Building Enduring Partnerships: A Report to the Field

BUILDING ENDURING PARTNERSHIPS / A REPORT TO THE FIELD THE AFRICA CONTEMPORARY ARTS CONSORTIUM

BUILDING ENDURING PARTNERSHIPS A REPORT TO THE FIELD THE AFRICA CONTEMPORARY ARTS CONSORTIUM

Written by Joan D. Frosch, Ph.D. Center for World Arts University of Florida

Building Enduring Partnerships: A Report to the Field is published by MAPP International Productions and The Africa Contemporary Arts Consortium. ©2011 by MAPP International Productions.

This publication was made possible with generous support from

140 Second Avenue, Suite 502, New York, NY 10003

the Doris Duke Charitable Foundation and the National Endowment for the Arts.

646-602-9390; www.mappinternational.org

Cover photograph: Nelisiwe Xaba in Correspondances. Photograph by Eric Boudet.

All rights reserved. No part of this book may be reproduced, in any form, without written

Title page photographs: (Left) Compagnie TchéTché in Dimi. Photograph by Wolfgang Weimer.

permission from the publisher

(Right) TACAC members and affiliate artists at The GoDown Arts Centre, Nairobi, Kenya, 2010. Photograph by Philip Bither.

Publication concept, design, and printing: Four32C

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BUILDING ENDURING PARTNERSHIPS A REPORT TO THE FIELD

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THE AFRICA CONTEMPORARY ARTS CONSORTIUM

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Acknowledgments 8 Foreword 10 TACAC U.S. Member Organizations & Affiliates in Africa 12 Appendices 82

CONTENTS 1

OVERVIEW OF THE AFRICA CONTEMPORARY ARTS CONSORTIUM 14 A Fresh Landscape 16 A New Response 17 TACAC Activities 22 TACAC’s Message 24

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A Reflection on Storytelling 26

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2

TACAC MODEL 28

3

BUILDING ENDURING PARTNERSHIPS 48

The Praxis 30 Investing in Curatorial Research 31

Thinking Differently 51

Advancing the Creativity of the Artist 32

The Power of Listening 51

Connecting Artists, Audiences &

Meeting in Tunis 52

Communities 40

“The Human Before the Art” 53

Building & Sharing Knowledge 42

Eye Level 54

Sustaining the Network & Developing

Immersive Research 55

the Infrastructure 47

Maputo 57 Kisangani and Kinshasa 59 Meeting in Nairobi 60 Day One 64 Day Two 68

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Reflection 70

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CONCLUSION 72

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ACKNOWLEDGMENTS The generosity of the many artists and arts organizations that have inspired the creation and work of The Africa Contemporary Arts Consortium is immeasurable. By word and by deed, they have educated the members of the consortium about the critical artistic and social goals to which they have dedicated their lives’ work. This report acknowledges with gratitude their eminent endeavors and

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openhearted friendship.

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We are indebted to all of the artists, organizations, and visionaries on both sides of the Atlantic who have preceded The Africa Contemporary Arts Consortium in pioneering a place in the American imagination and on our stages for African contemporary artists, particularly 651 ARTS/Africa Exchange, Arts International, the African Odyssey initiative at the John F. Kennedy Center for the Performing Arts, and to former member organizations of the Consortium: New Jersey Performing Arts Center and August Wilson Center for African American Culture. Finally, it is with deep appreciation that we thank the funders of The Africa Contemporary Arts Consortium: the National Endowment for the Arts, the Doris Duke Charitable Foundation, the New England Foundation for the Arts’ National Dance Project, and CulturesFrance. Your belief in and PHOTO CREDIT

support of our mission has made it possible to reimagine global partnerships in the arts.

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FOREWORD During the last decade, vital arts-based processes have bubbled up in African cities large and small, including prominent but economically undermined centers of contemporary expression such as Ouagadougou (Burkina Faso), or communities deeply scarred by civil war such as Kisangani (Democratic Republic of Congo). Creative agents, in a surfeit of entrepreneurship and innovation, have tirelessly recycled challenge into hope. By taking signs of democracy and shaping them into choreographic and theatrical work, and using the work to stimulate new ideas of community, many African artists have rendered the making of art into a practice of freedom.

In response, and for the first time in its history, MAPP International Productions to support and engage the spirit of the innovative artistic citizenship emerging from the work of African artists. In 2004, 10

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generated a nationwide synergistic structure

in concert with nine prestigious U.S.-based

deeply how art shapes ways for individuals

arts entities (August Wilson Center for

and communities to rethink, reconsider, and

African American Culture, Bates Dance

even recommit to building civil society within

Festival, Center for World Arts/University of

and across borders. Do join MAPP and our

Florida, the John F. Kennedy Center for the

esteemed partners on both sides of the Atlantic

Performing Arts, New Jersey Performing

as we cross borders, take risks, create dialogue,

Arts Center, Seattle Theatre Group, VSA

and open minds. TACAC attests to the

Arts New Mexico/North Fourth Art Center,

life-changing power of the paradigm shift

Walker Art Center, and Yerba Buena Center

where cultural exchange at its most essential

for the Arts), MAPP shaped the vital Africa

and most profound level is conceived of as

Contemporary Arts Consortium (TACAC). By

a relationship. Through the pages of this

setting into motion a dynamic flow of ideas

publication we seek to build a relationship

among artists and arts leaders in the U.S.

with you, the reader. We welcome you to seek

and Africa, TACAC imagined a landscape and

resonance in the thoughts that interest you, and

practice of international culture exchange

to see your own reflection in ideas that may

rooted in partnership and engagement in the

signal a shift in your work and dreams.

artistic process.

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Ann Rosenthal, Executive Director & Producer The conceptual process of making art, the

Cathy Zimmerman, Co-Director & Producer

very prototype of thinking against the grain,

MAPP International Productions

may not commonly be attributed to cultural

General Manager,

diplomacy or the practice of democracy. But we

The Africa Contemporary Arts Consortium

would urge those who doubt to ponder more

September 28, 2011 11

TACAC

Bates Dance Festival

Lewiston, ME www.batesdancefestival.org

U.S. MEMBER ORGANIZATIONS & AFFILIATES IN AFRICA

The John F. Kennedy Center for the Performing Arts

Washington, D.C. www.kennedy-center.org

Seattle Theatre Group Seattle, WA www.stgpresents.org

National Black Arts Festival Walker Art Center

Minneapolis, MN www.walkerart.org

Atlanta, GA www.nbaf.org

MAPP International Productions

New York, NY www.mappinternational.org

Yerba Buena Center for the Arts San Francisco, CA www.ybca.org

VSA Arts New Mexico/ North Fourth Art Center

Center for World Arts

University of Florida Gainesville, FL www.arts.ufl.edu/cwa

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Albuquerque, NM www.vsartsnm.org

Opiyo Okach/ GĂ ara Projects

Nairobi, Kenya www.gaaraprojects.com

Judy Ogana & Joy Mboya/ The GoDown Arts Centre Nairobi, Kenya www.thegodown artscentre.com

Faustin Linyekula & Virginie Dupray/Studios Kabako

Kisangani, Democratic Republic of Congo www.kabako.org

Boyzie Cekwana/ Floating Outfit Project

Durban, South Africa

Panaibra Gabriel Canda/CulturArte

Maputo, Mozambique

Maria Helena Pinto

Maputo, Mozambique www.dansartes.wordpress.com

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PHILIP BITHER

OVERVIEW OF THE AFRICA CONTEMPORARY ARTS CONSORTIUM

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THE WORK OF ART AND THE WORK

A FRESH LANDSCAPE

OF CULTURE IS TO PAVE THE WAY

Over the last decade a growing wave of

FOR A QUALITATIVE PRACTICE OF THE IMAGINATION—A PRACTICE WITHOUT WHICH WE WILL HAVE NO NAME, NO FACE AND NO VOICE IN HISTORY. —ACHILLE MBEMBE

artists in and of Africa have reimaged African pasts and presents to configure new landscapes of contemporary performance.

These artists freshly interpret African life, often deploying a bricolage of traditional, popular, and/or contemporary forms. Many trendsetters are choreographers and theater makers. While the naming of their emergent performance forms is not fixed, artists’ messages are urgent, vital, and dimensional.

As the artists interpret their lives for the stage they do not seek to speak “in the name of all Africans�—surely an unfathomable task, given that almost 995 million people inhabit the continent across 55 independent nations. Rather, artists harness the power of creative practices that are as diverse—and as innovative—as their individual artistry.

Part of a greater movement of contemporary

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expression in Africa that includes film,

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literature, and visual art, these innovators

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face down the “epistemological negation� of

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Africa to the notion of the contemporary.1

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Indeed, the notion of the contemporary does not “belong� to the West. That is to say, the new languages these artists develop to express their lives are unique forces of innovation, not mere simulacra of some other notion of contemporary. Artists’ experimental practices are windows into 21st-century thought, often hybridizing artistic practice and creative entrepreneurship, stimulating innovative models for sustainable arts have cleared a space for performance to advance human aspirations for a better global future—a future in which all global citizens have a stake.

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CATHY ZIMMERMAN

practice. Indeed, many continental artists

From its origins, U.S. culture is strongly

With live music and the fierce, uncompromising

Afrocentric. However, media influences,

dance style of Béatrice [Kombé] and Nadia

education (or lack of), persistent racism,

[Beugré], I was completely mesmerized by

and other factors combine to beleaguer

the performance. At the end, after a stunned

American perceptions of Africa. Such

silence, the audience literally leapt to its feet,

views often privilege tradition over the

applauding madly for the artistic revelation that

contemporary, disaster over creativity, and

had just occurred. I stood there myself, tears

victimhood over the agency of the creative

streaming down my face.

individual. To many Africans, Americans may be viewed as a facilely affluent people,

TchéTché introduced me to a whole genre of

generally uninformed about Africa: people

dance that I was unfamiliar with—and in the

who, while somewhat mindful of the U.S.

years since I have spent much time and energy

role in slavery, are often oblivious to the

learning more about contemporary dance from

fact that their government has been involved

Africa and finding ways to bring that dance to

in operations altering the course of the

my communities in the United States. But no

postcolonial history of the continent. Thus

experience can, I think, ever match that first

the works of African experimentalists offer

time that I encountered the artistry and the

Americans an extraordinary opportunity to

power of the work of Compagnie TchéTché.

newly engage with the continent.

A NEW RESPONSE Several TACAC members have reported a

Inspired by such transformative

“conversion experience” or paradigm shift

experiences, in 2004 MAPP International

that committed them to build upon their

Productions (MAPP) invited a group of

experiences with contemporary African

leading American presenters, curators, and

performance, and, ultimately, to build the

academics to consider the development of

Consortium. Conversions occurred mid-

a consortium to diminish the risk involved

dialogue over a drink with an intrepid artist,

in bringing the work of African artists to

in a shared experience with an audience

communities across the United States. A

member that clinched the importance of

number of us had previously partnered on

the work, or, as in the case of Ken Foster,

projects featuring contemporary African

TACAC founding member and executive

performance. We had developed trust and

director of Yerba Buena Center for the Arts,

faith in one another’s passionate interest in

in a performance that—to this day—never

this rapidly transforming landscape. Out of

stopped stirring. Foster recalls his first

that meeting The Africa Contemporary Arts

encounter with African contemporary

Consortium (TACAC) was born.

performance:

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Clearly, the stirring work of many of these Béatrice Kombé and Compagnie TchéTché

artists merited deep and provocative

presented Dimi—Women’s Sorrow and what

cultural exchanges with the United States.

followed was without question one of the three

It had the potential to open new dialogues

or four greatest art experiences of my lifetime.

about contemporary performance, educate 17

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JOHN HOGG

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American audiences about the African

the strength we could muster to succeed in

imagination in real time, and connect

the culturally myopic, financially challenged

professionals in the field to invigorating

post-9/11 environment.

global trends. But in the absence of viable structures of support, how could we

The concept of a consortium proposed

equitably advance the work of the artists

a powerful opportunity to move beyond

to build interest in this critical movement

what any individual organization could

among our varied U.S. constituencies?

accomplish. TACAC was entirely self-

However committed, we were keenly aware

financed at first, with each organization

of the multiple issues and risks associated

contributing $2,500 cash from its own

with sponsoring the work.

budget to get it up and running with MAPP serving as general manager. Shared

In contrast to the promise and energy

professional history and passion fueled

of African contemporary performance,

the collaborative spirit: We were ready

shrinking U.S. support for international

to maximize a varied ecosystem of skills

cultural exchange weighed heavily in the

among members. Not only did we represent

atmosphere. While the groundbreaking

different geographic regions and the

work of 651 ARTS/Africa Exchange

interests of wide-ranging constituencies, but

continued, key resources that had been

each of us specialized in distinctive areas of

available for such work receded: The Ford

cultural work and served different functions

Foundation had terminated its substantial

within our organizations. The organizations

multiyear Internationalizing New Works

themselves represented a diverse ecology

in the Performing Arts initiative (a key

of the American arts landscape: from

funder of Africa Exchange, among other

residency centers, universities, and multi-

significant programs); Arts International

arts complexes to small theaters and

had halted operations; and the Kennedy

producing organizations. Members sought

Center’s pioneering four-year African

to create a living structure in which to

Odyssey initiative had concluded several

combine skill sets, foment ideas, maximize

years prior. Reduced funding and the

resources, share methodologies, and layer

lack of resources on the continent to

creative efforts in pursuit of a common goal:

subsidize U.S. presentations of African

to develop a new model of interaction with

work exacerbated the financial stress on

African artists and U.S. audiences rooted in

American organizations seeking to work

respectful and sustainable relationships.

if not capricious, government regulations

We set out to expand upon, if not reenvision,

made it increasingly difficult for foreigners

prevalent models of global arts presenting

to work in the U.S. If solving visa and

characterized by “fad and fashion or

funding issues was a distant dream on

exoticized one-off performances,” as

the horizon, risk reduction and resource

TACAC founding member Baraka Sele

sharing was the reality-based alternative for

(New Jersey Performing Arts Center) has

moving forward. Indeed, we would need all

noted. In contrast to consumerist “import-

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with African artists. Further, more stringent,

export� models of cultural exchange, we were motivated to seek an engaged, contextualized, and equitable model for the presentation of global artists in the U.S. From inception, we have prioritized opportunities intended to nurture dialogue and exchange between and among artists and the public. We would soon discover that by creating an environment of genuine listening, we could seed quality opportunities—organically and over time—to challenge stereotypes and expectations and grow more meaningful encounters for constituencies on both sides of the Atlantic.

TACAC began to shape a model of exchange rooted in a vital intercontinental network of like-minded artists and cultural workers nourished by a commitment to the long term.

To date, among the artists, companies, and organizations with whom TACAC has worked are: Compagnie Heddy Maalem (Algeria/France), Compagnie TchÊTchÊ (Côte d’Ivoire), Faustin Linyekula/Studios Kabako (Democratic Republic of Congo), Germaine Acogny/Compagnie Jant-Bi/L’Ecole des Sables (Senegal), Gregory Maqoma/ Vuyani Dance Theatre (South Africa), Salia Sanou/Compagnie Salia nï Seydou/Centre de DÊveloppement ChorÊgraphique – la Termitière (Burkina Faso), Hafiz Dhaou and Aïcha M’barek/Compagnie Chatha (Tunisia/ France), Compagnie Julie Dossavi (France/ Benin/Mali), Qudus Onikeku/Yk Projects COURTESY BATES DANCE FESTIVAL

(Nigeria/France), Boyzie Cekwana/Floating Outfit Project (South Africa), Lucky Kele (South Africa), Michel Kouakou/Daara Dance (Côte d’Ivoire/U.S.), Daudet Grazaï Fabrice (Côte d’Ivoire/France), Maria Helena Pinto

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(Mozambique), Opiyo Okach/GĂ ara Projects

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(Kenya/France), Panaibra Gabriel Canda/

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CulturArte (Mozambique), Judy Ogana

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TACAC ACTIVITIES BETWEEN 2004 AND 2011, CONSORTIUM MEMBERS HAVE:

HOSTED

25 CREATIVE RESIDENCIES THAT GAVE AFRICAN ARTISTS CREATIVE TIME IN AND EXPOSURE TO THE U.S.

PERFORMING ARTS FIELD.

27 SPONSORED

U.S. AND NORTH AMERICAN TOURS INTRODUCING AFRICAN ARTISTS TO

AUDIENCES IN PERFORMANCES, WORKSHOPS, INTERVIEWS, LECTURES, ETC.

CREATED, COMMISSIONED, AND SUPPORTED

SEVEN FILMS AND ESSAYS THAT REENVISION THE FRAMEWORK OF CULTURAL INSCRIPTION TO EFFECTIVELY INTRODUCE ARTISTS’ INNOVATIVE PRACTICES TO AUDIENCES, STUDENTS, AND OTHERS. 22

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CONDUCTED

RESEARCH TRIPS TO 19 COUNTRIES IN AFRICA, EUROPE, AND THE MIDDLE EAST TO SEE FIRSTHAND THE CREATIVITY OF AFRICAN ARTISTS AND TO HEAR ABOUT THEIR NEEDS AND CHALLENGES.

14 PRESENTED

REPORTS TO THE FIELD, INCLUDING PROFESSIONAL MEETINGS IN NORTH AMERICA, AFRICA, AND EUROPE. INVESTED

MORE THAN

$3M IN THESE PROJECTS AND EVENTS TO DATE. 23

and Joy Mboya/The GoDown Arts Centre

model, as TACAC developed its process,

(Kenya), The Market Theatre (South Africa),

it succeeded in attracting the interest of

Vincent Sekwati Koko Mantsoe/Association

the National Endowment for the Arts for

Noa-Compagnie Vincent Mantsoe (South

support of member meetings, research, and

Africa/France), Nadia BeugrÊ (Côte d’Ivoire),

organizational structure, as well as tour

Kettly NoĂŤl/Donko Seko (Haiti/Mali), Mamela

support from the New England Foundation

Nyamza (South Africa), Nelisiwe Xaba

for the Arts’ National Dance Project. Each

(South Africa), Bouchra Ouizguen (Morocco),

member institution contributed its own

Handspring Puppet Company & William

matching funds. The support of TACAC’s

Kentridge (South Africa), Koffi Koko (Benin),

Building Enduring Partnerships initiative by

Familia Productions (Tunisia), Cie2k_far

the Doris Duke Charitable Foundation’s Fund

Contemporary Dance Company (Morocco),

for National Projects marked a turning point

Compagnie La Baraka (Algeria/France),

in the organization, as will be discussed

Karima Mansour/Ma’at for Contemporary

in this narrative. In all, the generous

Dance (Egypt), Fathy Salama and Orchestra

financial support and rich professional

(Egypt), and Nawal (Comoros).

acknowledgment we have received to date has allowed our practice to flourish, and

Each Consortium member entered into

has positioned TACAC to contribute to

a unique commitment at institutional,

the work of many other organizations and

curatorial, financial, and personal levels

policy makers who seek similar goals. We

to build and sustain multidimensional

now share TACAC’s story as an empirical

exchanges with African artists and cultural

approach to cultural diplomacy that asserts

workers. The layering of skill sets, contacts,

its effectiveness on a human scale.

funding, and other resources resulted in a resilient web of exchange and support. Even

TACAC’S MESSAGE

today, we think of ourselves not as an entity

The interconnected network of the global

but as a practice characterized by listening

present asserts itself unevenly and moves

closely, engaging deeply, and sharing

across the past, present, and future: Thus

skills, ideas, and influence, ever fueled by

TACAC’s work must bear “the weight of the

research and commitment. While African

past and of received ideas.�2 The gravitas

artists and U.S. constituencies would

of the shared global moment impels us

benefit from the growth of relationships and

to think deeply and creatively to advance

artistic interchange, the Consortium was

beyond inequitable models and exhausted

increasingly energized by the opportunity

categories. TACAC believes that the work

to strengthen the U.S. role as an engaged

is urgent. In the words of critical theorist

partner in a global creative community.

Achille Mbembe: “The work of art and the

up to become TACAC’s initial external

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funder in 2005. While the Consortium

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did not fit into one existing U.S. funding

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BEN RUDICK

We were grateful that CulturesFrance stepped

25

AFRICA CONSORTIUM MEMBERS ARE DEDICATED TO NOTHING LESS THAN CREATING A NEW MODEL FOR INTERCONTINENTAL CULTURAL EXCHANGE THAT REVERBERATES OUTWARD FROM THE GRASSROOTS—REPLACING CULTURAL ASSUMPTIONS WITH GENUINE LISTENING, AND FINANCIAL IMBALANCE WITH FAIR PRACTICES. OUR VISION OF RESPECTFUL AND SUSTAINABLE INTERCONTINENTAL RELATIONSHIPS SEEKS TO MOVE INTERNATIONAL CONVERSATIONS IN THE PERFORMING ARTS PRESENTING FIELD TO A NEW LEVEL, WITH THE MESSAGE THAT TRUE CULTURAL EXCHANGE WITH ARTISTS IN LESS PRIVILEGED PARTS OF THE WORLD IS NOT ONLY POSSIBLE, BUT POTENTIALLY TRANSFORMATIVE FOR ALL PARTIES.

work of culture is to pave the way for a qualitative practice of the imagination—

A REFLECTION ON STORYTELLING

a practice without which we will have no

As TACAC reflects upon and assesses the

name, no face and no voice in history.”3

present in order to mindfully grow into the future, we believe we have a story worth

We see creativity and connection as

sharing. And while it is by no means static,

powerful human resources, and these so-

we are eager to share the model we have

called intangibles truly sustain our force.

developed to date. We seek to foment

The Consortium’s message foregrounds

discussion, reflection, experimentation, and

the power of personhood as honed by the

to stimulate enduring partnerships among

creative agent. The artist’s dedication to

artists, cultural workers, arts organizations,

contemporary arts and culture is a rich

and all segments of the global creative

and productive force with the potential to

economy. We hope that professionals and

advance positive change and development

students engaged in international cultural

in both perceptions and material realities

exchange from diverse fields—education,

across the Atlantic. As such, TACAC seeks

cultural development, government, arts, and

to offer Americans an alternative to the

media, among others—will take a moment

prevalent perspective on Africa heard

to consider, if not respond to, the ideas

from the media, education, business, and

presented.

government, which focus on, if not actually sensationalize, poverty, ethnic war, poor

Using an approach that is personal, learning

healthcare, shortage of quality education,

oriented, open-ended, and organic, the

government impunity, and human rights

narrative mirrors how TACAC operates as an

abuses, resulting in representing the African

organization. These pages are structured by

as a victim, rather than as a person of value,

TACAC’s five-part praxis, developed during

an agent of change…an artist.

a two-day meeting of Consortium members

26

at the Walker Art Center, Minneapolis, MN, in 2007, culminating in the Building Enduring Partnerships initiative, generously funded by the Doris Duke Charitable Foundation. We believe this model represents a shift of the prevalent paradigm in much international artistic exchange, and contributes to the practices of others as exemplified by such initiatives as the Congo Project of Belgium’s KVS Theatre (more formally known as the Koninklijke Vlaamse Schouwburg or Royal Flemish Theatre), the Sundance East Africa Institute, and the Kennedy Center’s recent expansion of arts management seminars on

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site in five African cities, to name but a few.

The narrative weaves a tapestry from extensive primary data, including interviews, meetings, research reports, and conversations that have taken place among TACAC members, artists, and arts organizers on the African continent, in Europe, and in North America. Challenges and obstacles encountered, lessons learned, personal anecdotes, recommendations, demonstrations of “best practices,� and unanswered questions motivating us to seek ever further are threaded throughout. In all its operations, the Consortium is committed to a methodology of information gathering and sharing as the basis for building programmatic initiatives: We build our program of reciprocal international cultural exchange through a practice of reciprocal international cultural exchange. The report

J. RABILLON

mirrors this methodology.

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COURTESY MARIA HELENA PINTO

TACAC MODEL

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THE PRAXIS The Africa Contemporary Arts Consortium carries out its work through a cycle of five interrelated and interdependent program areas; each area includes a range of activities that individual members, or the Consortium as a whole, develop, host, present, and support. The five program areas combine into a reflective praxis, which calls upon the unique orientations and strengths of individual members and the organizations they represent. The areas intersect to create the resilient strength of the organization. The five areas are:

INVESTING IN CURATORIAL RESEARCH

ADVANCING THE CREATIVITY OF THE ARTIST

CONNECTING ARTISTS, AUDIENCES & COMMUNITIES

SUSTAINING THE NETWORK & DEVELOPING THE INFRASTRUCTURE

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BUILDING & SHARING KNOWLEDGE

INVESTING IN CURATORIAL RESEARCH

views, and to expose their constituencies to fresh renderings of African experiences.

Bringing their points of view as presenters, curators, producers, and academics into the

ATTEND PERFORMANCES, REHEARSALS,

Consortium, TACAC members commit to

WORKSHOPS; MEET FACE-TO-FACE WITH

regularly attend performances, workshops,

ARTISTS TO DEEPEN KNOWLEDGE OF

and meetings throughout the world to build

CONTEMPORARY AFRICAN PERFORMING

and share perspectives on contemporary

ARTS FROM VARIED PERSPECTIVES.

African performing arts. Paying particular

RESEARCH THE HISTORICAL BACKGROUNDS, AS WELL AS THE RELEVANT CONTEMPORARY CONTEXTS, WITHIN WHICH ARTISTS WORK. ENGAGE RESPECTED LOCAL EXPERTS

attention to the social and political histories and current contexts of artists’ works and lives, members write detailed reports about their research travel. The reports are disseminated to all members and their constituencies and are archived for

WHO CAN EDUCATE AND PROVIDE

future use. TACAC maintains an up-to-date

CULTURAL BACKGROUND AND

calendar listing Africa-related performance

INTRODUCTIONS AS WE RESEARCH THE

and festival events as a resource to plan

ARTS IN PARTICULAR COUNTRIES.

members’ travel. While TACAC contributes

IDENTIFY AFRICAN-BASED

$1,000 to $2,000 toward travel costs for

ORGANIZATIONS THAT SHARE

each research trip, members must cover the

INTERESTS IN NETWORKING.

balance of their expenses.

Many African artists—including those with

African and 5 European countries for members

whom we have worked most closely—have

and other U.S. arts workers to see African

noted with dismay that Americans are rarely

artists’ works, and to strategize partnerships

visible on the scene in Africa. They are

with artists, arts and community groups,

conspicuously absent at festivals, let alone

and funders. Festival and event travel has

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TACAC has organized 28 research trips to 14

engaged with African artists in their home

included: FNB Dance Umbrella, Infecting the

bases. Encouraged by our African affiliates,

City: the Spier Public Arts Festival, and the

TACAC members explicitly sought to address

National Arts Festival (South Africa); Harare

the “American absence.” If members were

International Festival of the Arts (Zimbabwe);

to advance the modes of presentation—and

Kaay Fecc (Senegal); Centre de Développement

representation—of African artists in the U.S.,

Chorégraphique – La Termitière (Burkina Faso);

it would be critical to learn firsthand how,

Julidans (The Netherlands); Danse l’Afrique

where, in what circumstances, and with whom

danse!/Choreographic Encounters of Africa and

the artists worked to create their futures.

the Indian Ocean (Madagascar, France, Tunisia, and Mali); and the Arab Dance Platform at

TACAC members regularly seek out artistic

BIPOD/Beirut International Platform of Dance

work to inform, if not reinvigorate, their global

(Lebanon). Beyond seeing performances, 31

TACAC members meet individually and as a

Residencies are an essential part of the work

group with artists and cultural workers. Such

and sharply distinguish TACAC’s approach

encounters engage, inform, and, as in the

from the traditional import-export model

case of our May 2008 meetings with artists

of international performing arts exchange.

in Tunis, during the seventh edition of Danse

Face-to-face conversations and public

l’Afrique danse!, provoke critical change.

dialogues among peers and others can dispel

The rich discussions in Tunisia heralded a

misperceptions on both sides, opening hearts

transformation in our thinking and furthered

and minds to real connection. To date, TACAC

the development of the Consortium’s Building

has hosted 14 African artists in multiweek

Enduring Partnerships initiative (see section 3).

creative residencies in the U.S., providing precious time and space for creative

ADVANCING THE CREATIVITY OF THE ARTIST

exploration and for meeting U.S.-based dance and theater artists, performing arts students, community members, representatives from arts organizations, and funders. These have

CONTRIBUTE TO THE SUSTAINABILITY

included, but are not limited to: residencies

OF STABLE WORKING ENVIRONMENTS

for Qudus Onikeku (Nigeria), Opiyo Okach

FOR ARTISTS THROUGH SUPPORT

(Kenya), Nelisiwe Xaba and Lucky Kele

FOR INFRASTRUCTURE, NETWORKING,

(South Africa), and Nadia BeugrĂŠ (CĂ´te

AND PROGRAMS THAT ARE FLUID AND

d’Ivoire); and visits to the U.S. for Boyzie

RESPONSIVE TO CHANGING CONDITIONS.

Cekwana and Gregory Maqoma from South

FACILITATE TRAVEL FOR AFRICAN ARTISTS TO CONNECT WITH THEIR PEERS, BOTH INTRA- AND INTERCONTINENTALLY. SUPPORT ARTISTS OVER TIME IN THE CREATION AND DEVELOPMENT OF NEW IDEAS.

Africa and Panaibra Gabriel Canda from Mozambique to meet with peer artists and arts professionals, and to present at national conferences, including the annual Association of Performing Arts Presenters conference in New York City and the National Performance Network annual meeting.

HELP COMBAT THE ISOLATION ARTISTS

Through coproductions, residencies, and

REPORT DUE TO CHALLENGES POSED

tours, TACAC seeks to provide opportunities

BY GEOGRAPHY, ECONOMICS, AND/OR

for artists to create, develop, and perform

POLITICAL CIRCUMSTANCES.

new work, and to connect with artists

PROVIDE OPPORTUNITIES AND SITUATIONS IN WHICH ESTABLISHED THEIR CRAFT AND FUEL THEIR

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32

ANTOINE TEMPÉ

AFRICAN ARTISTS CAN BUILD UPON

33

ANTOINE TEMPÉ

and others from across the continent and

idea for a new ensemble performance

abroad. While the emergent African artist

work. In Men-Jaro, Mantsoe sought to join

may find himself or herself supported by

forces with South African composer and

various European and African platforms that

ethnomusicologist Anthony Caplan to celebrate

seek to stimulate the field of contemporary

as well as redefine the intrinsic relationship

performance, the more established artist

that exists among African contemporary

may have fewer resources available.

dance, ritual, and music.

On the continent audiences for

MAPP stepped forward to coproduce the

contemporary performances can be small,

work, along with South Africa’s FNB Dance

and opportunities for philanthropic or

Umbrella and Association Noa-Compagnie

corporate backing few. Even South Africa’s

Vincent Mantsoe. Through the combined

vibrant scene has encountered serious

efforts of the coproducers and TACAC’s

financial challenges. For example, the

connections, the creation of Men-Jaro

loss of long-term corporate sponsorship

was awarded support from foundations

of Johannesburg’s FNB Dance Umbrella

and government agencies in France, the

sent organizers scrambling for support to

Netherlands, the U.S., and South Africa,

continue this historically and artistically

including Association Française d’Action

significant festival which, happily, is planning

Artistique/AFAA and DRAC Auvergne Culture

its twenty-fourth consecutive season. But

Communication in France; Prince Claus Fund

such resilience is not a given, and certainly

of the Netherlands; Multi-Arts Production

not uncomplicated. Across the continent,

Fund; and the National Dance Project of

artists report not only a lack of support,

the New England Foundation for the Arts;

but also a vulnerability to manipulation,

Business Arts South Africa, Institut Francais

whereby the art form can feel dominated, in

d’Afrique du Sud, South Africa’s National Arts

the words of one artist, by foreign money,

Council, and the Royal Netherlands Embassy

artists, and taste. Indeed, foreign support is,

via the Arts & Culture Trust of South Africa.

at times, the only direct source of funding, but it can come with multiple agendas having little to do with the artist’s goals.

In March 2006, Men-Jaro premiered at FNB Dance Umbrella, Johannesburg, South

While TACAC cannot address all of these

Southbank Centre, London, England, in

challenges, we do introduce artists to

October 2006. The work premiered in North

networks and resources that can support

America at Miami Light Project, Miami,

their artistic projects, and contribute to artists’

FL, in January 2007, and subsequently

goals as they envision them, transcending

toured to 11 North American cities: SUNY

have/have-not approaches. For example,

Arts at Oswego, State University of New

in 2003 Vincent Sekwati Koko Mantsoe,

York, Oswego, NY; National Arts Centre,

one of postapartheid South Africa’s leading

Ottawa, Ontario, Canada; Clarice Smith

choreographers, came to TACAC cofounder,

Performing Arts Center, College Park, MD;

MAPP International Productions, with an

Lang Performing Arts Center, Swarthmore

34

PHOTO CREDIT

Africa, and toured to Queen Elizabeth Hall,

College, Swarthmore, PA; Kumble Theater for the Performing Arts (copresented by 651 ARTS/Danspace Project), Brooklyn, NY; MontrÊal en Lumière/Montreal High Lights Festival, Montreal, Canada; Duke University/ Institute of the Arts Performances, Duke University, Durham, NC; Dance Center at Columbia College, Chicago, IL; VSA/ North Fourth Art Center, Albuquerque, NM; Stanford Lively Arts, Stanford, CA; and Williams Center for the Arts at Lafayette College, Easton, PA. In addition to support for the development

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responsive to African artists’ oft-expressed

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desire for greater connection with their peers

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on the continent. Indeed, intracontinental travel and collaboration not only combat isolation and challenges posed by geographic, social, economic, and political circumstances, but foment a diversity of ideas, training opportunities, and artistic collaborations, and energize the growth and/or sustainability of formal and informal networks among African cultural operators.

In addition to their prolific artistic outputs, artists such as Germaine Acogny (Senegal), Salia Sanou (Burkina Faso), and others have independently prioritized intracontinental cooperation. By regularly redirecting the

COURTESY SEATTLE THEATRE GROUP

dynamic outward focus of performance to the critical nourishment and networking of young artists through workshops, long-term training initiatives, and festivals, these artists are helping to foster the next wave of the art form. Boyzie Cekwana (South Africa) disbanded his permanent company in favor of a more flexible structure which has freed him to dedicate his “shoulder of support� to create 35

WHEN AN INDIVIDUAL FEELS A PROFOUND CONNECTION WITH SOMEONE—AND IT’S NOT JUST BECAUSE THEY COME FROM THE SAME CONTINENT OR BECAUSE SOMEONE IN PARIS PUT UP MONEY SO THAT AFRICAN DANCE MAKERS AND DANCE ACTIVISTS CAN COME TOGETHER—BUT BECAUSE THEY REALLY FEEL THAT THERE IS SOMETHING WE NEED TO BUILD TOGETHER.… SO IT’S NOT BETTING ON FINISHED PRODUCTS. BUT IT’S A BET ON PROCESSES, FIRST OF ALL. AND YOU CAN ONLY DO THAT IF YOU’VE BEEN ALLOWED INTO SOMEONE’S PROCESS, BASICALLY. AND I’D LIKE THAT TO EXIST MORE ON THE CONTINENT, WHERE WE’RE ALLOWED INTO ONE ANOTHER’S PROCESSES. —FAUSTIN LINYEKULA,

PHOTO CREDIT

STUDIOS KABAKO

36

initiatives such as the Southern African

Ivorian artists BĂŠatrice KombĂŠ and Nadia

network with Studios Kabako (Democratic

BeugrĂŠ. KombĂŠ had founded the all-female

Republic of Congo), CulturArte (Mozambique),

Compagnie TchĂŠTchĂŠ in 1997 to show

and Compagnie Rary (Madagascar).

that woman is not the weaker gender. It is notable that Côte d’Ivoire was formerly one

Recognizing the reciprocal value strong

of Africa’s wealthiest nations. From 1993 to

African-based networks can bring to

2006, its capital of Abidjan was an important

continental artists and to the Consortium,

center of arts production and international

TACAC is seeking to marshal resources to

marketing as host of MASA, MarchĂŠ des

support the development of an emergent

arts du spectacle Africain. However, years

continental initiative led by Studios Kabako

of political turmoil and interethnic conflict

in collaboration with AndrĂŠya Ouamba/

unraveled the economy, infrastructure, and

Compagnie 1er Temps (Congo-Brazzaville/

MASA. As the nation teetered on the brink of

Senegal) and CulturArte (Mozambique).

chaos, Ivorian artists struggled to survive.

In a multidimensional conception of artist residency, the initiative frames

In fall 2006, MAPP engaged the powerful

the importance of the work of artists

TchĂŠTchĂŠ in a nine-city U.S. tour of Dimi.

across the spectrum, including the mid-

The tour was launched at the John F.

career artist who is rarely prioritized in

Kennedy Center for the Performing Arts

funding strategies. Further, this broad

(Washington, D.C.), where TACAC member

geo-choreographic initiative seeks to

Alicia Adams arranged for company

advance creation at all levels by providing

members to meet with cultural policy

developmental residency opportunities,

makers to advance discussions on the art

financial, technical, and logistical production

form in the U.S and on the continent. The

assistance, as well as touring support on

tour continued to Wexner Center for the

local, regional, and international levels.

Arts (Columbus, OH); Walker Art Center (Minneapolis, MN); Center for the Arts,

In another example of intra- and

Wesleyan University (Middletown, CT); VSA/

intercontinental support, and building on

North Fourth Art Center (Albuquerque, NM);

established and strong relationships, TACAC

World Theater at California State University

has been deeply committed to the work of

Monterey Bay (Monterey, CA); Seattle Theatre Group (Seattle, WA); Yerba Buena Center for the Arts (San Francisco, CA);

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culminating at White Bird (Portland, OR).

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company returned home to Abidjan, BĂŠatrice

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KombĂŠ died. It was a profound loss for the

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world of dance, but an unimaginable one for

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her partner, Nadia BeugrÊ. Many of BeugrÊ’s

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Ivorian artist colleagues had been forced to 37

38

PHOTO CREDIT

39

AGATHE POUPENEY

create mostly in exile, including childhood

d’Ivoire) are among the few but triumphant

friends Michel Kouakou, who lived in New

female choreographic voices on the African

York and Abidjan, and Daudet Grazaï Fabrice,

stage today, thus the title of the program.

who lived and worked in Paris. Now Beugré set off to rebuild her life in temporary exile as

In June 2012, TACAC will partner with

well, living between France and Senegal.

KVS (Brussels) to host a developmental residency in the KVS Theatre to prepare

Beugré, Kouakou, and Fabrice sought to

the Voices of Strength U.S. tour curated and

revisit their childhood friendship in an artistic

produced by MAPP. The performers will

work. They were determined to stare down

convene for a period of seven days. The

grief, illness, economic duress, and the

residency has four purposes. First, some

painful unraveling of their beloved homeland

artists have had uneven access to design

and to lay “the first stone” of a project built

and technical proficiency in the building of

on their shared Ivorian past. The artists’ goals

their works. The KVS residency will provide

resonated with TACAC. Bates Dance Festival,

equal access to expertise, and each work

VSA/North Fourth Art Center, and the

will be produced to the highest professional

Consortium decided to help the artists jump-

level for combined touring. Second, while

start this choreography-beyond-boundaries

the artists know each other by reputation

by hosting them at the Bates Dance Festival

and have crossed paths at festivals, several

in summer 2008 where they began to

have never personally met nor had any

cocreate a piece that “invite[d] them to look

time to be together. Thus the residency will

inside themselves and examine their common

facilitate personal and creative connections

past.”4 TACAC subsequently supported

among the artists. Third, TACAC cofounder

Kouakou to travel to Senegal to continue the

Joan Frosch, director of the Center for

collaboration. By returning them to the solace

World Arts, University of Florida, will

of friendship, the work helped the artists to

conduct qualitative research with the artists

bridge loss and emerge renewed.

to develop resource materials to accompany the Voices of Strength tour, and to contribute

TACAC’s relationship with Beugré

to the nascent literature on African women

continues through its latest intracontinental

choreographers. Fourth, the residency will

partnership, Voices of Strength. Joining

deepen the connection between TACAC and

across the reaches of the continent from

KVS as TACAC seeks to develop appropriate

South Africa to Mozambique to Côte

linkages among the U.S, Africa, and Europe.

d’Ivoire to Mali and Morocco, five women choreographers will share a two-part program of their award-winning works on

CONNECTING ARTISTS, AUDIENCES & COMMUNITIES

a four- to six-week North American tour in (Haiti/Mali), Nelisiwe Xaba (South Africa),

PRESENT PERFORMANCES,

Bouchra Ouizguen (Morocco), Maria Helena

CREATIVE RESIDENCIES,

Pinto (Mozambique), and Nadia Beugré (Côte

WORKSHOPS, FILM SCREENINGS,

40

PHOTO CREDIT

fall 2012. The choreographers Kettly Noël

LECTURES, AND DISCUSSIONS. OFFER FOCUSED HUMANITIES PROGRAMS TO ENGAGE COMMUNITIES IN LEARNING ABOUT ARTISTS’ LIVES AND WORKS, THE SOCIAL, POLITICAL, AND/OR HISTORICAL CONTEXTS IN WHICH THE WORK WAS DEVELOPED OR THAT THE WORK REFERENCES.

For example, during a six-week U.S. tour of Gregory Maqoma/Vuyani Dance Theatre’s Beautiful Me in the fall of 2009, Maqoma and his musicians taught dance and music master classes; participated in moderated postperformance discussions; visited ethnomusicology, cultural anthropology, and ethnicity, nation, and world community classes; gave informal concerts; met

ANIMATE LONG-TERM CONNECTIONS

community members at lunches and dinners;

WITH EDUCATIONAL INSTITUTIONS.

and participated in panel discussions including ones at the Performing Diaspora

The Consortium fosters experiences that

conference organized by the Alliance

change Africans’ perceptions of American

for California Traditional Arts in San

life and culture through the presentation of

Francisco, and with local Seattle artists as

public performances by African artists in

part of Africa Live Seattle, moderated by

the context of multifaceted and participatory

Consortium member Vivian Phillips.

community engagement programs.

Moreover, these programs engage American

Among the tour locations was Bates College,

citizens in a vision of Africa beyond the

in its first-ever integration of a Bates Dance

stereotype of a perennially troubled

Festival artist to be presented during the

continent. TACAC specifically seeks to

academic year. The success of Beautiful

foster humanities perspectives and public

Me at Bates College was a culmination

dialogue in encounters with the artist and

of Maqoma’s creative relationship with

the art form.

the Bates and Lewiston communities

TACAC has connected thousands of

Faure, director of the Bates Dance Festival,

U.S. citizens in 31 cities from 21 states

and it was a highlight of the tour. During the

to more than 50 African artists from 18

summer of 2005, the festival had hosted

different countries to date. The artists

Maqoma and collaborators Faustin Linyekula

have performed at venues serving a broad

and Vincent Sekwati Koko Mantsoe for a

cross-section of performing arts audiences,

three-week creative residency that laid

representing citizens across the spectrum

the groundwork for the piece. MAPP

of age, ability, race, cultural background, and

International Productions, building on the

socioeconomic status. The artists have led

investment made by the festival, followed

workshops for children, youth, adults, and

the development of the work and organized

taught preprofessional and general students

Maqoma’s debut U.S. tour. Upon his return

in university master classes and seminars.

in 2009, Bates students and local audiences

They have met with artists and arts workers,

who had engaged with the research and

lectured in pre- and postshow discussions,

development of the piece proudly welcomed

and engaged in colloquia with scholars.

the work. Faure reflected: “We know that

PHOTO CREDIT

established through TACAC cofounder Laura

41

audiences connect completely differently

he emerged, and a Consortium meeting

with the work when they feel like they know

built around his performances at the World

the person, when they’ve had an opportunity

Performance Project at Yale University

to understand the process and the story, and

in November 2008, was furthered by the

that’s something we will continue to try and

invitation of Yerba Buena Center for the Arts

find ways to do more successfully.�

in May 2011. There, in addition to presenting a work-in-progress showing of Body

To combat the isolation many African artists

Evidence, which invited community members

face, TACAC also makes a point of creating

into his creative process, he also participated

opportunities for artist-to-artist exchanges.

in Inside The Africa Contemporary Arts

During the 2008 U.S. tour of Compagnie

Consortium, a public reflection on TACAC

Heddy Maalem’s Le Sacre du Printemps,

projects, partnerships, and research since

MAPP International Productions arranged a

the Consortium’s inception in 2004. Okach

meeting with New York City choreographers

shared his nuanced perspective about

Reggie Wilson, Blondell Cummings, David

the ongoing challenges he and fellow African

Gordon, Susan Marshall, and Keely Garfield,

contemporary artists face at home and

among others, for Maalem and the members

abroad to create outside of stereotyped

of his company, many of whom are dance

definitions of what makes their work

makers, educators, and arts organizers

“African� or “contemporary.�

in their home communities. In a circle of chairs on the Dance Theater Workshop stage, artists from both sides of the Atlantic

BUILDING & SHARING KNOWLEDGE

introduced their work, shared it on DVD, and talked about their successes and challenges.

The artists discovered commonalities and

FACILITATE WORKSHOPS AND

explored differences as they learned about

DISCUSSIONS FOR THE FIELD.

have known.

TACAC humanities events and contextual

HOST CONSORTIUM WEBSITE AND CREATE ONLINE MATERIALS. COMMISSION ESSAYS AND RELATED

materials seek not only to situate artists in

MATERIALS PROVIDING HISTORICAL

relation to their artistic work, but also to their

BACKGROUND TO SUPPORT ARTIST

roles as citizens and leaders in contemporary

RESIDENCIES AND PERFORMANCES.

society. For example, Kenyan artist Opiyo Okach’s multifaceted relationship with

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TACAC, which has included a residency at

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Bates Dance Festival, engagement through

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multiple trips to Kenya by Consortium

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members to The GoDown Arts Centre to

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learn firsthand about the artistic community

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that Okach has spurred and from which

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42

COURTESY SEATTLE THEATRE GROUP

artists and works they would not otherwise

43

PHOTO CREDIT

CREATE FILM AND VIDEO TO EDUCATE PROFESSIONAL AND PUBLIC AUDIENCES. CONVENE MEETINGS AND/OR SYMPOSIA TO EXPLORE PARTICULAR CHALLENGES AND CURRENT ISSUES COMMON TO ARTISTS AND ARTS ORGANIZERS IN THE U.S. AND ON THE AFRICAN CONTINENT.

Art cannot prosper in isolation from other forms of knowledge. We not only need to build the language to think about art, argue its merits, and relate to it our lives, but also to allow us to travel beyond the conceptual boundaries of our own life experiences.

TACAC seeks to position experimental choreographers and their works as part of a global flow of ideas, interacting with worlds of their own—and others’—creation.

Recognizing that “African dance� is itself an outsider-imposed category of performance, many contemporary artists in and of Africa flatly reject confining their work to someone else’s view of “Africanity.�

These artists, like artists everywhere, move through mobile, porous dimensions in time and space, a global space where worlds regularly collide.5 Such collisions trouble the “postmodern, global framework where the producers and consumers of dance are‌deeply entangled in a common production of internationalism and cultural exchange.â€?6 The complexity of the artists’ positioning in its intricate tensions and form into worn categories, and has much to teach Americans and others about global interactions in the 21st century.

(SFHPSZ .BRPNB BOE /POLV

Gregory Maqoma explained in an interview:

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“I am constantly expected to conform to

44

COURTESY GREGORY MAQOMA

transgressions defies flattening their art

stereotypical perceptions of the Western

presentations and symposia, serve not only

world and of African traditionalists.”

to inform local audiences, but also to educate

Maqoma’s framing of aesthetics lays bare

more broadly.

prevailing methodological and theoretical lacunae in the study of African performance,

The documentary feature Movement

where unique and extraordinary subjects

(R)Evolution Africa: a story of an art

may be (mis)viewed as representatives

form in four acts (2009), produced and

of cultural masses, or “herds,” to use

directed by Joan Frosch, and codirected

Faustin Linyekula’s term. For example,

by Alla Kovgan, provides a rich entry

undifferentiated terms such as “African

point for the work, and has been viewed

dance” can facilely (mis)categorize or

worldwide. Through the voices and works

silence the individual voice of the work, or

of choreographers, dancers, designers,

back it into a no-exit ontological web where

musicians, critics, historians, and

cultural inscription becomes its primary

others engaged in the growing ecology

value. Like Maqoma, Achille Mbembe posits,

of contemporary African performance,

“To be sure, there is no African identity

Movement (R)Evolution Africa explores the

that could be designated by a single term

emerging and rapidly shifting contemporary

or that could be named by a single word or

dance movement across Africa and the

subsumed under a single category. African

meaning artists seek to make. In addition

identity does not exist as a substance.”

7

to numerous international broadcasts, the critically acclaimed film has been selected

Given the thoughtfulness and intellectual

for more than 200 international film festivals

rigor that artists bring to the table, TACAC

including the preeminent African film

member Vivian Phillips from Seattle Theatre

festival, FESPACO. The film is housed in

Group has asked, “How do we make a

library collections worldwide, and is

space for the artist to say more?” It is our

used academically in universities across

quest. TACAC prioritizes lively discussion

North America. TACAC screened

and research to effectively advance and

Movement (R)Evolution Africa as an opening

disseminate the artists’ voices at the

night event at the Association of Performing

highest professional levels. In each U.S.

Arts Presenters conference in January

community that artists visit, TACAC provides

2008, and the film is regularly used to

inquisitive audiences with contextual events

contextualize performances for audiences

and/or materials in which to situate the

throughout North America.

PHOTO CREDIT

creatively diverse, historically referential, and emotionally rich work performed by the

TACAC presents regular reports to the field at

artists. TACAC maintains a web presence

conferences such as the annual meetings of

on the MAPP website with information on

the National Performance Network (NPN) and

artists, current tours, links to interviews and

the Association of Performing Arts Presenters

press reviews, and articles. Essays, website

(APAP). We aim to create dialogue, provide

information, interviews, videos, films, and

context, and build mutual understanding to

other contextual materials, along with public

integrate learning at a deep level for both the 45

46

PHOTO CREDIT

public and arts professionals. For the fall 2007

TACAC was explicitly created as a consortium

U.S. tour of Faustin Linyekula’s Festival of Lies,

of organizations of varying missions and

TACAC commissioned dance scholar Brenda

capacities, skill sets and orientations, regions

Dixon Gottschild to write an essay placing this

and areas of influence, aligning to access

work in a context for audiences unfamiliar

our distinct strengths to advance common

not only with the artist but with the historical

goals. The membership is asked to meet in

references central to the performance.

person and by teleconference three times

Joan Frosch authored commissioned essays

per year, and the steering committee meets

to accompany the fall 2009 U.S. tour of

an additional two to three times per year.

Gregory Maqoma’s Beautiful Me, as well as

These meetings are vital to the success of the

the Bates summer 2011 residency of Kettly

Consortium’s ongoing activities as current

NoĂŤl, Mamela Nyamza, and Nelisiwe Xaba,

and new projects are discussed, DVDs

among others. These resources combine to

shared, policies refined, and future activities

create a critical groundwork for historicizing

clarified. The Consortium often invites

participating artists, and, ultimately, to expand

artists and other cultural workers to join our

the canon of performance.

meetings in a mutual sharing of knowledge and experience.

SUSTAINING THE NETWORK & DEVELOPING THE INFRASTRUCTURE

The process is not neat, but it is tolerant and vital, and responsive to the change inherent in the lives of member arts organizations and the field. In addition to being a founding

CONVENE THREE TO FOUR CONSORTIUM

member, MAPP serves as general manager,

MEETINGS EACH YEAR, INCLUDING

responsible for sending communications,

AFRICAN PARTNERS ANNUALLY.

planning meetings, facilitating trips,

IDENTIFY PARTNERS, BOTH ON AND OFF THE CONTINENT, TO BUILD INITIATIVES THAT RESPOND TO IDENTIFIED NEEDS AND PRIORITIES.

organizing fund-raising, marketing, and maintaining the website. Since 2004, MAPP has raised more than $600,000 for the activities of TACAC, and member organizations have collectively invested

DEVELOP RESOURCES TO SUPPORT THE

$3 million of their own programming

CONSORTIUM’S ACTIVITIES.

resources to Consortium activities. To date, TACAC’s work has been recognized with five consecutive years of funding from the National Endowment for the Arts, and funding from the Doris Duke Charitable Foundation, National Dance Project of

JOHN HOGG

the New England Foundation for the Arts, Lambent Foundation, CulturesFrance/Institut (SFHPSZ .BRPNB JO

Francais, and Cultural Services of the

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French Embassy.

47

PHOTO CREDIT

3

48

BUILDING ENDURING PARTNERSHIPS

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50

PHOTO CREDIT

WE ARE HERE AS A CONSORTIUM‌TO IMAGINE WITH YOU A DIFFERENT WAY OF DOING BUSINESS WHEN IT COMES TO ENGAGING ACROSS BORDERS. AS YOU TALK ABOUT HOW YOU COME TOGETHER AND HOW YOU’RE BUILDING YOUR NETWORKS OUT OF ORGANIC RELATIONSHIPS THAT INVOLVE LONG-TERM CONVERSATIONS, WE SEE A SHARED VALUE. THERE’S A PARTICULAR RIGOR TO YOUR PROCESS WHICH I THINK IS INSPIRING AND MOTIVATING.‌ WE’RE HOPING WE CAN DEVISE A BETTER MODEL OF COMMUNICATION AND ENGAGEMENT THAT’S ONGOING AND FROM WHICH WE MUTUALLY DRAW RESOURCES‌WHICH ARE NOT ONLY FINANCIAL, BUT THAT ALSO HELP US TO ADDRESS THE ISSUES WE’VE BEEN SHARING—THAT ARE ALSO ISSUES OF CITIZENSHIP. —CATHY ZIMMERMAN, NAIROBI MEETING, 2010

THINKING DIFFERENTLY

parity, and to report the findings back to the

In 2007, The Africa Contemporary Arts

field. TACAC’s passion gained momentum

Consortium set out to build upon the

and reverberated deeply among the African

successes of our experiential approaches to

network of associates we had developed.

arts exchange and to fundamentally alter the

TACAC honed in on a strategy: We would

predominant import-export model of cultural

advance relationships through the creation

exchange to one of equitable partnership

of a broad-based think tank. TACAC would

among American and African artists and

engage a wide range of artists and arts

organizations. TACAC theorized that by

professionals across the continent and—

building long-term, deep associations in a

together—plan for the future. However, in a

vital intercontinental network of partners

series of hard but heartfelt conversations

in the United States and Africa, we could

with several longtime African colleagues, we

advance a model that would not only

soon learned that our approach was flawed

support the goals and vision of our African

and had bypassed key steps to building the

affiliates, but contribute to a more balanced

enduring relationships we sought.

environment of global arts exchange overall.

Conceived as the “Building Equitable

THE POWER OF LISTENING

Partnerships� initiative, TACAC imagined a

In winter of 2008 TACAC supported

major international convening to rigorously

Boyzie Cekwana to join Panaibra Gabriel

explore building partnerships based in

Canda and Faustin Linyekula in Kisangani,

MARJORIE NESET

Democratic Republic of Congo, where the three artists had gathered to work on their 2VEVT 0OJLFLV BOE /BEJB #FVHSn

Southern African network project. TACAC

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requested that the artists take time during

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their meeting to review and respond to the 51

MEETING IN TUNIS PARTICIPANTS

proposed think tank. Anticipating the artists’

1. Nadia Beugré, independent

enthusiastic responses, we were ready to

choreographer, Abidjan, Côte d’Ivoire

embark full steam ahead on the initiative.

2. Hafiz Dhaou, Cie Chatha, Tunis, Tunisia,

Instead, we were stopped in our tracks.

www.chatha.org

The artists stated they had little interest in

3. Adetona Gboyega, Dance Meets

such a grandiose plan. They explained that

Danse Festival, Lagos, Nigeria,

they had participated in enough oversize

www.dmdfestival.org

meetings convened by non-African entities

4. Thabiso Pule Heccius, Inzalo Dance &

with few meaningful results to show. They

Theatre Company, Johannesburg,

advised that relationships between African

South Africa

organizations and TACAC had the potential

5. Michel Kouakou, Daara Dance, Côte

to be something more than purely artistic

d’Ivoire & Los Angeles

exchanges, something more long lasting.

6. Florent Mahoukou, La Compagnie

The artists sought depth, not breadth, in

Florent Mahoukou/Studio Maho,

exchanges. If we ultimately wished to work

Brazzaville, Republic of Congo

together as peers, relationships would need

7. Thami Manekehla, Inzalo Dance & Theatre

to be crafted based on authentic knowledge

Company, Johannesburg, South Africa

of each other. By engaging in an honest

8. Lebohang Masimola, Inzalo Dance &

sharing of needs—not just asking what

Theatre Company, Johannesburg,

the artist seeks but also stating upfront

South Africa

what Consortium members seek from the

9. Aïcha M’Barek, Cie Chatha, Tunis,

exchanges—we could advance the bilateral

Tunisia, www.chatha.org

value of arts exchange with potential

10. Orchy Nzaba, Cie Li-Sangha,

to move beyond funding fads or hollow

Brazzaville, Republic of Congo

business propositions. We listened closely.

Kenya, www.gaaraprojects.com

MEETING IN TUNIS

12. Qudus Onikeku, Yk Projects, Lagos,

Two months later another watershed

Nigeria, www.ykprojects.com

occurred. In May 2008 TACAC held a

13. Esther Ouoba, Centre Chorégraphique

membership meeting at the Danse l’Afrique

de Développement - la Termitière,

danse! Festival in Tunis, Tunisia, where,

Ouagadougou, Burkina Faso,

in addition to seeing a wide array of

www.cdc-latermitiere.org

performances, 16 African artists from 10

14. Maria Helena Pinto, independent

countries agreed to convene with TACAC to

choreographer, Maputo, Mozambique,

share their individual perspectives on the

www.dansartes.wordpress.com

values—and pitfalls—of their experiences

15. Omar Rajeh, Maqamat Dance Theatre

with foreign partnerships. These artists

and Beirut International Platform of Dance,

too reported that large European initiatives

Lebanon, www.maqamat.org

imposed on the continent could circumvent

16. Haja Franco Saranouffi, independent

their needs, if not collapse around them.

choreographer, Antananarivo, Madagascar

They were not moved to engage in the same

52

PHOTO CREDIT

11. Opiyo Okach, Gàara Projects, Nairobi,

way with the United States. The artists were extraordinarily openhearted, but weary and wary of foreigners who, at times, appeared to have invested little in building their knowledge about Africa in their eagerness to impose funding-driven structures. Again, we listened closely.

“THE HUMAN BEFORE THE ART�

Indeed, powerful foreign-funded arts initiatives have long been at play on the continent. Artists acknowledge that European-built networks have provided critical prestige, money, recognition, and, sometimes, the backing of African governments in Africa. Yet some of these initiatives overlooked learning about the artist and the real circumstances of creating the work, resulting in working from assumptions rather than knowledge. Boyzie Cekwana pointed out the inherent paradox of such relationships. If foreign-conceived strategies were antithetical to learning from the person making the art, they risked morphing into impositions of ideas injuring the nascent art form they meant to support, undermining the foreigners’ understanding of the African work as well. The message was clear: By specifically not imposing grand strategies, prescribed programs, or quick fixes, but first taking the time to listen, to engage, to experience, TACAC could learn how best to move forward.

The artist’s daily life is complex, and even

CHRISTIAN ALTORFER

more so on the African continent. Opiyo Okach (Kenya) clarified that “Africa is a place where multiple historical times and geographical spaces converge in one moment.� The resulting dimensions

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of the artist’s worlds—and works—are

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neither to be ignored, nor “flattened out,� as dance historian `Funmi Adewole has cautioned.8 Indeed, Boyzie Cekwana stated: “Circumstances in Africa, where basic survival is still in question, call upon artists to continue to deal with the human condition.� To sow seeds of mutual trust by which long-term partnerships, if not friendships, might unfold, it was clear that we needed to refresh perceptions on both sides of the Atlantic. By swapping out assumptions in favor of learning and listening, we could more reliably assess 5"$"$ NFNCFST BOE BGžMJBUF

needs and reciprocal interests, and honor,

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in the words of Cekwana, “the human before

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the art.�

EYE LEVEL TACAC needed to be ready to navigate uneasy issues of race, gender, national agendas, and hierarchies. Even as we would dedicate ourselves to equity, our relationships were already fraught with layers of inequality. Economic disparity, political instability, and challenges to personal freedom on the African side, among other issues, exerted forces on daily life that were well outside the experience of TACAC members. The wisdom of scaling down goals and expectations to eye level, that is, to a human connection, resonated.

Artists wanted us to learn firsthand about their work and organizations. By entering the personal space and daily circumstances an artist inhabits, we could link to deeper concerns, and build potentially more truthful and ultimately richer relationships. TACAC and, recognizing the assumptions inherent in the term “equitable,� renamed the initiative “Building Enduring Partnerships.�

54

PHILIP BITHER

stepped back from convening the think tank

The (now) human scale felt right. It recalled

pioneer who establishes a multilayered

the beginnings of the consortium in 2004,

environment, providing the physical,

and, now once again, we might build the

artistic, and intellectual underpinnings

foundation we sought based on the varied

upon which to build a field. By creating the

and diverse strengths of all involved. We got

community—training dancers and future

to work.

choreographers, developing audiences, building spaces, developing policies, and

IMMERSIVE RESEARCH

lobbying for legislation—Pinto, like her

In order to more deeply understand the

African counterparts, is by necessity

circumstances for creating art in Africa, the

developing an ecosystem for the arts to

challenges specific African organizations and

thrive. What energy remains then for her

artistic communities face, and to discover

to create work, and—oh, yes—how and on

mutually agreeable pathways to further

what terms is it to be funded? Navigating

nurture collaborative relationships, we co-

such complex realities is often the price

conceptualized the idea of immersive research

of operation for pioneering artists like

trips. The plan was for individual TACAC

Pinto across the continent. These are

members to spend extended time in specific

the truths TACAC members sought to

communities, hosted by affiliated African

learn about in immersive research.

artists, their organizations, and constituencies.

We developed a collaborative three-step

By meeting the artists and experiencing the

method that included intensive preparation,

circumstances in which they worked we could

an educational on-site trip of 10 days

refine ideas, dreams, needs, synergies, and

to three weeks with African artists and

potentials for the future. As responsibility-

organizations, followed by reflection and

laden members of U.S.-based organizations,

reporting back to the rest of the Consortium.

our research would necessarily focus on short-term trips. While limited, these trips

The first step included matching a TACAC

would be rigorous and move well beyond the

organization with an African artist/

typical festival visit. We developed a protocol

organization, focusing, for the most part, on

to maximize the learning.

artists or organizations with whom TACAC

PHOTO CREDIT

members had worked over several years. In How else would we begin to comprehend

exploratory conversations we considered

choreographer Maria Helena Pinto’s core

the reciprocal benefits of further developing

dream for the infrastructure she seeks

the relationship at this time. Ultimately,

to build for arts and culture at the edge

each TACAC member planned his or her

of the city of Maputo, Mozambique? Like

immersion with the selected organization

other extraordinary cultural leaders

based on mutually identified interests, to

whose work in Africa has inspired TACAC,

further explore the potential affinities in arts

Pinto’s dreams are not confined to artistic

exchange. In some cases, the trips were the

creation. In its concordant expectations and

logical next steps for relationships built over

responsibilities, the complex role

time. In other cases, the visit was set into

of such an artist is the role of the

motion by common interests.

55

The second step was one of on-site learning.

does this mirror or deviate from U.S. ways

Individual TACAC members spent extended

of working?

time in specific communities, hosted by African artists/organizations, to carry

RESOURCES What are the resources

out respectful investigations of need and

available now and those projected for

interest, and to seed long-term partnerships.

the future on both sides? How deep and/

During each of these immersive trips,

or consistent are those resources?

members spent time learning how their

How reliable? What role could the U.S.

hosts and colleagues navigated their

organization and TACAC as a whole play in

daily lives as creative artists, educators,

this arena that would be appropriate and

community leaders, and family members.

respectful?

Members were introduced to a wide range of people in each place—from local government

POTENTIALITY Based on the learning

employees to a broad range of cultural

of both the U.S.- and African-based

workers and educators—to gain a fuller

organizations, what potential projects, ideas,

understanding of the complex milieus in

and collaborations could be developed

which artists create.

and sustained over time? What projected expectations would there be for the artist?

Since different artists with different goals

TACAC?

in different countries hosted the individual visits, TACAC developed a common

OTHER CIRCUMSTANCES What

framework for engaging and reflecting with

circumstances have arisen during the visit

the host. Each TACAC member attended to

that might change the TACAC member’s

six areas of investigation in consultation

thinking or perception about the African

with the host artist/organization:

organization and the opportunity for developing a collaborative relationship?

MISSION AND VISION What is the mission of the organization? What is its relationship

In the third step of the process, the TACAC

to its artists and to its community? What

member reflected and reported on the

does the organization desire for itself vis-

visit, sharing results with the artists

à-vis an exchange opportunity? Is there a

and organizations in Africa, Consortium

perceived value for a relationship with a

members, and their own constituencies.

U.S.-based partner that is more complex

The documentation of the research formed

than simply performance opportunity?

the basis for planning the next step of the project and for our reports to the field,

ARTISTRY What is the artistic vision and

including this publication. Two notable

trajectory of the company/organization?

examples of TACAC’s immersive research Fourth Art Center to Maputo, Mozambique,

is the organizational structure? What is the

hosted by Panaibra Gabriel Canda and

decision-making process? To what extent

CulturArte, and Cathy Zimmerman of MAPP

56

PHOTO CREDIT

trips are Marjorie Neset of VSA/North ORGANIZATION AND STRUCTURE What

International Productions to Kisangani and Kinshasa, Democratic Republic of Congo, hosted by Faustin Linyekula/Studios Kabako.

MAPUTO Neset first heard about Panaibra Gabriel Canda through Boyzie Cekwana during Cekwana’s visit to New York City in January 2008. The previous summer, MAPP’s Ann Rosenthal had met with Cekwana during a research trip to South Africa and subsequently TACAC invited him to participate in a conversation about international cultural exchange at the annual

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APAP conference. Cekwana shared the

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plans he and Gabriel Canda had developed

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to link their countries in long-range creative

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projects including connecting with peers

in other countries of the Southern African Development Community (SADC).9 He also spoke about the Independence Project, CulturArte’s ongoing program involving teaching artists and a group of dancers with and without disabilities. Neset’s organization, VSA/North Fourth Art Center, is an affiliate of the international organization on arts and disability. She wanted to learn more.

She recognized an opportunity to link her organization’s work with that of CulturArte in an exciting and expanded opportunity for exchange and learning.

In November 2008, Neset, along with Bryn Naranjo, VSA’s dance program coordinator, COURTESY CATHY ZIMMERMAN

traveled to Maputo for an immersive research visit hosted by Gabriel Canda and CulturArte.

Her trip was planned to coincide with a return visit of Cekwana so that she would benefit from the perspectives and insights of both artists. While in Maputo, Naranjo, a specialist in dance and disability, worked daily with both 57

58

PHOTO CREDIT

choreographers on the Independence Project.

ME; University of Florida, Gainesville; and

Naranjo conducted extensive training and

in New York City. Interviews with Studios

Gabriel Canda and his dancers choreographed

Kabako manager Virginie Dupray and the

the work. Ultimately the Independence Project

performers were conducted and filmed,

was performed in Albuquerque, NM, and

along with the performances, for the

Neset reported the work’s resonance for

documentary Movement (R)Evolution Africa:

her organization, which is dedicated in great

a story of an art form in four acts and to build

measure to the advancement of creativity of

archival records to encourage research

people of all abilities:

in contemporary African performance.

Throughout the tour, Linyekula engaged

I am pleased to report that Independence

not only with American peers in arts and

Project was presented at Global DanceFest

culture, but with diverse citizens, including

2009 and was a major success. It is one of

the University of Florida student dancers on

the most powerful dance pieces I have seen,

whom he set work. Linyekula found people

and almost the first that included dancers with

hungry to learn about him, his creative

disabilities in a way that didn’t make the work

process, and the context of his art making

all about disability.

in the DRC. Building upon the momentum of these successes, Studios Kabako returned in

KISANGANI AND KINSHASA

May 2007 for residencies in preparation for

TACAC’s relationship with Faustin Linyekula

the October 2007 tour of Festival of Lies, a

and Studios Kabako dates to 2003, just

work dealing with the complex and turbulent

prior to the formation of the Consortium.

history of the Congo.

BRIAN RDZAK-MARTIN

In May of 2005, TACAC members traveled to Paris to meet with Linyekula and to

In October 2009, Faustin Linyekula/Studios

see the work of a host of young African

Kabako hosted MAPP’s co-director Cathy

choreographers he had curated for a festival

Zimmerman in Kisangani and Kinshasa,

at the Centre National de la Danse, Pantin.

DRC. While Linyekula was engaged in the

Later that summer, Linyekula and Studios

day-to-day processes of building an arts

Kabako arrived in New York for their North

center, directing and choreographing for

American debut. In a seven-week visit to

his company, producing film and music,

the U.S., including a three-week tour of

Zimmerman observed his quotidian struggle

Linyekula’s Triptyque sans Titre produced

to regenerate hope in a community that had

by MAPP in partnership with TACAC,

all but lost it. She was left both awestruck

Linyekula was hosted in creative residencies

and sobered by the drive and fortitude of

at Robert Wilson’s Watermill Center, Long

Linyekula and his company. In a journal entry

Island, NY; Bates Dance Festival, Lewiston,

during her immersive trip, Zimmerman wrote: October 22, 2009. Faustin also worries about

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artistic freedom, as freedom of expression in

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general is very much in danger these days

$FOUFS "MCVRVFSRVF /.

under Kabila; and there have been times when 59

MEETING IN NAIROBI

Faustin was told he was in danger. This is due

PARTICIPATING FROM AFRICA

mainly because Faustin and Studios Kabako

1. Boyzie Cekwana, Floating Outfit Project,

are gaining in reputation and influence. In

Durban, South Africa

fact, Faustin has been told that if he ran for

2. Virginie Dupray, Studios Kabako,

Parliament, people here would vote for him.

Kisangani, Democratic Republic of Congo 3. Panaibra Gabriel Canda, CulturArte,

Two weeks ago, a political prisoner, a

Maputo, Mozambique

close friend of Faustin, was suspected of

4. Faustin Linyekula, Studios Kabako,

inciting against the government and the

Kisangani, Democratic Republic of Congo

government confiscated his notes, cell phone,

5. Joy Mboya, The GoDown Arts Centre,

and computer. Since he was in contact with

Nairobi, Kenya

Faustin, it was feared that Faustin and his

6. Judy Ogana, The GoDown Arts Centre,

family might be in danger. The affair was

Nairobi, Kenya

later cleared and Faustin stayed put. Still, I

7. Opiyo Okach, Gàara Projects, Nairobi, Kenya

cannot imagine working as an artist under

8. Maria Helena Pinto, Dans’Artes, Maputo,

such conditions and Faustin, at times, finds it

Mozambique

difficult to continue.

INVITED BUT UNABLE TO ATTEND

MEETING IN NAIROBI

1. Gregory Maqoma, Vuyani Dance Theatre, Johannesburg, South Africa 2. Salia Sanou, Compganie Salia nï Seydou/ Centre de Développement Chorégraphique – la Termitière, Ouagadougou, Burkina Faso

As a culmination of a three-year process of immersions, research travel, and discussion, TACAC organized the November 2010 Building Enduring Partnerships meeting hosted by the The GoDown

PARTICIPATING FROM THE U.S.

Arts Centre in Nairobi, Kenya. We were

1. Philip Bither, Walker Art Center,

determined not to backtrack to the

Minneapolis, MN

grandiosity of the think tank concept.

2. Laura Faure, Bates Dance Festival,

Instead the meeting would focus on what

Lewiston, ME

we had learned and how, together, we

3. Ken Foster, Yerba Buena Center for the

could best move forward to accomplish

Arts, San Francisco, CA

what we could not do alone. In sum, we

4. Joan Frosch, Center for World Arts,

sought to craft an enhanced and articulated

University of Florida, Gainesville, FL

relationship between TACAC and our

5. Marjorie Neset, VSA Arts of New Mexico/

African colleagues, one that would

North Fourth Art Center, Albuquerque, NM

acknowledge our different contexts and

6. Vivian Phillips, Seattle Theatre Group,

agendas, and create a pathway to our work

Seattle, WA

in the future.

Productions, New York, NY

At the urging of the artists who had guided

8. Cathy Zimmerman, MAPP International

us thus far, we came together in Nairobi

Productions, New York, NY

as a small working group—to enable us,

60

PHOTO CREDIT

7. Ann Rosenthal, MAPP International

in Faustin Linyekula’s words, to “feel our way around the conversation in a safe environment.� Maintaining the human scale of the Nairobi event had meaning for each of us since the benefits of working at this scale had proven indisputable.

We set four goals for our two-plus days together in Nairobi: Engage in deep dialogue that reflects concerns, interests, and artistic and social endeavors for all involved; move toward a networking model that allows for consistent activity and ongoing planned exchanges on both continents, virtually and in person, to include an identified and formalized consortium of African artists and organizations; lay foundation for new connections and opportunities among artists on the continent; and formulate strategies for moving forward.

TACAC members hoped our process in Nairobi would bring full circle the emergent methodology developed over the past several years. We knew we had experienced a profound shift in ourselves that had impacted not only how we interacted with African artists and organizations but also, to a surprising degree, our own organizations.

Invested in the idea that TACAC would “fundamentally alter the predominant ‘import-export’ model of cultural exchange to one of equitable partnership between American and African artists COURTESY STUDIOS KABAKO

and organizations,� we wanted to clearly demonstrate our successes to our funders, to the field, and to ourselves. Yet the

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profound shifts we had experienced to date

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were not easily quantifiable. We trusted that

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by further shaping our processes together in

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Nairobi, we could surely arrive at concrete

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62

KEN FOSTER

63

PHOTO CREDIT

outcomes. We wanted the meeting to result in solid decisions for strategizing clear next steps. The pressure was on.

DAY ONE It became immediately apparent that Americans had much to learn from Africans about inventing models of support for contemporary performance in communities where there are few financial resources, little popular support, and few venues for presentation. The African members of the working group exhibited an inspiring 7JSHJOJF %VQSBZ 'BVTUJO

entrepreneurial spirit that used art as a

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means to activate a community—to open

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dialogue, reengage the imagination, and

PG $POHP

create educational and job opportunities for young people. Notably, their goals reached beyond engaging the public as audiences for their work to creating environments that empower their communities to creatively shape their own futures. Faustin Linyekula summarized the imperative: “Let’s create an art center, create and show work‌and what it means to be a citizen in the place.â€?

Amid the excitement of the first day of meetings at The GoDown Arts Centre, we hit a nerve. We had hired an outstanding Nairobibased facilitator, Yvonne Owuor, whom Ken Foster had met during his immersive research in Nairobi the previous year. While MAPP had carefully prepared her for the meetings, Owuor was still at a disadvantage.

The working group participants were familiar with one another, but not with her. She also day schedule while maintaining a sense of inclusion and open dialogue in the spirit of this group’s “organic� dynamic. Further, since we were conversing across English, Portuguese,

64

CATHY ZIMMERMAN

had to get through a tightly packed two-

and French, translation was going to make

the artist at varied stages of a career; the

time more challenging to manage. Owuor set

recognition of the person inside the art;

ground rules. To kick off the meetings she

the rethinking of issues of infrastructure

gave participants a time allotment to introduce

and art making, ranging from the rehearsal

their statement of purpose to the group. But

studio and performance space to creative

the 16-person group proved too large to be

entrepreneurship with imagined impacts at

able to follow up presentations with urgent

scales of the community and city; and the

questions. In stark contrast to the investment

cultivation of responsibility and citizenry

in dialogue that had brought us to this point,

through artistic practice.

the group began to feel not only rushed but silenced. Frustration mounted.

Participants pondered the foibles of foreignimposed competitive festival formats that

A fearless truth teller, Linyekula insisted

propelled young, often minimally prepared

we honor the journeys each of us had made

African artists onto the scene, while mature

to authentically interact. Indeed, we had to

artists without structures or means to

trust the creative trail we had embarked

continue their journeys were left to hold

upon several years earlier. With trust

the weight of training the next generation

comes tolerance—and the freedom to make

on their shoulders: “It’s an Africa-wide

mistakes. TACAC had corrected course

question,” Opiyo Okach stated. The complex

before and, in real time, we did so again.

interplay of developing young artists, fueling creative advancement for established artists,

Facilitator Yvonne Owuor recalled:

and building infrastructure, if not a field, dominated a good portion of the discussion.

The provocations of the morning conversation forced the space to allow a deeper and more

Joy Mboya, artistic director, The GoDown

organic engagement, the evolution of which

Arts Centre, relayed her overview:

stretched time but focused on the deep issues, the open questioning and web of response and

I see 12 vanguard choreographer/dancers on

responsiveness. In this, are there signals for the

the continent at this stage; I see them bearing

kind of network and relationship sought among

a full load; I see they cannot afford to stop

us? In the space that emerged…away from the

because they will create their own void. I see

structure first proposed, are there clues to what

that they need to create their own work. I see

we all want? And if that is the case, what is its

that they also need to help build the rest of the

character, what is it proposing, and how can it

field. How do you support that vanguard of the

be sustained?

creators of…contemporary arts.… Their backs

PHOTO CREDIT

will have to break, but we have to make sure As we relaxed the structure, the meeting

they don’t completely collapse…we have to

unfolded into a creative interaction of

support them so their backs don’t break.

stirring questions, real conversations, and frank reflections. Day One brought forth

If the future of the enterprise rests on so

a weave of concerns: the development of

few, and the few are unsupported, how 65

can they create, tour, build infrastructure,

German architect Bärbel Mßller, broke

produce, manage, and thrive? Boyzie

ground in 2010, a full nine years after he

Cekwana drew a powerful parallel for the

had first framed its foundation in thought.

participants to consider:

Would building a mental infrastructure prepare one to build and sustain a physical

I am a big, big fan of wildlife television. I like

infrastructure?

to watch lions, I like to watch zebras, and giraffes. I don’t have them in my backyard,

The American participants absorbed the

so I watch them on television.‌ A female

relevance of a mental infrastructure to support

zebra under duress—if she’s pregnant—will

building audiences for African contemporary

automatically abort. There’s a survival

work in the United States. Deep dialogues and

mechanism that puts the mother’s life ahead

attention to what the artist has to say could

of the fetus‌because her life is much more

shift stubborn paradigms. As artists build

valuable to the continuation of the species than

physical structures to protect and grow the

the unborn fetus‌. She will‌go into heat again

work on the continent, mental structures to

and produce others.

engage with the work could simultaneously be built in the U.S.

There’s a need to support young people for sure, for many different reasons. But there is a

Ken Foster of Yerba Buena Center for the

greater need to support the center so the center

Arts explained further:

is sustainable, and it works and it functions.

The 12 artists that Joy was talking about‌

The Consortium’s development is a recognition

are the female zebras. These are the people‌

that simply putting the African artist on the

that need to hold the reins so we can start to

stage is not enough, and that our role in the

develop the grains of sand.

accountability piece is to serve as the translator, to serve as the advocate. The role is not only

If not addressed, what would the dilemma of

important, but it is much larger than we ever

“female zebras� portend for the development

imagined. We just saw ourselves as performing

of the art form into the future? Would

arts presenters; we didn’t think of ourselves as

constructing bricks-and-mortar creative

citizens’ arts advocates.

centers such as the ones Maria Helena Pinto, Panaibra Gabriel Canda, and Faustin

Marjorie Neset of VSA/North Fourth Art

Linyekula were busy planning ease or

Center concurred:

Linyekula proposed the value of building

The things I feel the most pride in are the

a sturdy “intellectual infrastructure� first.

connections we’ve established with artists from

The name of his company, Studios Kabako, was itself a play on imagining “studios� in which to create even if they did not (yet) exist. His emergent Kisangani-based arts

#PZ[JF $FLXBOB JO *OÂżVY

center, designed in collaboration with

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66

CHRISTIAN ALTORFER

exacerbate the burden of these innovators?

67

PHOTO CREDIT

this continent. In our rather isolated community

the day, Foster asked if we could move to

of Albuquerque our population of Africans

a vision taking us beyond “us and them”

and African Americans is two percent.... It’s

language to a “we.” The topic would carry us

bringing work…to a population with literally no

into our remaining goals for Day Two of the

personal connections of heritage.

meeting.

Vivian Phillips of the Seattle Theatre Group

DAY TWO

also spoke about how TACAC reframes the

On Day Two, we still had three goals to

presenter’s role to nurture and challenge

accomplish: Move toward a networking

audiences: “I think it is our responsibility

model that allows for consistent activity

as citizens to hold our communities

and ongoing planned exchanges on both

accountable for the kind of work that we

continents, virtually and in person, to

are attempting to create and to bring into

include an identified and formalized

relationship.” Linyekula reminded the group:

consortium of African artists and

“Werner Herzog said only poets could have

organizations; lay foundation for new

brought East and West Germany together.

connections and opportunities among

Politicians could not do it.” In this view, art

artists on the continent; and formulate

making (and presenting) becomes a practice

strategies for moving forward. To guide our

of freedom.

vision for the future, Owuor asked us to consider ways we could intersect to aid one

Yet if we were to bring new minds to

another in accomplishing goals; to assess

the stage, we would also have to bring

what we were collectively willing and able

new thought into how to do it and hold

to do; and consider possible resources.

ourselves accountable. MAPP’s Ann

In sum: “What do we want from each

Rosenthal brought up the critical need for

other moving forward?” If building mental

finding balance between the intangible

infrastructure foregrounded the support for

benefits of artistic exploration and market

the physical infrastructure, what could we

concerns. How can we make African

imagine together?

contemporary work more viable in the American market? Could TACAC by

The GoDown’s Judy Ogana cut to the

example open new doors and impact the

chase. What would membership in The

prevailing presenting attitudes? Mboya

Africa Consortium mean for the African

asked the artists to ponder the question:

organizations? She asked the group to

“Why do you want to be on that [American]

consider how an “African side” would fit

stage?” Clearly, resolve had to be strong

into the whole picture for the Consortium.

on all sides.

The artists’ responses led away from

Day One had succeeded in reaching our first

“membership.” None of the artists saw

goal: “Engage in deep dialogue that reflects

value in setting up as the “representative

concerns, interests, and artistic and social

of other [African] artists out there.” Okach

endeavors for all involved.” At the end of

softly stated that since “we were only

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PHOTO CREDIT

fixing a formal structure and notions of

getting to know each otherâ€? the notion of membership seemed premature, and that it felt “more like the ‘America Consortium for Africa.’â€? Ouch. That smarted, but it gave all of “usâ€? clarity. The weight of formalizing African membership in TACAC began to dissipate, not unlike the earlier think tank concept. Creative engagement bubbled up in response. “The idea of‌friendship first‌put people at ease,â€? Ogana later observed. For artists seeking economic and artistic survival, wasn’t a flexible, friends-based sharing responsive to resonant goals and opportunities more sustainable than (yet another) burden of a formal, weighty structure? By continuing to move forward in an informal network with projects initiated by individuals or a group we would engage a more essential dynamic rooted in action. Further, the passionate networking efforts among the artists intracontinentally, such as the Southern African network that Panaibra Gabriel Canda, Boyzie Cekwana, Faustin Linyekula, and others had explored could also integrate with TACAC’s activities.

To embrace the metaphor of acupuncture offered by Linyekula, a stimulation of one point could serve to stimulate the system as a whole. We were on to something.

The space of encounter, thus decentralized, energized the collective imagination.

Cekwana pointed out that friendship was, in fact, the best foundation for the future because it implied choice and an equitable LAURA FAURE

relationship, to be sharply distinguished from the perceptions of European models,

.BSKPSJF /FTFU BOE

approaches, and influences as hierarchical.

/FMJTJXF 9BCB JO +PIBOOFTCVSH

Okach looked to deepening relationships

4PVUI "GSJDB 69

in a creative and flexible infrastructure

can live off work. We can afford to keep going.

facilitating connection and exchange. If we

Ninety percent of our money comes from

were adaptable to current and ever-shifting

touring. We can also support others’ works.

realities, we could prioritize responsiveness, rather than fixity. Gabriel Canda offered the

While TACAC was focused on developing

importance of connecting across issues—not

deep and long-term engagement that moves

just because of African location or identity.

beyond “just performance opportunities,”

Maria Helena Pinto spoke of her continuing

the artists reminded us that touring is not

affinity with the organic interactions of

only key to survival but also to the greater

TACAC, which was part of what attracted her

enterprise of creativity. TACAC could

to the organization in the first place.

respond by building a deeper knowledge base and greater infrastructure to advocate

The sum of these comments suggested

more broadly for this work in the U.S.

a structure that is nonhierarchical,

presenting market, in addition to producing

heterogeneous, and alive in movement,

and curating. Thus, while enhancing

with axes and connections forming and

performing opportunities would not be

reforming. Indeed, given the growing

the beginning and end of the relationship,

number of organizations working and

it was a critical piece of a more complex

developing relationships on both continents,

connection. This thinking portended not

such decentralization could stimulate

only a shift in cultural exchange practices

creative clusters of activities, if not a critical

from import-export, but an emergent

mass to quicken the change we all sought.

vision of the currency of art and human relationships rooted in common cause.

More concretely, however, if these artists sought economic, artistic, and intellectual

REFLECTION

survival to pursue their dreams in Africa,

We entered the meeting seeking to

support was critical. Not the sort of

emerge with confirmed African partners

“support” which would indicate to artists

and immediate next steps, but found a

what, how, or with whom to do their

complexity and richness of human purpose

work, but rather support that is based on

beyond metrics. To recap: Did TACAC

real needs and goals as identified by the

“move toward a networking model that

artists. Linyekula stated that international

allows for consistent activity and ongoing

touring was the lifeblood for his emergent

planned exchanges on both continents,

enterprise in Kisangani, which includes

virtually and in person, to include an

music production, film production, the

identified and formalized consortium of

choreographic and training work of Studios

African artists and organizations”? Yes,

Kabako, and more. Linyekula was clear that

we moved toward our goal, but, no, we

international exposure works:

did not formalize membership. Did TACAC “lay foundation for new connections

Studios Kabako is a privileged company in the

and opportunities among artists on the

dance world—not just the African world—that

continent”? Yes. Did TACAC “formulate

70

strategies for moving forward�? Yes, but not in a formulaic way. Rather, we sustained the analogy of acupuncture, where each of our actions would impact the whole. It was a healing concept, one of connection, which would allow each of us to contribute to “a network of long-term collaborations of like-minded artists to move their works forward with an elevated sense of consciousness.�

Creativity is resurgent, eminently renewable, and never finite; it is the ultimate human reserve to be valued, if not explicitly

0O UIF SPBE ,FOZB

nurtured. We as artists and cultural workers must awaken to the opportunities and new responsibilities of our unique resources in the global moment. For example, it is not improbable that the artists’ innovations cultivate human capacities, which may not only advance artistic expression but also stimulate creative economies, fostering broader goals of sustainability, development, and self-determination. Indeed, as the artists contribute to intra- and international trade, they also seed the imagination, a key resource in a new economy where the importance of the elastic, the unlimited, the intangible has been assessed. Lala Deheinzelin, senior advisor, Creative Economy Programme, Special Unit on South–South Cooperation, writes that we are at the brink of seismic shift, “a transition from a time when life was organized around material, tangible matters to an era when the intangible plays an increasingly central role‌ and can open the way to more inclusive PHILIP BITHER

models based in cooperation.�10 In the words of Laura Faure, TACAC seeks cooperation that is not “about product, but a notion of humanity.�

71

PHOTO CREDIT

4

72

CONCLUSION

BEN RUDICK

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73

OVER THE LONG TERM, INTERNATIONAL ARTISTIC INTERACTIONS ENHANCE KNOWLEDGE AND CORRECT STEREOTYPES. THEY BUILD TRUST BETWEEN ARTISTS, ARTS PROFESSIONALS AND AUDIENCES IN DIFFERENT COUNTRIES, AND AS A RESULT FOSTER A MORE OPEN ENVIRONMENT FOR DIPLOMATIC AND POLITICAL RELATIONS. MUCH IS MADE THESE DAYS ABOUT THE VALUE OF GLOBAL CITIZENSHIP IN AN INTERCONNECTED WORLD. FAMILIARITY WITH OTHER CULTURES IS NOT JUST A HALLMARK OF A ROUNDED HUMAN EXISTENCE. IT TRANSLATES INTO TANGIBLE SKILLS AND ADVANTAGES INSIDE AN INCREASINGLY DIVERSE GLOBAL ECONOMY.11 —ANDRà S SZà NTÓ, THE CENTER FOR ARTS & CULTURE, 2003

Upon his return to the ruins of the postwar

can we‌imagine things for ourselves?� We

city of Kisangani, Faustin Linyekula asked,

recognized that the established paradigm of

“How can we‌imagine things for ourselves?â€?

global arts exchange had to change. While

From the hope-filled days of the 1960s and

we also knew many of the reasons why it

1970s when newly formed nations across

did not work, we did not know how best

the continent supported national ballets as

to revise it. The successes of our early

embodiments of self-determination, to the

activities in this stirring African era of

despotic manipulation of those symbols

artistic practice propelled us to dig deeper.

to propagandize at the level of the body

The practices honed in the Building Enduring

(think Mobutu), to the French intervention

Partnerships initiative irrevocably upended

of the early 1990s with such arts initiatives

our thinking. Not only did the project help us

as MASA, or the competition known today

to redefine a praxis for working creatively

as Danse l’Afrique danse!, a new era has

and effectively with artists from other parts

emerged in African performance. It is led by

of the world, but it contributed to deepening

the citizen-artist. French-Togolese cultural

the practices of each member institution.

journalist Ayoko Mensah has noted that

Leaping beyond the standard presenting

artists, unlike most politicians, “represent an

paradigm for working with African artists,

Africa that works.�12 Their potential impact

we encountered a role larger and more

on civil society should not be undervalued.

compelling than any of us had anticipated.

The structures artists create—both mentally

In a reversal of the standard consumerist

and physically—make space for experiments

approach to global art exchange, touring

When we founded The Africa Contemporary

-VDLZ ,FMF 'PMMPXJOH TQSFBE

Arts Consortium in 2004, our question

.BEBNF 1MB[B CZ #PVDISB

was not dissimilar to Linyekula’s: “How

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74

ARTHUR FINK

in democracy to unfold.

75

PHOTO CREDIT

76

MOHAMMED SAADI

77

PHOTO CREDIT

78

PHOTO CREDIT

has become the flower of TACAC’s

Americans alike, perceived the 2010 meeting

engagement with artists, not the seed. The

in Nairobi as an exclusive gathering. It

genesis of the seed and its nourishment—

was. In order to maintain the deep level of

human connection—cannot be overlooked.

exchange we sought, we risked exclusion.

It roots the entire ecology and sets it into

We trust the value of that decision has been

motion. From an economic standpoint,

made apparent by this narrative, since we

touring is a critical end point of the

have emerged with a methodology that

ecological chain of creativity, stimulating

TACAC—and others—may practice (and

each link down to its source. The arts

improve upon) with artists and organizations

ecology that is nourished by connections

everywhere.

across the continent and by connections on issues that matter to artists and other

We have committed to sharing our processes

citizens around the world is another

more vigorously through documentation

framework for global exchange. It is

and public forums. Truth be told, we have

decidedly not an import-export model,

criticized ourselves over time for failing

where hierarchies are so “naturalized� that

to apply our rigorous internal standards

fairness is perceived as largesse, rather

for communication to the greater public.

than best practice. However, to reroute the

Thus not only will we continue our cyclical

standard dynamic of how “(over)developed

reports back to the field in conjunction

nations� interact with less financially

with the annual APAP conference in New

privileged nations is to take on the tidal

York, other professional gatherings, and at

wave of globalization—an impossible task.

individual institutions, we will also seek to

But by prioritizing conversations among

engage more broadly with cultural workers,

equals that take place on a human scale,

policy makers, practitioners, educators, and

avoiding grand, hierarchical, or prescriptive

public communities.

approaches to “problem-solve� or “fix,� a process of change may be contemplated for

We will, of course, continue to prioritize

everyone involved.

dialogue with, and presentations by, artists. We will all seek coherence with the

Building this narrative has provided

concerns of the citizen-artist in collaborative

TACAC a rich opportunity to reflect on

ventures such as the October 2011 TACAC

the intersection of our goals, activities,

symposium in New York City, Dialogues

foibles, and future. Further, it provides

Across Culture: A Model for Building

artists, arts organizations, funders, and the

Enduring Partnerships. This symposium

greater field an inside view of our efforts.

was organized by MAPP in partnership

Such transparency is timely. For example,

with Columbia University’s Institute for

some members of our field, Africans and

African Studies and the Museum for African

ERIC BOUDET

Art; Faustin Linyekula and Maria Helena Pinto participated. Fully aware that the /FMJTJXF 9BCB BOE ,FUUMZ /PqM

problems of the creative sector—including

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getting laboratory time, creating physical 79

infrastructure, building communities

involved. The points of intersection will not

and markets, engaging different sectors

only stimulate and strengthen the whole,

of community, stabilizing finances, and

but extend like roots to strengthen others’

planning for the future, just to mention

efforts. As such, we are already engaged in

a few—are faced by creative agents

opening the network to other organizations,

worldwide, we need to continue to ask

including artist-driven intracontinental

what’s working where and what relevance it

networks. To coherently support our reach

may hold across disciplines and the world.

we will be mindful of capacity and continue

African artists’ lessons learned, successes,

to foster our commitment to depth and

and best practices can contribute deep

relationship. We are reminded of our initial

regional thinking to stimulate new global

conversations leading to immersive research

thinking. Given the yawning gap of

and we trust the results.

resources, the creativity index it takes to achieve what artists on the continent have

Acknowledging the power of one and the

achieved to date is an extraordinary story.

power generated when those ones join

It should compel and inspire artists—and

together exemplifies the best work of The

citizens—everywhere.

Africa Contemporary Arts Consortium.

The passion, purpose, and distinctive

TACAC has also put mechanisms in place

professional acumen of individual members

to foster a multidirectional exchange of

is the heartbeat of TACAC, giving life to

information that will more effectively

hallmark practices of deep and engaged

connect our activities to those of other

listening, learning, and sharing, coupled with

similarly impassioned organizations and

real-time assessments of goals and needs

funders. Making good on our commitment

to move our praxis forward. Our model has

to enhancing African artists’ platforms in

set into motion internal changes—at the

the United States, TACAC is committed to

personal and organizational level, as well

inviting African artists to speak, discuss, and

as in the relationships we continue to build.

share their experiences with U.S. audiences

We may fumble, but the trust we have built

and to historicizing and disseminating

and the bonds of experiences we share hold

their stories. Our deepening engagement,

us in mutual good stead. So while TACAC’s

documentation, Internet presence, and

praxis is intuitive and organic, there is really

presentations will build a bridge to new

nothing “natural” about it. It is learned,

opportunities. As we encounter parallel

practiced over and over in a wide range of

commitments in other organizations, they

contexts, and learned again.

praxis, but provide the potential for greater

Now our practices more frequently

returns on investment for us and for artists

approximate our language. In our early

in Africa and in the United States. In this

days, we assumed we could do great and

process, we want to continue to capitalize on

lofty things. Today we assume less but do

the founding strength of the Consortium: the

more, or at least more deeply. Because our

diversity of the individuals and organizations

model asks for depth, breadth may falter.

80

PHOTO CREDIT

will not only add value and meaning to our

The model also moves slowly. Yet TACAC

an entity but as a practice. For all of these

has taken to advancing at a human pace, and

reasons, and more, the TACAC model may

its processes are strengthened by the space

not take off as the next quickly adopted

allowed for research, discussion, change, or

trend. But if one stops to ponder the soft

creative diversion. Further, the relationships

power of the model, it can be understood as

we have formed have taken years to build

nothing less than a revision of the modern

and—like any friendship—will never be

global encounter, and that is a practice the

static. Thus we do not think of ourselves as

world urgently needs.

ENDNOTES 1 Okwui Enwezor and Chika Okeke-Agulu, Contemporary

African Art Since 1980. (Bologna: Damiani, 2009), 11.

2 Souleymane Koly, “A Hard Nut to Crack.” Crossroads 1: On Interculturalism, edited by Mark Deputter, 1.7-1.11. (IETM: Brussels. www.alkantara.pt/pdfs/crossroads1eng.pdf., 2003), 9.

3

Achille Mbembe, “African Contemporary Art: Negotiating the Terms of Recognition,” Interview by Vivian Paulissen (Johannesburg Workshop in Theory and Criticism: JWTC 2009). http://jhbwtc. blogspot.com/2009/09/african-contemporary-art-negotiating.html (Accessed October 1, 2009).

4

120 M/h press materials, October 12, 2008, MAPP International Productions, NY.

5

Documents emerging from “Danse: Langage Propre et Métissage Culturel” (hosted by the Festival International de Nouvelle Danse, Montreal, Canada, 1999), “Crossroads I” (IETM, Brussels, Belgium, March 2003—concurrent with Africalia) and “Crossroads II” (IETM, Birmingham, UK, October 2003), “African Contemporary Dance? Questioning Issues of a Performance Aesthetic for a Developing and Independent Continent” (Johannesburg, South Africa, 2004), “Africa Moves” (New York, USA, 1995), “Movement (R)Evolution Dialogues: Contemporary Performance in and of Africa” (Gainesville, Florida, USA, 2004), Africultures (1999–2010), “Diary of a Schizophrenic Dancer,” the blog of Nigerian choreographer Qudus Onikeku (2008–2010), to name a few, have advanced early theoretical discussions of the field of contemporary performance.

6 Susan Kart, Review of Castaldi, Francesca, Choreographies of African Identities: Négritude, Dance, and the National Ballet of Senegal. H-AfrArts, H-Net Reviews, July 2006, 3. URL: http://www.h-net. org/reviews/showrev.php?id=12061 (Accessed December 20, 2006).

7

Achille Mbembe, “African Modes of Self-Writing,” Public Culture 14 (1): 239-273. (2002): 272.

8 `Funmi Adewole in Movement (R)Evolution Africa: a story of an art form in four acts, produced and directed by Joan Frosch, codirected by Alla Kovgan. (Watertown, MA: Documentary Educational Resources, 2009).

9 The Southern African Development Community (SADC) currently has a membership of 15 member states: Angola, Botswana, Democratic Republic of Congo (DRC), Lesotho, Madagascar, Malawi, Mauritius, Mozambique, Namibia, Seychelles, South Africa, Swaziland, United Republic of Tanzania, Zambia, and Zimbabwe. http://www.sadc.int/ (Accessed September 21, 2011).

10

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Lala Deheinzelin, quoted in “Creative Economy: A Feasible Development Option,” Creative Economy Report 2010 (Geneva/New York: UNCTAD-UNDP, 2011): 248 box 9.5. http://www.beta.undp.org/undp/ en/home/presscenter/pressreleases/2011/03/30/les-industries-en-rapport-avec-la-crativit-et-laculture-rsistent-mieux--la-crise-conomique.html (Accessed April 15, 2011).

11

András Szántó, “A New Mandate for Philanthrophy? U.S. Foundation Support for International Arts Exchanges,” (The Center for Arts & Culture, 2003).

12 Ayoko Mensah, “An ‘Ambassador’ of Cultural Diversity,” Interview by Eyoum Nganguè and Anne Perrin, in West African Perspectives: Resources for Development. (Sahel and West Africa Club/OECD and ECOWAS, 2009), 86.

81

TACAC ORGANIZATIONS

ADVANCING A DYNAMIC EXCHANGE OF ARTS AND IDEAS AMONG

ARTISTS, ARTS ORGANIZATIONS, AND PUBLIC COMMUNITIES OF THE UNITED STATES AND AFRICA

U.S. MEMBER ORGANIZATIONS BATES DANCE FESTIVAL

NATIONAL BLACK ARTS FESTIVAL

LEWISTON, ME

ATLANTA, GA

WWW.BATESDANCEFESTIVAL.ORG

WWW.NBAF.ORG

CENTER FOR WORLD ARTS

SEATTLE THEATRE GROUP

UNIVERSITY OF FLORIDA

SEATTLE, WA

GAINESVILLE, FL

WWW.STGPRESENTS.ORG

WWW.ARTS.UFL.EDU/CWA VSA ARTS OF NEW MEXICO/ THE JOHN F. KENNEDY CENTER FOR

NORTH FOURTH ART CENTER

THE PERFORMING ARTS

ALBUQUERQUE, NM

WASHINGTON, D.C.

WWW.VSARTSNM.ORG

WWW.KENNEDY-CENTER.ORG MAPP INTERNATIONAL PRODUCTIONS

MINNEAPOLIS, MN

NEW YORK, NY

WWW.WALKERART.ORG

WWW.MAPPINTERNATIONAL.ORG YERBA BUENA CENTER FOR THE ARTS SAN FRANCISCO, CA WWW.YBCA.ORG 82

PHOTO CREDIT

WALKER ART CENTER

AFFILIATES IN AFRICA BOYZIE CEKWANA/

JUDY OGANA & JOY MBOYA/

FLOATING OUTFIT PROJECT

THE GODOWN ARTS CENTRE

DURBAN, SOUTH AFRICA

NAIROBI, KENYA WWW.THEGODOWNARTSCENTRE.COM

PANAIBRA GABRIEL CANDA/ CULTURARTE

OPIYO OKACH/GÀARA PROJECTS

MAPUTO, MOZAMBIQUE

NAIROBI, KENYA WWW.GAARAPROJECTS.COM

FAUSTIN LINYEKULA & VIRGINIE DUPRAY/STUDIOS KABAKO

MARIA HELENA PINTO

KISANGANI, DEMOCRATIC

MAPUTO, MOZAMBIQUE

REPUBLIC OF CONGO

WWW.DANSARTES.WORDPRESS.COM

WWW.KABAKO.ORG GREGORY MAQOMA/

PHOTO CREDIT

VUYANI DANCE THEATRE JOHANNESBURG, SOUTH AFRICA WWW.VUYANI.CO.ZA

83

AFRICAN ARTISTS/ COMPANIES

WHO HAVE PARTICIPATED IN TACAC TOURS AND CREATIVE RESIDENCIES WE HAVE ENCOUNTERED AND BEEN INSPIRED BY DOZENS OF ARTISTS

ACROSS THE AFRICAN CONTINENT AND AROUND THE GLOBE AT FESTIVALS, PERFORMANCES, AND ARTISTIC GATHERINGS. THESE ARTISTS HAVE SHARED WITH US THEIR LIVES AND HOPES AND, MOST IMPORTANTLY, THEIR ART. WE HAVE STAYED IN TOUCH WITH SOME, HAVE PLANS TO CONNECT AGAIN WITH OTHERS, AND THERE ARE ARTISTS WITH WHOM WE HAVE YET TO CONTINUE A DIALOGUE. TO ALL THESE ARTISTS—TOO MANY TO MENTION HERE—WE WISH TO EXTEND OUR THANKS. YOU HAVE FED OUR PRACTICE AND INFORMED OUR LIVES.

ANDRÉYA OUAMBA/

COMPAGNIE TCHÉTCHÉ

COMPAGNIE 1ER TEMPS

CÔTE D’IVOIRE

SENEGAL DAUDET GRAZAÏ FABRICE BOUCHRA OUIZGUEN/

CÔTE D’IVOIRE/FRANCE

COMPAGNIE ANANIA MOROCCO

FAMILIA PRODUCTIONS TUNISIA

BOYZIE CEKWANA/

WWW.FAMILIAPROD.COM

FLOATING OUTFIT PROJECT SOUTH AFRICA

FATHY SALAMA AND ORCHESTRA EGYPT

CIE 2K_FAR DANCE COMPANY MOROCCO

FAUSTIN LINYEKULA & VIRGINIE

COMPAGNIE LA BARAKA

STUDIOS KABAKO

ALGERIA/FRANCE

DEMOCRATIC REPUBLIC OF CONGO

WWW.ABOULAGRAA.COM

WWW.KABAKO.ORG

84

PHOTO CREDIT

DUPRAY/

GERMAINE ACOGNY/

KARIMA MANSOUR/

COMPAGNIE JANT-BI/

MA’AT FOR CONTEMPORARY DANCE

ECOLE DES SABLES

EGYPT

SENEGAL

WWW.KARIMAMANSOUR.COM

WWW.ANTBI.ORG JUDY OGANA & JOY MBOYA/ GREGORY MAQOMA/

THE GODOWN ARTS CENTRE

VUYANI DANCE THEATRE

KENYA

SOUTH AFRICA

WWW.THEGODOWNARTSCENTRE.COM

WWW.VUYANI.CO.ZA JULIE DOSSAVI/ HAFIZ DHAOU & AÏCHA M’BAREK/

COMPAGNIE JULIE DOSSAVI

COMPAGNIE CHATHA

BENIN/FRANCE

TUNISIA

WWW.CIE-JULIEDOSSAVI.COM

WWW.CHATHA.ORG

PHOTO CREDIT

JONATHAN KHUMBULANI NKALA HEDDY MAALEM/

ZIMBABWE/SOUTH AFRICA

COMPAGNIE HEDDY MAALEM

-JTU DPOUJOVFT PO QBHF

FRANCE/ALGERIA WWW.HEDDYMAALEM.COM 85

KETTLY NOËL/

MICHEL KOUAKOU/

DONKO SEKO

DAARA DANCE

HAITI/MALI

CÔTE D’IVOIRE/U.S.

DONKOSEKO.ORG NADIA BEUGRÉ KOFFI KOKO

CÔTE D’IVOIRE

BENIN NAWAL LUCKY KELE

COMOROS

SOUTH AFRICA

WWW.NAWALI.COM

MAMELA NYAMZA

NELISIWE XABA

SOUTH AFRICA

SOUTH AFRICA WWW.NELISIWEXABA.CO.ZA

DANS’ARTES

OPIYO OKACH/

MOZAMBIQUE

GÀARA PROJECTS

WWW.DANSARTES.WORDPRESS.COM

KENYA/FRANCE WWW.GAARAPROJECTS.COM

86

PHOTO CREDIT

MARIA HELENA PINTO/

PANAIBRA GABRIEL CANDA/

VINCENT SEKWATI KOKO MANTSOE/

CULTURARTE

ASSOCIATION NOA -

MOZAMBIQUE

COMPAGNIE VINCENT MANTSOE

WWW.CULTURARTEMZ.BLOGSPOT.COM

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QUDUS ONIKEKU/ YK PROJECTS

WILLIAM KENTRIDGE & HANDSPRING

NIGERIA/FRANCE

PUPPET COMPANY

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SALIA SANOU/ COMPAGNIE SALIA NÏ SEYDOU/ CENTRE CHORÉGRAPHIQUE DE DÉVELOPPEMENT - LA TERMITIÈRE BURKINA FASO

PHOTO CREDIT

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PHOTO CREDIT

Building Enduring Partnerships: A Report to the Field is published by MAPP International Productions and The Africa Contemporary Arts Consortium. ©2011 by MAPP International Productions.

This publication was made possible with generous support from

140 Second Avenue, Suite 502, New York, NY 10003

the Doris Duke Charitable Foundation and the National Endowment for the Arts.

646-602-9390; www.mappinternational.org

Cover photograph: Nelisiwe Xaba in Correspondances. Photograph by Eric Boudet.

All rights reserved. No part of this book may be reproduced, in any form, without written

Title page photographs: (Left) Compagnie TchéTché in Dimi. Photograph by Wolfgang Weimer.

permission from the publisher

(Right) TACAC members and affiliate artists at The GoDown Arts Centre, Nairobi, Kenya, 2010. Photograph by Philip Bither.

Publication concept, design, and printing: Four32C

BUILDING ENDURING PARTNERSHIPS / A REPORT TO THE FIELD THE AFRICA CONTEMPORARY ARTS CONSORTIUM

BUILDING ENDURING PARTNERSHIPS A REPORT TO THE FIELD THE AFRICA CONTEMPORARY ARTS CONSORTIUM

Written by Joan D. Frosch, Ph.D. Center for World Arts University of Florida