Reflection by medical historian Marissa Mika on the work towards and around 'Ebifananyi VII, Staying Alive - Documenting the Uganda Cancer Institute'.

A historical and collective research into one of the first photographs made in present day Uganda, adding to our understanding of the history of photography in Uganda and demonstrating how a collective investigation can inform a single picture.

After two years, The Mix is coming home. This photo project - a series of four presentations - has been on view at various museums in the Netherlands in recent years. To create it, contemporary photographers were inspired by a photographer whose work is included in the Nederlands Fotomuseum’s collection. …

‘Staying Alive’ is the title of an exhibition and of the 7th book in the Ebifananyi series and two exhibitions. One of the exhibitions took place at Afriart Gallery, the other one on the balcony of the new six story inpatient building of the Uganda Cancer Institute. Books and exhibitions present photographic …

The seventh book in the Ebifnanyi series is called Staying Alive. It considers photographs that were a tool in medical practices and research, and the documentation of the history of the Uganda Cancer Institute. In a place where death is often around the corner, photographs freeze time, but also could …

Contribution to the panel "Handling/Manipulating Photographs in Africa: New Perspectives in Photography History, I of II" convened by Erika Nimis and Marian Nur Goni, titled 'Beyond the Photograph; Ekifananyi Kya Muteesa'

Reflection on the process towards and around the publication 'Ebifananyi VII, Staying Alive - documenting the Uganda Cancer Institute' by medical historian Marissa Mika

Twenty Ugandan artists made their interpretation of the first photograph made of a Buganda monarch. The picture, made in 1875 by Henry Morton Stanley has been (mis)interpreted by engravers. Even though the pictures that are known in Uganda of Kabaka (King) Muteesa are based on Stanley’s photograph, the …

This article illustrates the ‘visual turn’ approach to sports history in an analysis of traditionally under-researched material from the late nineteenth century. Focusing on football (‘soccer’) action photography, we argue that interpreting this visual material contributes significantly to the exploration …

This paper presents (part of) an illustrated letter to Musa Katuramu (Uganda, *1916 / †1983), whose photographs I appropriated and present in a book. Appropriation is an important but problematic gesture. Through it I try to do justice to the social biographies of images I work with, and to make them …