Kenyan Art Mirror Conflict

Kenya Thu 22-09-2005

Kenyan Art Mirror Conflict
By Jimmy Ogonga

“You may write me down in history with your bitter, twisted lies

You may trod me in the very dirt. But still, like dust, I’ll rise…”
- excerpt from poem 'Still I Rise' by Maya Angelou

Soon after the declaration in 1963, of Kenya's independence and its supposed autonomy, foundations for new non-political conflicts had gradually begun to emerge. These inflicted a split between opposing ideological values; seeking a middle ground, between a sprinkling of soviet marxism and western capitalism.

Forty years after attaining statehood and five centuries since Vasco da Gama rounded the Cape of Good Hope; the not-so-distant vortex of conflict, still plagues the Kenyan arts scene like a pestilence. Consequently, successive generations were denied opportunities for self expression and self exorcism.

Furthermore, pockets of deceit, egotism and political transvestism are now likely to draw up allegiancies which often tend to contradict ingrained societal aspirations. Educational systems institutionalized have at varied levels, failed to provide wisdom and knowledge to its subscribers, inclusive artists, into realization that meaningful change can only transpire in the mind.

Alternative funding ploughed into 'development' of indigenous cultures, perpetuates the growth of ‘geopolitically’ and ‘ethnically’ themed exhibitions, films, performances and art projects.

These have brought together “new, up and coming” artist groupings living off these institutions, operating off minimalist theoretical suggestions of ‘multiculturalism’ and ‘globality’ though conjured not from artists own emotions, but by cultural sections, officers or policies drawn within the donor agencies.

At a casual glance, these initiatives seem to nurture and support alternative paradigms – but critical evaluation recognizes shrewd control over project programs thus legitimizing triviality while upholding the outdated notion of an Africa and Africans existing in a kind of perpetual infancy, self-incurable hopelessness or cerebral stupor, hence desperate need of salvation from external forces.

These donor-set prescriptions circumscribe terms of artists' awards, such as exhibits, studio spaces, grants residencies, workshops and scholarships; while severely limiting artists' liberty to pick their own agenda.

Subsequently, artists are turned into functionaries, ephemeral ethnographers or societal historians, thereby implying an acute cultural stagnation - paradoxically - in the presence of financially endowed institutions and cultural centres, which have limited distribution and criticism of contemporary African culture mirrored through the visual arts.

Within the local context, the balance of power is shifting at an alarming rate. Alternative Kenyan paradigms are reverberating in global forums, through diasporal based Kenyan artists like Wangechi Mutu, Ingrid Mwangi and Odhiambo Siangla, Ph.D. Mazola wa Mwashigadi now visits from Jamaica more regularly, while Elijah Ogira is undertaking more public-oriented projects.

Nairobi's upmarket Carnivore Restaurant grounds are ressurected with Kioko Mwitiki's sculptures and installations, complemented by two affiliate gallery spaces. Art ya Africa's artists-managed group's presence is also warming up the Kenya capital's art scene. More pressure is being exerted for another (the third) Artist’s Cafeteria session.

Veteran artist and founder of Paa Ya Paa gallery, Elimo Njau’s laughter is doubtlessly audible in all major exhibitions or forums. AfricanColours recently hosted the biggest and arguably, most qualitative exhibition in Kenya this year.

The Nairobi Arts Trust / Centre for Contemporary Art of East Africa has confirmed Mazola wa Mwashigadi hosting (for the 4th time in 3 years), German-based Kenyan new-media and video artist Ingrid Mwangi to facilitate a new-media project in November 2005 in Nairobi.

Despite minimal resources but driven by focused convictions, these ventures are creating alternative fora, pointing towards a plurality of modernisms, each with its own local infliction. They convincingly also suggest that modernism, has always existed and thrived outside western borders; while also questioning whether or not the ‘contemporary’ is based on innovation or continuity.

But more significantly, the new initiatives are re-directing the thought modus to rebel from sole purpose of empowerment and revisionism to that of evolution and actualization of ideas and critique; moving from deconstruction to reconstruction.

These emergent paradigms are further geared towards putting in place what has elusively failed to be conceived. Current versions of self-indulgent political practice are being overwhelmed by the shifting weight from ideas of power to ideas of content; a continuum of re-evolving from ideologies to ideals.

There are new – not renewed – critical discourses, new creative syntaxes, new markets, and most importantly, scattered - but enormously knowledgeable, intellectually matched local audiences. But the question still lingers albeit subtly, whether these emergent forces will turn round the ebbing tide and channel the revival energies towards liberating Kenyan art from the post colonial conflicts.

Related Links:

Wangechi Mutu : The Saatchi Gallery || Artnet.com || Wipipedia.org
Ingrid Mwangi: International Museum of Women || Gallerie Peter Herrmann || Buala.org
Odhiambo Siangla: Freewebs.com
Kioko Mwitiki: In San Diego || Junk Art-Africancolours.com || Art of Kioko Mwitiki-Flickr.com || Pimbi Gallery
Emilio Njau: Celebrates 77th Birthday || Emilio Njau's Living Art is Testimony of Present and Past

Posted By: African Colours

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