The case of our reading culture in Tanzania...

By Sanaa & Culture

TPH 6

Do you recall being young and yearning to hear a ‘hadithi’ (folklore). Where your uncle, Grandma or Mother let’s your imagination soar with talking animals and singing vases before bedtime. In various other countries this yearning develops into a love for reading fiction works in youths, adults and elders alike, whether it’s mystery novels, romance, thrillers or memoirs.

SOMA 1

In Tanzania the publishing world is yet to boast of an extensive return coming from the demand of fiction works by its citizens. Is it true then that Tanzanians don’t read? In finding out more we talked with a few key individuals in the literary world in Tanzania to learn more of the core challenge that feeds this problem.

“Maybe we need to ask ourselves what do Tanzanians read, rather than do they read…I think people read, they read newspapers, they read magazines there’s a lot of free literature from NGO’s about some advocacy or other and they read that.

SOMA 2

You only need to put some magazines in a public place and half an hour later they won’t be there. So people want to read something so the question ought to be how much do they have to spend on buying literature for pleasure? 

At the moment we read for utility, we read a public service announcement because we have to find out that information, we read newspapers for news and job vacancies and of course we read textbooks to pass exams. It’s evident the main interactions with books for many people in the country is required (assigned) reading. We don’t buy books for pleasure…” Mkuki Bgoya Production/Design Manager at Mkuki na Nyota Publishers Ltd.

SOMA 4

“I don’t know why we don’t read again it’s a class thing, middle class Tanzanians read…Honestly I haven’t done research but seriously if one would want to know why we don’t read it goes back to (and am guessing here) our relationship with colonization in Tanganyika.

Comparing Tanzania and Kenya for instance, Tanganyika was a protectorate while Kenya was a real colony of the British. So the British were closer to the Kenyans in culturally colonizing them hence departing the various infrastructures that inform a culture of reading, unlike in Tanzania. This is not to say as an African, Tanzanians don’t have a literary background going back before colonization.

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Just recently I went to a Library in Berlin and found a lot of Swahili poetry written by people of the coast of Tanzania upon the arrival of the Germans. The library is called ‘Staatsbibliothek zu Berlin’…” Dr Lilian Osaki-Lecturer at UDSM in BA-Literature

So is it true we don’t have good infrastructures that support the culture for reading. Language education and mastery of the same by the people is one key infrastructure to aid reading. In a country where the education system is bilingual where not one language is taken as the medium for teaching throughout the curriculum but two. I thought to get more views on whether this affects the demand of books and the receipt of quality manuscripts from writers.

“Am not sure it’s the bilingual system that’s the issue rather than the assumption that writing in English is somehow better. If you’re a writer you’re free to write in whatever language you want unlike a student in an English class. So when you write as an artist it’s wise to write in the language you’re comfortable with, the one you’re thinking in.

SOMA 3

However I think the various prestigious connotations with the English Language since colonialism have made many Tanzanian writers believe they have to write in English to be respected. The result is manuscripts that fail to really grip and connect with the audience.

But yes I think our bilingual system is not working it will be better if only one language was the medium and English taught as a subject. First it would be cheaper and second you only have to look at the medium advertisers for the masses like telecoms use who communicate regularly to a majority of Tanzanians. To figure which language the people identify with…

Revenue for publishers in Tanzania comes mostly from the ‘assigned reading’ bulk of which is in the form of textbooks. We know this well as we’re also part of a bookshop (TPH) right in the middle of the city center of Dar es Salaam selling all of our works (mostly fiction) for decades now.”  Mkuki Bogya

“The language debate has been going on in this country for the last thirty or more years, people don’t want to admit the truth. Fellow educators say the failing isn't just in English but also in Kiswahili as a taught language.

My stand has been we should be bilingual in that we should know Kiswahili properly respect and understand it and also know English properly. In my opinion the medium throughout should be English but this would be very expensive.

TPH 2

I definitely see the crumbs of the failing of our language education in my lectures. For many of the smartest students are hardly the ones who are conversant in English and they come from rural Tanzania having gone through public schooling.  Here you’ll read a paper by a student who gets into the depths of wanting to talk about something so eloquently. That had he known the language you know she would be giving you an excellent essay.” Dr Lilian Osaki

Looking at this snapshot of the challenges we got to speak with two ladies who run a publishing company named E&D publishing Ltd, namely Elieshi Lema who runs the publishing wing and Demere Kitunga who runs the E&D Readership & Development Agency wing with its popular outlet ‘Soma Book Café’. Which also has a book shop selling a bulk of Tanzanian authored books.

In 2000-2001 E&D was involved in a project titled ‘Tusome Vitabu’ (Let’s read books) sponsored by the Netherlands Embassy and working with the Government through its project (MMEM-Mradi wa Taifa wa kuboresha Elimu ya Msingi).

TPH 4

We knew that targeting children is a step in the right direction because this would make ripple effects and the results truly showed that we were failing our children in providing them with the right books. I will never forget this girl in Kagera who could read up to 100 short story books (in Kiswahili) a month; the minute she was given access to them…” Elieshi Lema Director of E&D publishers Ltd

The project indicated that important learning facilities in primary schools around the country that encourage reading were almost non existent. Many teachers didn't have minimal librarianship knowledge so as to start and continue school libraries; this to include other education officers in the District and Regional levels. 

Also that the knowledge on the benefits of reading is low such that many of these educators don’t see the relationship between fostering reading for pleasure and the better performance of students who read in class.

The project was successful in implementing several school libraries across the country as well as in 

pushing for advocacy which mandated for supplementary reading (literary works mostly fiction) in the teaching of languages.

SOMA 5

“On the challenge of reading for pleasure with our people, I will say no research no right to speak. There needs be a comprehensive research that looks at one-the importance of reading, two-the hindrances of building that culture if it’s not there and three-the stimulants to its development on the basis of what we see on the ground correlating the lack of it or presence of it however indicative with other sectors of development.

As E&D Readership & Development Agency (In existence for five years) we would love to flag this research but of course this will require resources that we currently don’t have. We however have been working in our capacity to popularize the literary word. We had a literary magazine titled ‘Soma’ which we had to put on hold due to funding.

Currently we are working on the second year of the country wide Short Story competition for Secondary Schools. We are also working on the installation of a street library for street children starting with a slum area in Mikocheni once a week.

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We have as well hosted several platforms that inform and derive from the literary word including UWAKE-poetry group; Vunja Mbavu-a monthly standup comedy stint with music. The annual ‘Intellectual discourse on literary education’ and now we’re working with MANENO an initiative to see how poetry and image making can be used in raising awareness on social debate ahead of the country election in 2015.” Demere Kitunga    

In conclusion there are key factors if one is to understand the literary map in Tanzania with regards to the distribution and use of fiction works. One is the language dilemma which our experts have shed light on, by highlighting its egg and chicken effects to both the readers and writers. Here both publishers added that most of their sales in fiction are in Kiswahili works.

Two is the marketing and distribution of these works. It’s only after 1991 that the Government of Tanzania gave way for the private sector to distribute textbooks to the various schools in the country slowly giving way to mushroom tuck shop book shops across the country.

TPH 1

Still inside these bookshops there’s little fiction works apart from the required supplementary reading for schools because owners fear loses from lack of demand. In return there has been little investment on the book covers and paper quality of the fiction works by various publishers in the past. Ensuring competition for the local authors with the international market is high adding this to a lack of literary critique which is supposed to be spear headed by the media then you get our current situation of a nation seeming disinterested in written literature.

There is a ray of light however as Dr Osaki pointed out there’s a growing middle class that reads and its demanding books from the 8 US Dollar range. This gathering from the flourish of fiction book shops like ‘A Novel Idea’ with various of its branches having sprung in Dar es Salaam, Arusha, Iringa and Zanzibar all in less than thirteen years plus the creeping up of book shelves in super markets as well malls in the cities today.

At the moment several branches have closed from A Novel Idea due to lack of demand. However several NGO's like CDEA, local authors like Sandra Mushi as well literary clubs like Waka Poetry Consortium TZ & Moto are mushrooming to spear head the cause for reading so there's light at the end of the tunnel still if we come together as a nation. 

In photos are two leading publishers of fiction works in Tanzania namely SOMA of E&D publishers & Tanzania Publishing House of Mkuki na Nyota publishers. 

‘…sharti uyaoge’ mbiu kwa Fine Artists in TZ

By Sanaa & Culture

The thought provocking artwork from
 'Majangili' exhibition at the Goeth Institut currently

So the other day found me watching ‘Step Up-All In’ a dance off movie from the USA, the central story had me relating. ‘Here we see artists after a long wind (failing auditions not finding work, doing menial jobs-cleaning toilets and such) landing an opportunity of a lifetime in a competition for a three year working contract only to realize even this was rigged. The lesson drawn at the end for the artists is 1) Unity is key and 2) Maji ukiyavulia nguo sharti uyaoge.

In today’s world of fast consumerism fine artists in third world countries perhaps feel the pinch the worst. Recently in August this year we had an exhibition at the National Museum with works from the late George Lilanga (1934-2005) ‘Imaginings: The worlds of George Lilanga’.

From right Inger Thede, Walter Bgoya, Atsu Numazi 
and Cloud Chatanda at the National Museum August this year

‘His sculptures, reliefs and paintings have been the (un)conscious inspiration for many artists in the world and mostly in Europe — as many would attribute to African traditional art as inspiration for the modernist movement with Picasso and Cezanne. Lilanga is an icon, representing Tanzania with the kind of creativity and originality that sparks from Africa to ignite the world.’-http://www.vijana.fm/2014/09/04/tanzania-is-at-the-dawn-of-a-cultural-awakening-an-important-and-unique-cultural-heritage-rescued/ 

These works (George’s stucco portico and ‘shetani’ gates which used to grace the original home of Nyumba ya Sanaa that was demolished in 2012) were rescued as they were about to be shipped off to Germany at a measly cost of 50USD per piece from the management of Nyumba ya Sanaa.

Zile picha zinazo vutia kwa utamu wa rangi
na simanzi ya mazuri ya kale toka kwa 'Minzi Thobias'

Now you see what I mean, by consumerism hitting fine artists by the balls in third world countries. For in more developed countries yes you also see how fine art is commercialized but never would you hear of iconic national fine artists like ‘Van Gogh’. Having their works sold and shipped off at 50USD per piece.

Kwa mujibu huu ili kuamsha majadiliano kati ya wasanii na wadau wa sanaa za mikono Tanzania. Makumbusho ya taifa iliambatanisha pamoja na onyesho hili la ‘Imaginings: The worlds of George Lilanga’ semina tatu. Mbili ya hizi ikiwakutanisha ‘Art Historians, Artists, Dealers and Collectors’ ili kujadili zaidi njia za kunusuru na kushamiri sanaa ya mikono toka kwa wasanii wa Tanzania.

Gadi's work

Niliweza fika kwenye semina ya pili iliyokuwa na waendesha mada Bw Robino Ntilla-msanii ambaye pia alipata fursa ya kufunzwa na; kuendesha Nyumba ya Sanaa. Jan Van Esch- mkurugenzi wa ‘Nafasi Arts Space’ na msanii wa Sanaa za mikono; Ed Cross-msanii, muuzaji na dalali wa ‘sanaa za mikono endelevu toka kwa wa Afrika’ kwa nchi za ulaya.

Pia nilipata hotuba ya mwongazaji mmoja kutoka semina ya kwanza iliyojumuisha wasanii na walimu wa Sanaa yeye akiwa ‘msanii wa Sanaa za mikono na mratibu wa Sanaa-Rehema Chachage’.

Sadly what was apparent through this workshop is that there’s lack of unity in goal and purpose between fine artists in the country. The central debates that were raised didn't demonstrate the culmination of an understanding of what steps need be taken. To avoid similar disasters occurring in the future, where iconic late artists of our nation, have their works sold off for peanuts then sent to foreign lands.

Case in point on the challenge of fine art from Tanzania not being bought by Tanzanians themselves, Jan Van Esch points out in his speech

Sanaa ya Jan na Ephrem Solomon

Minzi's work

“…sorry I might disagree a little bit on why  there is actually a need for more galleries and collectors although there are some. I think there’s some need for the Tanzanian art scene to grow and I will do that from the standpoint of running Nafasi Artspace…I wanted to say on who are the people who are buying art in Tanzania.

I think one of the groups is the tourists and I define that as a very high turnover group of people coming in the country…then there’s something unique I think here compared to a lot of other countries that’s the expatriates. I think that’s a unique market because that’s a group of people coming into the country who often come from houses in Europe to much larger houses here in Tanzania. Where they are based for a couple of years and want art also for decorating their house…another point is what artists comment about the sales.

One of the point I hear a lot is there’s a lack of good marketing and sales…a lot of the current programs from donor countries and donor organizations is looking at cultural entrepreneurship…but in my opinion cultural entrepreneurship is another example of mirroring Europe’s needs in the art with other parts of the world…

Sanaa ya Vita Malulu

There’s a growing middle class in Tanzania you see big houses being built everyday uhmn I have the idea they drive cars that are almost as big as their houses. But I also have the idea there’s very little art in these Tanzanian homes. The understanding is and what people tell me is that natives aren’t interested in Tanzanian art. That’s what they thought in Kenya until two years ago...circle agency.”        

Sema hivi karibuni mwezi Oktoba, Novemba hadi sasa kumekuwa na maonyesho ya Sanaa za mikono jijini Dar es Salaam. Toka kwa wasanii waliojikungu’ta kutoa Sanaa zenye ubunifu na ujumbe muhimu kwa jamii. 

Cha kuchekesha wote maskani yao ya kazi ni Nafasi Artspace ikiwemo Cloud Chatanda ‘8 years waiting’-lillilo zinduliwa 7 Oktoba, Alliance Francais, Gadi Ramadhan ‘Blindfolded’-lililo zinduliwa 22 Oktoba, British Council;  Jan Van Esch ‘In and out life stories’-lililo zinduliwa 4 Novemba, Alliance Francais; Vita Malulu ‘Majangili’-lililo zinduliwa 13 Novemba, Goeth Institut na Thobias Minzi ‘Shadow’-lililo zinduliwa 20 Novemba, Black Tomato Mjini.

Na bado kwenye maonyesho haya yote hamna mchakato maalum wa kuwajulisha wenye vyombo vya habari juu ya kazi hizi zilizokuwa na ujumbe wenye chachu kubwa kwa maswala yanayoikabili jamii yetu ya Tanzania. Kwani vyombo vilivyofika na vilivyotoa habari kuhusu maonyesho haya nchini ni finyu.

From Gadi Ramadhan his works in his exhibition
'Blindfolded' currently at the British Council

Isitoshe maonyesho haya yote yanazinduliwa Dar es Salaam pekee ikiashiria japo Mkurugenzi Jan Van Esch anagundua kwamba kuanza mchakato wa kuwaelimisha na kuwashawishi wananchi wa kipato cha kati; juu ya faida za kununua Sanaa za mikono ni lazima kwa uendelevu wa sekta hii. Bado kwenye utendaji kuna mapungufu kwani ili kuwezesha aina ya mafanikio kama ya ‘circle agency’ Kenya yabidi kampeni itayoendana na soko la hapa Tanzania. Ikibidi sehemu kama Nafasi Artspace kuandaa semina kuelimisha wana habari juu ya Sanaa za mikono.

Lack of proper PR strategy aside the exhibits from the artists mentioned above are exquisite and had little if any artistic criticisms in my untrained eye. Cloud Chatanda’s 8 years waiting is one of my favorite art exhibits this year hands down. 

In and out of Life stories wowe, this exhibition first off left you mouth agape as Jan in each artwork collaborates with Ethiopian rising fine artist ‘Ephrem Solomon’. Who writes in Aramaic yeah we could hardly get the gist of the meanings as much of the works has texts. I found out after interviewing Jan at the exhibition that even Dutch as a language is used on these works, however as you look at the drawings accompanying the texts.

The central piece at exhibition 'In and out life stories'
by Jan Van Esch and Ephrem Solomon

Is when you can also take this hidden language as a means of protection? For in a sly manner Jan and Ephrem manage to present. The issue of same sex romantic or times plain sexual relationships between human beings in this case to a Tanzanian (a country not encouraging gay relationships by law and populace) crowd, as well the issue of interracial relationships.

The genius is that all of this you could get from just one painting, the central piece which you’d meet head on as you walked into the exhibition. You can see for yourself in the photo here with the caption ‘The central piece at exhibition 'In and out life stories' by Jan Van Esch and Ephrem Solomon’. Note the middle hand note that in no way it’s of the person with the orange underwear (bio kinetics) hence definitely coming from the ‘black’ figured person.

This hand is daring to explore, daring to touch if only tentatively the naked skin so close to the sacral goods. Oh and note the lack of hip dimensions of the two figures to decide for yourself if this is a heterosexual or (whatever the politically correct (oops am in Bongo) name for ‘gay possible couple’ is).  I think there was plenty of artistic genius in this exhibit but next time I’d like less ambiguity in the proportion of artworks.

Gadi’s exhibit well it’s abstract save its simple message, gotten when you interview the artist. Working in mono prints with mixed media (who knows maybe that is charcoal on canvas). “As we’re nearing elections in the country next year I think it’s wise we don’t get blindfolded of what matters in who we pick as our leaders…”

Vita's work from his exhibition 'Majangili' 

Vita Malulu throws a wringer in this spin of story as his exhibition ‘Majangili’ which was sponsored solely by the Goeth Institut where a TANAPA representative was GOH. It addresses a critical loss in our country. Namely of animals particularly the Elephant and Rhino, his works drive the message home and one painting in particular asks the question to our leaders. On what we are doing as a nation who’s been given this resource from eons but now are idly standing by and letting it go? As though it’s not going to affect the nation's rich bio diversity and one of our nation’s biggest revenue center-tourism.

Notwithstanding the adverse impacts to the eco systems of these regions will surely be felt by the human inhabitants in these regions sooner than later. The TANAPA official at the launch of this exhibit collaborated this Interpol report quoted on http://www.jamiiforums.com/jukwaa-la-siasa/646850-poaching-new-report-puts-tanzania-on-%91list-of-shame%92.html ‘…in the largest Selous Game reserve which boasted the world second largest elephant population at 70,000 elephants in 2006 had an estimated 39,000 in in 2009 and currently stand at 13,084 elephants. The elephant population in Ruaha National Park has declined by 44 per cent since 2006 and now numbers approximately 20,090…’

Onyesho la Shadow pale Black Tomato kwa kweli lastahili kuwa kwenye jukwaa kubwa zaidi sio kwenye mgahawa. Kaka Minzi ameweza tena kustajabisha wasanii wenzake kwa jinsi awezavyo kufinyanzi dhana zake za kazi na kutotoa sanaa yenye shabaha kamilifu. Kwa ulaini utadhani hataki vile, kwani ukiwaangalia wenzake kama Jan Van Esch ambao pia hutumia mbao au magogo na kuchora juu yake.

From left Maria Amelina, Mr Origenes K. Viso,
Mr Robino Ntilla at the Seminar
 'Navigating the Artworld in Tanzania'

Utaona jinsi kaka huyu ana talanta kubwa ya uhalisia unaozidi dhihirika kwenye kazi zake, sema nitamshauri achukue somo toka kwa rafiki yake Vita juu ya ujumbe kamilifu. Vivyo hivyo angeweza kumrushia upako wa ufanisi wa dhana za uchoraji na jinsi ya kuzinyegesha kwa rafiki yake huyu Malulu. Basi ama kweli tutazidi kukuza ma Lilanga, ma Tingatinga, ma Mzuguno, ma Ntila, ma Nduguru wa kizazi hiki.

Back to the workshop at the museum which raised another critical debate on do we really boast of true contemporary art in Tanzania? Miss Rehema raises the subject well.

“Who are our artists producing their artworks for? Is it for tourists and other types of voyeurs from other cultures in search for the exotic (for our case it’s the exotic African sunset, imagery of animals, Maasai, village life, etc)? Is it for people who are simply seeking to decorate the walls of their home and very specific about size and colors amongst other things of the pieces they are buying? Or is it for the hardly existing curators, collectors, art museums and galleries in the country?

I came across an interesting read once titled ‘what is contemporary art and how does it matter? - by Ric Kasini Kadour’. Who wrote and I quote: ‘Art is incomplete until it is received by the viewer. Just as artists need to evolve, society needs to evolve as well.  Before the message of the artist is relevant, the audience has to be able to receive it… we need to learn how to read art!’ [End of quote].”

This was presented on the first workshop now on the second workshop where Mr Origenes K. Viso the Managing Director for Karibu Art Gallery was one of the main speaker, Miss Rehema found herself nodding in affirmative agreement when her mom (Publisher (E&D) and Arts Activists-SOMA) raised the below issue to Mr Viso.

"Mzee Uwiso waswahili wanasema mcheza kwao hutunzwa sasa Sanaa za rock art na nyingine zote za huko zamani zilikuwa za hao watu wa zamani. Sasa kuna watu wa leo kama kijana alivyosema hapa (Mkuki Bgoya was previous speaker) na Sanaa ni kioo cha jamii. Manake jamii ya leo. 

Jan & Ephrem's works

Umesema wizara sijui saba zote zinahusika na Sanaa na uchumi wa nchi yetu, unaoenda haraka sana na teklojia ya haraka sana, ndio kioo chenyewe, ndio jamii yenyewe ya leo. Sasa unaposema msanii asisome, ana haja ya kusoma una maana ni msanii wa lini huyo? Na huyo msanii ni nani anayeamua asisome ni wewe au ni hao watu unaowauzia Sanaa huko nje?” Ma Demere Kitunga

Earlier Mr Viso had said in answering a question from the floor (which got him the above question) on what he’d advice the president on how to help the fine artist industry in TZ. Seeing as he’s recently appointed as a member of the committee to advice the President on the formation of TZ National Art Centre.  

“…Ninayo document ambayo UNESCO in 1993 waliwaandikia wizara ya viwanda na Biashara ikiwaambia kwamba swala la Sanaa linaguswa na wizara kama 13 ipo hii documents, ninazo… Mimi hapa nimeshawahi kutembelewa na watu wawili kutoka ofisi ya Raisi wa Marekani wakaniuliza kwamba; kwanini hatutumii fursa za Sanaa. Wanajua Sanaa inamchango mkubwa kwenye uchumi wa nchi hii. Kwanini hamtumii fursa hizi za Agoa mkauza soko la kule, kuna vikwazo gani vya nje na vya kimataifa. Nilimueleza hakuna vikwazo vya kimataifa lakini soko la humu ndani vipo…”

Ki ukweli maswali Ma Demere anayomuuliza Mr Viso ambayo Miss Rehema alikubaliana nayo kwa mujibu wa hotuba yake ya semina ya jana yake.  Hayamgusi Mr Viso au aliowawakilisha pale jukwaani (Gallery Owners, Veteran fine artists of TZ) ila wale wanaofundisha sanaa kwenye nyanja za elimu ya juu na pia wale kwenye serikali wanaohusika kwenye utekelazaji wa sanaa na utamaduni. Wengi wao ambao hawakufika hapa kama wasanii wengi walivyo lalamika kwenye semina hii, sema mimi napendekeza tena kama mdau ambaye na fursa ya kuangalia vitu toka nje (Arts Journalist).

Maji ukiyavulia nguo sharti uyaoge, kama Ma Demere alivyo asi ni kweli kabisa Sanaa za Mikono, hazijatiliwa maanani kama kioo cha jamii hapa Tanzania. Na vivyo hivyo mashuleni hazifundishwi kwa uadilifu kama Mr Jan alivyogusia kwenye semina hii. 

Mashairi ya picha toka kwa mchoraji
'Cloud Chatanda' toka onyesho lake mwaka huu '8 yrs waiting'

Sema wasanii wa Sanaa za mikono niwaambie tu ukweli; maisha haya mmeyachagua kama filamu ya ‘Step Up All In’ ilivyoniasi, kwamba sisi wasanii wenye mapenzi halisi na kazi zetu changamoto zetu ni nzito. Mi naongezea ni maradufu kwa nchi za tabaka ya tatu kama Tanzania. Lakini matumaini yapo, kwani mkisema kweli leo mje pamoja mtuasi sisi jamii tuwasikilize kwa vipaji vyenu vya ushawishi haswa kwa sisi wana habari kwanza.

It won’t fare forever if not very soon that you’ll have home based fans of your works; that will ensure you no longer have to be exotic mirroring great ancient art or not so ancient…let me not get my fingers burnt. That’s all from me for today.