Ms Maximillian Lilian Nabaggala (centre) in the theatre dance production Nambi: African Shield Maidens, at the National Theatre in Kampala in August 2023. Photo | Courtesy of Batalo East.
Ms Maximillian Lilian Nabaggala, one of Uganda’s top female dancers, choreographers and movement artists, says her ability to combine street, Ugandan traditional, contemporary, and Latin dance styles has enabled her to create her own identity and signature movement vocabulary.
“I feel like an excited chemist mixing and experimenting with different substances and solutions to get a conclusive desired outcome. Because all these dance styles have a different feel and expression I deconstruct and combine them based on the moment in which I am creating and what I want to say, which gives birth to a new movement that may have a combination of two or three movements,” Ms Nabaggala told the Monitor.
“This has influenced the development of my identity and created a signature movement vocabulary that I use as an approach in my creations and also when I showcase my movement. When a music track plays it is as if it has awakened all styles I do, with every beat calling unto one [style],” she added. Ms Nabaggala further revealed that each dance “evokes a feminine or masculine side of my persona and expression.” The desire to experiment, driven by her boundless passion and energy, is what has managed to keep her on top of her game in movement art. This is important because her works convey messages related to societal issues with themes of identity and colourism.
Bond-Edge
In May 2024, Ms Nabaggala was commissioned to direct and choreograph a dance work by The National Arts Festival for its 50 years celebration in South Africa. Ms Nabaggala and scenographer Arafa Hamadi (Tanzania) joined dancers from the Kubu Collective in residence at the Market Community Theatre in George Town Western Cape, and over several weeks, produced a dance theatre piece Bond-Edge. It drew from shared references and interests across countries and movements. Bond-Edge sheds light on the devastating impact of trauma on mental health. Through a blend of expressive movements, storytelling, and visual imagery, it reveals the intricate web of bondage that trauma creates and its profound effects on individuals and communities.
The choreography symbolises the entanglement and breaking of trauma’s invisible chains, highlighting the resilience and strength needed to overcome it. In August 2023, Ms Nabaggala restaged her production Nambi: African Shield Maidens at the National Theatre in Kampala. The dance theatre piece is about the greatest warrior queens of Africa and how they reflect the woman of today who contributes to the community regardless of the level at which society or her community places her. Ms Nabaggala said it was intentional to have an all-female dance cast for the Nambi: African Shield Maidens production.
“The dance theatre piece is presented by women only because I felt the need to do something that involved women since our voices are rarely heard in spaces of dance theatre and we are always placed within opportunities as supplementary/backup to just look good and not to do the work that gives us credit.”
Going places
Ms Nabaggala was a Pina Bausch Fellow in 2022 in Paris, France. During her fellowship, she cooperated with France-based, Kenyan-American choreographer, Ms Wanjiru Kamuyu. The fellowship culminated with Ms Nabaggala attending the Fari Foni Waati Laboratory and Festival in Bamako, Mali. As an invited choreographer, Ms Kamuyu created a new group work in which Ms Nabaggala assisted and performed.
Ms Nabaggala, Ms Vivienne Lutteken, and Ms Kifuko Moureen Drichiru presented a dance production titled Orange Moon on March 24, 2018 at The Square in Kampala. Orange Moon is an all-female dance production inspired by the mysticism of the female moon image. The three dancers enter a cross-cultural dialogue about female power and womanhood through dance. With this production, they aimed to encourage more females to embrace and explore their creative skills fully, among other objectives.
Ms Nabaggala recently created Dramaturge for the Moving Murals site-specific dance theatre production in Jinja District, and “Gipir and Labong” in Gulu District. “I loved dancing from childhood through school, and little did I know that it would be the only thing that would keep me feeling alive when I got stressed and needed motivation at work (my first job that I got before graduation). My bosses had promised to let me leave in time for my practice in the evenings but then the job took over that we would be at office till midnight or throughout the night on set until I decided to quit and take on dance as a career because I felt there was something missing in my life,” Ms Nabaggala said of what drew her to dance and choreography. “I picked interest in choreography when I felt the need to put my imaginations to life.
Plus I had accumulated and had knowledge of vast styles of movement (dance) that could make it easier to bring my imagination to life, which is storytelling. And once I tapped into this I was opening up to another version of me so I never turned back,” she added. Besides dance and choreography, Ms Nabaggala is also into fashion and education. “I find an intersection of them all. Each of these categories has had a period in which I practiced, executed and learnt it. […] Fashion helps me recalibrate when I need a breather from dance […] I am fuelled by my curiosity to learn something new. I am a stylist for film (wardrobe, hair and make-up) and also for private clients. I love making people look good and feel good, and discover who they are when they wear what exudes their personality. In theatre, I execute fashion through developing costumes for a themed work or piece based on the movement […]”
Contemporary dance
Ms Nabaggala, who is single, says she has encountered challenges as a female choreographer and dancer in the male-dominated industry in Uganda. “There is always a lack of trust because women are viewed as emotional beings […] There are a lot of misogynists who feel the need to not work with women at the same level, and choreograph together on a project.” According to Ms Nabaggala, women play a crucial role in contemporary dance as choreographers, performers, educators, and cultural innovators, shaping the art form with unique perspectives and experiences. “As choreographers and artistic directors, they create groundbreaking work that challenges traditional narratives and explores social issues, while performers push artistic and physical boundaries through expressive movement. Many women also serve as educators and mentors, fostering inclusive representation in dance education and institutions.” Dance is also used as a platform, adds Ms Nabaggala, “for advocacy, addressing themes like gender equality, identity, and body politics.” This is especially so when traditional and contemporary styles are blended.
This enables women to continue “to expand the boundaries of dance, ensuring its relevance as a powerful medium for storytelling and social change.” When asked to describe the dance sector in Uganda, Ms Nabaggala says it is “a dynamic blend of traditional, contemporary, and urban styles.” Despite being steeped in cultural heritage, the art form in Uganda embraces modern influences. “Traditional dances like Bwola, Kiganda, and Runyege remain central to ceremonies and storytelling, while contemporary forms such as Afro-fusion, hip-hop, breakdance and experimental dance theatre are gaining prominence. Despite challenges like limited funding, infrastructure, and formal training institutions, independent artists and organisations are driving growth through workshops, festivals, and international collaborations,” she told the Monitor.
“Events such as the Batalo East Festival and Kampala International Dance Festival provide essential platforms for exposure, fostering community engagement, cultural preservation, and artistic innovation, making Ugandan dance an important force in both local and global creative spaces. Also, we have dance studios which are not at the international standard as we would wish for them to be but that does not stop us from creating,” she added.
Comparisons Comparing the contemporary dance sector in the USA to that in Africa, Ms Nabaggala says formal training institutions, structured funding systems, and renowned companies like Alvin Ailey have stood American dance theatre in good stead. “Artists benefit from grants, residencies, and touring networks, and this allows for high levels of experimentation with technology and cross-disciplinary collaborations. The industry offers extensive performance platforms, including festivals, university programmes, and commercial opportunities such as on Broadway and film,” she said.
“In Africa, contemporary dance is deeply rooted in traditional movement and cultural storytelling, often blending indigenous and modern styles. While the sector faces challenges such as limited funding, infrastructure, and few dance schools. It thrives on community-driven innovation and international collaborations. Festivals like Dance Umbrella (South Africa) and East African Nights of Tolerance (Rwanda), and Batalo Dance Fest, among others, provide essential platforms for exposure. Unlike the institutionalised structure in the USA, Africa’s dance scene is characterised by resilience, storytelling, and a unique fusion of movement traditions,” she added.
