The body of work I am currently investigating is inspired by 'The Cooking Pot' traditionally known as 'entamu' (a Ganda clay cooking pot) or known as 'esefuliya'. Borrowed from a Swahili word 'sufuliya' commonly referring to a flat based, deep sided lipped and handle-less cooking pot or container. It is widely used by the Bantu of Eastern and Southern Africa. Building off my previous body of work Let’s Talk about Omweso, a mancala board game, the current project embraces the socio-cultural and technological transformations in form and function of cooking pots. As typical household items they present a tremendous personal opportunity for reflection about the narratives surrounding domesticity and the negotiation of gendered personal spaces therein. Why women, in order to cook meals, were not allowed to play omweso. Metal cooking pots, probably introduced by Arab traders in Eastern Africa in the 16th century, gradually replacing the traditional entamu clay pot, bring with them a shift in the Baganda social cultural dynamic and cooking habits of communities where they were introduced. The socially and symbolically re-constructed functions of a cooking pot cannot be ignored.

The body of work I am currently investigating is inspired by 'The Cooking Pot' traditionally known as 'entamu' (a Ganda clay cooking pot) or known as 'esefuliya'. Borrowed from a Swahili word “sufuria” commonly referring to a flat based, deep sided lipped and handle-less cooking pot or container. It is widely used by the Bantu of Eastern and Southern Africa. Building off my previous body of work Let’s Talk about Omweso, a mancala board game, the current project embraces the socio-cultural and technological transformations in form and function of cooking pots. As typical household items they present a tremendous personal opportunity for reflection about the narratives surrounding domesticity and the negotiation of gendered personal spaces therein. Why women, in order to cook meals, were not allowed to play omweso. Metal cooking pots, probably introduced by Arab traders in Eastern Africa in the 16th century, gradually replacing the traditional entamu clay pot, bring with them a shift in the Baganda social cultural dynamic and cooking habits of communities where they were introduced. The socially and symbolically re-constructed functions of a cooking pot cannot be ignored.

The body of work I am currently investigating is inspired by 'The Cooking Pot' traditionally known as 'entamu' (a Ganda clay cooking pot) or known as 'esefuliya'. Borrowed from a Swahili word “sufuria” commonly referring to a flat based, deep sided lipped and handle-less cooking pot or container. It is widely used by the Bantu of Eastern and Southern Africa. Building off my previous body of work Let’s Talk about Omweso, a mancala board game, the current project embraces the socio-cultural and technological transformations in form and function of cooking pots. As typical household items they present a tremendous personal opportunity for reflection about the narratives surrounding domesticity and the negotiation of gendered personal spaces therein. Why women, in order to cook meals, were not allowed to play omweso. Metal cooking pots, probably introduced by Arab traders in Eastern Africa in the 16th century, gradually replacing the traditional entamu clay pot, bring with them a shift in the Baganda social cultural dynamic and cooking habits of communities where they were introduced. The socially and symbolically re-constructed functions of a cooking pot cannot be ignored.

In the Exhibition at Stellenbosch University Gallery, I explore a collection of patched-up and de-commissioned sefuliyatravelled with from Uganda.The intimate life-relationship between the sefuliya and its owner(s) and providing a reflection aboutstories of “own-histories” against “pot-life experiences”. Individual narratives derived either from cooking traditions or social demands have made a visual argument for newpot‘objects’, in this case beyond the sefuliya, as a resource for reflection and commentaries about the current-day personal space.The pot becomes a vessel of responsibility andthe next forum for conversation.