‘…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.