
The researcher examined ways through which the positive peace paradigm would be used as an
inspiration to a non- violent approach to peace leading to a better future of Uganda as compared to the
existing historical input for sculpture production. Within that focus was directed on establishing the
subject matter of the selected public sculptures in Kampala city centre and Entebbe town, studying the
iconographic relevance of the selected public sculptures to the positive peace paradigm and
experimenting the different ways through which the positive peace paradigm can be depicted in the
public sculptures. The research experimented and produced sculptures derived from the positive peace
paradigm. During the experimentation phase a number of aspects were considered in the identification
of the way of structuring peace, which included integration, selflessness, radical love and
internationalism, sense of responsibility, effective communication, active participation, organization
and unity in diversity.
1.8 Definition of Operational Terms
Public sculpture is work produced for a public space and a manifestation of how we see the world
through the sculptor’s reflection on the social, cultural and physical environment. The execution of
public sculpture is most successful when the meaning is openly or indirectly shared between the
sculptor and the community.
Positive peace paradigm (PPP) is the presence of; Serenity, harmony, well-being, Human bonds,
shared human values (respect, acceptance, kind heartedness, equity), Strong feelings for a common

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humanity. Positive peace is characterized by Structural integration, optimistic, preventive, peace by
peaceful means. The PPP gives peace to others and therefore involves the preventive means of attaining
and preserving peace like consensus, tolerance among others.
Galtung supports and states that positive peace is the best protection against violence and his theory
further explains that though negative peace is useful for the short term, the longer term remedies are
only achievable with the positive peace approach (Baljit 2003).
Subject matter is what something is about. In artwork, the subject matter would be what the artist has
chosen to paint, draw or sculpt.
Iconography is the visual imagery and symbols used in a work of art or the study or interpretation of
these. The term can also refer to the artist’s use of imagery in a particular work. Iconography, the
science of identification, description, classification, and interpretation of symbols, themes, and subject
matter in the visual arts.
1.9. Limitations of the study
 People’s attitude: In some instances, it took some time to explain to the people about peace being
perceived as positive rather than negative.
 Occupational Hazard: Injuries while assembling the sculpture work.
 Corruption: Illegal request for money in order to assess sculpture spaces.
 Physical access constraints: Tight security on the public spaces where the sculptures were
positioned and difficulty in taking photos because of security concerns in some places.
 Insufficient information on sculpture that communicates the positive peace paradigm.
The researcher, therefore, relied mostly on general literature about peace and that on making the
sculpture through the different aspects. The researcher was however able to overcome this problem
by getting primary data from the field using the various techniques adopted to gather field information.

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1.10 CONCEPTUAL FRAME WORK
Figure 1.1 below shows that the study was operationalized in the empirical part of the study.
Existing public sculptures
How public sculptures communicating
positive peace will look;
How public sculptures communicate Positive peace
How public sculptures communicate Negative peace
Figure 1.1 conceptual frame work showing how sculptures impact on the promotion of peace. It shows
that the existing sculptures involve, gunmen, strides, symbolic animals, birds, plant sculptures and
materials used involve sand, clay, recycled metal, fabric, wood, sand, stones and fiber glass. These
would be expected to communicate the PPP (Positive peace paradigm) especially through humbleness,
reconciliation symbols, integration, co-existence, equality, unity, seeking together and radical love
among others.
 Monuments
 Gunmen
 Hands
 Human strides
 Symbolic animals, birds
 Plant sculptures
 Religious sculptures
 Humility
 A dove as a “peace” bird
 Hand shaking
 Education
 Nation building
 Independence
commemoration
 Co-operation and collaboration
 Active participation
 Concern
 Reverence of the other
 Tolerance
 Generosity
 Trust and respect
 Supportiveness
 Appreciation
 Internationalism
 Integration
 consensus
 Equality
 Unity
 Feeling of destiny
 Symbols of war weapons and
soldiers.
 Loss of human life and property.
 Battle field scenes.
 Brutality
 Victimization
 Lack of self-consciousness

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CHAPTER TWO
LITERATURE REVIEW
2.0 Introduction
The researcher discussed views expressed by various visual artists and bodies / organisations
regarding factors affecting peace as an inspiration for sculpture. Also reviewed was the different
ways through which visual art communicated peace, existing sculptures communicating the positive
peace paradigm and those which are not, Contrast between a Positive peace sculpture and one which
is not and the Importance of the sculpture art works.
2.1 Ways through which art has communicated the concept of peace
Ramsbotham et al., (2011) states that the art and peace museum movement has grown remarkably
since its first international conference, held in the University of Bradford, England in 1992. It is
estimated that there are now over 100 centers recognized as peace museums worldwide, and since
2008 the International Network of Museums for Peace has established itself with a permanent
secretariat in The Hague, Netherlands.
The United Nations Information Service (2010) underscored the importance of the peace museums
network not just to preserve the artifacts of peace, but to engage actively in the promotion of peace
culture and peace education.
At The Hague, issues concerning the root causes of war / culture of peace, human rights, prevention,
resolution and transformation of violent conflict, human security and disarmament are addressed as a
way of controlling and bringing to justice the challenges faced by mankind (The Hague agenda for
peace and justice).
Plate 2.1: The Peace Palace (1913) left - The International Court of Justice
in The Hague, Netherlands (source: United Nations News Centre, n.d.)

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Peace museums define themselves as unique spaces for learning, ‘situated within a series of contexts
that includes the personal, socio-cultural and physical at these levels museums are educational centers
which may have different emphasis according to location and context, from ‘sites for historic narratives
and survivor stories, to centers for conflict resolution and transformative imagining, to memorial and
reconciliation sites’. Most importantly, they have a common value in forming ‘an alternative voice or
resistance to the dominant and dominating voices of violence’ (Van den Dungen, 2008).
Without borders, art has been seen to provide spaces in which art and other media are used to present
and project the values of peace and conflict resolution. In concrete terms what peace museums
worldwide actually do, particularly preserve and present the material of peace culture (art and artifacts)
for programs where art and history is used to advance peace and conflict resolution education. A range
of visual and performing arts, including ‘drama, literature, poetry, film and the visual arts such as
paintings, prints, posters, sculpture and photography’ reiterates the idea that the power of the arts lie
in their emotive nature. The arts can help people feel the pathos and waste of war to help instill a desire
and commitment to end war and work for peace (Anzai, 2008).
There seems to be a mixture of reactions in regard to art and peace. Anzai (2008) has argued that art
has been used both as witness and resistance to war and as imagery to express peace vision and
transformation. In the former category, Spanish examples are powerful and instructive.
Plate 2.2: Liberty Leading the People (French: La Liberté guidant lepeople)
(1830) Oil on canvas, Height: 260 cm by width: 325 cm, located in Louvre.
Eugene Delacroix (Source: Wikipedia, n.d. – Liberty Leading the People)

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He provided dramatic and disturbing images of Spanish resistance against the invasion of the French
during the Napoleonic Wars of the early nineteenth century however these images would become a
reminder of the negative perspective of encountering a conflict (see plate 2.2).
Guernica is the ancient capital of the Basques and is honored throughout Spain as the oldest center of
democracy (Wallis, 2009). The bombing of Guernica by the German air force under the orders of
General Franco, who had been backed by Hitler and Mussolini and appointed as head of state by the
military Junta inspired Picasso who was already working on ideas for a mural commissioned by the
Spanish pavilion for the Paris World’s Exhibition, that he started on the preliminary drawings for
Guernica (Plate 2.3). The painting was made in Black and white and Gray tone. Brandon further states
that what is captivating about the Guernica painting is utter chaotic feeling of images the picture
conveys as a whole.
According to Walsh, (2003) UN officials hung a blue curtain over a tapestry reproduction of Picasso’s
Guernica at the entrance of the Security Council, a spot where diplomats and others make statements
to the press. Seemingly officials thought it would be inappropriate for Colin Powell to speak about war
in Iraq with the 20th
century most iconic protest against the inhumanity of war as his backdrop. The
Guernica painting was described by Kenneth Clark as broken by modern age and its revolutionary
artistic phenomena. It seems not any more tenable in times of a global perspective heading for World
Art and in the frame of a Postcolonial perspective as a limitation to European art and culture (Kausch,
2014).
Plate 2.3: Guernica (1937) Pablo Picasso. blue, black and white, 3.5 metre (11 ft) tall and 7.8 metre (25.6 ft)
wide, a mural-size canvas painted in oil. Museo Reina Sofia in Madrid (Source: “Guernica, 1937 by Pablo
Picasso”, 2009)

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The roles of music and drama in conflict resolution have been underscored by many. Music can
stimulate a whole range of emotions and perceptions, some forms of it uplifting and likely to work in
favour of peace and harmony, other forms quite the opposite. Urbain (2008), in one of the few studies
that has comprehensively explored the conflict transformation potential of music, provides many
examples where it has been used to promote peace, including the concert organized by Daniel
Barenboim and Edward Said in 1999, uniting Israeli and Palestinian musicians.
According to Nyerges (n.d.). the pipe of peace (plate 2.4) by the North American Indians. Among the
many North American Indian tribes it is considered a sacred ritual through smoking a mixture of
various herbs: often tobacco mixed with willow bark, sumac leaves and others. It is a means of
relaxation or a narcotic effect though most do not inhale the smoke but rather used the pipe as a means
of communicating to the spirit world normally about war and peace. The clay pipe represents the clay
body of the human within which is contained the burning ember of life, as one smokes, the thoughts
and prayers of the communicant are carried heavenward in the smoke.
The joint act of sharing the pipe was considered a common bond or communion, among those who
smoked. Therefore, this would lead to the formation of an affection factor and trust among themselves.
Plate 2.4: “The peace pipe” (1673) A Lakota (Sioux) chanunpa pipe stem, without the pipe bowl
displayed at the United States Library of Congress. (Source: Wikipedia, (n.d.) - Ceremonial pipe)

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According to “Our Patron - Our Lady Queen of Peace (History)” (n.d., para 8), the titles “Our Lady
of Peace” and “Queen of Peace” are among the most popular names to honor the Blessed Virgin Mary
throughout Christendom, and especially within the Roman Catholic Church. In art, the Blessed Mother
is represented under these titles as holding both a dove and an olive branch which are recognized
symbols of peace. In one account from South America, tradition maintains that in 1682, several
merchants found a heavy, abandoned box on the shore of El Salvador’s “Mar de Sur”, which they were
unable to open. Believing it to contain a treasure of great value, they carried it to the city of San Miguel
to find a way to unlock it. They tied it onto the back of a donkey, intending to bring it to the local civil
authorities, but as they passed the parish church, the donkey stopped and lay on the ground, refusing
to move. In front of the church, they were suddenly able to open the box, which contained an image
of the Blessed Mother holding the Christ Child. At that time, a bloody war raged in the local region,
but when the warring parties heard of the abandoned box, they immediately put down their weapons
and discontinued the fighting. Because of this incident (and others that followed to maintain the peace),
this image of Mary was given the title “Our Lady of Peace”. The image of the blessed Mary and Christ
transformed people who were looking forward to a conflict and this was only because it had a positive
reflection.
Global Peace might also be categorized as World Peace which is an ideal of freedom, peace, and
happiness among and within nations and people. The term World Peace is sometimes used to refer to
putting an end of all hostility among all humanity. World Peace is therefore crossing boundaries
through human rights, technology, education, engineering, medicine, diplomats and also by an end to
all forms of fighting (Wayan, 2016). However, the World Peace theories state that World Peace can
be achievable when there is no longer conflict over resources, for example, oil. In Sudan, “oil” has led
to its split into two states; Sudan and South Sudan which has triggered civil wars and rebel groups
between the two neighbor countries.
Martin Luther King Jnr. quoted that “true leaders work for Peace.” Therefore, conflict over resources
is mostly due to their poor management. This could be improved or stabilized through sculpture by
depicting aspects of unity in the community.
Coombes (2003), states that we think a lot of the trouble in the world comes from the fact that people
don’t stay in their own place and everything would have been much simpler if people stayed where
they come from and took good care of their land and did not invade other people’s land. This was
mostly experienced in the colonial times when European countries took control of African countries
on this in turn created more hatred among the African tribes. This was experienced when the

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colonialists would use one tribe support it for example Buganda in Uganda to get to another tribe like
Bunyoro who were opposed to them.
According to Fukushima (2010), The idea of a culture of peace was founded during the 1980s on a
number of important events and initiatives, which attempted to provide a unifying philosophy for the
disparate strands of the work of the UN around promoting human rights and development, justice and
solidarity, and gender equality, where peace was the unifying core value. Thus an International
Congress on Peace in the Minds of Men, held in Yamoussoukro, Côte d’Ivoire, in July 1989, called
for the construction of ‘a new vision of peace culture’, and in May 1986 an international group of
natural and social scientists was convened in Seville by the Spanish National Commission for
UNESCO.
The empowering nature of peace culture became increasingly recognized during the 1990s. In 1997
the General Assembly of the United Nations, anticipating the new millennium, declared the year 2000
to be the International Year of the Culture of Peace and followed this in 1998 by declaring a manifesto
for an International Decade for a Culture of Peace and Non- Violence for the Children of the World.
This was the result of the convergence of three initiatives, all of which had strong support in Latin
American countries and in Africa: the proposal for the International Year of the Culture of Peace; the
proposal for a UN Declaration and Programme of Action on a Culture of Peace; and an initiative of
Nobel Peace Laureates called the Campaign for the Children of the World (United Nations, 1998).
The main impact of the commitment to a global peace culture by UNESCO was twofold: first, to
emphasize the value of peace as a positive experience and benefit in everyday life, not only as a
negative definition of the absence of violence; and, second, to accelerate and promote interest in the
cultural dimensions of peace building generally.

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2.2 Selected sculptures communicating the Positive Peace Paradigm
The Reconciliation statue (1977) (plate 2.5) has its origins in a small bronze figure called Reunion,
exhibited by Josefina in a 1955 joint exhibition with Delmar at the Royal Watercolour Society. She
explained that, “the sculpture was originally conceived in the aftermath of the [Second World] War …
I read in a newspaper about a woman who crossed Europe on foot to find her husband, and I was so
moved that I made the sculpture. Then I thought that it wasn’t only about the reunion of two people
but hopefully a reunion of nations which had been fighting” (Reunion and Reconciliation: The Peace
Sculpture by Josefina de Vasconcellos, 2012).
PLATE 2.5; Reconciliation statue (1977) at the Old Cathedral, Coventry, England.
Reconciliation (originally named Reunion) is a sculpture by Josefina de Vasconcellos. (Source:
Wikimedia Commons (2010). File: Reconciliation Statue, The Old Cathedral, Coventry.jpg.)

27
Jo Blakemore (2011) at the Manchester Evening News gives a global view that History was made
when a community divided by old loyalties and hate came together in friendship and reconciliation.
The momentous occasion was the opening of the Derry Peace Bridge, linking both banks of the mighty
River Foyle in Northern Ireland.
Jo Blakemore further explained that the structure, a suspension bridge for pedestrians and cyclists, has
a distinctive form, representing a handshake across the water. It aims to join all communities living in
Derry-Londonderry – as city officials label it – in peace and harmony.
Plate 2.6: The Hands across the Divide statue (1991) bronze statue, by Maurice Harron in Derry, London.
Next to the Craigavon Bridge (Source: Manchester Evening News, 2011)

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Mindcrime (2014) tips about Klafthmonos square that since 1989 the square was called Ethnikis
Simfilioseos (statue of National Reconciliation). A statue was created as a symbol of the National
Reconciliation in 1989 but almost 70 years after the Greek civil war the Greek society seemed to be
still divided.
Plate 2.7: Monument of National Reconciliation (1989) by Vassilis Doropoulos. 8-meter-
tall statue, made of copper (Source: Greece.com, (n.d.) - Monument of National
Reconciliation)

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According to Boorstein (2016), Christ the Redeemer Statue (plate 2.8) 125-foot, concrete statue on a
mountain overlooking Rio couldn’t appear more straight forward: It’s a giant Jesus with His arms
outstretched. “Christ the Redeemer” or “Cristo Redentor” rises almost a half-mile into the Rio sky,
and is perhaps the most recognizable Christian image in Latin America. Yet Cristo’s meaning to
Brazilians varies. Some see it as a tribute to Catholicism while others consider it a salvo against
secularism. Still others in the rapidly diversifying country consider it a general symbol of welcome,
with arms open wide. One of its original creators called it a “monument to science, art and religion.”
PLATE 2.8; Christ the Redeemerin Rio de Janeiro, Brazil, built
between the years 1922 and 1931 by French sculptor Paul
Landowski. Reinforced concrete-built and soapstone-tiled. Height 30
meters. (Source: Pinterest (n.d). Christ the redeemer statue)

30
Parker (2006) on the commissioning of the sculpture reconciliation, stated that “in my own mind, I
have always thought of the parable of the prodigal son (Luke 15:11-32) as “the great parable.” He
further quantified that he had taught the parable to seminary students; discussed it with bible study
groups in church basements and parish halls; explored it with ordained clergy and used great art-often
the work of Rembrandt - to help enter the narrative but it remains one of the most powerful means of
understanding God’s limitless capacity for forgiveness.
Plate 2.9: Reconciliation (2005) by Margaret Adams Parker, bronze, 48 inches high.
Duke Divinity School (Source: The Episcopal Church and Visual Arts, (2006))

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In relation to the location of the Peace pole, Dodoo (2012) Kwame Nkrumah had a vision not only for
Africa but also the whole world. He foresaw the imminence of a unified world in which all sectors of
society would have no choice but to work together. His vision and mission then was to prepare Africa
for the task of playing a role in this approaching unified world society, not as a subordinate continent
but as an equal and dignified member and partner.
To achieve this, there was a need to dismantle the structures of colonialism and put in their place new
structures to support local aspirations in order to promote development and create a conducive
environment, in which the individual could operate.
Plate 2.10: Peace Pole (2007), Kumasi, Ghana. Sculptor
Magyar, made of a 105 years old Sapele tree, carved in bas
relief, 16.7 m (Source: Wikimedia Commons, 2008)

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According to Alluring World (2017), Monument de la Paix, also known as Monument to the Peace, is
one of the many interesting monuments that are located in the capital city and also the largest one in
the West African Republic of Mali. The Monument has the shape of an arch, which is actually two
hands that are holding up a globe on which a white dove is placed, the symbol of peace. Even though
the restless Mali is always in some kind of struggle, this monument is dedicated to the return of the
peace in the northern part of the country. Together with the monument in Timbuktu, it evokes one of
the most publicized commemorations which are dedicated to the national reconciliation following the
painful conflict that occurred in the north during the 90s.
Plate 2.11: Monument de la Paix, Bamako, Mali (Source: Wikimedia Commons, (2008) File: Monument de la
paix - Bamako.jpg)

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Maria Naita, an East African sculptor of “Building the Nation” (plate 2:12) at the Rwanda Revenue
Authority in Rwanda in an interview about the allegory of the sculpture stated that the genocide left
behind a hurting society, a divided people, but the Rwandese people chose to put the past behind them,
and rebuild the walls of oneness, economic vitality and love. They chose to heal from the pains of the
discrimination, and made a commitment to arise as one and rebuild their mother land.
The Mahatma Gandhi’s (plate: 1.9) bust is recognized and commemorated in Uganda mostly by the
Indian community since he was also known for the kind of man he was, work and virtues which leaves
them embracing the desire for peace. Gandhi accepting his status as a great innovator in the struggle
against racism, violence and colonialism, he felt that his ideas needed deeper understanding. Gandhi
further explains that he was after truth rooted in devotion to god and attributed the turning point,
success and challenges in his life to the will of God (Mohandas, 2015).
Museveni, (2016) in a speech as Makerere University celebrated 90 years, recognizing Mwalimu Julius
Nyerere; said that I would like to thank Makerere University for carrying out all events scheduled as
part of the yearlong celebrations to mark 90 years of existence. In particular, I would like to commend
you for recognizing your very own Alumnus Mwalimu Julius Nyerere, a formidable freedom fighter,
Plate 2.12: “Building the Nation” statue, (2007). Naita Maria, at the Rwanda Revenue Authority (Photograph by
Byaruhanga F., 2016)

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Pan Africanist, gallant Statesman and Father of the Tanzanian Nation. Mwalimu Nyerere’s selfless
leadership made his vision of a united Tanzania easily acceptable for Sheikh Abeid Karume of
Zanzibar. These two leaders were foresighted in uniting Tanganyika and Zanzibar to form Tanzania
and Mwalimu Nyerere would later engineer an integrated East African Community (EAC).
PLATE 2:13; “The bust of the 1st
President of Tanzania Mwalimu Julius K.
Nyerere” (2013), by George Kyeyune at Makerere University, Kampala.
Photograph by Natumanya Patrick (2015)

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According to Robert (1999), Van Rooyen is remembered for electing a statue of Christ the King given
by Mr. Christopher Colombo Polo outside the church. This sculpture describes the event of Jesus Christ
in John 13: 3-5 (the holy bible, 2007). 3 Jesus knew that the Father had delivered all things into His
hands, and that He had come from God and was returning to God. 4 So He got up from the supper,
laid aside His outer garments, and wrapped a towel around His waist. 5 After that, He poured water
into a basin and began to wash the disciples’ feet and dry them with the towel that was around Him.
PLATE 2:14; Monument of “Jesus Christ” in Kampala at
Christ the king church located on Colville Street. Elected by
Van Rooyen (1975). Photograph by Natumanya Patrick (2014)

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2.3 Selected sculptures that seem not communicating the Positive Peace Paradigm
Globally, Rev. Greg S. (2010) states that the sculpture “Let Us Beat Swords into Plowshares” at the
UN, by the Russian sculptor Evgeniy Vuchetich crafted a muscular man with a hummer in his right
hand, and a sword in his left. The industrious labourer is hard at work beating his sword into plowshare.
The Soviet Union gave this beautiful statue to the United Nations as a gesture of peace. The statue’s
desire to portray peace to the people depicted in the bible (Isaiah 2:4 NIV) “Nation will not take up
sword against nation, nor will they train for war anymore”. Einstein, (n.d.) quote that peace cannot be
kept by force; it can only be achieved by understanding, therefore the monument’s subject matter and
iconography does not depict the positive means of peace building but rather a show of an end to
violence and destruction amongst nations.
Plate 2.15: Let Us Beat Swords into Plowshares (1959). bronze statue,
sculptor - Evgeniy Vuchetich. (Source: Pinterest (n.d.) - Let Us Beat Swords
into Plowshares by Yevgeny Vuchetich, 1959)

37
Soeurs du Bon Pasteur (2013) explains that bronze sculpture of “Non Violence,” by Carl Fredrick
Reutersward also known as “The Knotted Gun”, to honor singer-songwriter John Lennon and his vision
for a more peaceful world. According to the United Nations visitor centre, Kofi Annan, the UN
Secretary General then and Nobel Peace Laureate, said that “The sculpture Non-Violence has not only
endowed the United Nations with a cherished work of art; it has enriched the consciousness of
humanity with a powerful symbol that encapsulates, in a few simple curves, the greatest prayer of man;
that which asks not for victory, but for peace.”
Plate 2.16: "Non-Violence" also known as "The Knotted Gun" (1980) stands outside the UN building in New York
and was created by Carl Fredrik Reuterswärd. (Photograph by Routledge B., 2009 - National Education Network
Gallery)

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Alfano (n.d.) states that the Stand Up, Speak Out sculpture was created with the support of Mothers
against Drunk Driving (MADD) Long Island Chapter, Students against Drunk Driving, and the Nassau
County Traffic Safety Board. It received national attention due to its original placement at the Nassau
County Courthouse--defense lawyers successfully contested that its presence could unfairly bias jurors
in drunken driving cases. The sculpture was then located at the Nassau University Medical Center. In
2010, the county moved the memorial to Eisenhower Park and rededicated it in a moving ceremony.
Plate 2.17: Stand Up, Speak Out (1998) by Michael Alfano. Cold Cast Copper 10'x7'x5' (120% Life Size)
Eisenhower Park, Nassau County, NY. (Photograph by Michael, n.d.)

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The Tree of Life was made by four Mozambican artists: Cristovao Canhavato (Kester), Hilario
Nhatugueja, Fiel dos Santos and Adelino Serafim Maté. According to the British Museum, it is a
product of the Transforming Arms into Tools (TAE) project and is made from decommissioned
weapons.
It was during the Mozambique's civil war, which lasted from 1976 to 1992; millions of guns poured
into the country and many of them were hidden or buried in the bush. The project was an attempt to
eliminate the threat presented by the hidden weapons. Mozambicans were encouraged to hand over
weapons in exchange for items like ploughs, bicycles and sewing machines. In one case a whole village
gave up its weapons in exchange for a tractor (“Visual Arts”, 2012).
Plate 2.18: Tree of Life (2004) Cristovao Canhavato (Kester), Hilario Nhatugueja,
Fiel dos Santos and Adelino Serafim Maté. (decommissioned weapons). (Source:
Keiren, 2016. Gun Art)

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Throne of Weapons was made by the Mozambican artist Cristovao Canhavato Kester (2001) from
weapons collected since the end of the civil war in 1992. In Africa, most people sit on stools, but
for tribal heads, princes and kings who have ceremonial chairs. The "Transforming Arms into Tools"
organisation supplied the decommissioned weapons. The guns, mostly AK-47 assault rifles, were
manufactured in Portugal, Eastern Europe and North Korea.
The Throne of weapons was purchased by the British Museum in 2002 and displayed in the Sainsbury
African Galleries alongside more traditional stools and chairs that are symbols in many African
societies both of authority and the willingness to sit and listen, an essential pre-requisite for mutual
understanding. When the Museum was planning its contribution to ‘Africa 05’, a year-long programme
celebrating African culture, the Throne of Weapons was the immediate choice of a work to take to the
country at large, carrying the message of the British Museum’s commitment to Africa and to sharing
its collection with the widest possible audience (Holden, 2002).
Plate 2.19: Throne of Weapons (2002) by Cristóvão Estavão
Canhavato. Material: recycled weapons, size Height: 101 cm
Width: 61 cm, currently located in room 25 in the British
Museum. (Source: Wikipedia, n.d. - Throne of Weapons)

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Schwartzott (2012) identified that the recognizable gun part was used to create sculpture in looking
forward towards peace by remembering the past. The young boy’s head is compared of a pistol grip,
recoil springs from AK47.5 shape the arms, the legs of the figures and a trigger guard and a trigger
defines the baby’s head.
This sculpture images (plate 2:20) depicts a family devastated by war but fighting to survive, a mother
and her young son struggle to move forward while the baby on the mother’s bark looks back at
Mozambique’s past. Mozambique’s civil war almost directly followed their battle for independence
from Portuguese colonial rule (1962- 1975). This war was fought between the ruling parties.
Plate 2.20: Looking Forward Towards Peace by Remembering the
Past by Jorge Jose Munguambe (Makolwa) Material: recycled
weapons. Photograph by Schwartzott, (2011)

42
According to Elder and Sister Worthen (2011), For many years Stone Town in Zanzibar was a major
center for the slave trade. Slaves were taken from mainland Africa and trade done with the Middle
East. The Anglican Cathedral is built on the site of a former slave market and shows these statues, by
sculptor, Clara Somas. It is a haunting reminder of man's inhumanity to man.
Plate 2.21: Monument to Slaves (1998). Memory for the Slaves sculpture by the Scandinavian artist Clara
Sörnäs, concrete, May 2, 1998. Location: In front of the Anglican Church, Stone Town, Zanzibar. (Source:
Wikimedia Commons (n.d.) - File: Slave memorial Zanzibar.jpg)

43
In remembrance of the Rwanda genocide 1994 on the tenth anniversary, the sculpture (Plate 2.22), by
Ghanaian artist and sculptor Kofi Setordji on display at the Ecumenical Centre in Geneva. Wooden
sculptures and terracotta masks call to mind the genocide in which nearly a million people were killed.
It tells of the victims’ suffering, the silence of the international community and the deep division in
Rwandan society (“The scars of memory - Sculpture exhibition at the Ecumenical Centre, Geneva, to
commemorate the 1994 genocide in Rwanda”; 2003).
Plate 2.22: In memoriam of the Rwanda Genocide by Kofi Setordji’s (Source: Pinterest (n.d.) Kofi
Setordji, Rwanda Genocide | Virtual Museum of Contemporary African Art)

44
The Askari Monument, in the center of Dar es Salaam, commemorates the valor of Tanzanian soldiers
in the fight against Nazis in World War II. This bronze statue was erected by the British in 1927 in
memory of African troops who died during World War I. (The word askari means "soldier" in Swahili.)
It stands on the site of a monument erected by Germany to celebrate its victory here in 1888. That
monument stood only five years before being demolished in 1916 (“Fodor’s Travel: Askari Monument
review”, n.d., para 8). The Askari monument in Tanzania might have mixed interpretations to either
show that there is peace in Tanzania or to refer to cases of fighting hence a destabilization of peace in
the country. Such monuments meanings as far as extending messages may not be easy to arrive at.
Plate 2.23: Askari Monument (1927) in Dar es Salaam, Tanzania.
Bronze statue, by British sculptor James Alexander Stevenson.
(Source: Wikipedia, (n.d.) - Askari Monument)

45
The Muzinga monument situated opposite the Entebbe Municipal Council building, is claimed to have
been left behind by Tanzanian troops during their uprising on former president, Idi Amin Dada. After
ousting the President Amin, they wanted to blow up the Entebbe Municipal Council building but were
discouraged by gunfire from the Ugandan troops who were on the verge of being defeated and
abandoned the plan. (“Focus East Africa Tours”, 2017)
Plate 2.24: The Muzinga Park Monument, Entebbe - Uganda. Material: concrete and metal.
Photograph by Natumanya Patrick (2015).

46
According to Alal (2010), The “Pillar of peace” sculpture (Plate 2.25) was commissioned by the Dutch
Embassy to commemorate their educational projects in Northern Uganda. And since Gulu is popularly
considered the centre of Northern Uganda, to which the surrounding regions are culturally and
economically linked, it was also a call to abandon arms. Therefore, the sculpture seemingly radiates
its steely shine to the whole region. However, this work also bears a sinister story that is not often
noticed by casual onlookers. What were once five guns embedded in the concrete at the feet of the
children have all but disappeared. Now there is only one gun embedded in the cement, the other four
having been stolen. This is a constant source of distress for the artist who regarded it as his attempt at
recording history.
Plate 2.25: Pillar of peace by David Kigozi, (2009) by David
Kigozi, made out of recycled weapons, located in Gulu. (Source:
The Polar Bear's Toenails (n.d.) - The Pillar of Peace)

47
Funded by the Government of Uganda through the Ministry of Tourism Trade and Industry, the “Stride
Monument” 16 feet, unveiled by Queen of Britain during her visit to Uganda, was erected in
commemoration of Uganda's hosting of the prestigious Commonwealth Heads of Government Meeting
(CHOGM) in Uganda, November 2007. The sculpture depicts a husband, wife and son (who is holding
a book) striding forward, the copper statue symbolizes the commonwealth of countries developing
together as a family (Lizzie, n.d.).
Plate 2.26: The “Stride” monument (2007). Built by Kann Artists
headed by Prof George Kyeyune, height 16 feet. Material: Cooper and
stainless steel. Located behind the parliament gardens, Kampala.
Photograph by Natumanya Patrick (2015)

48
In Uganda, “The Independence Monument” at a height of 6 meters is one of the most important pieces
of the country’s heritage. It is located along Speke road in Kampala, just opposite Standard Charted
bank. The monument was funded by the British Colonial government as a commemoration of the end
of colonial rule attained on October 9th
, 1962 (Duerksen, 2012).
The Independence Monument depicting a woman in bondage carrying a newborn baby that is filled
with joy, signifies the attainment of independence over the British colonial rule. Maloba seems to have
invoked his Christian faith by implying that the baby Uganda would need plenty of prayers for its
future. The construction of this monument was financed by the British colonial government as
suggested by sculptor, Gregory Maloba later after the execution of the monument (Duerksen, 2012).
Nsubuga (2007) in his article states that the “Independence Monument Shows Neo-Colonialism.” He
further recognized the Independence Monument as “accomplished work technically and aesthetically,”
but – in a striking reversal of Maloba’s intentions – he sees the woman in the Monument as representing
the “monstrous grip” colonialism.
Plate 2.27: The Independence Monument in Uganda (1962) by
Gregory Magoba, 6 meters high and made of concrete. Located in
Kampala. Photograph by Natumanya Patrick (2015)

49
“The Journey” monument (22 feet) located at Kololo Airstrip in Kampala central division,
commemorates the golden jubilee of Uganda independence in 1962-2012. The monument in the
researcher’s point of view depicts human beings that seem to portray movement of five different age
group through the different decades in which elements of positive peace are not depicted. Ssenyonga
John Bosco in an interview noted that “despite the different challenges Uganda has been going through
since independence it has finally attained some degree of freedom” This implies that Uganda has
prospects of getting total freedom as people develop political maturity of the different generations
through social justice and human development under the rule of law.
Plate 2:28; “The Journey” monument (2012) by Dr. Kyeyune, General Elly
Tumwine and other artists at Kololo Airstrip, Kampala. Height of 22 feet,
made out of fibre glass. Photograph by Natumanya Patrick (2015)

50
According to the Kampala city tours (2015), the Sir Edward Muteesa II monument was put up to
commemorate Sir Edward Muteesa II, the first president of the independent Uganda and the 35th King
of the Kingdom of Buganda for his work towards the struggle for independence in Uganda. It is
positioned at the Speke road and Nile Avenue Junction in close proximity to the independence
monument. The facilitation for this feature was footed by the Roofing Limited, Bank of Uganda and
Mr. Gordon Wavammuno – a local entrepreneur. The Kabaka of Buganda – Ronald Muwenda Mutebi
unveiled this Monument in 2007. The writing on the side of the sculpture pedestal states that the work
executors are the Ssekabaka Muteesa 1 Foundation (SMF).
Plate 2.29: Muteesa II Presidential monument (2007) Grand Imperial
Roundabout at the junction of Speke Road and Nile Avenue. Work executors
are the Ssekabaka Muteesa 1 Foundation (SMF). Photograph by Edgar R.
Batte, (n.d.) - Daily Monitor

51
The Kabamba Hero’s Monument 20 metres tall sculpture (2005) at Kabamba Army Barracks was
sculpted to celebrate the attack by rebels led by then-rebel leader Yoweri Museveni on the same
barracks on February 6, 1981. This attack is considered a pivotal moment in the rebellion that brought
President Museveni to power and is celebrated as Tarehe Sita; a national holiday. It presents an erect,
youthful Yoweri Museveni holding a Kalashnikov in his left arm, with his right lifted high firmly and
pointing forward as if ordering a charge.
The urge to put a human face to national achievements with a view to immortalise the person’s
association to the achievement appears universal. The avenue mostly used in this enterprise is
monumental art in recognition of its latent power to influence mindsets and build larger-than-life
impressions of personalities and events. This phenomenon transcends civilizations and continues
unabated and Uganda has not been spared. (Kiwere, 2017)
Plate 2.30: The Kabamba Hero’s Monument (2005); by sculptors George Kyeyune, Maria Naita and the Kann
Artists, Size 20 metres; materials: fibre glass. Located at Kabamba Military Barracks – Mubende. Photograph
by Maria Naita (2014)

52
According to Kakande (2016), the ‘unknown soldier’ monument was built in celebration of the
triumph, under the NRM leadership, over a bad 1962-86 history. The monument depicts the honored
glory of Uganda patriots who have been involved in the struggles of fighting for peace.
Plate 2.31: The “Unknown soldier” monument at Kololo Airstrip, made by a Korean company, out
of concrete. Photograph by Natumanya Patrick (2015)

53
2.4 How the public sculpture may communicate the positive peace paradigm
Camus, (n.d.) said that the evil that is in the world almost comes because of ignorance, and good
intentions may do as much harm as malevolence if they lack understanding. Therefore, this requires
people’s pursuit for God.
The word of God is alive in us and discerns our intentions. It reveals to us the true moral character of
our thoughts and intents. The Word of God frequently reveals humankind to itself (Jones, 2001).
That is why the researcher would use some symbols depicted in the bible to communicate the positive
peace paradigm through the public sculptures.
Nock, (n.d.) quote that “it is unfortunately known, too well understood that just as the state has no
money of its own, so it has no power of its own.” This is experienced in Uganda though it attained
independence it still benefits most from the funds of the developed nations who seem to govern it
indirectly for example the tussle to ban homosexuality and this calls for generosity and concern among
nations and therefore resulting to oneness.
Bhaskaran, (2003) writes that conflict can be terminated or concluded in three ways through the
procedural methods of dealing with conflict. They are Reconciliation, Compromise and Award. In
Reconciliation, the value systems and differing images of each party undergoes dramatic change,
which accelerates the process of mutually agreeable preference or solution to end the conflict.
Compromise is the position in which the conflicting parties do not alter their value system, however,
they mutually agree to find more pragmatic and less idealistic solution rather than continue with the
conflict. Compromise is arrived at, mostly through bargaining in which parties are willing to give up
some of their demands in favour of arriving at a solution. Award is a kind of settlement in which the
solution comes in the form of verdict of an outside person or agency with which the parties agreed to
accept. Awards are being used in Arbitration and Adjudication.
According to Diamond and McDonald Multi-track diplomacy is "a conceptual framework designed ....
to reflect the variety of activities that contribute to international peacemaking". They pointed out that
track two diplomacy is designed (1) to reduce or resolve conflict between groups or nations by
improving communication, understanding and relationships; (2) to lower tension, anger, fear or
misunderstanding by humanizing the "face of the enemy" and giving people direct personal experience
of one another; (3) to affect the thinking and action of track-one (i.e. official diplomacy) by exploring
diplomacy options without prejudice, thereby preparing the ground for more formal negotiations for
re-framing policies (Siby, 2003).

54
Larue, (1998) reveals that the 21st century promises to be a time of scientific and technological growth
at a level never before experienced in human history. This growth will either trigger chaos, disruption,
war, starvation and disease or will introduce a period of humanistic cooperation, development,
progress and peace. What emerges will depend upon which values are embraced, taught, encouraged,
and legislated. Therefore, execution of sculpture communicating peace, will promote Caring and
Sharing among the people, Compassion, Love, Tolerance, Unity, Interdependence, Empathy,
Spirituality, Gratitude, Integration which would capitalize on the success of humanistic cooperation,
development, progress and peace.
The Uganda Peace Foundation Initiative (n.d.) notes that there is a rapidly growing international
movement to establish Departments of Peace or Ministries of Peace in countries around the world with
the goal of supporting the emergence of a culture of peace in those countries. This global movement
is premised on the understanding that all of our systems of foreign policy, education, politics,
economics, business, health, and social welfare are interdependent and therefore can and must
cooperate and coordinate with one another in seeking, teaching, and living in peace.
Uganda Peace Foundation Initiative also engages in action-oriented activities that instill the
understanding of values of a culture of peace, tolerance and non-violence within communities in
Northern Uganda. Therefore, this can also be expressed through the creation of sculpture to
communicate the need for peace. For example, David Kigoozi’s sculpture “Pillar of Peace” in Gulu
communicating the need for education in the area inspite of the guns that were placed at the side on
the pedestal.

55
2.5 Contrast between a Positive peace sculpture and one which is not
Non Positive Peace;
According to Marche (2013), Ai Weiwei is one of the most famous artists on the planet, and like many
who have held the title before (van Gogh, Picasso) his personal story may be better known than his
art. Over the past five years, he has become China’s leading dissident, endlessly harassed and attacked
by state authorities for creating work that seeks out the limits of expression in a country not big on the
concept of artistic freedom. In him, the rebellion and the art, the life and the work, are one and the
same. (Image: Daniel Neuhaus, source;)
Ai Weiwei’s sculpture series depicted in the “Circle of Animals/Zodiac Heads”, installed in Nathan
Phillips Square during the AGO exhibition, is a collection of bodiless beasts that seem almost to float
in the reflecting pool. The “room-sized Snake Ceiling” was created from hundreds of backpacks as a
memorial to the schoolchildren killed during a 2008 earthquake in Sichuan province and therefore the
reason he has been tormented, beaten and jailed for his art.
Plate 2.32: Circle of Animals/Zodiac Heads (2010) 10 feet high on a marble base,
bronze sculpture in New York and The room-sized Snake Ceiling (2009) 10m x 10m as
per the direction. Executed by Ai weiwei (Source: Marche, 2013)

56
Positive Peace;
According to the Arts Council of Northern Ireland, (2015) on the Sculpture “All Together Now”
unveiled in Scotch Street, as a Building Peace through the Arts project by Michael Disley creator of
the artwork which he explained its significance to the local area as “The apple tree which is
synonymous with this area can be made to shed its apples more readily if everyone shakes the tree
together.” The apples which fall exhibit a welcome to the residents and those from other lands. The
children shake the tree as they are the ones who will form the future and peace needs to be part of that.
The Arts Council of Northern Ireland hopes that both the local community and visitors will be inspired
by the message of welcome and togetherness which will help achieve our goal of a lasting peace in
this country.
Plate 2.33: “All Together Now”, Michael Disley.
Sculpture made out of Stone Carving, Granite unveiled
in Scotch Street. (Source: Michael Disley Sculpture
(n.d.) - All Together Now)

57
2.6 Importance of the Art of Sculpture
The art of sculpture has had a profound effect throughout the ages. According to University Press Inc,
(2003), many of the styles have been reproduced and copied by some of what the modern day audiences
would class as some of the finest artists to have ever lived for instance, Michelangelo. Western art and
sculpture derived from Roman art, while in the East, Alexander the Great's conquest gave birth to
Greco-Buddhist art, which has even had an influence as far as Japan all of which stem from ancient
Greek art. Sculptures are very important as the vast majority of them tell us a story about Gods, Heroes,
Events, Mythical Creatures and culture in general.
According to Warkentin (n.d.), most Toronto public sculptures are not monumental or
commemorative. They are three dimensional works of art installed after 1960 that reflect the ideas or
imaginations of many different sculptors, created not to portray an image of a particular person but to
convey conceptions of mass and space and to bring beauty to a city.
According to Curtis (2010), public sculpture has existed as landmark, monument, architectural
embellishment, cultural symbol, and independent aesthetic object. This traditional notion of sculpture
serves as a point from which subsequent modifications of sculpture as public art evolve. Today,
sculpture embraces many new forms representing new technologies and materials resulting in
installation sculptures, light-based sculptures, and other forms of sculptural expression. In at least some
of its manifestations, public sculpture offers a bridge between cultural particulars and the universal,
which can be appreciated by all persons irrespective of their cultural origin.
Expression of freedom and self-determination has been a cornerstone of the art of sculpture. The
sculptures of Greece more than any other art form are the pure expression of freedom, self-
consciousness and self-determination. These were the values that motivated the inhabitants of Ancient
Greece to defeat mighty Persia and led them to the development of a model of society that ensured the
dignity of every man within it (University Press Inc, 2003).
Conclusion
The literature review highlighted symbolic and allegoric views as justification of sculptures to be
containing the positive peace paradigm and those which were not. There were fewer number of
sculptures communicating the positive peace paradigm compared to the sculptures which were not.

58
CHAPTER THREE
RESEARCH METHODOLOGY
3.0 Introduction
The study focused on the methodology and techniques which entailed the research design, description
of the area of the study, sample size and sampling techniques, methods of data collection, data
management and analysis techniques and the quality control methods.
3.1 Research Design
Burns and Grove (2003:195) define a research design as “a blueprint for conducting a study with
maximum control over factors that may interfere with the validity of the findings”. Parahoo (1997:142)
describes a research design as “a plan that describes how, when and where data are to be collected and
analysed”.
The study investigated the lack of emphasis on sculpture making for public spaces in the local context
on the positive peace paradigm (PPP). The research approach was largely qualitative, exploratory-
descriptive and contextual.
Burns and Grove (2003:19) describe a qualitative approach as “a systematic subjective approach used
to describe life experiences and situations to give them meaning”. Parahoo (1997:59) states that
qualitative research focuses on the experiences of people as well as stressing uniqueness of the
individual. Holloway and Wheeler (2002:30) refer to qualitative research as “a form of social enquiry
that focuses on the way people interpret and make sense of their experience and the world in which
they live”. Researchers use the qualitative approach to explore the behaviour, perspectives, experiences
and feelings of people and emphasise the understanding of these elements.
The rationale for using a qualitative approach in this research was to establish the subject matter of the
selected public sculptures in Kampala city and Entebbe town, to study the iconographic relevance of
the selected sculptures to the positive peace paradigm and to experiment the different ways through
which the positive peace paradigm can be depicted in the public sculptures.
The message carried in the selected public sculptures was documented using the descriptive and
interpretive approach. The research also explored the iconographic relevance of the selected sculptures
by documenting opinions of the different people in selected areas on the sculptures. Through studio
experiments, exhibitions and interview guides the researcher experimented different ways through
which the Positive Peace Paradigm can be promoted in sculptures of public places.

59
The empirical research phase involved data collection, analysis and interpretation. Data collection
included qualitative information that was collected during individual interviews. The researcher also
searched sculptures in public places of Entebbe Municipality and Kampala City Centre to understand
the context of the topic under study, for the purpose of providing a view of reality that is important to
the selected population.
3.2 Population and Study Area
The case study based observational and experimental approaches involved 12 Peace and
Reconciliation Centre officials from “St. Paul’s Reconciliation and Equality Centre - Bukoto”, “The
Peace and Conflict Studies Centre, – Makerere University”, “John Paul II Justice and Peace centre –
Nsambya, Kampala”, “World Vision – Kuret Upper Kololo Terrace, Kampala”, “Action Aid Uganda
(AAU) – Ggaba road, Kansanga”, “Human Rights Network - Uganda (HURINET) - Kampala” by
selecting 2 from each centre. The five Lecturers of sculpture interviewed were Stephen Mwesigwa at
the School of Commercial Industrial Art and Design - Nkumba University, Ssenyonga John Bosco at
the Faculty of Vocational Studies – Kyambogo University, Rita Namwebe at the Department of Art
and Design – Uganda Christian University, Lilian Mary Nabulime and George Kyeyune at the
Department of Industrial Art and Applied Design - Makerere University. For the descriptive survey to
eight public sculptures in Kampala city centre and Entebbe town, 16 Students of Sculpture in their
third year of study were interviewed, from Makerere University, Nkumba University, Kyambogo
University and Uganda Christian University selecting four from each university. It was assumed that
they had acquired the necessary information and techniques for sculpture making and therefore, they
were able to give judgement of the positive peace paradigm in relation to public sculptures. 5 sculptors
interviewed were Oloya Peter, Lwanga Emmanuel, Maria Naita, Robert Ssewanyana and David
Kigozi.
For the part of finding the perceptions of the existing public sculptures and those executed by the
researcher, 46 selected members of the general public were targeted from Kampala City Council
Authority office compound and Uganda Christian University library entrance in which members were
randomly interviewed about the researchers displayed studio experiments with the view that the
respondents had different professional, ethnic and domestic backgrounds. The researcher got various
opinions in regards to how the executed experimental public sculptures where communicating the
positive peace paradigm.

60
3.3 Sample Size Determination
Selecting an appropriate sample size was a critical aspect in this research, with particular reference to
the purpose of the study in context with the existing public sculptures in Kampala city centre and
Entebbe town in relation to their capacity in communicating the positive peace paradigm. The choice
of the study sample was influenced by several factors such as knowledge of sculpture as an area of art,
participation in the making of peace sculptures and the level of involvement in peace communication
and promotion through public sculpture. It was also based on the nature of information reflected on
peace sculptures in categories of regions selected relating to the creation of sculptural designs and
forms and also their contribution towards promotion of peace.
A pre-research field study was carried out in which one person was selected from each category of
persons identified in order to articulate the questionnaire and interview guide. The actual field study
had a total of 85 respondents who were selected.
3.4 Sampling methods
The sample of the respondents was selected using purposive sampling techniques at the site of
exhibition respectively. Respondents were also purposely selected and purposive sampling was chosen
because it was very useful for situations where there was a need to reach a targeted sample quickly
and where sampling for proximity was the primary concern.
This technique involved the first person interviewed in the research giving him or her opportunity to
nominate another knowledgeable person in the area of sculpture in relation to positive peace. Its main
advantage was that it gave the researcher the list of persons known in the field to be so knowledgeable
in the area under examination.
3.5 Data Collection Method
Qualitative approaches aim at addressing the ‘how’, what and ‘why’ of a program and tend to use
unstructured methods, and semi-structured methods of data collection to fully explore the topic.
Qualitative questions are open-ended. Qualitative methods include focus groups, group discussions
and interviews. (Hawe, P., Degeling, D., Hall, J., 1990)
This qualitative research paper adopted a survey research method of data collection adopted
questionnaires and interview guide and observation. The questionnaire was selected to collect data
from peace and reconciliation centre officials, sculpture lecturers, sculpture students and sculptors for
the research because it ensured quantifiable responses for the same items from all respondents.

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