The Nafasi Academy 2020: Art as Education

n o i t a c u d E s a t r A t r A s a n o i t a c u d E n o i t a c u d E s a t r A t r A s a n o i t a c u d E n o i t a c u d E s a t r A t r A s a n o i t a c u d E a "case study" of the Nafasi Academy for Contemporary Art & Expression 2020

for Aisha Mohamed Capher Simba George Emmanuel Gertrude Malizana Hedwiga Tairo Hussein Juma Ismir Ra Jennifer Msekwa Liberatha Alibalio Magreth Liwembe Martin Wendo Mihayo Kallaye Shiija Masele

who have likely taught us more than we've taught them

acknowledgements Rebecca Yeong Ae Corey Jesse Gerard Darragh Amelia Maria Kessi Kwame Mchauru Ibrahim Mkude Peter Lukumayi Gadi Ramadhani Valerie Amani Agnes-Senga Tupper Paul Ndunguru Amani Abeid Safina Kimbokota Nicholas Calvin Tadhi Alawi Asteria Malinzi Shabani Kisala Lauren Marshall Ari Snow Lilian Magari Sabrina Yegela Moritz Zimber Shema Isaac Rajab Lawaliya Elias Jengo Davie Kitururu Louise Kamin Madeline Kimei Baraka Mtunga Joshua Naiman Abdallah Mambia

Evarist Chikawe Jan van Esch Masoud Kibwana Robino Ntila Luena Winifred John Kitime Kiagho Kilonzo Isack Abeneko Celyn Bricker Maxwell Matunda vaBene Mejah Mbuya Thobias Minzi Vitali Maembe Big Mama (Mwandale) Seko Shamte Chi Temu Ngaira Mandara Daniel Msirikale Grace Matolvwa Aida Mulokozi Ayeta Wangusa Lauren Tate Baeza Vitshois Bondo Julia Taonga Kaseka

National Museum Kingo Magazine City Lab Dar ARK Tanzania UDSM DARCH Lilanga Studio Ajabu Ajabu Modzi Arts Kin ArtStudio DTP Printing

& the entire arts community of Dar es Salaam

document designed by Darragh Amelia & edited by Darragh Amelia Rebecca Yeong Ae Corey Jesse Gerard

with support from

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best photos taken by Ari Snow Deo Spackle

table of contents

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introduction 7 the build 9 the space 11 the academy 14 module 1 26 module 2 39 module 3 55 module 4 66 module 5 91 conclusion (?) a page with numbers on it

introduction Nafasi Academy is

a practical, question-based arts education that encourages artistic growth, experimentation, conceptual engagement, collaboration & art as vital community practice

For over 11 years, Nafasi Art Space has been a creative harbour for artists and art lovers in Dar es Salaam. The sprawling compound on a rough industrial plot filled with shipping containers-turned artist studios and a warehouseas-exhibition gallery may not immediately appear to be a national art space, but this unassuming place contains multitudes.

Here, art is an ongoing inquiry and a dialogue with experience and expression, requiring conceptual originality, independent voices speaking to alternative systems, and the ongoing building of artistic community, not only between artists and each other, but also between artists and the public who experience their work.

As an art space, Nafasi manifests: transformational artistic growth in form and content // the formation and preservation of diverse cultural identities // the deconstruction & dismantling of obstacles to radical expression // bridges between disciplines & connections across borders The relationship between art and society, between utopian ideals and complex realities, demands that we continuously critique the inherent contradictions that arise in the work. In the search to further and enrich human potential through the arts, Nafasi strives to be inclusive and equitable – and yet we face an undeniable lack of representation within the arts scene, a challenge are eager to address.

In 2018, we set out to critique our own history and praxis, and do better to extend our support to all who seek it, especially those who have struggled to find a place within the densely networked artistic community of the city. The idea of initiating a home-grown arts academy with a focus on advancing contemporary art, expression, and inclusion was distilled from many conversations and debates.

During intensive community dialogues we posed the question:

What makes an art

space

education exchange

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platform

inclusive?

What followed was a co-creative, cocollaborative, co-everything design process that turned community inputs into a vision for an inclusive, creative educational hub

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the build

with the generous support of this woman

Lauren Marshall Designer (now architect?) & this man Shabani Kisala Engineer, Builder & Emotional Support

the Nafasi team & Academy student members

5 months (and a lot of sweat) later 7

that vision turned into reality..

a space that looks like this:

verb informal to become euphoric or unaware of one's surroundings

and feels like this:

“To become euphoric or unaware of one’s surroundings”. The feeling of space. The feeling of existence without the physical and mental barriers that too often hinder creative growth.

A dream-like state. Achieved through some blissful combination of internal and external forces that puts us right where we need to be, when we need to be there.

That feeling of everything aligning within and around you to help you engage, uninhibitedly, with the world. To reach your ‘fullest potential’ as defined by your soul.

Nafasi is Kiswahili for space, but, unlike in English, this word also denotes ‘potential’, ‘opportunity’, and 'chance'.

We suppose, as with every human concept, it is impossible to fully define ‘space’ through language But it is a concept that has guided the development of Nafasi Academy - the space, or lack thereof, as a noun, for creative freedom of expression to be felt and practiced as a verb.

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the space "a culmination of months of building, a year of intense planning, several years of learning, and over a decade of dreaming" - Jesse Gerard Nafasi Academy is an intentional extension of Nafasi Art Space - dedicated to serving underrepresented communities through the delivery of an experiential learning programme and the devotion of studios and exhibition platforms for the artistic development of its participants.

Nafasi Academy currently includes:

To expanding our cocoon for all who need it.

To promoting the voices that are too rarely heard.

& will continue to evolve with the inputs of its inhabitants

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a classroom an art library an exhibition space an art supply shop a film amphitheatre 3 artist studios a workshop space open meeting spaces

A Word from Mama Nafasi

There is new energy at Nafasi.

New spaces. New opportunities. We are happy. I am happy. I can see the achievements. You look at the people. Lazaro, Joseph, Jimmy - they grew up here, they developed here. Nafasi changed them. Nafasi changes you.

We are working for these people, for all people.

We work together as a team, and everyone here is a part of that team. We support everyone. We do not choose who to support and who not to support. Everyone is welcome here.

For a space to thrive, you just can’t give up on it. You have to have the time for it.

If you are there to serve people, you have to serve them. There may be challenges along the way - but as soon as anyone leaves the space, this space that helped to form them, they realize its impact. It’s like leaving your family home…when you go, you realize how much your family did for you. But a family will keep doing it. It will always make space for you. And so will Nafasi.

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the academy In Tanzania, art is an essential part of the fabric of society - and has been for over 7,000 years with proof in the form of rock paintings.

These paintings tell us about the history of humanity. A critical record of existence and physical expression of emotional and social relations.

Yet we seem to have forgotten this important role that art plays. A means to communicate, to commemorate. We’ve lost the creative ability to subvert, and to reimagine the social construction of society.

Increasingly overlooked by most formal art education systems, individuals and collectives must seek out art education on their own - often selfguided via digital platforms.

Nafasi Academy is an exploratory endeavour that aims to examine alternative formats of art education and establish a curriculum that will equip aspiring and emerging contemporary artists with the tools and the confidence to practice art with purpose.

Focussing on concepts as well as technique & encouraging free, creative thinking - expressed through visual languages at the edge of contemporary expression.

As the first programme of its kind, the Nafasi Academy curriculum has quite literally been guided by the collective inquiries of practicing artists and arts administrators at Nafasi… each module, directed by questions around associated topics.

Module 1 | What is contemporary art and why does it matter?

Module 2 | What is the history and evolution of art?

Module 3 | What is the nature of the artistic process?

Module 4 | Who is art for? What is the responsibility of the artist?

Module 5 | How can an artist make a career out of art?

Because what is art if not an ongoing dialogue with past, present, and future?

What is society without the capacity to creatively reimagine itself, over and over again?

What is a world without art?

It is a failure of education to undervalue art.

Education is art and art is education.

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In art as in life, what you see is often only the outer layer, the visible surface of a much deeper and more layered reality. By the time it is exhibited, an artwork has often gone through many revisions and adjustments both in the mind of the artist and on the canvas. Similarly, the Nafasi Academy format and curriculum went through countless versions and drafts, starting two years before the students ever stepped foot in the classroom.

Before the Academy, Dar es Salaam did not have an art school with a contemporary art orientation.

The development of the curriculum therefore required both a strong foundation in visual art, including a survey of historical and contemporary African expressions and techniques, as well as content to challenge and subvert the basic assumptions about what an art education can and should be.

One major rebellion of the curriculum design was to build the course not around timeperiods, geographies, techniques and media, or even topics, but rather to create clusters of interrelated, perhaps unanswerable questions, emphasising the role of art in envisioning new realities and ways of thinking and being.

A second innovation was to shape the learning journey around these clusters of interrogation as thematic modules, each of which lasted approximately 2 months and included a wide range of formats, including intensive week-long theoretical workshops, long-form mentorships around technique, artistic exchanges, written and oral assignments, group work, site visits, community contributions, and studio production leading to public exhibitions or performances.

10 months of training & studio time 5 intensive theory masterclasses 9 technical mentorships 6 workshops and exchanges 4 exhibitions and 1 public performance 1 Graduation Show & Art Conference

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"Art is not being taught in schools - and it is not being recognized as a profession...and there are so many people being left behind when and where it is being supported.

Most people believe that art is for men. "

- Safina Kimbokota

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module 1 What is Nafasi? Why does it exist?

What is Contemporary Art? Why does it matter? Why do you want to become an artist? What is the role of art in society? What is the goal of Nafasi Academy, and what do we hope will be the outcomes at the end of this year for students, the Academy, and Nafasi as a whole?

The first week spent within the blank canvas of the Nafasi Academy space.

Strangers to each other - the students exchanged greetings and became familiar through exercises and icebreakers, facilitated by AgnesSenga Tupper and Gadi Ramadhani.

Tours of Nafasi were conducted and introductions to the wider arts community were made.

i s a f a n o t n o i t c u d intro d n a e c a p s t r a t r a y r a r o p tem

It was a week of shared discoveries, internal awakenings, and artistic inspiration that culminated in an exhibition of Self-Portraits created by the students within the span of the 5day intensive.

Monday, February 3- Introduction to Nafasi Art Space

Introduction and Team-Building Tour of Nafasi Art Space Intro to Artistic Discourse Alumni Artist Talk Basket-Painting Exercise

Tuesday, February 4 - Introduction to Contemporary Art Histories

Visual Journalling Activity Alumni Artist Talk Intro to Contemporary Art: an African Perspective The Tanzanian Art Story Artist Collectives and Grassroots Arts Institutions

Wednesday, February 5 - Introduction to Artistic Process

Artistic Process Alternative Viewpoints and Inclusion Mentor Artist Talk The International Art Scene Workshop on Self-Portrait Assignment

Thursday, February 6 - Administration and Professionalization

Member Policy and Code of Conduct Signing of Membership Agreements Studio Assignments Current Member Artist Talk Professionalizing Your Practice

Friday, February 7 - Community Field Trip

Field Trip to the National Museum Lilanga Studio Visit Student Profile Photos

Welcome Event and Self-Portrait Exhibition

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exhibition

Mihayo Kallaye

Self Portrait

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Jennifer Msekwa

George Emmanuel

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Happy Geas

Hussein Juma

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Liberatha Alibalio

Hedwiga Tairo 20

Magreth Liwembe

Shiija Masele

"who you are today is not who you will be tomorrow."

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Aisha Mohamed

Capher Simba

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Gertude Malizana

Martin Wendo

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“Life without movies, boring. Life without music, boring. Life without art is boring.

Art, it's like everything now.

- Martin Wendo

Art is important to me because I can communicate intentionally with an audience what's in my heart. Art teaches me.

- George Emmanuel

Sanaa, ni kama dawa.

- Gertrude Malizana

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A lot of people, especially in Tanzania, have known me for my craft as an artist ... but the secret to my success is that I have been mentored with great people in global art scenes &

I mentor to continue my learning and to give back to the next generation.”

- Gadi Ramadhani

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module 2 What is the history and evolution of African and global art, and how does Tanzania fit (or not) into local and international narratives of artmaking and visual culture? Who are the older Tanzanian artists that younger artists should be able to reference? How do you see your art as a part of (or breaking from) the historical conversation? Where can we look to learn about and understand our own history of art?

Module 2 itself arrived at a prolific point in history as the world locked down in response to a pandemic.

Tanzania was not exempt - and Nafasi closed its doors to the public in April of 2020. Our mode of artistic connection and exchange shifted to some sort of experimental digital format. & as the student members grappled with this uniquely challenging moment in history - we looked to the past, and to the art that preserves its significance.

t r a n a c i r f a d n a l a b glo d n a , y r o e h t , y r o t s i h e c i t c ra

We were joined in this endeavour by a selection of arts practitioners from across the continent - embracing the benefits of our new Zoom-dominant reality and its potential for facilitating critical global dialogue.

Monday, May 4 -Tanzanian Art History

Reflections Cave Paintings and Traditional Arts in Tanzania Daily Discussion on Module Questions

Tuesday, May 5 - Global Art History

An Overview of Modern and Contemporary African Art Daily Discussion on Module Questions

Wednesday, May 6 - Tanzanian Art Movements and Institutions

Vipaji Art Studios - a Case Study Mawazo Gallery - a Case Study Daily Discussion on Module Questions

Thursday, May 7 - Decolonising Art

Brief History on Colonialism, Cultural Appropriation, and the Looting of African Art Decolonizing Museums: The Vinyago Project Daily Discussion on Module Questions

Friday, May 8 - Exhibition

Presentations of Work Virtual Exhibition Opening

*karibu new reality

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Decolonizing Museums: The Vinyago Project The German colonial empire occupied mainland Tanzania (then called Tanganyika) from the 1880s to 1919 (after which the colonial administration was transferred to Britain).

Between 1905 and 1907, thousands of people from multiple tribes fought in the Maji Maji War against the German occupying forces. During the conflict, around 10,000 objects were looted from the region. The systematic theft of cultural objects continued until the end of the colonial period in 1961, and an unquantifiable number of these historical artefacts are now locked away in museums across Europe.

The Vinyago project is a collaborative initiative critically investigating the looting of art objects from Tanzania by German colonizers and highlighting the lack of repatriation (and reparation) that has been made.

Isack Abeneko (TZ), Nicholas Calvin (TZ), and Gita Shriadmi (DE) bring dance, photography, and visual art together to tell this story in a compelling way that demands visibility for the issue.

The History module of Nafasi Academy featured a presentation by the Vinyago collective of artists, which inspired the works of many student members.

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exhibition

re-told

Martin Wendo

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Ismir Ra

Aisha Mohamed

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Shiija Masele

Liberatha Alibalio

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Magreth Liwembe

Mihayo Kallaye

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Capher Simba

"objects in the mirror

are closer than they appear" Hussein Juma 33

Jennifer Msekwa Hedwiga Tairo

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Gertrude Malizana

George Emmanuel 35

re-told was an online exhibition that opened at the end of module 5 about reading one's history and culture through the lens of the present. it is available to watch on IGTV @nafasiartspace

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It is important to know first what is your culture, what kind of art used to represent your culture. It is easier to speak your own language than it is to speak someone else's.”

- Hussein Juma

"Ni wajibu wetu sasa kuanza kuitafuta historia yetu na kuanza kuitunza kwa manufaa yetu wenyewe” - Capher Simba

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"History is not a procession of illustrious people. Millions of anonymous people is what history is about" said James Baldwin.

The most enduring works preserve history at eye contact. It is

the staging of memory as compassion for things that are lived and seen & not for those that are just heard of."

- Jesse Gerard

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module 3 Now that you have some idea of where you are coming from, and where you want to go, how do you get there? How do you figure out what you want to say and how you want to say it? Once you have an idea, how do you explore it and bring it into being?

What else has been said on this topic before, and how do you say it in a new way? What different processes and media are possible and how do you choose which one(s) to pursue? What is the nature of the artistic process?

Module 3 was the second intensive to take place during the lockdown & had to be delivered via Zoom. Although the online format changed the structure and content of the programme, students remained very engaged by a strong selection of both local and international facilitators and speakers with unique perspectives on and approaches to their work. It was a transformative week of artistic development as the students transitioned from primarily technical to increasingly conceptual practice.

t p e c n o c d n a h c r a e s re c i t s i t r a n i t n e m p o l e dev e c i t c a r p The week concluded with a physical exhibition titled 'In Process', which examined the art of creating, from concept to practice - honouring the labour of an artist.

Mentorships continued via the online format and students received invaluable training from Paul Ndunguru and Gadi Ramadhani.

Monday, June 15- The Artistic Process (Between Theory and Practice)

Finding Your Artistic Voice Daily Discussion on Module Questions

Tuesday, June 16 - Artistic Research and Referencing

The Role of Research in Art Daily Discussion on Module Questions

Wednesday, June 17 - Concept Development

Idea vs. Form - a Case for Conceptual Art Daily Discussion on Module Questions

Thursday, June 18 - Materiality in Contemporary Art

Form as Concept - a Case for Materiality Daily Discussion on Module Questions

Friday, June 19 - Art and Social Critique

Art as Social Commentary Daily Discussion on Module Questions

"moduli yangu nilipenda sana ilikuwa moduli ya tatu" - said literally all students

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Art as Social Critique: Va-Bene

vaBene aka @crazinist_artist lives and breathes their art. They joined us for Module 3 - facilitated by Valerie Amani - to talk about process & the power of authenticity.

"Before any of my live performances there are several "dead performances" you may have missed...

1. I first perform in my "mind", challenging my own imaginations and our realities .2. Print my imaginations into drawings, sketches, word play, text corruption and language subversion...

3. Investigate the relevance of the materials, my body (to be nude or clothed), improvisations, and the site for the performance.

4. Evaluate the state of my body, spirit and mind; healthy? weak? wounded? depressed? ready? etc 5. Weigh the risk factors, willingness to die if worth it and potential spontaneity or chances that may occur during the performance 6. Last but not least, contemplate on time, duration, climate and audience encounter...

The entire process is my priority..."

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exhibition

in process

Jennifer Msekwa 42

Magreth Liwembe

Martin Wendo

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Capher Simba

Aisha Mohamed

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Ismir Ra Shiija Masele

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Gertrude Malizana

Mihayo Kallaye

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Liberatha Alibalio

"the art of

Hedwiga Tairo

creating"

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Hussein Juma

George Emmanuel

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At the public event "The Art of Creating", the Nafasi Academy students facilitated a "chap chap" public art workshop on artistic concept development - using the mind-mapping technique introduced to them by guest-trainer Asteria Malinzi during the intensive workshop. Live music performances and the In Process exhibition followed the participatory community workshop.

In Process asked 'what is the artist's work?'

& artists responded

Pictured are the final pieces submitted to the exhibition. Unpictured are the research notes and countless drafts that accompanied them in the exhibition hall in an effort to make visible the connection between the products and the process.

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an exchange with VILMA PIMENOFF (FINLAND)

a visual artist passionately curious about life and its phenomena. More specifically, she's interested in the semiotics of the everyday, that is - how we understand the world around us through signs and symbols.

Vilma got stuck with us over the COVID-19 lockdown which enabled a deeper (though much more challenging) artistic exchange.

As part of her engagement with module 3, she trained the Academy cohort on research practice and served as a technical mentor for photography.

She also held..

1 workshop on collage & contemporary photography 1 open studio

This is what it looked like through her lens...…

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"What I most enjoyed as a resident artist at Nafasi was the exchange of opinions, ideas, and visual insights with the students"

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"I'm learning to loosen up a bit with technical perfectionism - my current focus is to be more explorative with the concept and balance the two, technique and concept rather than concentrating on the technique” - Liberatha Alibalio

"When you find something you like and you work on it its easy for you to push yourself and make yourself better while enjoying the process” - Shiija Masele 53

"Zimbabwean artist Kresiah Mukwahzi advises, "As an artist, it is important to take a position." Note that this is not just to have an opinion, or to think that the inside of one’s own head is a position, but to

realise that you and your work exist in a complex & multitudinous reality and you must be aware of your position, and choose it wisely, for yourself, if you can."

- Rebecca Yeong Ae Corey

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module 4 Who is art for? How does it affect society? How can it do good things once it is created -- whether its asking difficult questions, inspiring others, raising awareness, changing behaviours, etc? What is public art, or how can art be made public? Are artists (or can/should they be) activists? How can art be seen as community engagement/dialogue? How do we think about and engage with audience?

What is the relationship between art and life? What is the responsibility of the artist?

Module 4 was the first intensive delivered in-person, post-pandemic, and it addressed the subject of Art, Audience, and Action (or Activism). It was a week of vibrant dialogue and debate - featuring several local and international artists working at this intersection, including Vitali Maembe (Tanzania), Enas Satir (Sudan), Thobias Minzi (Tanzania), and Mejah Mbuya (Tanzania). Embracing our newfound 'freedom' from lockdown, we embarked a field trip to the studio of James Gayo (Tanzania), a prolific political cartoonist - where students learned about artfully embedding social commentary within their work.

d n a , m s i tiv

c a , t r a c i l b u p y t i n u m m o c s a t ar t n e m e g a ng

The week also marked the students' first excursion into 'public art' through a group assignment of performance works on Coco Beach. A showcase of these experimental performances took place at Nafasi the week following as part of 'Meeting Points' an event on art, audience, and action. It was Nafasi’s second public event post-lockdown and, here, the power of 'the art of gathering' was felt.

Monday, August 10 - Thinking about Audience

Opening Remarks + Reflections on Module 3 Overview of Intensive Week - Schedule and Objectives Why Art Needs Audience - Discussion + Debate Participatory Engagement Collaboration for Impact

Tuesday, August 11 - Making Art Public

The (MANY) Purposes of Public Art Politics of Public Space and Artistic Autonomy The New Public: Internet as Public Space History of Graffiti Field Trip to UDSM and City Lab Dar

Wednesday, August 12 - Art + Community Development

Critiqueing 'Development' Art Initiatives Public Art and Social Engagement Individual Expression to Community Transformation Studio Visit of Political Cartoonist Assignment Critique Session

Thursday, August 13 - History of Art as Activism + Protest

Art as Political Tool vs. Art as Activism Protest as Art / Art as Protest Art Activism in the work of Mwandale Mwanyekwa Art Activism in the work of Vitali Maembe Role of Art in Sudan Uprising

Friday, August 14 - Performing Art in Public

Planning and Prep at Nafasi Travel to Coco Beach Performance / Public Artistic Intervention Return to Nafasi for Debrief Curating Documentation

Friday, August 21 - Meeting Points: On Art, Audience, + Action

Public event ft. music, dance, poetry, and visual art

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The Subversive Power of the Comic Strip Studio and Site Visits were highlights of the Nafasi Academy programme. James Gayo of Kingo Magazine welcomed the students to his home studio as part of Module 4.

Kingo is a unique publication and broadcasting platform that provides engaging and critical commentary on relevant political and social issues.

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performance art on

Coco Beach Untitled Liberatha Alibalio Martin Wendo Hinjuson Hussein Juma

Beach Life Matters Ismir Ra Magreth Liwembe Hedwiga Tairo

Untitled Aisha Mohamed George Emmanuel Gertrude Malizana

Bichi Boi Mihayo Kallaye Shiija Masele Jennifer Msekwa

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"An artist may start a conversation - but that conversation cannot happen without an audience.

An audience gives purpose to the artist's artistic language.

- Mihayo Kallaye

"Art can be can be used both in a secretive and open language to share matters in society - and it can be translated to shift mindsets of people” - Ismir Ra

“In so many countries, the governments oppress, control and limit what people say about them… and that is where the importance of art is… in helping to address the truth to people or the government, even when it won't change anything for that time.

It is better that at least art can say something or protest when people can’t.”

31 - Jennifer Msekwa

At Meeting Points, artists and activists came together to contemplate the power of art to mobilize - to inspire action with the potential to ignite profound change. the resposibility that artists have as designers and architects of the material (and immaterial) world around us.

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"we integrate music into all that we do because it is through music that we can understand each other" - Janeth Mawinza, WAJIKI Tanzania

WAJIKI is an organization that fights for the rights of women and vulnerable populations in Dar es Salaam and surrounding regions. In their fight, they often take to the streets in informal settlements and use their voices through the power of song to demand an end to violence against women.

They also work with local musicians to creatively co-opt popular melodies for the mobilization of communities around their cause.

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"We come from a history of oppression.

A history of minorities' stories being disregarded.

Everyone has the right for their stories to be shared"

- Valerie Amani

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an exchange with JUDIT PLA (SPAIN)

is a creative collaborator specialised in branding and art direction, currently exploring her career as an artist. From Barcelona, based now between Zanzibar and Dar es Salaam, her preferred means of expression are colourful paintings and intimate writing that philosophizes about human experience and personal contemplations about life. Her style is raw, poetic and eclectic. In her last paintings she is exploring the technique free-painting, were she lets the paint flow in the canvas with a very little or non existent previous image in mind. She has also co-curated several exhibitions and she is passionate about rising collaborative art projects that involve expression, being one of them @ourbiggestfears for women She joined us while the world was on hold and her creative energy was serendipitously floating around Zanzibar. As part of the ‘Art, Audience, and Action’ Module – she imparted her experience embracing fear for the benefit of both artistic and personal growth.

She also held…

1 technical training on water colour painting 1 collaborative workshop on performance art 1 ‘atelier’ on fabric painting 1 open studio exhibition

This is what it looked like through her lens…

"the space between the artist and her/his art is called Nafasi. It acts as a nutrient, a breath, a seed, a memory, a lung. It is your favourite playground in the middle of the urban jungle."

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module 5 Throughout the first four modules, you have thought about what art is, why you want to be an artist, how you want to create your work, and how you can share it with the public. But how do you turn this knowledge into a professional career?

What does it mean to be a professional artist, and what opportunities and challenges will you face? How can you connect your art to the local, regional, and international art scene? What are the basic tools you need to apply for residencies, exhibition opportunities, etc?

The 5th and final module of Nafasi Academy aimed to compile all that the students had learned and produced over the course of the year, and 'package' it professionally. Presentations and practical training sessions were delivered by artists from different disciplines who have been exceptionally successful in making a living within the cultural industries.

While to many this may come across as dry - Module 5 was one of the most valued intensives for the students who, by this point, were eager to start seeking opportunities outside of the cocoon of Nafasi.

l a n o i s s e f o r p d n a t n e m p o l e v e d p i h s r u e n e r p tre

The week was co-facilitated by Asteria Malinzi of Artist Residency of Kigamboni who critiqued the students from the perspective of a provider of such opportunities.

Monday, October 5 - Defining Yourself

Artist Talk - Big Mama Positioning Yourself as a Professional Artist Writing an Artistic Bio / Statement Portfolio Building / Curating Work Workshop - The Art of an Artistic CV

Tuesday, October 6 - Art Marketing 101

Artist Talk - Seko Shamte Basics of Marketing Choosing your Platforms Graphic Design Tools and Principles Workshop - The Art of Online Branding

Wednesday, October 7 - Self-Management for Artists

Artist Talk - Chi Temu Creating an Artistic Inventory Basics of Budgeting Pricing Work Workshop - The Art of Entrepreneurship

Thursday, October 8 - Seeking & Attaining Opportunities

Artist Talk - Daniel Msirikale

Communicating as an Artist Networking as an Artist Collaborating as an Artist Workshop - The Art of an Artistic Application

Friday, October 9 - Field Trip to ARK Residency

Depart for ARK Arrive at ARK Overview and Tour Assignment - Presentations on Proposed Residencies Return to Nafasi

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“I am still learning and excited for what's next to learn in and out of Nafasi, as it has open doors not only to me but to anyone around me. I get to teach them what I've learned and pass it on.”

- Aisha Mohamed

"As an artist, I don't feel as shy anymore.

I can ask questions and feel like people are actually listening."

- Magreth Liwembe

“As a female artist, I am intrigued to learn more, practice and embrace art despite all challenges encountered from the surrounding society. This experience has taught me to love and engage more in the art field as it is all a beautiful adventure.”

- Hedwiga Tairo

"On my journey, it took great faith of believing that art is what I want to do for the rest of my life. That faith has to be great. The vision has to be very clear.

It is that the mountain you choose to climb that leads you to the height you will be.”

- Paul Ndunguru

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an exchange with CAROLINA ARANIBAR-FERNÁNDEZ (BOLIVIA)

a Bolivian-born multi-media artist. Her artistic practice fuses video installation and oral storytelling with fiber and craft techniques. Her work traces flows of capital–cartography, maritime trade, cash crops, and industrial metals– across bodies-of-water from the perspectives of the native, gendered, and racialized bodies that move it. That is, she reembodies capital exposing how contemporary markets insidiously hide historical oppression. Imperialism to colonialism, and now capitalism. Her installations are minted, projected, gilded, casted, woven, beaded, filmed, stepped-on, and crushed, but always spoken-for and register at various levels of action & passivity, and visibility & representation.

She joined us virtually from COVID-19 lockdown in Bolivia during Module 3 to exchange knowledge with the students on the art of the artistic process. She walked them through the steps she takes in her research, concept development, and implementation of her installation projects, and challenged them to follow a similar process to produce creative outputs in their home spaces.

During her time, physically, post-lockdown at Nafasi, she devoted her hours to research and practice around the subject of the spice trade along the Swahili coast and the oppression that it historically relied on.

She also held…

1 workshop on Seeking and Attaining Artistic Opportunities 1 on 1 sessions with each student on portfolio development 1 open studio / exhibition

This is what it looked like through her lens…

"My time at Nafasi Art Space was filled with nourishment from the wonderful community and with medicine from all the trees around it— especially the Neem trees. "

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2020 was a challenging one. Particularly challenging for the arts - for artists, arts organisations, and arts spaces. We were forced to shut our doors and function in isolation - disconnected from the communities that bring us purpose. This had us thinking about the art of gathering.

And the vital role that the arts play in bringing communities together.

After many (informal) conversations had on this topic between artists, arts managers, and arts advocates - Nafasi (& Nafasi Academy) introduced a collective engagement to bridge the gaps forged between us and promote arts and cultural dialogue.

“Tukutane Dar” - an Arts Weekend - examined "in what ways and in what spaces art brings people together… and how?"

Part conference, part graduation party - this gathering offered Nafasi Academy students the opportunity to connect with members of the local and international arts communities. A "send-off" into their professional practice.

19 nov 2020

Over 3 days and multiple locations, we came together for a curated selection of art talks - titled "The Art of Gathering"

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the art of gathering nurturing artistic expression in what ways and in what spaces is creativity born?

the art of gathering Endangered arts & spaces in what ways and in what spaces can we protect, preserve, and promote arts past and present

the art of gathering making art visible in what ways and in what spaces can we improve the visibility and reach of contemporary art?

exhibition

Inner Visions | Maoni ya Ndani the Nafasi Academy Graduation Show held at the National Museum of Tanzania on 21 November 2020

When the Nafasi Academy opened in February 2020, we told the students that contrary to what they might expect, we would not be teaching them answers, but questions. We were met with a few bemused stares. Why would anyone join a course to be taught questions? Isn’t it the answers that everyone is seeking?

But what makes art important and meaningful is that it not only reflects the world, but also interprets it. Art allows us to express our own subjective experiences and the specificities of our lives. It encourages us to challenge generalizations and stereotypes that we may have internalized, beliefs imposed but taken for granted. But in order to do this, we must ask difficult questions of the world and our place in it.

What is art? Why does it matter? Who does it benefit? When it comes to Tanzanian art, where do we come from, and where are we going?

These are a few of the major questions the artists learned to ask and explore through their work. Now, with their graduation exhibition, they share the visions they have encountered on this journey of questioning. By inviting the audience into their interrogations, they pass this curiosity on to others -- to inspire conversation and perhaps to find that the answers are in the questions after all.

- Rebecca Corey

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Gertrude Malizana

Under Her Smile Photograph A3 2020

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Aisha Mohamed

Precious Acrylic and Oil on Canvas 148 x 148 cm 2020

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George Emmanuel

Women in Power Mixed Media 75 x 90 cm 2020

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Capher Simba

Power Mixed Media 56 x 49 cm 2020

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Hedwiga Tairo

Love, Relationships, and Marriage Acrylic on Canvas 60 x 80 cm 2020

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Hussein Juma

Tension I Mixed Media 86 x 61 cm 2020

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Martin Wendo Hinjuson

A guy once said Pencil and Pastel on Paper 42 x 49.5 cm 2020

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Magreth Liwembe

Untitled Mixed Media 113 x 83 cm 2020

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Mihayo Kallaye

Scissors Mixed Media 114 × 185 cm 2020

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Ismir Ra

Religion & Humanity Acrylic on Canvas Scroll 96 × 49 cm 2020

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Shiija Masele

Chair 2 Mixed Media 60 x 80 cm 2020

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Jennifer Msekwa

Dear Africans Mixed Media 75 x 90 cm 2020

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Liberatha Alibalio Reflection II Textile 137 x 91 cm 2020

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Inner Visions was attended by several international artists and curators from across the continent and wider diaspora.

Lauren Tate Baeza (USA), Taonga Julia Kaseka (ZM), and Vitshois Mwilambwe Bondo (DRC) generously provided the graduating artists with critical feedback on their works from diverse, professional perspectives.

and on a more local level - Nafasi's engagement with the National Museum on this event set in motion an exciting partnership that will elevate the visibility of contemporary art in Tanzania

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"For me, in the process of using culture and all the sacred information we hold, we have to be respectful & mindful of how we use it. What information do we want to tell and what information should be kept? Not everything should be given away or told to the world."

- Taonga Julia Kaseka, Curator & Director of Modzi Arts (Zambia)

Since 2018, Modzi Arts and Nafasi have partnered through multiple artist and staff visits, talks and workshops aimed at promoting mobility and knowledge sharing within Africa, via Pro Helvetia's strategic regional network and the Nafasi Academy.

These exchanges with Modzi have reimagined pathways and established connections that suggest new orbits for artistic growth.

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conclusion (?)

Circles end where they began, and within the enclosure lies new knowledge, new experience, new space, holding possibilities - and an invitation for whatever manifests next.

The Nafasi Academy affirmed that the source of creativity is a deep well that replenishes itself through its own yearning to flow and fulfill.

But while artistic expression may be impossible to control or suppress, it must be nourished. As a space, an exchange, an education, a platform - the Academy and the ongoing dialogue it encompasses does not conclude but rather continues to unfold.

The first cohort of Nafasi Academy students graduates in December 2020.

What will come next?

The future is ours to create.

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a page with numbers on it (in an attempt to quantify impact) 13* students * 7 female 6 male 9 mentors & trainers 5 intensive modules 2 online - 3 IRL

10 training months 12 studio months

27 guest speakers

6 international artist exchanges

4 exhibitions 1 public performance

undefined number of hours listening to Wendo's music

200+ lunches 40 assignments 3 months in quarantine

7 studio & site visits

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For over 11 years, Nafasi Art Space has been a creative harbour for artists and art lovers in Dar es Salaam.

In 2018, we set out to critique our own history and praxis, and do better to extend our support to all who seek it, especially those who have struggled to find a place within the densely networked artistic community of the city. The idea of initiating a home-grown arts academy with a focus on advancing contemporary art, expression, and inclusion was distilled from many conversations and debates.

Nafasi Academy was born as an intentional extension of Nafasi Art Space - dedicated to serving underrepresented communities through the delivery of an experiential learning programme and the devotion of studios and exhibition platforms for the artistic development of its participants.