Every year, a quiet but powerful cultural revival unfolds at the National Theatre in Kampala as artisans gather to teach and showcase the centuries-old craft of barkcloth-making.
At the centre of this movement is Samula Peter Katamiira, a master craftsman from Bukomansimbi, who has practised the art for 37 years.
Katamiira, who learned the craft from his father at just six years old, has dedicated over two decades to perfecting and preserving barkcloth production.
The tools he uses—many inherited from his father—remain symbols of a tradition that has survived through generations.
Beyond sustaining his family, barkcloth has taken him across the world. His first flight was to the United States, and he has since travelled to Cameroon, Nigeria, and other countries to teach the unique Ugandan method of producing authentic barkcloth.
Despite foreign attempts to replicate the material using their own fig trees, Katamiira says the quality still falls short of Uganda’s original craft.
Like many indigenous skills, barkcloth-making faces challenges, including a shrinking number of artisans and public perceptions that brand the material as outdated.
Others undervalue its cultural significance and economic potential.
To counter this decline, artists gather annually at the National Theatre to teach city residents the stages of barkcloth-making.
Seven years ago, a mutuba tree of the Nsole clan was planted at the site specifically for demonstrations. Today, creativity has expanded the use of barkcloth into modern products such as handbags, hats, cosmetic holders, and other innovations.
The tree was planted by cultural enthusiast and artist Owek. Noah Wamala Nnyanzi of Nnyanzi Art Studio. Although originally grown for shade, Nnyanzi’s interest in the craft deepened after a friend admired the mature tree and encouraged him to explore barkcloth production.
For the last four years, he has harvested barkcloth from the tree and used it to create various artistic pieces.
Nnyanzi says his mission is to preserve cultural knowledge and ensure young Ugandans understand the origins of their heritage.
He recalls difficulties protecting the tree from city vandals but insists the effort is worthwhile in safeguarding a disappearing craft.
With increasing creativity and renewed interest in cultural identity, the barkcloth revival in Kampala shows promise, offering both economic opportunity and a link to Uganda’s rich past.