Nafasi Art Space | 2020-21 Annual Report

202021

NAFASI ART SPACE ANNUAL REPORT

NAFASI ART SPACE - ANNUAL REPORT 2020-21

table of contents executive summary highlights outcome 1 outcome 2 outcome 3 outcome 4 impact credits

pg 4-5 pg 6 pg 7-23 pg 24-39 pg 40-49 pg 50-59 pg 60-67 pg 68

executive summary What happens to creative expression when the world shuts down? The COVID19 pandemic has revealed the power of the arts to help humanity survive through crisis. During lock-downs around the world, people turned to film, music, and visual art for solace and support. They used art in communicating their hopes and fears, creating collaborative solutions, and bolstering mental health. However, at the same time, the arts industry and artist careers saw unprecedented economic devastation, with the arts being one of the most severely affected sectors due to shutdowns and social isolation, bans on travel and gathering, and economic shortfalls. As one of Tanzania's leading art centres, which focuses not only on artist education but also audience and community engagement, building markets for the arts, enabling artist mobility, and forging partnerships and collaborations across borders, Nafasi Art Space found itself at a crossroads during these challenging times.

However, the creative spirit was undaunted and the artists, curators, and arts managers who make up Nafasi worked throughout 2020 and 2021 to transform obstacles into opportunities for building resilience - investing in artist and staff education, utilizing time without busy public programming to reflect and undertake strategic planning for the coming five year period, and deepening the scope and depth of resources and services it provides to artists and arts audiences via innovative online trainings and exhibitions. During the 2020-21 Financial Year, Nafasi Art Space completed the first co-hort of its unique Academy programme for visual artists and launched a pilot training for Curatorial Practice and Arts Management. Nafasi also completed an intensive strategic planning process involving dozens of stakeholders, resulting in a clear and ambitious plan for the next five year period.

02.

Nafasi's new Strategic Plan represents the articulation of a new vision for the organisation that builds on previous achievements and knowledge while responding to new opportunities and challenges presented in the post-COVID world. This year many of Nafasi's programmes and activities were already geared toward transitioning into the next phase of the organisation's strategy - which centers on artist development, audience engagement, partnerships & networks, and sustainability & resilience, not only within the boundaries of the physical art centre but through programmes and collaborations that reach across the country and region. Furthermore, with continued support from its core donor the Royal Norwegian Embassy and new support from the Swiss Embassy in Tanzania, Nafasi not only continued its busy programme of events, trainings, residencies, and more, but also launched "FEEL FREE TZ" - a unique grant programme for artists and arts practitioners from all disciplines across Tanzania that fosters freedom of expression, incubates creative initiatives, and increases access to the arts nationwide.

An open call attracted dozens of applications and ultimately nine projects were chosen by a selection panel of industry representatives to receive a total of $50,000 USD in grants administered by Nafasi. This major step forward demonstrated Nafasi's growing role as a major driver in Tanzania's creative industries, not only organizing its own programmes but also enabling a wide network of arts and culture organizations and businesses to produce work, innovate, connect with publics, and thrive. Though the projects funded via "FEEL FREE" grants were not completed until July 2021 - after the period covered by this report - the grant programme itself was initiated and all projects were selected during the period. This annual report reviews Nafasi's activities and programmes for the 2020-21 Financial Year (April - March), as they correspond to Nafasi's 2016-21 Strategic Plan and Nafasi's core-funding agreements with the Royal Norgwegian Embassy and the Swiss Embassy in Tanzania. Please enjoy this look into Nafasi's impact on arts and culture in Tanzania over the past year.

02.

highlights through the year NAFASI ART SPACE - ANNUAL REPORT 2020-21

NAFASI'S 2021-26 STRATEGIC PLAN WAS COMPLETED

9 ARTISTS AND ARTS ORGANIZATIONS WERE SELECTED TO RECEIVE 50,000 USD TOTAL IN GRANT FUNDING FOR THE "FEEL FREE" PROGRAMME

ARTISTS SOLD 7.4 MILLION TZS IN ARTWORK THROUGH NAFASI'S GALLERIES AND EXHIBITIONS

8 VISITING ARTISTS FROM 8 DIFFERENT COUNTRIES PARTICIPATED IN THE ARTIST RESIDENCY PROGRAMME

23 WORKSHOPS WERE CONDUCTED: 16 ONLINE AND 7 IN PERSON

13 VISUAL ARTISTS GRADUATED FROM THE NAFASI ACADEMY 2020 CO-HORT

1 ONLINE, 2 VIRTUAL REALITY, 5 OPEN STUDIOS, AND 5 GROUP EXHIBITIONS WERE ORGANIZED

5 INTERNS WERE TRAINED IN ARTS ADMINISTRATION

12% OF NAFASI'S INCOME WAS SELF-GENERATED

14 ASPIRING ARTS WORKERS WERE SELECTED TO PARTICIPATE IN THE 2021 ACADEMY PROGRAMME ON CURATORIAL PRACTICE AND ARTS MANAGEMENT

NAFASI ART SPACE - ANNUAL REPORT 2020-21

outcome one INCREASED INDEPENDENT ART PRODUCTION & PRESENTATION

WHAT HAS NAFASI CONTRIBUTED TO YOUR ARTISTIC PRACTICE THIS YEAR?

"Mengi sana ikiwemo kudevelop concept, kuelezea kazi zangu, kuweza kuandaa na kukamilisha kazi ambapo hapo nyuma nilikua sijui naanzia wapi, kukutana na watu wengi wanafanya sanaa na kua inspired nao, kukutana na mentors/facilitators ambapo kutoka kwao nimejifunza mengi mno na kupata marafiki wengine katika sanaa." "So much including developing a concept, explaining my work, being able to prepare and complete a job where in the past didn't know where to start, meeting a lot of people doing art and being inspired by them, meeting mentors / facilitators from whom I learned a lot, and made many friends in art." - Shija B. Masele, F, Nafasi Academy student member

progress towards outcome 1

Target: 70+ artists regularly creating artwork for presentation and reporting increased ability and opportunity to produce artwork

When Nafasi Art Space launched a call for student members, 75 eager young artists applied for the chance. In their applications they spoke about the challenges to both creating and promoting professional artwork in Tanzania, due to a number of factors such as lack of social support and mentorship, few platforms and artistic networks, and limited training opportunities. In fact, 43% of the student members of the first class had never taken a single formal art course before joining the Academy, despite clear talent as evidenced in their application portfolios. Furthermore, 35% of them had never shared their work publicly. The student members who joined Nafasi were provided with free studio spaces, art materials, mentorship and training, exchange programmes, and curated exhibitions during the year. The artists filled out intake, midterm, and end-of-programme surveys, which tracked their motivation, technical abilities, and opportunities for showcasing their work, with a total of 37 responses. The results of the surveys are clear: Nafasi Art Space contributes greatly to artists' ability and opportunity to produce innovative and original artwork, especially young and female artists, and those interested in addressing important social topics with their work such as identity, history, gender equality, environmental protection, and more. The following sections of this report highlight some of the most striking results from these surveys - and the full survey results can be found in the annexes. During one year alone, the Academy students created over 70 new original artworks. Major themes that arose in their work were women's experiences and perspectives, mental health, examining untold histories, and challenging stereotypes and assumptions.

These works were presented in physical and online exhibitions, culminating In a graduation exhibition at the National Museum, which was the first exhibition of contemporary visual art held at the museum in many years. On the same night, Nafasi partnered with the Museum to produce a major music festival featuring seven musical groups and artists. Alongside the Academy programme, Nafasi continued to organize group and solo exhibitions for Tanzanian and visiting artists, which attracted thousands of audiences in person and online. Artists working from spaces around Tanzania were motivated and inspired to create works responding to Nafasi's prompts and exhibition opportunities. Similarly, on the performing arts side, dozens of artists performed via Nafasi's online and in-person events. The Alumni Members of Nafasi who had left their studios at the end of 2019 and beginning of 2020 were also busy establishing their own studios, art spaces, and initiatives. Having benefited from Nafasi's support for 5+ years, these artists showed that they were highly capable of continuing to create and promote their artwork. Nafasi continued to work closely with many of the alumni, and has continued to provide space, networking opportunities, and exhibition for previous studio members. Updates on these artists are provided on PAGE 14 of this report. The studio and alumni Nafasi members did not fill out surveys, as the Nafasi team found that the members were most willing to share information via conversations with the team rather than in writing. Holding semi-structured interviews during this year also proved important as artists were in need of personal mentorship, encouragement, and support due to the COVID-19 context. Further details on how the pandemic impacted Nafasi and the artists and audiences the organisation works with will follow in the following section of this report. However, the results from the year demonstrate that despite the major challenges posed by the global and local context, Nafasi supported artists to continue creating and sharing work during a time that most of the art world had shut down.

NAFASI ART SPACE - ANNUAL REPORT 2020-21

Indicator: Number of Tanzanian artists reporting increased motivation and ability to create, innovate, and present work to the public

IMPACTS OF COVID 19 When the novel coronavirus appeared, it quickly became clear that this pandemic would present a significant threat to human life and well-being across boundaries of geography, economic class and social structures. The arts and culture sector was profoundly affected, for both individual artists as well as arts organisations and institutions, with spaces closing and in person events and exhibitions postponed or cancelled. The National Arts Council of Tanzania banned public arts and culture events early in the pandemic, and though there was no mandate for office closures, Nafasi Art Space chose to close its doors to the public from April - June 2020 for the sake of public health and safety. In the visual arts, Nafasi's pivot toward education meant that activities were able to adapt and continue. As the participants were largely students who were not yet making a living as professional artists, they were somewhat less affected than many of the alumni members who were seeking to make a full-time income from art. Many established artists managed to survive by doing commissions and also jobs in the commercial sector. One member of the Nafasi Academy left the programme because she was offered full-time employment elsewhere, and another Academy member lost his job in a restaurant due to the pandemic. 100% of the artists reported loss of income and opportunities. Nafasi team members had regular meetings and calls with the members to hear about their challenges, provide support and advice, and connect them with opportunities through Nafasi's continuing programmes. For example, the Academy provided part-time teaching jobs to 6 mentors during the course of the programme, and onceoff income for more than 50 guest speakers over the course of ten months.

In the performing arts, the negative impact of the pandemic was even greater, because unlike visual artists who can work alone in studios, the performing arts often requires physical contact with multiple people. Artists who depended on live performance lost all of their income as there were no public performances and events for multiple months. Nafasi did provide paid working opportunities to some performing artists who appeared live online or at smaller, private events, and provided mentorship to artists with a focus on marketing and management. On the positive side, the performing arts department of Nafasi used the time without events to focus on regional integration, communicating with different art organizations within East Africa and trying to find ways to support and learn from each other, and plan for future collaborations, such as residencies and festivals with shared programming. Nafasi's self-generated revenue decreased substantially due to a massive decrease in art sales. Most of the art collectors in the past had come to Nafasi to purchase art. Nafasi's mechanisms for selling art online are still not fully developed, however they improved greatly during the pandemic period. Membership fees also had to be put to a sudden stop. With artists not being able to produce and earn an income, it was decided to give them time to regroup and look for other means to create from home without paying studio fees. The Nafasi shop was also completely closed during that time. In several cases, funds from donors were also delayed, as many offices also closed to adopted new procedures that slowed down the processing of grants. Where funds were earmarked for specific activities that were delayed, Nafasi's schedule upon re-opening was extremely busy, especially for the second half of the financial year from September 2020 - March 2021.

After the lockdown period, Nafasi helpd many artists from the Academy programme to sell their work - in many cases for the first time, memberships resumed with an adjusted modality (shared spaces at an even more highly subsidized rate), and now a new Instagram account of the Nafasi gallery to keep up with the digital transition. Public gatherings resumed and Nafasi could finally host performing arts events, for which audiences are slowly growing back to pre-pandemic levels.

Increasing confidence, belonging, and freedom of expression in the arts

BEFORE

AFTER

2020 Nafasi Academy student member surveys

Increasing confidence, belonging, and freedom of expression in the arts In the exit survey conducted at the end of the 2020 Nafasi Academy programme, student members reported extremely high levels of confidence in their artwork, level of comfort at Nafasi and other art spaces, and their ability to express their ideas and identity through art.

Increasing confidence, belonging, and freedom of expression in the arts In the exit survey conducted at the end of the 2020 Nafasi Academy programme, student members reported extremely high levels of confidence in their artwork, level of comfort at Nafasi and other art spaces, and their ability to express their ideas and identity through art.

The 2020 student members of Nafasi Art Space

Where Are They Now? updates from Nafasi's Alumni Network Amani Abeid: Amani Abeid has established himself as a sought after name among collectors and has built a strong profile as an illustrator. He was an integral part of the Academy. Hosting dozens of workshops and lectures throughout 2020-online and offline. He was also part of Nafasi’s Altered States Exhibition in 2020 and is currently working on opening a new studio and gallery space. Safina Kimbokota: Safina is currently a permanent artist in residence at the University of Dar-es-salaam. She was a mentor in our 2020 Academy programme while also participating in 2021 Curatorial Academy. She was recently selected for a residency at Ark (Artist Residency of Kigamboni) and is scheduled to travel to Italy in October for the continuation of the Uhuru Republic project hosted at Nafasi in 2019. Richard Magumba: Richard continues to make documentary films and in one of his more recent projects partnered with German artist, Marius Comanns for a documentary examining Germany’s colonial legacy in the region of Kigoma. The pair met in 2018 during a residency Marius had at Nafasi. Thobias Minzi: Since leaving as a studio member Minzi has established himself as a sought after portrait artist—with commissions from high level government officials and famous musicians (including one of the late John Magufuli). In addition, he was commissioned for several pieces by CRDB for their new headquarters. He is currently back at Nafasi on a residency.

Lute Mwakisopile: Lute opened a studio and paint business based at Morogoro Stores in Msasani and continues to create and exhibit artwork. He was recently part of the women in art exhibit hosted by the Belgian Ambassador. Vita Malulu: Vita Malulu continues to create new work and hosted a solo exhibition titled Outbreak in late 2020 at Chema boutique in Msasani. Mwandale Mwanyekwa: Mwandale continues with her practice from her Bagamoyo studio. She was also recently commissioned by Nafasi Art Space for a sculpture to be installed in the reception space of the new CRDB headquarters. Paul Ndunguru: Paul continues to balance his multiple artistic pursuits as a musician, composer, educator and painter. He recently composed and directed the musical Faceless Africa, to go alongside his ongoing projects in illustration and his fine arts practice. Ndunguru was one of the recipients of Nafasi’s Feel Free fund. Wachata: The Watchata crew have opened an all new urban arts space called Dar-art-salaam in Mikocheni and continue to host several workshops to train a new generation of street artists and to promote inclusion. They hosted the latest edition of their popular Women Xpress program supporting female street artists, in April 2021. Vita Malulu: Vita Malulu continues to create new work and hosted a solo exhibition titled Outbreak in late 2020 at Chema boutique in Msasani.

MuDa Africa: MuDa Africa dance school has re-located to a new space in Kinondoni, Dar es Salaam where they are developing a multi-use dance center. Nafasi and MuDa continue to partner and exchange regularly. Several MuDa graduates including Nantea Dance Company and Girls Power Dance group now practice at Nafasi Art Space. Mussa Sango: Sango’s Boresha Radio platform continues to grow its new location in Msasani. In addition to interviews and music programs, Boresha has recently began to record its own original music and support artists under their Wakilisha programme, on one of the beneficiaries of Nafasi’s Feel Free fund. Nuru Media: Under the direction of Abdallah Mambia, Nuru Media continues to produce daring and bold educational and informational video content in the form of TV shows, documentaries, and edutainment, while also providing valuable on-the-job training to aspiring filmmakers. Nuru Media continues to collaborate with Nafasi, producing short videos on Nafasi's events and programmes, including the Nafasi Academy and Wikiendi Live. At the beginning of 2021, Nuru Media signed on to produce a six-part docuseries on a film training programme at Nafasi called Sauti Mpya. World of Weaving: The World of Weaving textile group rebranded as Chema boutique, whose model combines fine art exhibitions and workshops with the sale of handmade textiles for a unique cultural experience. They train female weavers in artisan weaving and business.

Artist Spotlight on Mihayo Kallaye and Liberatha Alibalio by Jesse Gerard, Visual Arts Manager

The exhibition featured three artists from Nafasi, one, Winifrid Luena, was profiled in last year’s report after winning the Absa Atelier competition in South Africa, perhaps the most significant visual art prize on the continent. The others, Mihayo Kallaye and Liberatha Alibalio, were recent graduates of the Nafasi Academy Programme. During the Academy programme, Mihayo’s technical expertise evolved as with support of the mentors he developed a unique approach to composition -characterized by a singular approach to materials that allows him to mold colors and textures out of a combination of used materials and paints for his canvas pieces. Don Handa, the gallery Manager at Circle, describes Mihayo’s work this way: Mihayo Kallaye paints his subjects in vivid, almost electrical tones that imbues his works with a very contemporary feel. This, working in concert with the textured application of paint and the stylization of certain physical features (the eyes in particular) had the effect of rendering his images just peculiar enough that the viewer cannot help but be struck by them.

When asked about Liberatha’s work, Don was no less enthusiastic, describing her work this way: In the textile works of Liberatha Alibalio, the use of stitching for varied mark-making and the creation of relief using numerous small folds and tufts results in compositions that appear as drawings in relief. In addition to this, the careful balance of forms in the compositions and deft use of colour highlights the tactile qualities of her work, which in turn speaks to the meticulousness that her work requires. Liberata’s stylistic development, that careful balance of forms, has been a study of deliberate, patient growth. She was a regular participant at many of Nafasi’s workshops and a volunteer at the East African Biennial. But through the Academy, she developed a more rigorous approach to her work that has attracted the notice of major contemporary art institutions. Along with Circle Art Agency, she was recently selected for a residency at Modzi Art center in Lusaka Zambia and she is set to exhibit at the Congo Biennial in Kinshasa which has been rescheduled 2022 due to COVID 19. For both these artists, and many more from our inaugural Academy class, the sky is truly the limit.

NAFASI ART SPACE - ANNUAL REPORT 2020-21

Circle Art Gallery in Nairobi, a platform that has launched a variety of East African artists towards global recognition and that enjoys close ties with major contemporary art institutions recently hosted Various Small Fires, an exhibition featuring up and coming artists from across the region.

Raising Critical Voices through Art How does an artist address the topic of corruption, when fear of the negative consequences seems to outweigh the urgency of the message?

While some artists used their artistic voices to shed light on taboo subjects such as mental health and forced marriage, several artists chose to focus on issues of corruption, greed, and failed leadership, boldly addressing topics many fear to face head-on. Using their training wisely, however, the artists Shija Masele and Capher Simba tackled the topic by using powerful metaphors and symbols, leaving the work open to interpretation. Shija Masele's "Chair" series uses the symbol of the chair to mean the "seat of power" in society and humorously but pointedly suggests that those with the most power may not be using it in ways that benefit the majority. In Mfalme, a leader in an ornate chair and rich robes has a large head that is broken open, revealing an apparent emptiness inside. Capher Simba's work, Power, is an installation piece with a heavy mallet surrounded by small and scattered nails.

NAFASI ART SPACE - ANNUAL REPORT 2020-21

During the 2020 Academy, the mentors and facilitators stressed the importance of art as a tool for critical dialogue and debate, in sessions such as "Art and Activism". One of the major questions posed during the course was "What is the responsibility of the artist?" and many student artists and lecturers alike explored ways in which artists have the responsibility to critically reflect on the past, present, and future through the lens of their own research, experience, and expressions.

Chair 1, Chair 3, and Mfalme, by Shija B. Masele (2020) The piece evokes feelings of doubt and fear when one sees how large the mallet is compared to the tiny nails around it. When one person or group of people holds all of the power and strength, what chance do the "little people" have? Perhaps the nails are actually swarming the hammer in the piece hoping to overtake it, or are they at its mercy? Such works invite conversation and debate, and in so doing invite others to raise their voices, question the status quo, and reflect on their own experiences. Despite the doubts some of the artists may have experienced in making such outspoken pieces, the response was overwhelmingly positive.

Visitors to the exhibition where these works were first displayed at the National Museum of Tanzania, and then later at Nafasi, provided positive feedback that gave the artists confidence to create more works with similar themes, knowing that the public and even government representatives are willing to engage in dialogue around such issues. Perhaps this is one of the greatest powers of art - to bring people to the same table, with an openness and willingness to listen, reflect, and even change their views and behaviors.

Power, by Capher Simba (2020)

Online events & videos Nafasi held several online events during the physical closure between April - June 2020, including an exhibition opening, dialogue, film screening, and music festival, which attracted over 5,000 views from audiences all over the world. These events allowed Nafasi to continue building audiences for Tanzanian art and giving opportunities to artists to exhibit and share their work. However, a major challenge of online events was additional equipment such as lights and microphones to maximize the audio/visual quality, steady internet with large data capacity, and competition with other online content, such as YouTube and Netflix. Ultimately, Nafasi returned to holding a majority of its events in person, however the organisation continues to make use of online tools regularly and live-stream events and activities to audiences who have now become accustomed to "attending" arts events virtually. In addition to holding events online, Nafasi has made efforts to produce high quality video documentation of as many of its programmes and activities as possible, as these create a valuable archive of the space and are more engaging to some audiences than written reports or brochures. Furthermore, these videos can then be used by the artists to promote their work to other potential buyers/partners/funders, etc. For example, the series "Kutana na" created by Nafasi team and students Darragh Amelia, Gertrude Malizana, and Lillian Flaviana (consultant), profile the stories and motivations of the 2020 Academy artists, and have been used by the students to apply to residency programmes and exhibitions. These artist introduction videos can be found along with other short documentaries on the Academy on Nafasi's YouTube channel here: https://www.youtube.com/watch? v=qjIDRfcPkvY&list=PLAw9QnXMBjkedVKRLX9SxoJ8vDrfP8s07

Nafasi's first Virtual Reality exhibition an exhibition exploring freedom of expression in the era of COVID19 As the coronavirus pandemic isolated people in fear and worry, communities and governments pursued different management paths and responses. In Tanzania, businesses were encouraged to stay open, numbers of infections and deaths were not made public, and after a relatively short period, life was "back to normal," at least on the surface. However, it was clear that there was really no going back to the way things were and this new threat would fundamentally alter life for perhaps years to come. Seeking to provide artists with a platform where they could freely express their own experiences, thoughts, and opinions on the impact of the virus itself, as well as political, economic and social aftershocks, Nafasi organized an exhibition featuring a variety of artistic responses, which focused on both the personal and communal aspects of life during COVID-19.

Masoud Kibwana's artwork Behind the Scenes depicted an individual with her hands bound behind her back and her mouth locked and covered. Elias Jengo's Global Queen referenced the balance of nature, in terms of both its biological threats and potential cures. All of these works and more were exhibited both in person at Nafasi in September 2020 and in December via a Virtual Reality exhibition created in partnership with Frise Art Space, Hamburg. Hamburg is the sister city of Dar es Salaam, so the partnership was also an opportunity to maintain international bonds during a time of necessary physical separation. The VR exhibition was organized because it was not possible to send artists to a residency and exhibition in Hamburg as originally planned. A 21 min short film was also produced, featuring interviews with the exhibiting artists.

Tadhi Alawi's video piece, Stay At Home, explored communal willingness to make sacrifices for public health and safety, but wondered how people living on the edge could survive while quarantined and unable to work. Valerie Amani's digital art pieces Separation is a Construct and Decisions expressed the roller coaster of emotional states and disjointed feelings experienced by so many.

21 min film: Meet the Artists of Altered States: a VR exhibition https://www.youtube.com/watch? v=jVrFLmyYMgM

Hussein Juma's The Unknown Muse centered on the portrait of a masked man, his brow covered in sweat and a look of intensity in his eyes, surrounded by clippings of newspapers with alarming headlines. The piece represented the dangers and frustrations of unreliable information sources in the era of "Fake News" and the difficulty average people find in sorting fact from fiction. Amani Abeid's piece The World in Lockdown, realized in dark red paint, depicted a large pile of lifeless bodies, where one could make out the shapes of individuals from all walks of life. The paining suggested the massive toll of the pandemic that had been shrouded and perhaps even ignored.

The World In Lockdown, artwork by Amani Abeid (2020)

Curator’s Note

Altered States exhibition

Given the choice, would you rather be fifteen feet tall or five inches high? Even the most literal mind may struggle to deny the lure of the question, the enticing consequences of such basic realignments of our relationship with the world. In many ways it has been a year for this kind of realignment, for sudden yet strikingly simple loss of coherence. Alone, under an increased awareness of mortality, routines turned into survival dances as Covid-19 occupied every aspect of life, and though the reckoning has subsided, our surprise fading or hardening to indifference, the confusion wears on, inflamed by information overload, pixelated relationships and disfigured facts. We proceed in altered states, having witnessed or conceived an unravelling of the substrate we may never reconcile. Yet it is no secret that work created under turmoil can span a greater emotional spectrum--such are the gifts of the generous and committed artist. The work in this room was created individually, in rooms, studios, in response or homage, in experiment and play, each one is instinctive, urgent and together they conceive chaos as exultant intimacy, confusion as something volatile but rife with purpose. The anger is compelling, the wit and confidence provocative.

Separation is a Construct, by Valerie Amani (2020) Behind the Scenes, byMasoud Kibwana (2020)

In such ways, the emotional unrest, the mood of upheaval remains generous, somewhat humorous, wise, allegorical and even romantic. Yet it is laced with intensity, an agency that through the prism of an increasingly confused global order is almost heretical, a rebuttal to centuries long narratives of abjection. In these Altered States, we find expression and representation of the possibility of revised futures. Jesse Gerard, Visual Arts Manager

Wikiendi Live - Pamoja Tena a Re-opening event in September 2020 By July of 2020, Nafasi had cautiously reopened its doors to artists and the public. After carefully assessing the situation, Nafasi and the French Embassy partnered to re-launch cultural activities under the banner of Nafasi's flagship event. Wikiendi Live "Pamoja Tena" - which means "Together Again", celebrated the return of live artistic events, with new protocol for health and safety. Artists who were booked to perform at the event included Wahapahapa, Shabo Makota, MuDa dancers, Bahati All Female Band, Leo Mkanyia, TaraJazz and 3G. All of these participating artists and musicians were supported with access to Nafasi rehearsal space and equipment leading up to the event. Apart from the music programs, other activities included drumming and dance workshops, family games, crafts market and a group exhibition. Attended by more than 500 people of various nationalities and age groups. The event injected a much-needed influx of funds into the sector that had been economically crippled during the pandemic. 17 million shillings were invested directly into the event, which were then paid to artists as performance fees, to suppliers providing sound, stage, and light equipment as well as technicians, crew, decor artists, workshop facilitators, graphic designers, photographers, and more. This figure does not include income gained by the vendors at the craft fair and other secondary providers such as taxi drivers and bajaj drivers who benefited from the event.

Tukutane Nafasi a new event series Tukutane Nafasi was an event conceived by the Nafasi Team as a way to adjust to having smaller, more contained events with fewer audience members, but maintaining the vibrancy and impact of larger events. Similarly to Wikiendi Live, Tukutane Nafasi is a multidisciplinary event that showcases the current work of Nafasi artists, visiting artists and guests, and highlights conversations and themes of particular relevance and interest during a given time period. The event is an opportunity for networking, learning, sharing, and celebrating the work of the artistic community. Four editions of Tukutane Nafasi were held during FY2020-21, featuring visual art exhibitions by Aristote Mago from DRC, Anna Sobzak from Italy/Poland, Willy Karekezi from Rwanda, and performances by DJ Seche, Brown Isaya, Shabo Makota, Ambasa Mandela, 3G and more. Additional editions of the event have been planned for FY2021-22, building on the success of the event format so far.

exhibitions and open studios - overview Altered States - 26th Sept As part of Wikiendi Live, Pamoja Tena, our first major event since the Covid Pandemic, the team opened Altered States/Hali Zingine, an exhibition featuring work created during lockdown that can help both confront reality and channel our collective uncertainty towards imagining a better and more just world. After a few exhibitions featuring Academy artists. Altered States was an opportunity to engage and collaborate with more established members of our artist community such as Masoud Kibwana, Raza, Valerie Amani and Amani Abeid.

The Loud Silence - Willy Karekezi - 26 Feb At a relatively young age (b. 1993) Willy Karekezi has established himself as one of the most familiar names on the East Africa arts scene and a leading light in Rwanda’s fast growing contemporary art scene. In early 2021 he was invited to participate in the KAN Festival in Arusha (hosted by actionaid Denmark) but extended his stay in order to display his work at the Nafasi gallery. The resulting exhibition, titled the Loud Silence, was an examination of voice-lessness in society, culture, politics and economics and opened on the 26th Feb.

Aristot Open Studio - 14 Dec Aristot Mago completed his residency with an open studio of work that was created during the residency. The artist had created several pieces in his using style which employs sackcloth and yearn to bring gentleness to images of physicality and strain. Alongside him were several other artists all of whom had experimented with a range materials in their explorations of the theme

Open Studio - Anna Sobczack - 26 Feb Multidisciplinary polish artist Anna Sobczack ended her three week residency at Nafasi Art Space with an open studio of her ongoing project Paper Lives, for which she collaborates with regular people to create collages of old photographs which she juxtaposes with urban planning documents in order to create a visualized chart of communal memories moving through time.

Mwamba Open Studio - 17 Dec Mwamba Chikwemba concluded her residency on the 17 Dec with an open studio. The sheer quality of Mwamba’s paintings paired with her interest in exploring casting and other mediums was a great example of the ways in which artists can move beyond their comfort zones. Along with the paintined, were casting pieces created alongside the workshop participants.

Open Studio - Nickson Jerome - 6 Feb Nickson Jerome is one of the most exciting digital artists in Tanzania with major commissions for the World Bank and Mkuki na Nyota in his portfolio. Nafasi was his first artist residency and during his time with us he offered sketching and color workshops while exploring the limits of his creativity. For his end of residency open studio he shared a series of carefully observed sketches of the things he had seen and places he had visited during his residency.

public events - overview Wikiendi Live ONLINE - 1 May Mwamba Chikwemba concluded her residency on the 17 Dec with an open studio. The sheer quality of Mwamba’s paintings paired with her interest in exploring casting and other mediums was a great example of the ways in which artists can move beyond their comfort zones. Along with the paintings, were casting pieces created alongside the workshop participants. Black Lives Matter - 20 June Nafasi together with local activitists organized an event featuring poetry, music, mural painting, and a candlelight vigil to honor the victims of racial violence in the United States and across the globe. Tukutane Nafasi - 25 July Tukutane Nafasi in July involved both visual and performing arts elements whereby Nafasi Academy organized a screening of short films. While the PA department organized performances by Shabo Makota and Brown Isaya from Wamwiduka band in order to compliment the event. There was a special guest appearance by Ambasa Mandela. Tukutane Nafasi – LAUNCH OF 3G - 8 August The main PA event in August was the launch of a new Singeli collective known as 3G. This new group was was a result of mentorship prpgram by Nafasi Art Space in collaboration with On The Corner records (UK). Collaboration between Nafasi and On the Corner is aimed to scout and support underground artists so that they can be ready for different artistic opportunities locally and internationally. 3G is the first project selected to benefit from the program and they were launched on 8th August 2020, supported by other artists namely Tulizo band and Shabo Makota. The event was attended by over 120 people.

Wikiendi Live Pamoja Tena - 26 Sept Artists who were booked to perform at the event included Wahapahapa, Shabo Makota, MuDa dancers, Bahati all female band, Leo Mkanyia, TaraJazz and 3G. All of these participating artists and musicians were supported with access to rehearsal space and equipment so as to be ready for the actual event. Apart from the music programs, other activities included, Drumming and dance workshops, family games, Crafts market and exhibition of works created during the time of Corona pandemic. Attended by more than 500 people of various nationalities the event also attracted some dignitaries including the ambassador of USA. TUKUTANE DAR ART WEEKEND – 19 – 21 Nov 2020 Due to the challenges the World faced in 2020. Especially challenging for the art industry, we were all forced to close our doors and work in isolation, away from our audiences whom we create for – For this reason, Nafasi Art Space came with the idea of of organising the arts weekend in collaboration with other spaces and locations where art is practiced. Performing arts department had the task of organising performances to compliment other visual arts activities. These performances took place at Nafasi, Ajabu Ajabu and National Museum. Artists who performed included: Sit Amina (ZNZ), John Kitime, Man Kifimbo, Ashimba, Abeneko, Zawose Girls, Shine Dance and Theresa Ng’ambi from Zambia. Tamu African Night– 19 Dec Organised by Shine Dance Tanzania, Tamu African night is an event dedicated to the celebrations of Tanzanian Art and culture through music, dance, workshops, crafts, food etc. This was the second edition of the event after the first one in 2019. The event is also designed to work as a fundraiser for the Asili ni Tamu festival which was cancelled in 2020. Attracting over 250 the event had a mix of line up ranging from Dance, live music, traditional dance and singeli.

Tukutane Nafasi - 6 February The February Edition of Tukutane Nafasi featured an open studio, film screening, and exhibition re-opening of Inner Visions, which shifted from the National Museum to Nafasi. Performing artists contributed to the evening's entertainment Shabo Makota and DJ Seche performed for the audiences.

overview

NAFASI ART SPACE - ANNUAL REPORT 2020-21

outcome two INCREASED ART EDUCATION AND EXCHANGE FOR TANZANIAN ARTISTS

Indicator: Number of Tanzanian artists reporting professional and artistic development after receiving arts education and exchanging with other artists Target: Survey responses from 50 artists on their professional/artistic development, with at least 50% reporting measurable positive impact from Nafasi programmes/trainings

During the reporting period, Nafasi organized workshops, trainings, artist hangouts and artist-in-residency programmes on a regular basis that encouraged leaning and exchange between artists from different backgrounds and across different disciplines. Following the transition last year, there have been 12 new members from the academy who are in shared studio spaces and they used multiple disciplines. The academy was refined to accommodate people from different disciplines such as installation artists and photographers to encourage collaborations. A certain number of artists received training at Nafasi workshops from trainers coming from 9 different countries during the reporting period. All the workshops were offered free of charge with both lunch and materials included. Artist ‘hangouts’ are opportunities for visiting artists and art professionals to share their backgrounds, experiences and practice with the Nafasi community and public. Artist ‘hangouts’ are opportunities for visiting artists and art professionals to share their backgrounds, experiences and practice with the Nafasi community and public. The hangout usually consists of a 40 min-1 hour presentation, followed by 30 minutes Q&A session and after time for informal conversations and networking.

"I feel more professional in my work than before, since I am more confident with what I am creating because I research it thorough before creating my art work. Also I understand and I can critique my own art works and others also." -Ismir Ra, Student Member 23 artist presentations were conducted at Nafasi during this period: some by Artists in Residence, researchers, Nafasi members and others. Nafasi also offered internships to arts and arts management students from local as well as international universities and institutions. The major new activity that has demonstrated Nafasi’s focus and progress towards the outcome of increased art education for Tanzanian artists is the Nafasi Academy. From its inception, two academies have already been piloted: The Nafasi Academy for Contemporary Art, Expression and Inclusion together with Nafasi’s Curatorial Academy. The following sections focus more on the Academy programmes and their development during the reporting period.

NAFASI ART SPACE - ANNUAL REPORT 2020-21

progress towards outcome 2

Inclusive arts education

HOW DO YOU FEEL YOU'VE GROWN OR CHANGED AS AN ARTIST DURING THE COURSE OF THE ACADEMY PROGRAMME SO FAR? - I have grown When it comes to technical use when creating art, composing and analyzing what I wanna create before getting to it. - Nimekua kwa kiasi kikubwa, kuanzia kwenye kupata wazo, kulichambua wazo, kulijenga na kujaza nyama kwa kuangalia vyanzo mbalimbali, mpaka kuja kuliwasilisha ni jinsi ya kuliwasilisha.... Maendeleo ni makubwa, kwa hili ninashukuru. - Kwa upande wangu program hii imenibadilisha kwa kiasi kikubwa sana hasa kwenye kukuza uelewa juu ya sanaa, utendaji, na namna ninavyoweza kuiwasilisha kazi yangu na kuizungumzia,kupitia program hii mimeweza kujijengea uhusiano chanya kati yangu na wasanii wengine wa ndani na nje. - I have changed a lot technically and conceptually. My level of drawing changed a lot in terms of technique. Also I now create artwork based on concepts compared to previous. - I changed that much, learning how to compose and make nice conceptual work. - Have gained more confidence in my practice and also a good understanding of conceptual/contemporary art. - I have grown on research basis before producing my concepts in artworks. - I have grown to a point where I can talk about my art in a better way than before and with more techniques. - I have grown so much in terms of idea/concept development, research and how to create art in general. - Nimekuwa pa kutosha, kwa sababu kuna vitu vingi nimejifunza na vimeanza kunisaidia. - I've learned to value art more and to focus more in art. Nafasi Academy Student Members, July 2020 (Midterm Survey)

The 2020 pilot programme of the Nafasi Academy has offered artists from marginalized and discriminated-against groups the opportunity to access art space, education, exchange, and platforms that previously were not available to them. Over the duration of the course, those who were selected for the programme became increasingly engaged in art production and in using their art to explore topics of identity, expression, and rights. Upon graduation, all members had successfully participated in 5 theory masterclasses, 9 technical mentorships, 6 workshops and exchanges, 4 exhibitions, 1 public performance, 1 show at the National Museum of Tanzania and 1 art conference. Several students also took advantage of their newfound confidence and expanding professional networks to submit to other artistic opportunities, local and global.

Lessons learned during the Nafasi Academy pilot programme for visual arts training With regard to education – we learned that in order for a

In summary, we found that our goals were very much achieved in terms of what we were able to offer the students – an inclusive space, education, exchange, and platform that would help them to truly fulfill their potential as artists and arts practitioners. With regard to the space – we learned that a space works best when it is purpose-driven and designed by the community that it exists to serve. Multi-purpose spaces at Nafasi often go under-utilised. This is why from design to delivery, we endeavored to ensure that each element of the Nafasi Academy space was welldefined. Unfortunately, budgetary restrictions limited how ambitious our vision could take us – but the end result was an inclusive canvas that student members past, present, and future, will play a part in filling.

With regard to exchange – we learned that the most important artistic exchanges often take place outside of classroom hours, in the conversations shared over informal lunches or in the supports offered to each other’s artistic labour. This is why the provision of onsite studios played such a vital role in our programming, and why, in the future, we will likely embed more informal engagement between local and international artists into our scheduling. COVID-19 posed a great challenge to this exchange, but fortunately we were able to adapt with the help of workshops and artist talks delivered over Zoom. With regard to platform – we learned of the potential for connection to global markets through digital platforms, made even more important in the context of the COVID19 pandemic. However, we also recognized the importance of building demand and infrastructure for a local art market, which is something we have begun to do with our next Academy programme on curation and arts management.

NAFASI ART SPACE - ANNUAL REPORT 2020-21

Over our final period of implementation, we reflected on the Academy project as a whole – what went well and what obstacles and challenges were faced. This reflection was supported by survey responses and indepth interviews from the students and staff involved.

curriculum to truly succeed, it must be adaptable to diverse backgrounds and skillsets, as well as to rapidly changing contexts (eg. a global pandemic). Our innovative curriculum design, built around questions that formed thematic modules, was particularly helpful as it avoided restrictive technical limitations.

Virtual education for social distancing

One major innovation of the Academy curriculum design was to build the course not around time-periods, 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.

During the April - June closure of Nafasi's physical space, the administrative team worked rapidly to organize online lessons and platforms for the curriculum, adjusting lesson plans, budgets, and schedules to respond to the new need for distance learning. Funds that had been allocated to providing lunches to the students were instead given in weekly installments so that the students could buy mobile data bundles. Classes were held during adjusted hours because many of the students found that while they were at home, they were expected to be more involved in household tasks like cooking and cleaning, especially the female students. ZOOM became the tool for holding group classes, and the Google Classroom platform was used for posting and collecting assignments, sharing links to homework readings and videos, and giving feedback on submitted materials. Though there were challenges with adjusting to this new format, overall the transition was quite smooth thanks to the efforts of the staff, mentors, and students alike in making best of the situation and staying enthusiastically committed to art learning.

NAFASI ART SPACE - ANNUAL REPORT 2020-21

New approaches to art education in Tanzania

Gender balance in the arts

We do, however, have special pride for the female artists who have overcome substantial obstacles on their journeys toward artistic excellence. Aisha Mohamed, Gertude Malizana, Liberatha Alibalio, Shiija Masele, Hedwiga Tairo, Jennifer Msekwa, and Magreth Liwembe all come from diverse backgrounds and varying levels of experience. One thing, however, that was characteristic of many of them at project start was a lack of confidence in their work as professional practice – often expressing that ‘art is a man’s world’ and not knowing how to assert their place within it. But this initial insecurity did not hinder their devotion. Each day, they came to Nafasi and to their classes with eager curiousity and interest. Their voices were not only present, but boldly presented within their work – work that uniquely documents complex and nuanced East African identities of womanhood. With the support of the space, the education, the exchange, and the platform that was offered to them through Nafasi Academy - a cocoon for their artistic growth - they are all now confidently paving their own paths within the art world.

A trio have successfully participated in a local residency programme, another has traveled to Zanzibar for apprenticeship under the wings of a Nafasi Academy mentor, one is making a name for herself as one of Tanzania’s most exciting abstract artists, two continue to experiment upon the canvas that is Nafasi – and all carry the hope of continuing to create artwork with the power to transform society.

Dear Africans, by Jennifer Msekwa (2020)

NAFASI ART SPACE - ANNUAL REPORT 2020-21

Each and every student of Nafasi Academy’s first cohort has a unique story to tell – all of which you can hear about through creative video profiles published on Nafasi’s Youtube Channel.

Nafasi Academy for Contemporary Art, Expression, and Inclusion Course Overview Academy 2020 Module Reports Module 1: Introduction to Contemporary Art Review: 6 -10 April 2020 Soon after the closing the Nafasi Academy resumed online with a series of text exercises and discussion. In summary of the theme of the Module which covered Introductions to contemporary art through profiles of different forms, spaces, platforms and practices students were required to respond to different videos and discussion questions. The general success of this period informed the decision to move more fully into online programming. Technical Mentorships: 13 – 24 April 2020 Further improvements to online formatting and structure was undertaken during three weeks of technical mentorships in which our mentors Amani Abeid, Paul Nduguru, Gadi Ramadhani, Nicholas Calvin, Safina Kimbokota, continued their individual classes through online video calls.

Module 2: Global and African Art History, Theory, and Practice: 27 April – 8 May 2020 Between these dates the students undertook a two week intensive introducing the Nafasi Academy module on history. Throughout the first week Mentors shared their own formative experiences and the manner in which History informed their work while in the second a variety of speakers were invited to join the conversation. These included Dr. Kiagho Kilonzo who spoke on Ancient Rock Art, artist/curator Valerie Amani who provided an overview on the history of Modern and Contemporary African Art, Nafasi team Member Maria Kessi who spoke on the formation and eventual closure of Mawazo Gallery and Nicholas Calvin, Isak Abeneko and Gita Hermann who joined us to discuss their Vinyago project and discuss the questions around the return of ancient African artifacts currently in European Museums. Module 2 Exhibition: Re-Told: 15 May 2020 As part of the intensive week Nafasi Students were asked to complete the following assignment: Create a work which responds to or takes inspiration from a past style, artist, movement, or form of expression within Tanzanian art or culture in your own unique way. In your artist statement, discuss the influence and meaning of the reference you have chosen to your piece. The result was Re-told, an exhibition which examined the past through the practices, lives and interests of people in order to articulate a full and relevant cultural history. The exhibit was open on 15th of May with video presentations by the students and a live online tour with the Nafasi Team.

Module 3: Research and Concept Development in Contemporary Art Practice: 15 June - 4 July The artists at the Nafasi Academy were introduced to ideas and techniques that could help improve their concept development. The workshops took place online, and guest speakers included Zimbabwean artist and researcher Maxwell Mutanda, Ghanaian avant-garde performance artist Va-Bene Elikem K. Fiatsi, and Nafasi Alumni artist Masoud Kibwana Art of Creating: 4th July 2020 The ‘Art of Creating’ was our first event following the disruption caused by the COVID-19 pandemic. The event marked the end of the intensive week for Module 3 and began with Chap Chap Mind Mapping, a workshop in which the academy artists shared techniques for organizing ideas and thoughts with the public. The centerpiece of the event was the ‘In Process’ exhibition in which students presented work they had been working on over two weeks, using the conceptual tools they learn. Each work was presented alongside ideas and drafts. The works showcased showed the remarkable progress he students had made in a short time. Technical Mentorships: 13 – 24 April 2020 Following the In Process event the students were given a week off to prepare for the return of in person classes which began on 14th July. The mentorship sessions were hosted by Gadi Ramadhani, Paul Ndunguru and Tadhi Alawi, and covered topics of Concept Development, Sketching and Drawing Fundamentals, and Contemporary Dance and Movement. The addition of dance amongst the visual arts classes was designed to encourage the students to continue to expand their definition of art and gain confidence.

Module 4: Public Art, Activism, Art as Community Engagement: 10 – 14 August 2020 Between these dates the students undertook a week of intensive workshops introducing the Nafasi Academy module on Public Art, Activism, and Community Engagement. The week invited speakers such as singer/activist Vitali Maembe, visual artists Thobias Minzi, Nicholas Calvin and Meja Mbuya, all of whom shared their experiences with creating work in public space. The week also featured visits to the studio of James Gayo as well the creative arts department at UDSM and CityLab at Ardhi University. For their end of the week field trip we travelled to Coco Beach where the students performed the art interventions they had been preparing.

Module 4 Event: Meeting Points: 21 August 2020

Module 5: Professional Development & Entrepreneurship: 5-7 October

On the 21st August Nafasi and the students of the Academy hosted Meeting Points, an event to conclude the opening of the new module by celebrating art that engages with the public in a way as well as highlighting all the different ways in which performance is present or is accessed in everyday life. Guests for the evening included the Nafasi Alumni members Wachata, who shared their insights on the history of Graffiti and hosted a Public Workshop on Graffiti called Chap Chap Walls Can Talk. The evening was also an opportunity for the Academy artists to share what they had learned from performing live art pieces at Coco Beach the previous week.

The final Module of the Academy was focused on preparing the artists for life in the professional world. As with each of the other modules, it opened with a week-long intensive workshop featuring guest speakers and practical sessions hosted by a variety of partners or collaborators. Among these were Nafasi's former visual arts manager Asteria Malinzi, photographer Daniel Msirikale and former artist resident and entrepreneur Ngaira Mandara. Undoubted highlights of this were an arts community networking session with Ayeta Wangusa of CDEA, Grace Matovolwa of Chema Design, and Aidha Mulokozi of DARCH and a field to ARK, an idyllic residency retreat in Kigamboni where the students were asked to prepare a portfolio and prepare a mock pitch for consideration. . With the first wave of COVID in Tanzania, the Academy had to be in a halt for three months during the lockdown. Starting July, classes were done online with some being attended at the Nafasi Academy grounds.

Launching the Nafasi Academy Curatorial and Arts Management Programme Nafasi Academy is an exploratory endeavour that aimed to examine alternative formats of art education and establish curricula that will equip aspiring and emerging contemporary artists and arts workers with the tools and the confidence to practice with purpose. The 2021 programme was focused on Curatorial Practice and Arts Management, with the goal of building the capacity of 14 cultural practitioners. The format was to combine elements of theory, management, and practice that directly addressed gaps found within Tanzania’s arts community hindering its growth. After months of curriculum development, a task undertaken by the Nafasi Team with supportive guidance from partner spaces across the continent, the programme was prepared for implementation. A comprehensive application was filled out by 60 applicants from across Tanzania with diverse backgrounds and experiences around the arts, 21 of which were invited for interviews, and 14 of which were selected (7 male, 7 female).

The curriculum was framed by four topical modules of interrogation: the Curator and the Self, the Curator in Time and Space, the Curator and the Artist, and the Curator and the Audience. Each module commenced with a mandatory intensive week during which several sessions were delivered around theory and critical creative though, led by highly experienced local and international arts practitioners. These intensives were linked by a series of practical training workshops delivered daily by practicing arts managers from Tanzania and abroad. The workshops worked to foster skill development around creative and professional writing, arts administration, research and concept development, curation as community practice, and critical curatorial exchange.

Nafasi Academy 2021 - Curriculum Overview Module 1 - The Curator and the Self

Module 2 - The Curator in Time & Space

Module 3 - The Curator and the Artist

Module 4 - The Curator and the Audience

The first module of the Academy focused on self reflection, subjectivity and bias under the title of ‘the curator and the self.’ The module opens with a full time module intensive week between 15-19 February. The intensive week served to introduce the students to each other, to the space and to the module as a whole. Speakers for that first week included artist and former visual arts manager Valerie Amani, artist member Isak Abeneko and renowned souh African curator Molemo Moiloa.

The focus of this module were explorations of history and context in relation to the practice of curation or arts management. The module opened with an intensive workshop which took place between March 22 and March 26. The workshop featured trips to National Museum and Darch and conversations surrounding the past, present and future with major local and international arts practitioners.

Towards the end of April, between the 27th April and 1st May, Nafasi commenced the third Module of its Curatorial Academy centered on the relationship between the curator or arts manager and the artists they collaborate with.

Our final module for the Nafasi Curatorial Academy titled the Curator and the Audience commenced 31 May. The module centered on the examination of access, sustainability and the relevance and opening week featured sessions facilitated by Rebecca Young (DRUM), Walter Bbgoya (Mkuki na Nyota), Martin Mhando (ZIFF) and Yusuf Mahmoud (Busara). There was was a special panel discussion on sustainability featuring Rachel Kessi, Mussa Sanga, Adrian Nyangamalle and Aziza Ongala that was hosted by Nicholas Calvin. The intensive week concluded on 4th June.

Module 1 Nafasi Academy Mentorship Sessions Following the intensive week, the students' training reverted to a half day schedule of core skills that require consistent dedication. These Mentorships are led by the team and provide an overview of the following key skills, Analysis and Critique, Arts Administration, Community Practice, and Research and Concept development. Nafasi also organises a conversation every Friday between a major figure in the arts in Africa, following on from Molemo and Valerie, the students have had the opportunity to listen to Ukhona Mlandu, director of Greatmore Studios in South Africa and the founder of the Lagos biennial, Folakunle Oshun. Each of these conversations are available online as part of our Invisible Hands youtube series that are released on Fridays.

Among these were Professor Elias Jengo, who conducted a lecture on the history of art, photographer Nicolas Calvin, who was joined by dancer Isak Abeneko and curator Gita Herman, for conversations on restitution surrounding ancient African artefacts housed in Western Museums. Also present was curator Don Handa, from circle art, who was the first of our curators in residence.

Guiding ideas of this module included close examinations on the nature of art itself. A revaluation of the established practices of venues, galleries and museums as well as interconnections between the artist and society. The module opened with a curatorial intensive workshop featuring conversations and lectures by Asteria Malinzi of Rangi Gallery, Julia Kaseka the director of Modzi Art gallery in Zambia and the second curator in residence for the Academy, Rosaline Olang’Odhiambo, currently with the Nairobi Contemporary Art Institute.

Nafasi Academy Module 2 Mentorship sessions

Nafasi Academy Module 3 Mentorship sessions

Between the 26 March and 27 April the curatorial cohort resumed part time technical mentorship sessions on key creative and practical skills ranging from writing and analysis, proposal writing, research, to team management and administration hosted by the Nafasi team and experienced members of the artistic community such as Nicholas Calvin. Each week in this time was capped by conversation with globally established curators such as Partrick Mudekereza (Waza center, Lubumbashi, DRC).

Between May 1 and April the curatorial cohort resumed part time technical mentorship sessions on key creative and practical skills. These were hosted by the Nafasi team with support from experienced cultural practitioners and artists. Nicholas Calvin continued to host a session once a week on research while our partners Empower LTD facilitated sessions on leadership and team management. Once again, was capped by a conversation with globally established curators including Daudi Karungi (Afriart, UG) and Danda Jarolmek (Circle Art, KE).

Nafasi Academy Module 4 Mentorship sessions Between 4th June and 2 July the Nafasi Academy Curators proceeded with their final round of technical mentorship sessions that were tailored around their interests and built to support the development of projects close to their heart. Through sessions on research, marketing, speaking and concept development the Academy cohort refined each of their projects in preparation for a pitch session with representatives of funding institutions. The pitch sessions took place on 1 July as conclusion to the Nafasi Academy classes and featured on the panel were representatives of HIVOS, Norwegian Embassy, Swiss Embassy and CDEA.

Imagined Encounters & Patterns of Exchange with Bang and Lee (South Korea)

which focuses on DIY ceramic 3D printing, as well as conversations with curator Nathalie Boseul Shin from the Total Museum of Contemporary Art, Korean curatorial collective Team Hashtag, and the Nafasi Academy Curatorial Programme.

Workshop, Virtual Residency, Film, Catalogue & Exhibition

The Tanzanian artists and curators selected to participate in the exchange had interests spanning design, installation, technology, and sculpture. In addition to the virtual conversations held in a workshop format, the participants engaged in research and creation over the two-month period, creating works inspired by and in dialogue with the Korean interlocutors.

From March to May 2021, Nafasi Art Space in partnership with curator Kristina Dziedzic Wright and the South Korean artist duo Bang & Lee, undertook an ambitious collaborative exchange which involved a virtual workshop, the production of new work in both Tanzania and South Korea, a culminating multidisciplinary event featuring two side-byside exhibitions. Bang & Lee had been scheduled to come to Nafasi Art Space for a residency and exhibition in 2020, however due to the COVID-19 pandemic they were unable to travel. Though a series of conversations with the artists, curator Kristina Dziedzic Wright, and Nafasi’s curatorial team Rebecca Yeong Ae Corey and Jesse Gerard, a new format for collaboration and exchange was been conceptualized around a series of virtual conversations and experiences that engaged with Bang & Lee’s current project, the Artist Stone,

The exchange explored linkages, parallels, and contrasts in Tanzanian and Korean design, patterns, and (visual) cultures, which provided an opportunity to excavate hidden historical and contemporary symbols, concepts, and systems that have informed both African and Asian societies. At the same time, this exchange sought to examine what intercultural exchange might look like when international travel is not possible, and instead virtual technologies and human impulses must meet to cross the distances between people. Through these real and imagined encounters — despite dropped calls, power cuts, delayed shipments — did we forge meaningful connections and expressions that bring us together? 15 min film: Imagined Encounters - Bang & Lee In Dar https://www.youtube.com/watch?v=xo_BOHHikhI

“I liked visioning and setting goals most [in this workshop]; I learned the role of patterns and how they contribute to the present world. But also the technology and its contribution to this coming exhibition, for example 3D printing and its uses.” Benard Ntahondi, Imagined Encounters Workshop March 2021

artwork by Ibrahim Jonathan

Sauti Mpya Film Development Programme supported by WeWorld and the European Union Building on the success of previous film initiatives, Nafasi Art Space in partnership with We World Tanzania, Zanzibar International Film Festival, The Tanzania Film Board, and Azam TV, initiated a narrative short film development opportunity for emerging storytellers interested in the art of filmmaking as a form of self-expression. Facilitated under the guidance of experienced local & international filmmakers, the initiative was created to give aspiring young aspiring filmmakers the opportunity to take part in the making and development of original and creative short films in a collaborative setting, involving practical and theoretical training, mentorship, and on-set experience. Nearly fifty people applied and 20 were selected to participate in the training, with an emphasis on young and female applicants.

The topics to be covered in the training include: Story development Script writing Pre-Production (budgeting, location scouting, casting, scheduling, and more) Production (cinematography, art direction, working with actors, etc) Post-production (sound and music for film, editing, color grading, subtitling, promotions) In addition to mentorship and training by industry experts and professionals, all participants will have the opportunity to be on the crews for the production of three short films of 10-15 minutes in length, that will be shown at local and international film festivals.

Artist Residency Highlight Carolina Aranibar Fernandez Carolina Aranibar Fernandez is a Bolivian artist whose artistic practice fuses video installation and oral storytelling with fiber and craft techniques. She was selected as one of three artists set to join Nafasi during 2020 for a residency that was specifically for the Academy programme, aimed at furthering inclusion for women and youth in the arts. She was scheduled to join in May 2020, which became impossible due to flight restrictions related to the COVID-19 pandemic. Carolina’s rare understanding of the role of material in arts practice filled a unique knowledge gap. Despite Nafasi's familiarity with the art of installation and interest in the practice locally, this is still an area in which we sought voices who could relate the work to the local context. A combination of historical and social similarities between South America and Africa and a consistent questioning of dominant narratives made Carolina a good fit for the sharing of this knowledge from a relatable perspective. Yet through Carolin’s generosity and the commitment of the Academy artists and the Nafasi team, the workshop was able to go on remotely.

Every Wednesday between 18 May and 5 June Carolina would join us from her native Bolivia for a virtual workshop on Installation Art. The workshop covered the history of installation art, materiality and form, and culminated with an exercise in which students created and shared their own installation pieces such as the one pictured here. Having formed a unique bond with the Academy artists and staying in touch with the team throughout the year, Carolina was eventually able to come to Tanzania for an in person residency in November. During the residency she advised students on their final projects in the lead up to the final exhibition and shared several new pieces made from fabric and soil as part of an Open Studio titled Within Threads.

This installation, titled Behind the Tray, examines the polar dynamic between alcohol and emotion from the perspective of service workers. Artist and Nafasi Student Member Capher Simba has worked for many years as a waiter. He uses the corks beside the bottle as a graph to mark rising joy and friendliness on one brightly-painted side symbolizing some customers, contrasted with darkness and anger as represented by the side painted black, mirroring the experience of others.

artists in residence

workshops & trainings

Judit Pla Cano (Spain/Zanzibar) Judit Pla Cano 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 colorful paintings and intimate writing that philosophizes about human experience and personal contemplations about life. She joined us for a residency between the 1 Sept and and 25 October 2021.

Installation Art - 18 May - 5 June

Stories We/Women Tell - 14 Dec

Every Wednesday between 18 May and 5 June artist Carolina Aranibar Fernandez (BOLIVIA) joined us remotely from her native Bolivia for a workshop on Installation Art. The workshop covered the history of installation art, materiality and form and culminated with an exercise in which students created and shared their own installation pieces.

Our other artist in residence, Mwamba Chikwemba (ZAMBIA), hosted a casting workshop for female artists. The artists shared stories relevant to the female experience while working with plaster to cast various body parts.

Aristot Mago (Democratic Republic of Congo) Aristot Mago is an artist from Kinshasa, Congo who joined us for a month-long residency between the 16 November and 14 December 2020. His striking use of sackcloth and yarn creates strikingly physical, yet delicate and tactile images of the human body. Through many interactions and within his multidisciplinary workshop Aristot was able to offer an insight of how a strong conceptual foundation is key when moving beyond traditional materials. Mwamba Chikwemba (Zambia) Mwamba Chikwemba is an artist from Lusaka, Zambia who joined us for a residency between the 14 November and 17 December 2020. Despite the fact that the residency was relatively short, Mwamba was remarkably productive and the open studio featured several compelling pieces on canvas along with casting pieces created alongside the workshop participants.

Nickson Jerome (Tanzania) Our first artist resident for 2021 was Nickson Jerome, a young artist from Arusha who has established himself as a prolific and well respected digital artist with major commissions for graphic design projects with a variety of local and international organisations. His residency at Nafasi between 14 January and 6th February gave Nickson valuable time to reflect and experiment on his practice while building stronger ties with the artistic community. It ended with a showcase of colored sketches from people and places he had visited during his time in Dar-es-salaam.

Borders - 7-9 Dec Anna Sobczak (Italy/Poland) Between 3rd and 28th February Nafasi invited Polish artist Anna Sobzack for a three week residency. Anna’s residency was originally scheduled to take place last year but was rescheduled due to COVID-19. Anna’s art practice prioritzes participation and her works often involve engaging members of the public. During her time in Tanzania Anna worked on a project called paper lives in which she retouched copies of old black and white pictures by Dar-es-salaams residents. Willy Karekezi (Rwanda) Between 3rd and 28th February we were also joined by one of the foremost artists in Rwanda for a three week residency as he prepared his first exhibition in Dar-es-salaam.

As part of a month-long residency at Nafasi, artist Aristot Mago (DRC) led a workshop on the theme of borders. The workshop consisted of dialogues on theme and some sessions on using experimental materials to create art. The work created showed a wide range of skill and technique. While the method of engaging artists in critical and creative conversations before the creation of work continued the shift away from top down approaches to skill sharing and exchange at Nafasi.

Watercolors – 5-6 Feb Between 5th and 6th of February Nickson Jerome (ARUSHA. TANZANIA) hosted a sketching with watercolor workshop were he taught various drawing and color mixing techniques. The workshop attracted a minimum of 10 people each day Sound Art – 22-24 Feb Between the 22nd and 24 February Anna Sobczak (ITALY/POLAND) hosted a sound art workshop for artists in which they studied the history and methods of using sound as a medium of contemporary art.

overview

NAFASI ART SPACE - ANNUAL REPORT 2020-21

outcome three PUBLIC IS MORE AWARE OF CONTEMPORARY ART IN TANZANIA

progress towards outcome 3 Target: 30 surveys conducted per month and changes/progress tracked throughout the year, with minimum of 50% of respondents being female

“What I enjoy the most about the event is the performance of singers who mix both traditional and modern songs”- January Hussein Mohamed on Tukutane Nafasi Film Screening on 25th May 2020 “I loved the way the workshop was organized and how every essential equipment that was needed for painting was available and the host presented his work clearly”-Victor on Water color workshop by Nickson Jerome 05th February 2021 True to its vision of "enriching and furthering human potential through the medium of contemporary arts," Nafasi Art Space has continued to promote and raise awareness of contemporary art in Tanzania through public workshops, art talks, events and exhibitions. During the COVID pandemic, Nafasi Art Space adopted various strategic measures to reach out to the public such as hosting virtual events with an online audience, including hosting Nafasi Academy sessions online. Though the Academy programme is for a selected group of students, many of the sessions were uploaded to Nafasi’s YouTube Channels & IGTV on Instagram, thereby creating access to the general public for key sessions and lectures that share the Academy’s innovative approaches to art education.

During the reporting period Nafasi Art Space was able to organise exhibitions online, for example the "ReTold exhibition” had a total of 665 online viewers (https://www.instagram.com/tv/CANgf8KDjiX/ ), Meeting points which had a total of 409 online viewers, (https://www.instagram.com/tv/CEHhwZAHYxj/ ) as well artistic development workshop from different artists including Artist in Residence workshop facilitated by Judit Pla which was about color theory and portrait art. Moreover Nafasi Art Space was able to organise a series of events under the name “Tukutane Nafasi ” bringing artists and the public together despite the difficult times in the art and culture industry. Tukutane Nafasi events attracted anywhere from 50300 public audiences on a monthly basis - and 50% of the attendance were new and diverse audiences from different places as well as talented artists and cultural groups who seek for a platform to showcase their talent. In 2020-21 Nafasi Art Space continued to strengthening the use different platforms such as artisan markets, online social media platforms including Instagram, Facebook and twitter. For the first time, Nafasi was able to introduce official numbers for WhatsApp and Telegram so as to be closer with the public on sharing important information about different art & cultural activities taking place at the space.

NAFASI ART SPACE - ANNUAL REPORT 2020-01

Indicator: Number of people who express interest in and awareness of contemporary art events

selected poster art from 2020-21

designed by Darragh Amelia, Jesse Gerard, Raj Habibu, Ibrahim Mkude, and Nickson Jerome

“What I enjoyed the most is the message carried by this event. I loved the way different artists represent community in a very creative way. The videos created by the artists were great.” - Ibrah Talata, audience member at MEETING POINTS, August 2020

KEY RESULTS FROM AUDIENCE MEMBER SURVEYS Would you come back to another event at Nafasi? 100% Yes Average number of events that audience members attend in a year at Nafasi: 5 60% of audience members tend to be repeat visitors, 40% new audiences at every event 100% strongly agree or agree that Nafasi is an important space for arts and culture in Tanzania 100% strongly agree or agree that they learned something new about arts at the Nafasi event they attended. 85% of audiences were Tanzanian 50% of audience members were female, depending on the event

Visual Arts Manager & Curator Jesse Gerard

Visibility in the Private Sector: Tanzanian art commission for CRDB Headquarters In April 2020, Nafasi was contacted by IRD, a design firm based in Dubai who were contracted by Tanzania's leading bank CRDB for the interior design of their new headquarters in Dar es Salaam. Nafasi pitched a number of visual artists through a formal tender process, and ultimately two of our proposed artists were selected, Lazaro Samuel and Mwandale Mwanyekwa. Several additional Nafasi Alumni made independent pitches that were also accepted.

Nafasi's visual arts manager Jesse Gerard worked closely with the artists on the conceptualization and production of their pieces, as well as the installation of the works in the building.

Mwandale Mwanyekwa Livala (Shoulder), 2021

The commission demonstrates several important results: Nafasi's ability to connect artists to income and platforms at the highest level, to generate income via its marketable skills in curation and arts management, and the success in raising the public profile and demand for Tanzanian contemporary art. There were significant challenges along the way, including working with a client who was based outside of Tanzania and had little understanding of the practical aspects of commissioning art in the country, the fact that many of the materials needed for professional commissions cannot be sourced from within Tanzania and had to be ordered from Kenya (such as high quality paints, varnish, and paintbrushes), and the arduous administrative requirements of tendering with CRDB. However, ultimately the project was ultimately successful as it resulted in income for both artists and Nafasi, and more visibility and awareness for Tanzanian art in a major bank with potential for lasting positive impacts as more high net-worth individuals and collectors encounter the work.

Nationhood I, II, and III (2021)

Lazaro Samuel

NAFASI ART SPACE - ANNUAL REPORT 2020-21

Mwandale Mwanyekwa's sculpture of Masai figures was selected to be a featured piece in the reception rotunda of the building that all visitors will see when they enter the building. Lazaro Samuel's triptych of paintings, the Nationhood Series, in the national colors of Tanzania, were selected to be placed in the Managing Director's suite on the top floor of the building.

press & media Media is one of the most powerful instruments of communication. The media's role in Tanzania has proved to be an effective tool for spreading knowledge, raising awareness and changing social perceptions. Nafasi Art Space has continued to strengthen its relationship with different media within the country & outside such that during the reporting period we were able to welcome different media and individual presenters who dedicated their time on filming and broadcasting a significant amount of content for their TV and online programs. For example, Nafasi's vibrant festival Wikiendi Live Pamoja Tena was promoted by media such as TBC 1, The Citizen, Safari Channel and more. The Quarantine Residency project was also covered by CGNTV, which generated considerable attention for the virtual exhibition.

Nafasi has also built a new partnership with AZAM TV, and will be the executive producer for a six-part reality docuseries called TAKE THREE, that follows the journey of aspiring filmmakers taking part in a Nafasi film training programme. The reality series as well as the three short films created during the training will be broadcast on Azam TV to their audience of millions of viewers. Nafasi hopes that this will be the start of a long-term partnership with AZAM that will provide a major national platform for Tanzanian art and art initiatives.

Nafasi's Director Rebecca Corey was invited to write a regular arts and culture column for Twiga Magazine, the inflight publication of Air Tanzania, which has provided an opportunity to shine a spotlight on artists across Tanzania, including Nafasi members as well as other artists and projects. So far, the column has covered the Altered States Exhibition, the Sanaa Blast festival at University of Dar es Salaam, the power of cinema in Tanzania, and more.

Furthermore, as Nafasi has grown more established, interest and motivation of the member artists and staff has pointed to an opportunity to develop more in house content. Possibilities discussed and in the conceptualization phase include TV shows, documentaries, and podcasts based on Nafasi's activities and programmes. In the past, the Wikiendi Live podcast has proven to be very successful for reaching new audiences, however Nafasi's infrastructure and equipment would need further investment in order to expand this programme into a sustainable, regular product. In the meantime, Nafasi partners closely with former member Mussa Sango, who runs Boresha Online Radio which covers many of Nafasi's artists and activities.

Online magazines and art blogs such as Emergent Art Space and People's Stories Project continue to cover Nafasi, which help further cement Nafasi's reputation in the art world.

In the future, Nafasi will continue to work closely with media partners and on its own internal content production capacity to help ensure the widest possible reach of Tanzanian art stories.

nafasi merchandise Within a broader strategy for promotion of the art and cultural content as well as the identity of Nafasi Art Space, merchandise such as tote bags, t-shirts, calendars, stickers, mugs, postcards and sketchbooks have proved to be another effective method for generating income to support sustainability of the organisation. Nafasi merchandise has also been a way to promote the organisation in other countries and communities where we have partners. For example, many visiting artists, curators, and partner spaces buy or are given t-shirts and totebags as gifts, which they then take home and wear/use regularly, effectively gaining more awareness and familiarity with Nafasi even in spaces where the organisation does not have active projects. For artist members, staff, workshop leaders and other major stakeholders, these items also help to create a sense of belonging and identification with the art space. During the year, Nafasi generated more than 1 million shillings in revenue from sale of merchandise. Complimentary items given as gifts contribute to Nafasi reaching an estimated 50,000 additional people who come into contact with the Nafasi brand. Nafasi has also placed certain products such as the popular art calendar at local boutiques and markets, which has been a successful way to reach market segments who do not normally come to Nafasi's physical space. In the coming period, Nafasi will explore the opportunity to develop items that target different audiences and markets, especially the youth who have shown demand for such items including caps, long sleeve t-shirts as well as face masks.

audience feedback Social media has become a major tool for artists and arts organisations around the world, including major museums, galleries, and art fairs, as these online tools provide a platform to reach large audiences and connect with supporters. Nafasi's digital communications strategy is to use direct engagement with art lovers via a variety of social media platforms, especially those suited to arts promotions, such as instagram and whatsapp. Nafasi's digital communications is led by Ibrahim Mkude, a young Tanzanian professional who began his career in arts management as an intern at Nafasi in 2019 and was later promoted to Marketing and Communications Coordinator. During the year, Nafasi reached 10,000 followers on Instagram, which was notable because Nafasi does not pay for promotions or followers like many other institutions, instead relying on organic audience growth. This success was achieved by sharing relevant, relatable content on a regular basis and communicating with online followers in a welcoming, conversational manner. Nafasi shares its large reach with artists and partners by also posting about their events, exhibitions, and activities in order to help boost art content that would otherwise struggle to reach wide audiences. A few examples of audience feedback shared online are provided here:

social media engagement (cont'd)

From January 11th – 31st Nafasi partnered with the European Union Delegation in Tanzania to facilitate the creation of artworks on environmental protection and awareness as well as several schools outreaches at local secondary schools. The project was part of activities recognizing the 45 year anniversary for EU-Tanzania bi-lateral relations, with a theme on environmental issues and strategies, including the Green New Deal, the Blue Economy, and the Urban Dimension. Nafasi worked with three artists, Nickson Jerome, Amani Abeid, and Paul Ndunguru to deliver original artworks, 5 outreach workshops at local schools and branding for the anniversary. Nafasi's team canvassed for public schools who would be interested in the project, meeting with the administrators and identifying two schools that seemed the most enthusiastic and organized. The schools selected were Salma Kikwete and Mashujaa high schools. Between the 11-15 January the Nafasi team, along with the selected artists commenced the first round of workshops. Each school was visited once during this week for a workshop session on

drawing and sketching. Jesse Gerard, the visual arts manager, introduced the project and spoke to the students about the meaning and background behind the EUTanzania strategies for an environmentally aware 21st century. The workshop blended important information on environmental conservation with artistic expression. Artist Amani Abeid facilitated the first session at both schools during which he shared sketching and drawing techniques according to the imagery of the themes. After the first workshops, 50 students were chosen by the teachers to take part in phase two of the project. Having introduced the themes and the competition, the second round of workshops

were focused on solely on improving the art technique of the students. The sessions began with a review of the work created the previous week, then proceeding into color theory and mixing. Artists Amani Abeid and Paul Ndunguru provided a demonstration on using and mixing watercolor before guiding the students as they began to experiment with the materials -- which were unfamiliar to many. In addition to the art workshop. There was also a dance session hosted by Nafasi members Shine Dance. The final event of the schools art workshop and competition took place on Saturday 30th January at Salma Kikwete secondary school. The all-day event gathered students from both schools who were asked to show their final pieces and share the ideas and inspirations behind them. Students from each school took turns to demonstrate their artistic talents in front of their schoolmates, teachers and Nafasi's team of artists and art professionals.

NAFASI ART SPACE - ANNUAL REPORT 2020-21

Art for Environmental Awareness: The Green New Deal, the Blue Economy, and the Urban Dimension

Following the presentations, the best work from both schools were selected by the lead artists. The winning students were rewarded with an art kit that included paints, a small canvas and brushes. The work made by these students was collected for display at an EU anniversary event at the end of May. This project resulted In Increased awareness and visibility of Tanzanian art and artists for school children, as well as raising Important conversations on the Importance of environmentalism and strategies for sustainable green (and blue) economies. Furthermore, the project provided income to the participating artists as well as funds for Nafasi for its operational expenses.

Amani Abeid, 2021

Paul Ndunguru, 2021

Nafasi hopes to undertake similar collaborations in the future.

Logos designed by Nickson Jerome

overview

NAFASI ART SPACE - ANNUAL REPORT 2020-21

outcome four A SUSTAINABLE AND INDEPENDENT ART INSTITUTION DRIVES INNOVATION AND EXCELLENCE IN THE TANZANIAN ART SECTOR

progress towards outcome 4 Indicator: Positive feedback from artists, arts professionals, and the public regarding Nafasi’s importance to the Tanzanian art sector

During 2020-21, Nafasi's primary focus was the completion of the 2021-26 Strategic Plan, based on an extensive process of internal and external research and stakeholder feedback gathering, group work, and analysis of past and current programmes, activities and results. The end goal was a strategic plan that is the primary roadmap and guide to the organisation's work, which builds the sustainability and independence of the organisation, thereby enabling it to constantly innovate and improve its delivery of key results, namely a thriving art sector overall. The 2016-20 Strategic Plan was the organisation's first official SP, which formed the backbone for all proposals and projects during the period and gave the institution a clear and collective shared goal and vision. The challenge over the past five years have been to align that written plan with the reality of an active art centre on the ground - where funding shortages, day-to-day management challenges, and other issues such as power cuts, severe weather, and of course, pandemics, presented unforeseen obstacles

that had to be addressed, while constantly striving toward the objectives and results outlined in the plan. Luckily, Nafasi has continued to succeed in promoting artists' freedom of speech and creating access to cultural rights for the public, primarily in Dar es Salaam over the past five years, overcoming various challenges along the way. Today, Nafasi is known not just in Tanzania, but across Africa and around the world, as an important space for the arts in East Africa, having nurtured successive generations of artists and connected the Tanzanian art scene to wider networks and opportunities. Furthermore, it's been an important space for Tanzanians to experience the value of a safe and free space for expression. Ultimately, the new strategic plan represents a collective vision for the organisation going forward that contains the input of artists, curators, arts managers, businesses, donors, partner cultural spaces, audience members, art collectors, and others who have been a part of Nafasi's story since it was founded in 2009.

The target in this period was not only to confirm Nafasi's importance to the Tanzanian art sector, as was validated through the stakeholder feedback survey conducted in 2019-20, but to act on that vote of confidence and demonstrate further ways that Nafasi can strengthen the Tanzanian cultural infrastructure. For example, by training the next generation of Tanzanian curators and arts managers who will go on to build their own "Nafasis", thereby creating a multiplier effect. Similarly, the "FEEL FREE" Grant programme was a way to not only receive funds from donors to implement cultural programmes, but to also provide funding to artists and arts organisations outside of Nafasi who will conceptualize and implement their own creative visions and reach new and different audiences across the city and country. The feedback from these trainees and grant recipients will be included in next year's annual report, once the programmes are concluded and feedback is compiled and analyzed.

In the meantime, the following section of this report highlights Nafasi's activities related to organisational sustainability and resilience, particularly in the areas of management, financial sustainability, and partnerships with other arts and culture organisations, followed by a section on the overall impact of Nafasi in Tanzania. Furthermore, a brief overview of Nafasi's new strategic plan is provided.

NAFASI ART SPACE - ANNUAL REPORT 2020-01

Target: Gather and analyse 80 survey results, with minimum of 50% of respondents being female

Nafasi strategic plan 2021-26 Nafasi began its strategic planning process in March 2019 with a climactic survey conducted by Empower Limited to re-visit Nafasi's vision and mission statement. In December 2019, a cocreation and visioning workshop with the Board, management, and artist membership continued the process of reflection and planning, with a focus on articulating the organisational values, reflecting on key strengths and opportunities, and priorities for the next strategic plan period. Following the workshop was a stakeholder feedback survey and in-depth interviews with key stakeholders. This phase was followed by a Strategy Retreat in March 2020 with the board members and management team, during which the main objectives/goals for the next Strategic Plan were drafted based on the preceding phases. From April 2020-March 2021, the management team worked on further breaking down the main objectives into targets, key activities and performance indicators, and major performance goals, as well as writing the theory of change and narrative descriptions of the plan and its objectives. Drafts of the Strategic Plan were presented to the Board during the Q3 and Q4 board meetings, and feedback and comments were incorporated. Finally, the plan was approved during the Q1 board meeting for FY2021-22. The updated strategic objectives are summarized below:

Artist Development

Audience Engagement

Partnerships & Networks

Sustainability & Resilience

To facilitate artistic development in order to safeguard the future of artistic creation via Professionalisation of artists, education and exchange programmes, capacity building for cultural workers

To increase the visibility and stimulate discovery of the arts through strong marketing initiatives in order to cultivate active engagement and access for the public via Public events, community outreach, marketing intiatives

Collaborate and partner to create a networked ecosystem of arts practitioners that collectively contributes to the growth and vitality of contemporary art via Public policy advocacy, art networks, incubation and funding

Strengthen a sustainable and independent community art institution that utilizes available resources efficiently whilst pursuing new opportunities via Institutional learning, financial management, stakeholder engagement, organisational growth

Cross-cutting Objective: Building Artistic Community Build artistic community that recognizes the role of art in improving lives, bringing people together, and uplifting humanity via Inclusive practices and policies, regular community building events and activities, exploring cooperative models

Financial management Over the past several years, Nafasi's board and management team have led the organisation to increasing levels of programmatic ambition and impact, leading to a corresponding increase in the complexity of the financial processes and demands. Updated government and donor regulations have also lead to increased requirements for financial reporting. Nafasi has hired several expert consultants from within Tanzania and abroad during this period to conduct trainings and support building of improved procedures and processes.

When the Swiss Embassy agreed to join the Norwegian Embsasy as a core donor and to provide funds for the FEEL FREE grant programme, they agreed with Nafasi Management that management of sub-grants would add a new level to the financial management requirements which would call for an expansion of the department. During July-September, Nafasi undertook a major recruitment for its first ever Finance Manager. Nafasi worked with Empower Limited which provides professional recruitment services for major Tanzanian companies and NGOs. Ultimately, dozens of CVs were collected and reviewed, and 6 finalists were provided to Nafasi for review. In depth interviews were held with board members and staff to assess the qualifications of the candidates, their motivations and understanding of Nafasi's objectives, and the potential of each candidate to contribute to Nafasi's overall mission and vision via management of the finance department. Ultimately, the best candidate was selected and he agreed to join the team. His main focus as finance manager are strengthening compliance and controls, and assisting Nafasi with transitioning to the required IPSAS accounting framework by the government deadline.

meet our Finance Manager Peter Sheka Lukumayi joined the finance team in October 2020. He works as Finance Manager to develop the annual operating budget for review and approval by the board of directors. He also prepares regular financial reports and analysis as required by the board and donors, and contributes to the maintenance of an accurate, up-to-date general ledger. Peter has spent the majority of his career in Auditing; he audited various sectors including Public and NGO, Banking, Insurance and Manufacturing sector. He worked for 4 years at KPMG East Africa, where he oversaw the overall field management of audit engagements to ensure quality and efficiency, audit planning including budgeting and resource allocation, coaching and mentoring junior audit team members, as well as supervising junior audit team members. Peter holds a bachelor’s of Commerce in Accounting from the University of Dar es Salaam. He has also been certified by ACCA with a diploma of International Public Sector Accounting Standards (IPSAS).

NAFASI ART SPACE - ANNUAL REPORT 2020-21

The Norwegian Embassy further assisted the development of the finance department by appointing KPMG as the auditor for the 2019-20 Financial Year, as well as an assessment of Nafasi's reserve fund, which the organisation keeps in order to pre-finance donor agreements when installments are delayed and also to keep as a back-up in case of major emergencies. The reserve may only be used with board approval. This reserve has been slowly built over ten years using Nafasi's savings from self-generated income that has been raised and is set at a threshold of 3-6 months operational funds.

Online crowdfunding For the second consecutive year, Nafasi has used online crowdfunding tools to help generate additional revenue and Improve Its financial sustainability. This year, a second fundraiser was added to Nafasi's Global Giving fundraising platform to specifically respond to the economic shortfall caused by COVID-19. Donations made to this fundraiser were allocated to go directly toward aiding artists who have been most severely affected by the pandemic.

More than TZS 5.9 Million was generated during the reporting period via the online fundraisers, with 5 donors signing up to make regular monthly contributions, showing the willingness of some art patrons to become long-term supporters of the space. Moreover, the online campaigns have been an avenue to promote further cultural exchange as it brings different people across the world together in the shared belief of making an impact on society through art & culture. Online campaigns make it possible for a broader audience to be introduced to different art projects, increasing the chances of more people to recognize the creativity and the cultural activities taking place in Tanzania. The global giving platform requires that quarterly updates be sent to the donors, which include photographs and regular updates on the progress made by the artists and art centre. The recent COVID-19 pandemic has upended the economy in ways that are unpredictable and continuing to evolve. Nafasi Art Space seeks to continue using the global giving online campaign tool as another source of revenue generation so as to build the resilience of the space and diversify its sources of income. The two fundraisers are still ongoing and accessible via link https://bit.ly/3kHGd86 & https://bit.ly/3mGXvEQ

Nafasi team updates Valerie Amani became Nafasi's visual arts manager in 2018, and later became a consulting curator and Academy mentor. In 2020, she was the first Tanzanian to be accepted to Oxford's Visual Arts Masters programme in the UK. Valerie's career as an artist, curator, and arts educator was shaped by her time at Nafasi and she continues to mentor many Tanzanian artists and participate in many Nafasi projects. Firdaus "Fifi" Mbogho recently joined the Nafasi team as Visual Arts Programmes Manager (overseeing Residencies, Partnerships & Collaborations, Workshops, Outreach, and more). She joins curator and writer Jesse Gerard in the department and brings an impressive background in visual arts scholarship, management, and practice (as a calligrapher and graffiti artist). Fifi is currently a Master's degree candidate in Fine Arts at the University of Dar es Salaam. She was also the Director of the 2019 East Africa Art Biennale and will continue to lead the Biennale as she joins Nafasi's curatorial and management team. Fifi is a passionate artist, art enthusiast and collector who is passionate about visual representation as a way of communicating with people and thus impacting change. She is focused on developing the visual arts in Tanzania to become part and parcel of Tanzanian art and culture. As a visual artist and art educator, she has focused her energy to of identifying and developing creative capacity and empowering visual artists.

Providing funding for arts & culture in Tanzania When artists in Tanzania are asked what is the biggest obstacle to freedom of expression they face, the answer given by a majority of artists is lack of economic opportunity. That is, in order to make the art they want to and believe in, or even to be an artist to begin with, they must contend with the lack of financial resources and support available to artists. Making a livelihood as an artist is incredibly difficult - especially for artists who strive to make original and independent artwork that is not made to please the tastes of tourists, behaviour change campaigns by donors, or the marketing objectives of commercial businesses. That money (or rather, lack thereof) is ranked higher than political censorship, as well as social and cultural forces that might limit freedom of expression such as religion or tradition, should be noted by all who work in the cultural field, including policy-makers, donors, and arts and culture institutions. Despite the great wealth of artistic and cultural talent in Tanzania, very few avenues to make a living from art exist, whether via grants, public commissions, or robust private markets. Therefore, artists rely on shrinking numbers of funding opportunities or the whims of a fragile market to survive. Aware of the dire situation of artists and arts institutions, due to constant requests for financial programmatic support, Nafasi Art Space has for some time been searching for ways to expand its impact and services to the rest of the artistic community in Tanzania, not only for its own members and partners, but for the sector as a whole.

In 2020, the Swiss Embassy joined Nafasi as a core supporter in a generous grant that earmarked $50,000 in funds for a grant programme for artistic projects across Tanzania that emphasise freedom of expression and innovative approaches to community engagement. Nafasi's "FEEL FREE" grant programme launched with an open call that received nearly 100 applications from every region in Tanzania. Nine projects were ultimately selected to receive grants of 5 - 25 million Tanzanian shillings, depending on the size and scope of the activities proposed. The grantees were announced during Tukutane Dar Arts Weekend in November 2020, and funds were released according to the activity schedules of each project, with a majority of public programming set to take place between March - July of 2021. The selected grantees represented a range of artistic disciplines and genres, from film and oral storytelling to printmaking and musical theatre. Further details are provided on the next page of this report. One notable objective of the programme is to support projects not only in Dar es Salaam, where a vast majority of creative sector activities take place, but also across Tanzania where there is an even greater lack of regular access to arts and culture. Two of the projects selected were based in Zanzibar (Ghosts of the Present and Kigugumizi Sio Kipingamizi), one in Geita and Bagamoyo (Tailor-made Film Trainings), and one in Arusha (Matunda Yetu). The grant programme was linked to the Academy for Curatorial Practice and Arts Management, with the Academy students organizing the "FEEL FREE" event in July 2021 and being placed with grantees for their end-of-programme work placements in August 2021.

Based on feedback and analysis of the results of the programme, Nafasi hopes to explore creating even closer links between the Academy for Curatorial Practice and Arts Management and the FEEL FREE Grant programme in the future. Further, Nafasi envisions engaging more partners, from both the private, public, and donor sectors, to support the grant-making programme, as this will be the most efficient way to build a strong, sustainable, and vibrant cultural infrastructure across Tanzania where artists and audiences can benefit from the exercise of the cultural rights to freedom of expression and access to arts and culture.

Feel Free TZ - 2020-21 Grantees

Partnership highlights Quarantine Residency

End of the Grand Tour Symposium

The Quarantine Residency was a project that asked artists all over the world to consider their time in quarantine as they would an artistic residency, and then to share the work created during their time in lockdown - as well as a photo of their "studio"/quarantine space. The initial phase was an open call for work wishing to be included in a Virtual Reality exhibition which opened in May 2020. Director Rebecca Corey and Visual Arts Manager Jesse Gerard were invited to curate the exhibition along with the organizers, British artist Celyn Bricker and Ukrainian Curator Polina Somochkina. Throughout April and May the four curators held a series of meetings online with the artists they selected. Over five hundred artists applied and more than 40 were ultimately exhibited, including Academy member Hussein Juma. The Quarantine Residency experience expanded Nafasi's network of artists and provided valuable opportunity to build connections and partnerships that continue to this day.

Nafasi was also invited to take part in online conversations rethinking the ethics of mobility by the Arquetopia Foundation in Mexico. The event was an invaluable opportunity to network with many other spaces across the globe in areas as diverse as Palestine, Mongolia, Las Vegas, Armenia, Hong Kong and Japan. Representatives from each space spoke on a variety of interesting topics about the status, relevance, and history of long distance travel and proposals on how to align the best of what such mobility has offered without repeating, or perpetuating the worst.

Hussein Juma, 2020

Both Rebecca Corey and Jesse Gerard were panelists during the symposium, contributing to conversations on international artist residencies in the context of global inequality, where mobility for artists from the global North Is quite easy but artists from African and other "poorer" countries are hampered by restrictive passport and visa laws, lack of financial mechanisms for travel, etc. After the symposium, Nafasi has continued to engage with the organizers and fellow presenters, including Morphodat, which focuses on art from Arab regions, and Arquetopia, who have invited Nafasi to be a part of their unique "Summer School" programme in 2022. The conversations are available for free on the Arquetopia Vimeo channel (https://vimeo.com/arquetopia).

mapping Nafasi international partnerships

On the Corner Records ZK/U List of Countries Kenya DRC Zambia Uganda Kenya Namibia South Africa South Korea Nigeria Mexico Peru USA Germany France UK Italy Turkey

High Museum

FRISE Off Courts We Present Istanbul Artist Uhuru Republic Residency

Quarantine Residency

Arquetopia

End of the Grand Tour

Imagined Encounters

Lagos Biennale Circle Art KinArt Gallery 32 Degrees East Studio Modzi Arts Museum Futures

Greatmore Studios

Centre for African Cities Pro Helvetia Akum Agency

Johannesburg

overview

overall development impact PROTECTED AND STRENGTHENED CULTURAL RIGHTS IN TANZANIA

increased freedom of expression

improved accessibility of the arts in society

The Constitution of the United Republic of Tanzania (1977) protects Freedom of Expression in Article 18, stating ‘‘Every person (a) has a freedom of opinion and expression of his ideas; (b) has a right to seek, receive and, or disseminate information regardless of national boundaries; (c) has the freedom to communicate and a freedom with protection from interference from his communication; (d) has a right to be informed at all times of various important events of life and activities of the people and also of issues of importance to the society’’. Though constitutionally protected, several recent laws in Tanzania threaten to limit free expression, namely the Cybercrimes Act, 2015, and the Electronic and Postal Communications (Online Content) Regulations, 2020, which fail to comply with the Constitution and international human rights law and standards.

UNESCO states that the protection and promotion of culture is a human rights imperative. The right to take part in cultural life guarantees the right of everyone to access, participate in and enjoy culture, cultural heritage and cultural expressions. They recognize that the full realization of this right depends on concrete steps for the conservation, development, and diffusion of culture. Specifically, in order for there to be access to the arts for the public, there must be opportunities to participate in or attend events and activities, therefore there must be sufficient artistic and cultural production and infrastructure for the arts. In order for there to be adequate production and infrastructure, there must be training for arts practitioners and workers.

These laws have primarily been used to crack down on political speech, especially by politicians and journalists, for the most part sparing artists from direct censorship and reprisal; however, a general climate of fear around critical voices leads to a great deal of selfcensorship in the artistic sector. Nafasi Art Space provides a safe physical space for creation where artists are in constant community with one another, thereby sharing experiences, ideas and perspectives. In this environment, artists feel significantly more supported, safe, and free to address topics that they would not dare to speak about if they were isolated and working alone. Nafasi workshops and trainings also specifically emphasise the role and responsibility of artists to be aware of their political, social and economic context and engage with it through artistic discourse, which has lead to bold statements and expressions from the artists on topics including mental health, political freedoms, gender and sexual equality, environmental threats, and more.

The most recent Statistics Report on Information, Culture, Arts and Sports was conducted in 2015 by the Tanzania National Bureau of Statistics and covered the period 2010-15. The figures from this report showed that in five years, the sole arts college in the country had an average of just 42 graduates per year, with only 27 percent of enrolled students being female. Only 123 cultural events total in five years were reported, these being events that were officially licensed by the National Arts Council. Perhaps even more concerning is that according to the report, the allocated annual budget for Culture Development was just 3.2 billion TZS (1.4 million USD) for the entire country, and the Arts Development Department was allocated 0 (Zero) TZS. The Culture Department employed 26 staff out of 268 in the Ministry of Information, Culture, Arts, and Sports, and the Arts Development department had zero staff.

As stated earlier in this report, economic factors are also sited as a severe constraint for artistic expression, as artists cannot focus on authentic expression when they struggle to make ends meet. Nafasi invests hundreds of millions of shillings every year into programmes that both train and promote artists, in order to give them the financial independence and agency they need to express themselves freely.

Nafasi is therefore making a significant national contribution by training more than 100 artists every year, hosting more than 20 events for the public, investing millions of shillings in art development, and engaging thousands of audience members in active cultural participation and arts experiences.

Source - Legal and Human Rights Center: https://www.humanrights.or.tz/assets/attachments/1552913246.pdf

Source: https://en.unesco.org/human-rights/cultural-life Source: https://www.nbs.go.tz/nbs/takwimu/MDAs/Statistical_Report_2015_Ministry_Infromation.pdf

visual arts impact 2020 began as a year of substantial change for the organisation. The majority artistic cohort that had grown and developed their practices throughout Nafasi’s first decade were transitioning into independent spaces and new positions as mentors for Nafasi’s first Academy. Nafasi’s goal of becoming a space for more experimental, relevant artwork that is both technically rigorous and daring was largely fulfilled. Many who were key parts of the first generation of Nafasi artists have not only continued their contemporary artistic practices, but have grown to have become reference points to complementary creative industries: Amani Abeid and Paul Ndunguru are well respected illustrators, Thobias Minzi is a recognised portrait painter with commissions for music stars and politicians (including one of the former president), while photographer Nicholas Calvin is a prolific cinematographer – to name just a few. The Academy, working with all those mentioned, and other former members, partners, and artist residents, was designed to combine intensive theory sessions with technical mentorship. The all-new, purpose built space was made with inclusivity in mind, and a priority to aid the development and visibility of female artists. Those selected were largely made up of a mix artists who were familiar with the space through workshops and others wishing to pursue their talent full time. What they could look forward to, in addition to greater familiarity with established artists through mentorship sessions, was a year (2020-21) in which Nafasi was set to invite its biggest selection of artist residents – including— for the first time—artists from South Korea and Bolivia.

06.

The COVID-19 pandemic changed much of this. But not the overall trajectory. Despite the fact that the pandemic hit during the early stages of our Academy course, the collaborative nature of the curriculum allowed us to work together with artists and curators, at home and abroad, to deliver the course regardless. It was the only program that continued to operate throughout lockdown and the commitment of the artists and their mentor meant that we were able to hit major artist development and production goals remotely. It was through the Academy that Nafasi was most able to prove its resilience as an arts institution. During the lockdown period we opened Retold, our first fully online exhibition opening. It was followed by our first online residency in which artist Carolina Aranibar Fernadez shared installation making skills. And in the period between April and August 2020, despite the highly depressed market, four of the artists were able to find buyers for artworks created as assignments for the Academy— Jennifer Msekwa, Getrude Malizana, Shija Masele, and Hussien Juma. It is of particular note that three of these were women, and that of the four only one had ever sold an artwork before. Following the course, female members who had taken part in the course founded the Jasiri Arts Group specifically for female artists which hosted its first exhibition in April 2020 and has been profiled in multiple media stories. Fulfillment of the Academy’s goal of greater presence of female artists within the visual arts scene has been the single biggest development of the past year, something that was further affirmed by the success of one of academy graduates, Liberata

Alibalio, who was invited to an international residency in Zambia and selected to participate in the 2021 Congo Biennial in Kinshasa which has since been postponed to next year. She and another Academy graduate, Mihayo Kallaye, are also set to exhibit their work as part of a group exhibition at Nairobi’s circle Art Gallery. The students connections with these residency, exchange, and exhibition opportunities all came directly as the result of Nafasi's network of partners and invitations to representatives of these institutions to participate in Nafasi's Dar es Salaam programmes. While the pandemic greatly depressed buying markets and prohibited large events, the relationships Nafasi has built over the years with various international institutions and respect the work has earned from key people, at home and abroad, have allowed artists to continue to build their careers in one of the most uncertain times for arts practice in recent memory. Nafasi has also emphasised the use of digital platforms to connect and to build reciprocal bonds among stakeholders and practitioners across the region. The result of such collaboration and co-creation was seen with the extensive list of established regional institutions with whom we have partnered this past year as part of the Academy. In 2020-21 the list organisations from whom the artists and curators participating in the Academy have enjoyed direct access to key personnel include AfriArt Gallery (UG), Circle Art Gallery (KE), Greatmore Studios (SA), Waza Art Center(DRC), The High Museum (USA), 32 Degrees East (UG), Modzi Art Gallery (ZAM), Lagos Biennial (NIG) and more. Out of this, in the coming period, we expect to see greater integration of our artist on the regional scale – opening the door to even greater solidarity amongst arts audiences locally, on the continent, and further afield. - Jesse Gerard

performing arts impact Despite the pandemic, Nafasi found ways to organize alternative events online as well as in person, that were adjusted to observe for public safety. Nafasi helped lead and set new standard for safe re-opening and careful risk management. The new Tukutane Nafasi event series offered audiences smaller, controlled events with a more acoustic and laid-back atmosphere. Nafasi's studio focuses on fostering live performance skills in an industry dominated by play-back artists. Through focused mentorship, studio time, performance opportunities, and marketing, Nafasi has helped artists such as 3G and DJ Seche to develop their craft as artists as well as reach audiences. DJ Seche, a female artist from Dar es Salaam, began playing regularly at Nafasi in 2020, where she was noticed by other events organizers and was able to book gigs at Alliance Francaise and other venues in Dar es Salaam as well as Dodoma. Furthermore, Nafasi's dance space has continued to stay active with regular rehearsals by Nantea Dance, Girls Power Dance Group, AcrobaDance, and DDI Breakdance group. Nafasi continues to link artists with major opportunities and networks. This year, Shabo Makota was the artist selected for full service management and support by the Performing Arts Manager Kwame Mchauru, who assisted him to perform at Sauti za Busara. A previous group mentored through this programme, Wamwiduka Band, is now regularly booked around Tanzania and has been invited to play for members of Parliament in Dodoma.

06.

There was an understandable decrease in physical audiences during the year due to COVID by approximately 30-50% after re-opening, however online audiences grew, and each event attracted new audiences who had not previously engaged with Nafasi. Audiences are slowly growing back to pre-pandemic levels, though there are some drops when new outbreaks occur.

Regional Collaboration ideas was another area where Nafasi performing arts department has been working on since the pandemic started. Bayimba Foundation in Uganda, Afrogroove from Rwanda as well as Roots International from Kenya are on board to engage with Nafasi on future residencies as well as artists/professional exchanges and regional tours. Nafasi has also continued to establish local partnerships in order to share resources in supporting arts and artists; such collaborations include with UBT, Unleashed Academy as well as Action Music Tanzania. Nafasi's music studio has become an established space for underground and upcoming musicians to practice and hone their skills. However, after many years of use, much of the equipment is in need of repair. Nafasi intends to invest in repairs, maintenance and upgrades of the musical equipment in order to achieve sustainability and establish a record label and studio in the future, which will be one of the department's major new projects in the coming strategic planning period. The Performing Arts Department, under Kwame Mchauru's leadership, has also spearheaded Nafasi's efforts to impact arts policy in Tanzania by holding regular meetings with arts council and local government officials, as well as hosting groups conducting art sector research, for example the research committee of Robert Mwampembwa and John Kitime who traveled around Tanzania to collect views from arts stakeholders. The group met regularly at Nafasi to discuss their results and progress. All of these programmes and activities are based on supporting the fundamental freedom of performing artists to express themselves, their feelings, identities, and cultures that are otherwise suppressed, ignored, or overwritten by more commercial products and approaches. Artists find a safe haven at Nafasi to explore, experiment, and share their authentic selves through dance, music, and performance, thereby freeing those who witness them to be themselves as well. - Kwame Mchauru

TUKUTANE DAR Arts Weekend toward a more innovative and thriving art sector in Dar One of the earliest challenges of developing the Nafasi Academy programme was ending the ambitious course in a way that could encompass all that they had learned. There was the requirement of an event that could inspire a variety and expense of thought equal to all that the artists had learned through 10 months of study while also maintaining the open ended and modular format the Academy had employed which prioritized collaboration and co-creation across each phase of the curriculum. As always, the answer lay close to home. During the year Nafasi had created a series of events called ‘Tukutane Nafasi’. These were smaller events which aimed at maximizing engagement and thought – a necessity in the time in which COVID had severely reduced audiences. Thus, taking our cue from the success of those gatherings, the team organized a first of kind arts weekend hosted here in Dar in collaboration with other spaces around the city. The arts weekend was centered by three evenings of dialogues leading up to the final exhibition at the National Museum. The first event of Tukutane Dar took place on the 19 of November at Nafasi Art Space. The event featured several artists sharing stories, insights and experience around the theme of Nurturing Artistic Expression. The dialogue was co-hosted by Picha Time and the list of feature artists and arts practitioners included Nicholas Calvin, Paul Ndunguru, Aika Kirei, Haika Gilliard, and Isak Abeneko. The second event took place at Ajabu Ajabu, a cinema house in Msasani on the 20th November. The event consisted of screenings of films from Boda Boda Lounge, a video art festival that Nafasi was participating in for the third time. Prior to the screening was another dialogue centered on Endangered Arts and Spaces featuring Mkuki Bbgoya, Aidha Mulokozi, John Kitime, and Amil Shivji.

On the third and final night of Tukutane Dar, on 20th November, the artists within the Nafasi Academy opened their final exhibition titled Inner Visions. The event was preceded by another dialogue on Making Art Visible with delegates from various spaces Nafasi has partnered with through years including Vitshois Mwilambwe Bondo (dir. KinART in Congo), Lauren Tate Baeza (Curator at the High Museum) , Lorna Mashaba (founder of Rangi Gallery), Taonga Kaseka (dir. of Modzi Art in Zambia). Other international delegates who participated in dialogues, networking, and critique sessions during the weekend were Kampire Bahana (ProHelvetia Uganda), Eddy Kamuanga (KinART, Congo), Mulenga Mulenga (Modzi Art, Zambia), Aristot Mago (KinART, Congo) and Mwamba Chikwemba (Modzi, Zambia). Inner Visions was the undoubted highlight of the weekend. The diverse and ambitious works produced by the Academy artists had exceeded the ambition and foresight we sought to distill. As a platform for both networking, knowledge building and exchange, an act of solidarity amongst arts stakeholders in the city, and an amplification of visual arts practices in Tanzania, Tukutane Dar was a distinct achievement. That is to say that it was an event equal to all the work that occurred that past year towards the development of these artists while also solidifying partnerships as to effect larger and more continuous integration of Tanzania’s art and artists on an international scale.

Remembering Godfrey Mngereza a friend and partner at the National Arts Council This is how we remember Godfrey Mngereza - a big smile on his face as he enthusiastically enjoyed and supported art by Tanzanian artists. As head of BASATA, Tanzania’s National Arts Council, Godfrey was a leader of great integrity and dedication. He navigated the difficult role of both supporting artists and At the beginning of Nafasi's current strategic plan period in 2016, Nafasi did not have a strong relationship with BASATA, but over the years Mngereza opened his doors to Nafasi and began to discuss the important role of partnership and collaboration between the council and the arts sector. Nafasi found ways to partner with the arts council, co-producing sessions of Jukwa la Sanaa, a platform for artist dialogue, and meeting many times to discuss solutions to shared challenges. Mngereza always listened thoughtfully and made wise and insightful suggestions. He brought the Minister of Information, Culture, Arts and Sports honorable Dr. Harrison Mwakyembe to Nafasi on the occasion of the 10th anniversary celebrations in 2018, and most recently attended Nafasi’s Tukutane Dar at the National Museum for the graduation exhibition of the Nafasi Academy students and the collaborative edition of Museum Art Explosion. It was truly special to see the time he took to speak with each young artist, asking them questions and learning more about their work. Tanzania will miss Mngereza greatly, though his positive impact on the arts sector of Tanzania will surely be felt for years to come.

"Art is like medicine" - Gertrude Malizana, Nafasi Academy Student, class of 2020

NAFASI ART SPACE - ANNUAL REPORT 2020-21

"Sanaa - ni kama dawa"

NAFASI ART SPACE - ANNUAL REPORT 2020-21

CREDITS

Royal Norwegian Embassy (Core Support since 2017) The Embassy of Switzerland in Tanzania (Core Support since 2020) Hivos Pro Helvetia Johannesburg European Union French Embassy The African Arts Trust

Nafasi Board Davie Kitururu (Chaiman), Elias Jengo, Louise Kamin, Madeline Kimei, Baraka Mtunga, Chabaka Kilumanga, Joshua Naiman, Amani Abeid, Paul Ndunguru, Remi Busch, Asteria Malinzi

Partners in Tanzania National Museum of Tanzania National Arts Council (BASATA) TaSUBa (Bagamoyo College of Arts Goethe Institut, Alliance Francais CDEA, DARCH

Academy Mentors/Trainers Gadi Ramadhani, Valerie Amani, Amani Abeid, Paul Ndunguru, Safina Kimbokota, Tadhi Alawi, Nicholas Calvin

Photo Credits: Deo Spackle, Darragh Amelia, Gervas Lushaju, Nafasi Team Poster Design: Amelia Darragh, Jesse Gerard, Nafasi Team

Report Authored by: Rebecca Corey, Fifi Mbogho, Ibrahim Mkude, Jesse Gerard Layout and Design: Rebecca Corey NAFASI ART SPACE - ANNUAL REPORT 2020-21

Nafasi Team Director - Rebecca Mzengi Corey Financial Manager - Peter Lukumayi Community Manager - Maria Kessi Visual Arts Managers - Jesse Gerard, Fifi Mbogho Performing Arts Manager - Kwame Mchauru Marketing & Communications - Ibrahim Mkude Grants & Academy Manager - Darragh Amelia Project Coordinator - Rajab Lawaliya Habibu Interns - Victor Gombanila, Rhoda Henry

Donors