Nafasi Art Space | 2019-20 Annual Report

NAFASI ART SPACE ANNUAL REPORT Nafasi Art Space – Annual Report - 2019/20

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Executive Summary “We create our own history. We create our own reality.”

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Artist Valerie Amani, in her lecture on Contemporary Art for the Nafasi Academy, February 2020

Nafasi Art Space is a multi-disciplinary art centre and creative hub located in the industrial area of Dar es Salaam, that works to further and enrich human potential through contemporary art. The overall goal of Nafasi is to be a sustainable arts institution that supports cultural rights and artist professionalisation in Tanzania.

Hundreds of artists and thousands of audience members have passed through Nafasi over the past ten years in order to participate in a vibrant and inclusive arts community. Artists and art lovers alike often remark on Nafasi’s welcoming and inspiring environment – a place where everyone feels accepted and encouraged to explore their creative gifts while connecting with other people. In times of increasing social isolation, discrimination, and conflict, this sort of safe space for expression and dialogue cannot be taken for granted.

Around the world, important conversations are being raised about the historical traumas of racism and colonialism, and the current traumas of inequality and social injustice. Art is one of the vital channels for reflecting on and processing the way the past is tied to the present. As Tanzania’s longest-lasting independent art centre, Nafasi provides a place for archiving history as well as creating a living artistic laboratory for the future. Young artists meet established creators. Curators and art researchers see the story of Tanzanian art evolving on site. And the youth of the country see the opportunity to create the kind of world they want to live in as agents of creative change.

The size of the global market for creative goods has expanded substantially, more than doubling in size from US $208 billion in 2002 to $509 billion in 2015 (UNCTAD Creative Economy Outlook Report 2018). However Africa’s contribution to the international creative economy is still significantly small and at a country level, the contribution of creative sectors to the national economy is hardly visible, due to issues including insufficient funding, heavy taxes, lack of access to global markets, poor investment in arts education, and “cultural appropriation” of African designs and artifacts for the benefit of non-African commercial entities (African Union website). In Nafasi Art Space – Annual Report - 2019/20

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their Agenda 2063, the African Union recognizes the great importance of African cultural heritage in contributing to Africa’s growth and transformation, and names building a “strong cultural identity” for the continent as one of its seven major aspirations in its plan. In fact, the AU has named 2021 the “year of the arts, culture, and heritage,” presenting a hopeful sign and important opportunity for organisations like Nafasi to rise to the challenge of building a more robust and sustainable creative industries sector as a driver for sustainable development.

Of course, Nafasi’s work does not happen in a vacuum, as art is both a reflection of the times and a tool for transformation that requires extensive planning, investment, infrastructure, and resources to work. This report reviews Nafasi’s activities and programmes for the 2019-20 financial year as they correspond to Nafasi’s 2016-21 Strategic Plan and Nafasi’s core-funding agreement with the Royal Norwegian Embsasy in Dar es Salaam. We hope you enjoy this in-depth look into Nafasi’s impact on arts and culture in Tanzania.

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Highlights Nafasi Art Space is an ever-evolving institution that embodies growth and artistic vision, helping artists to become independent professionals over time and supporting the development of the next generation of young artists.

Artists sold 24 million TZS in artwork through Nafasi’s gallery and exhibitions

Artists had their work exposed to

A progressive question-based arts curriculum developed using participatory, beneficiary-driven processes

New virtual gallery designed and launched, driving increased visibility and sales for artists

audiences of 12,000+ people

Tanzanian artists participated in 22 trainings/workshops

14 new individuals/organisations

became official Nafasi members, 8 of whom are female Tanzania’s first purpose-built arts Academy constructed using recycled shipping containers and other recycled, eco-friendly materials

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15 exhibitions showcased works that focused on Freedom of Expression, Cultural Rights, and Recovering African Histories

13% of Nafasi’s income was selfgenerated (non-donor sources)

11 visiting artists from 8 countries participated in the artist residency programme

11 interns trained in arts management and administration, 3 of whom went on to gain paid work in the arts after the programme

Multi-year funding was secured for a project focusing on improving access and inclusion for marginalized groups in art spaces

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OUTCOME 1 Increased independent art production & presentation

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Outcome 1: Increased independent art production and presentation "Nafasi is important because it gives artists opportunities to learn and to meet new artists" - Nimrod Hanai (TZ), painter, May 2019 “Because I can say Nafasi is home of arts in Tanzania, is where you can meet artists from different places in Tanzania and outside Tanzania.”

- Walter Simbo Urasa (TZ), painter and general member of Nafasi, August 2019

Progress toward achieving the outcome “The art sector is a challenging sector within Tanzania because of unavailability of platforms,” said artist/photographer Nicholas Calvin. “It is hard to know the steps or ways one has to take should they decide to pursue art as a career.”

This sentiment is one echoed by many artists in their end-of-year survey responses from Nafasi member artists. The general lack of support, infrastructure, and guidance is something that prevents many talented artists from deciding to embark on a professional art journey. But Nicholas continued, “By bringing together artists from different walks of life into one space, Nafasi brings out possibilities and opportunities that would not be possible otherwise. For that, Nafasi has become one of the most important art centres in Tanzania, and even East Africa.

Nafasi normally gives an annual member survey that asks for feedback from artists on Nafasi’s contributions to their ability and motivation for creation and exhibition/performance. In 2019, Nafasi decided to engage an external consulting firm to conduct a 360 degree climactic survey, to better understand the members views on Nafasi and areas for growth and improvement. During the survey, 22 members were interviewed.

100% of the respondents said they either agree or strongly agree that Nafasi is important to the art sector and have an increased motivation and inspiration for artistic production.

79% of the artists surveyed said that Nafasi provides opportunities for growth as an artist.

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A deeper analysis from the member surveys and the climactic survey, however, was that the aspect of Nafasi studio membership that was the most valued by the artists was actually the sense of artistic community they gained from being in close proximity with other artists. Paul Ndunguru said, “Nafasi is the only art centre that exists in the whole country. As someone who had the chance to be a member, I have benefitted because it connects people and also gives opportunity for training.” This community environment leads to a sense of safety and confidence in creating and innovating in their work. “The thing I like most about Nafasi is the sense of personal freedom it provides, both personally and professionally,” said Mwandale Mwanyekwa noted.

However, after many years of the same artists working in the space, there were also tensions that arose during the reporting period. Though Nafasi has an official limit of 5 years studio membership, quite a few of the long-term members had stayed beyond that period, insisting that they were not ready to move out and become independent. As artists progressed in their careers, some of them also felt that Nafasi was not able to meet their growing expectations for a market to sell their work at significantly higher prices than when they began their careers. These difficult conversations led to growth and self-reflection at all levels of the organization, from the membership to the management team to the Board of Directors. With the support of Empower Ltd, who conducted the climactic survey, Nafasi embarked on a year-long process of organizational assessment, growth and transformation. One of the key findings of the initial Empower report was that the 5+ year artists needed to graduate to make room for young and emerging artists who could better benefit from the support Nafasi offers. It greatly benefitted the organization to have a third party guide the process, to ensure fairness and transparency and to make sure that everyone felt heard.

A deadline of December 2019 was agreed for all of the exiting members to wrap up their business and move out of their studios. The leaving artists were given a period of more than 6 months to assist them in this transition, and regular meetings were held to discuss opportunities and ideas for maintaining the working relationships between Nafasi and the leaving members.

During this time, the curriculum and programme of the Nafasi Academy was being designed and developed. The Nafasi Academy was conceived as a way to help bring in a new generation of young artists to Nafasi. 75 people applied to the open call for Student Members, of which 14 were selected. A baseline survey was conducted with the artists to be able to track their progress over the coming year. At the beginning of their membership, more than 40% of the new members had never received any art training, and 35% had never shared their work publicly.

Due to this significant transition in membership, Nafasi had fewer full-time studio members creating at Nafasi than in previous years, however, through our public programme of exhibitions and public workshops, we exceeded the number of artists getting the opportunity to exhibit and present their work. In Nafasi’s quarterly themed group exhibitions that took place in 2019-20, 80 visual artists created and presented work for exhibition.

Approximately 180 performing artists had the chance to present work during 9 performing arts events and festivals that took place during the year.

The 15 exhibitions, 4 film screenings, 9 live performing arts events, and 6 public art workshops organized and hosted by Nafasi stimulated artistic production and resulted in the presentation of the works produced, thereby helping to motivate artists and giving them important opportunities to share their work with the public. These events also help develop audiences for contemporary art through regular exposure.

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Nafasi normally attracts audiences of 500-1000 people for its major public festivals, an increase of more than 100% in audience participation as compared to 2016-17. Nafasi uses this large platform to present work by artists who come from vulnerable or marginalised groups in society, for example people living with disabilities, women, and youth from disadvantaged economic backgrounds. The impact of this emphasis sharing diverse voices results in greater Nafasi Art Space –on Annual Report - 2019/20 social acceptance and dialogue.

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SELF PORTRAITS BY THE NEW STUDENT MEMBERS OF NAFASI ACADEMY

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MEMBER ARTIST STORIES OF SUCCESS AND GROWTH Lazaro Samwel

The short and incredible rise of Lazaro Samuel has been a familiar story for those close to Nafasi in the past couple of years. Beginning work at Nafasi as groundskeeper after several years of living on the streets of Dar-es-salaam his transition into one Tanzania’s most exciting young artists remains a prime example of what a creative mind can achieve through consistent access to the arts and exposure to numerous networking and exchange opportunities among artists. Lazaro spent much of his spare time while at Nafasi learning informally from established artists and learning the scope of artistic expression through his various interactions with art residents. At the beginning of 2020, he was invited to the Stellenbosch Trienniale, perhaps the largest, most ambitious new arts festivals on the continent. It was his first time travelling outside the country but this vital exposure has not only grown Lazaro’s artistic profile but has also brought increased stability in his personal life and a more secure economic outlook.

After his first successful solo exhibition at Nafasi, Lazaro was able to begin the process of building a house for his mother. After the sale of his work from the Stellenbosch Triennale, he was able to purchase a motorbike, the first time he has own his own mode of transport. But in spite of such significant success he remains committed to his work and refining his craft.

Winifred Luena

Another artist of the new generation who continues to rise quickly is Winifrid Luena, whose work was awarded the prestigious Absa L’Atelier prize at a ceremony on Cape Town at the end of last year. He was the first Tanzanian Winner of the Prize and was set to spend a large part of 2020 traveling through Europe and southern Africa. These residencies have since been postponed due to COVID but Luena remains an artist on the rise and an example of the way arts education can refine sensitivity and conceptual instincts as well technical ability. Much of what is most effective about Luena’s work were grown and refined in workshops provided by Nafasi. In 2018 he participated in workshops by highly experimental artist residents Jean Katambayi, Kresiah Mukwzahi and Lois Patino. And his ease and success with different media is marker of the increasingly multi-disciplinary spirit of a new generation of Tanzanian artists.

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PUBLIC EVENTS & EXHIBITIONS Below are photos from some of the public events held at Nafasi Art Space during the reporting period.

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SOLO EXHIBITION HIGHTLIGHT Raza Mohamed - Reflections 29 February 2020 On February 29th we were honored to exhibit the work of legendary artist Raza Mohamed in the Nafasi hall as part of Wikiendi Live Festival. Raza Mohamed is a self-taught Postwar & Contemporary artist born August, 1946 in Tabora, Tanzania. He grew up around Tanga, Dar es Salaam and Zanzibar and was educated in Mombasa, Kenya. He participated over the years in an impressive record of exhibitions in Kenya, Nigeria, USA, Holland, Denmark, and Germany, plus numerous expositions in several international cultural centres across East Africa. Alongside other established painters like Professor Jengo, Raza Mohamed’s skills sits alongside Makonde sculpture art and Tinga Tinga as some of the most highly regarded Tanzanian creations. His efforts and talents are such that he has been nominated as a member of the art committee for the State House, headed by Professor Elias Jengo. No wonder he was amongst the founding members of Nyumba Ya Sanaa. With work spanning more than four decades the exhibit offered visitors a unique chance to reflect on the career of one the country’s most important artistic voices.

"Distant Drums" - 2020

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"Seaweed Collectors" - 1995

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Increased art education and exchange for Tanzanian artists

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Outcome 2: Increased art education and exchange for Tanzanian artists "It's the only place in Tanzania which I know promotes and provides education on arts to local people who can't afford higher education."

Nyakinoti Magena, Zero Budget Filmmaking workshop participant, May 2019 Progress toward achieving the outcome During the reporting period, Nafasi organised workshops, trainings, artist hangouts, and artist-in-residency programmes on a regular basis that encouraged learning and exchange between artists from different backgrounds and across disciplines.

332 artists received training at Nafasi workshops from trainers coming from 9 different countries during the reporting period. All of the workshops were offered free of charge and both lunch and materials were provided. Artist ‘hangouts’ are opportunities for visiting artists and arts professionals to share their background, experience, and practice with the Nafasi community and public. The hangout usually consists of a 40 min.-1-hour presentation, followed by 30 minutes of Q&A and then time for informal conversation and networking.

20 artist presentations were conducted at Nafasi during the 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 demonstrates Nafasi’s progress toward the outcome of increased art education for Tanzanian artists is Nafasi’s new Academy for Contemporary Art, Expression and Inclusion. The following sections focuses on the Academy programme and its development during the reporting period.

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NAFASI ACADEMY FOR CONTEMPORARY ART, EXPRESSION & INCLUSION With the Nafasi Academy we aim to improve access to artistic education for young artists who rarely see their voices or perspectives reflected within mainstream culture and art. Established artists, Nafasi members and Nafasi Alumni artists conduct training and workshops to expand the skills of emerging talents working in various artistic disciplines in order to provide them with a strong theoretical foundation.

Nafasi Academy seeks to spark exchange between artists from underrepresented communities with the established art scene in order to increase awareness and understanding about the challenges faced by vulnerable groups. With the Nafasi Academy we have entered into a fruitful dialogue that contributes to and strengthens access to cultural rights for the unseen and unheard in Tanzania.

The format of the curriculum is designed to provide both a transnational, long form arts experience whilst retaining Nafasi’s artist-led spirt, retaining the flexibility to adjust in process depending on the needs of the students. The first week, culminating in a community opening event centered on an exhibition of student self-portraits, provided ample hope of an exciting future for both the Academy and the very talented members of its first class. Nafasi looks forward to many more eye-opening experiences of growth and development with these promising young artists.

What makes an art

space inclusive? education exchange platform

FUNDED BY: HIVOS ROOM AND HIVOS VOICE Nafasi Art Space – Annual Report - 2019/20

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Nafasi led a co-creative, cocollaborative, participatory design process that turned community inputs into a vision for an inclusive, creative educational hub

A SPACE A SPACE A SPACE

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FROM AN IDEA… TO A DESIGN… …TO A SPACE!

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The culmination of months of building, a year of intense planning, several years of learning, and over a decade of dreaming…

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

To expanding our cocoon for all who need it.

To promoting voices that are so rarely heard.

THE CURRICULUM

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The Academy space currently includes: • • • • • • •

a classroom a workshop a library an exhibition space an art shop an amphitheatre three studios

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TRAININGS AND WORKSHOPS Below are a selection of photos from the major workshops offered at Nafasi during the reporting period.

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REIMAGINING THE ARTIST RESIDENCY Nafasi’s open call for Artist in Residence at the end 2019 attracted over 100 applicants, reflecting a stature that has grown through our partnerships with other arts spaces and through the experiences of artists who have visited. But with any growth requires greater ambition, ideas and confidence, and in 2019 this continued to an extent that led to a questioning of the residency model itself, with the idea that Nafasi could shape it in new and innovative ways according to the needs of the artists. The year saw two joint residencies, the first by artists Kresiah Mukwazhi and Flora Robinson, which was interrupted by Kresiah’s mid-residency departure for a workshop that to an extent interrupted the artists’ momentum. It was the second attempt, with artists Butcheca from Mozambique and Option Nyahunzvi from Zimbabwe that was truly a measure of how far we had come. Both artists were well established, with large personalities, great expectations, and significant productivity. To host them for six weeks together was a significant test of our capacity but one we were able to undertake with confidence.

During the residency, Butcheca’s mural workshops was our most popular visual arts workshop of the year with over 20 participants across the five days and resulted in several beautiful collaborative works that still adorn the walls today.

Their end of residency exhibition, Encounter, was the largest in terms of both the number of pieces created (15) and the sheer size of the work, most of which was larger than a meter squared. Our success in meeting the demands of this particular residency expanded the definition of the program by refining our efficiency and creating, through its scale, another category, or type of residency to envision.

In October member artists Safina Kimbokota, Medy Maubaka, and Walter Simbo worked with Italian artists Nicolo Allesandrini and Lisa Gelli through Uhuru Republic arts and music project supported by the Italian Embassy. The strength Nafasi Art Space – Annual Report - 2019/20

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of this exchange came from the somewhat prescient realization that with communication so easy in the current age there are few justifiable reasons not to begin to share ideas among the local and visiting artists ahead of time and facilitate conversations that can mature before the initial meeting.

A key part of the success of this residency was the workshop in printmaking where the early communications allowed for a mutual learning experience that was stronger and more enduring than the many of the more directly hierarchical workshop formats. The artist Whatsapp group continues to remain lively with updates and ideas to this day.

ARTIST IN RESIDENCE HIGHLIGHT – SBONELO LUTHULI The gift of language Sbonelo Luthuli was the first ceramic artist to be in residence at Nafasi, but it was his commitment to personal and spiritual integrity that succeeded in making his residency with us particularly resonant.

For Luthuli ceramics were a way of using art to preserve tradition and maintain faith in simplicity and authenticity through the complexities of modern life. Sbonelo's keen insights on different languages in South Africa and their similarities to kiSwahili brought an entirely different dimension to the exchange and allowed informal conversations about heritage to become a daily occurrence during his time here. In this way, Sbonelo’s art became a vehicle for discovery. Lessons in his workshop and in every piece he created recognized the stories and practices that have been erased from the continent, but they also expressed gratitude for what remains. His work also speaks to how recalling traditional cultural practices can survive, and expresses boundless joy for how much there is be learnt and seen by those committed to looking past the surface.

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ARTISTS IN RESIDENCE Below are a selection of photos from artist residencies at Nafasi during the reporting period.

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OUTCOME 3 Public is more aware of contemporary art in Tanzania

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Outcome 3: Public is more aware of contemporary art in Tanzania Audience responses to the question: What did you like about this event/activity?

“The performance. The dancers and singers did so well up there!”

Neema Ben, audience member, "IS THIS THE END?", December 2019 “The art exhibition, good cultural music, friendly staff.”

Martin S., audience member, "IS THIS THE END?", December 2019 "I enjoyed the story. It felt real and genuine, you could feel the emotion through the film."

Ngaira Mandara at the film screening of "STEP", March 2020 Progress toward achieving the outcome Nafasi is well-known not only for being a venue of entertainment and enjoyment, but also as a place for learning and discovering new art forms and expressions. Many audience members comment that Nafasi is the only place where such thought-provoking and unique artwork and performances can be experienced in a community setting. The platforms that Nafasi provides help create a safe space for dialogue and debate which is inspired by the artwork presented in exhibitions and at film screenings, concerts, festivals, and performances.

Facebook Page total followers: 6,491 Facebook Page total likes: 6,177 On Instagram audience has steadily improved: Total followers; 8,197

In Nafasi’s previous year report, the Virtual Gallery had just been developed for the website. During this period, the virtual gallery space has hosted 8 online exhibitions. Click on the website to view virtual gallery: https://www.nafasiartspace.org/virtual-gallery-exhibitions/. In Nafasi’s previous year report, the Virtual Gallery had just been developed for the website. During this period, the virtual gallery space has hosted 8 online exhibitions. Click on the website to view virtual gallery: https://www.nafasiartspace.org/virtual-galleryexhibitions/

While Nafasi attracts more than 20,000 people to its physical space every year, many thousands more experience Nafasi and its programmes online via social media platforms, the Nafasi website, and other online media sources.

Tanzania has a population of over 45 million people, and according to available statistics 80% of the population has access to a smartphone. Especially among Tanzanian youth, accessing entertainment via Instagram, facebook, youtube and whatsapp is prevalent.

Nafasi’s online engagement and followers remain strong and increase regularly.

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Examples of social media engagement:

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: 4 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 45-65% of audience members were female, depending on the event Nafasi Art Space – Annual Report - 2019/20

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POSTERS ARE ARTWORK, TOO!

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On Art as Knowledge Production Soon after his promotion to Visual Arts Manager, Jesse Gerard was invited to visit Kampala as part of a workshop for arts writers. The workshop was timely as Jesse’s background as a writer and his role at the head of the Visual Arts Department had yet to find a point of alignment. After the workshop, however, Jesse’s writing skills became critical to his role in curating visual arts exhibitions, writing articles for notable art publications about Nafasi artists, and taking a leadership role in the Nafasi Academy learning programme. The goal of helping the public become more aware of contemporary art is deeply connected to understanding art as knowledge production and the role of the art exhibition in noticing, presenting and thereby activating stories that speak truthfully to their audiences.

Speaking about his experience as an art writer and how this connects to his work at Nafasi helping to spread awareness of contemporary art, Jesse said: “My belief in the transformative capacity of storytelling has only been furthered in the this time at Nafasi Art Space, particularly through the Academy. My experiences at Nafasi have deepened my faith in commentary as a means of renewing, furthering, preserving and questioning artistic progression.”

https://www.psp-culture.com/art/symptoms-of-a-pathology/

https://www.psp-culture.com/art/a-shared-humanity/

Excerpt from “A Shared Humanity”:

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OUTCOME 4 A sustainable and independent art institution drives innovation and excellence in the Tanzanian art sector

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Outcome 4: A sustainable and independent art institution that drives innovation and excellence in the Tanzanian art sector "When consistently forced to adapt, every step forward becomes reference to your own bravery. Resilience as a form of motion. And in that sense our very existence is too ambitious. But that’s why we keep going.”

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Jesse Gerard, Visual Arts Manager

Progress toward achieving the outcome From the outside, Nafasi Art Space is without a doubt the most active and vibrant cultural space in Dar es Salaam, known by artists, audiences, art collectors, funding partners, and the general public as the place to go to experience arts and culture in the city. However, building an arts institution of Nafasi’s size in terms of space, ambition in programming, and artistic vision, is by no means an easy task, especially in a context where financial resources are extremely limited, training in arts management is unavailable, and infrastructure for arts initiatives is severely lacking. That is what makes Nafasi’s “Objective 4: A sustainable and independent art institution that drives innovation and excellence in the Tanzanian art sector” such an important goal and aspect of Nafasi’s strategy.

Over the past two years, Nafasi has learned that a sustainable organization depends not only on stable financial resources, but also on consistent work in team-building, strategy and planning, and organizational health in terms of culture and values. The process of growing into an organization that builds on its successes while also learning from challenges is one that takes time and investment by all stakeholders. Nafasi’s small team is at all times juggling the operational needs of the day-to-day – administering and supporting memberships, running workshops, and holding events—at the same time they are planning for the future, writing funding and project proposals, and thinking about business continuity. Nafasi’s stakeholders include both internal member artists, as well as the audiences who come to Nafasi to experience art and culture, and also Nafasi’s partners, visiting artists, other local non-member artists who participate in exhibitions and workshops, government bodies, and funders. Balancing the needs and desires of these different groups results in a dynamic situation that forces the organization to be very adaptable, resilient, and versatile. Proven performance in the short-term and strategic long-term thinking are both required for Nafasi’s survival. During this financial year, Nafasi has made great progress in Nafasi Art Space – Annual Report - 2019/20

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balancing these needs by working with the firm Empower Limited in a process of organizational development that has included a climactic survey, team retreats and strategy workshops for the board and members, support for the Strategic Planning process, and coaching session for Nafasi’s leadership team. The Strategic Planning process has included a stakeholders feedback survey which allowed Nafasi to collect in-depth feedback from its various stakeholders that affirm Nafasi’s important role in driving innovation and excellence in the art sector.

From a fundraising perspective, Nafasi has benefited from generous partners who have been able to provide multi-year funding, which allows for long-term planning and a relief from the pressures of constant fundraising. The Royal Norwegian Embassy provided core funding while Pro Helvetia is funding regional exchange and capacity building in visual arts from 2018-20. Nafasi also successfully raise funds from the Dutch Hivos Foundation for its new Nafasi Academy programme. Nafasi benefits from receiving regular income from a variety of self-generated revenue streams, including commissions on artwork, membership fees, venue rentals, individual donations, sale of merchandise, music studio rental, self-funded artist in residence contributions, and fundraising events.

This year, Nafasi also raise more than $8,000 via an online crowdfunding campaign that allowed it to cover a funding shortfall at the end of the calendar year, and also took over the operations of the small on-site bar/drink stand, which will allow Nafasi to generate addition income during events.

However, due to challenges in the fundraising environment with few commercial businesses providing sponsorships to arts organisations, Nafasi failed to meet its goal of covering 20% of its budget using self-generated funds. Luckily, the organisation’s success with major grant proposals meant that the income from project funding will cover its expenses.

The following sections highlight Nafasi’s impact in both Visual and Performing arts in Tanzania.

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Meet a Nafasi Team Member Name: Ibrahim Mkude Age: 24 Profession: Communication & Digital Marketing Ibrahim Mkude graduated from the Institute of Finance Management, Dar es Salaam in November 2019 with a Bachelor Degree in Insurance and Risk Management. In October 2019, Ibrahim became volunteer at Nafasi Art Space in the Marketing Department and has since been responsible for Nafasi's digital marketing and communications. During his time at Nafasi, he has helped to significantly improve Nafasi's social media presence while building skills in project management, event production, and content writing.

Nafasi has provided Ibrahim Mkude with his first work experience after graduation, where he is able to apply his talent for communications. He hopes after his volunteer term at Nafasi he may have a chance to apply for a full-time position with the organization and continue his professional development.

The following is a statement from Ibrahim about his experience working at Nafasi:

“There is no greater source of inspiration and motivation than going to work every morning and being greeted by the friendly smiles and support of the Nafasi Art Space team. For me, Nafasi is like an escape point where I can go and move across any boundaries.”

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Over the past year, trends that in the previous year pointed to greater variance and experimentation in artistic approaches and output

by Nafasi member artists were largely fulfilled. For young artists in Dar-es-Salaam, a combination of the exposure provided by greater access to information through the internet and the community and networks that have formed among artists at Nafasi have imbued artists with greater assuredness but also a generation of peers that can ensure that their confidence in their capacity and potential never resembles arrogance. Where once the success of high-quality productions in the visual arts was dictated by international validation, many of the most ambitious photographers, sketch artists, and painters in Tanzania are committed to establishing their voice and finding success locally. This redefinition of success is a natural part of a widening of the definition of Tanzanian art itself, and the growth of artistic agency which may be the ultimate legacy of our current strategic plan. The variety of programming offered by Nafasi and the presence of a large affiliated network of seasoned artists who continue to explore their practices in different ways has formed an ecosystem that has negated the need for conformity.

In 2019 alone, painter Amani Abeid, a member of Nafasi for 5 years, opened his first solo show, Behind the Wall, in Dar es Salaam and participated in the Congo Bienniale in Kinshasa; abstract artist and Nafasi team member Lazaro Samwel was selected for the prestigious Stellenbosch Triennale after the success of his own solo exhibition, This is Where I Live, at Nafasi in 2018; and current member Luena Winifrid won the Abasa L’Atelier in South Africa, the most prestigious visual art prize on the continent. But what is perhaps most notable here is the variety of their practices, from highly detailed figurative painting to bold abstraction to contemporary art photography and thought-provoking digital art.

The lack of one singular driving narrative observed here can be seen elsewhere, perhaps most especially in quarterly group exhibitions at Nafasi. But there is also great enthusiasm more than ever before for the arts and greater room for artists to define their medium, supported by a network of peers large enough to sustain the energy of artists moving in different directions.

In a sense, the Nafasi Academy is built to support this kind of divergence. The curriculum was built around the exploration of different questions such as “What is the nature of the artistic process?”-- this open, question-based approach was in part a recognition of our faith in the routes available for further engagement on an individual level. The mentors, Safina Kimbokota, Gadi Ramadhani, Nicholas Calvin, Paul Ndunguru, Amani Abeid, Valerie Amani, and others were all drawn from within the network. Rather than create a new Nafasi Art Space – Annual Report - 2019/20

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epicenter for arts development, the Academy is designed to operate as a junction between the previous network of artists and arts practitioners, artists of the new generation, and activists, academics and historians whose knowledge has the capacity to provide art in Dar-es-Salaam with new impetus.

As an organisation we are entering a unique phase of supporting, sustaining, and learning from the results of our own influence. Every new idea, solution, and challenge is most often in response or support of something that emerged within our decade of existence. We are tasked now with the significant challenge of continuing to learn driven by self-examination as well as openness to outside inspirations and influences, building partnerships locally and internationally from a vast and thriving base, an maintaining the two-way flow of ideas and inspiration drawn from those who have learned and grown with us.

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Jesse Gerard, Visual Arts Manager

Amani Abeid "The Sweet LockPop" Oil and Acrylic on Canvas Nafasi Art Space – Annual Report - 2019/20

Lazaro Samwel "Hiding" Acrylic on Canvas

Luena Winifred (we grow through what we go through) Installation

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PLATFORMS FOR MUSIC Despite a large and internationally recognized popular music industry known as Bongo Flava, the live, independent music industry in Tanzania is still in its infancy, with Nafasi Art Space being one of the few platforms with regular live music events and little support or infrastructure for musicians. Music festivals are also known to be major drivers of music industry growth and impact, and yet there are few festivals in Dar es Salaam. Wikiendi Live had two editions during the reporting period, both of which attracted more than 1,000 audience members. Nafasi members and other local artists, with the support of Nafasi’s team, have also initiated new regular platforms such as Marafiki Night (Isack Abeneko) and Tupo Night Live (Leo Mkyaniya).

ARTIST DEVELOPMENT Dedicated mentorship from Nafasi’s Performing Arts manager Kwame Mchauru has resulted in performing arts members showing great progress towards greater economic and artistic confidence and independence. Shine Dance traditional dance group managed to organized their first ever traditional dance and music festival known as Asili ni Tamu which took place on 31st March 2019. Following on this successful event, Kwame was able to assist Shine Dance with registering their own company known as Shine Africa. Shine Dance are also in the process of establishing a new art and dance centre in Kigamboni, where they are already offering weekly classes. Nafasi also supported Asedeva and Nantea Dance Company to sustain their annual events that bring together local and international dance proffesionals who come to perform as well as share ideas and practices.

ARTIST PARTICIPATION Another example of our growth has been a positive trust from the local artists to our programs which led to have a 90% voluntary performance during a fundraising event on 14th December 2019. We have seen an increase of young people who are applying to become members and participants of Nafasi programs. However the challenge has been a funding limitation and facilities that we have been unable to accommodate all the applications.

A SPACE FOR REHEARSALS Many artists regularly use Nafasi’s studio and sound equipment as their regular rehearsal space, as many bands do not have access to their own instruments and PA equipment. Nafasi rehearsals are not only a time for musicians to hone their craft, they also become impromptu networking sessions where performing artists meet other artists, musicians, filmmakers, etc with whom they often collaborate.

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Overall Development Impact: Protected and Strengthened Cultural Rights in Tanzania The baseline situation is that artists self-censor and struggle to creative innovative, socially-conscious work and the public does not have regular, inclusive access to cultural experiences.

The indicators of goal achievement are increased artistic freedom of expression and improved accessibility of the arts in Tanzanian society.

Nafasi’s Strategic Planning process provided a great opportunity for Nafasi to collect feedback from its many stakeholders. 45 respondents submitted the stakeholder feedback survey, and the following selection of survey responses demonstrate how Nafasi positively contributes to the goal of protecting and strengthening cultural rights in Tanzania.

“There are very few community spaces in Dar es Salaam, but Nafasi provides this. It is also a strong and respected brand, everyone knows the name 'Nafasi' and expects that the products or events will be interesting and worthwhile. Nafasi is a really special space and much loved. I wish you all the success as you go forward.”

- Alexa duPlessis, stakeholder (former funder representative and current partner organization) “Nafasi’s main strength is its sustainability, having survived for so many years. It is the one and only major platform for artistic work in Dar es Salaam.”

- Fred Halla, Artist and art educator, former Artist in Residence “I love Nafasi for its uninhibited advocacy for the arts - delivered with creative reckless abandon. The value that Nafasi adds to my life is that it enables access to my cultural rights, delivers valuable cultural commentary, informs my own work, and builds community.”

- Darragh Coward, resident of Dar and communications consultant for the World Bank and Nafasi Art Space Nafasi Art Space – Annual Report - 2019/20

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“Nafasi’s greatest strength is Creativity. To me Nafasi is the hub for creativity and innovation... Its core competency. “ – Abel Shuma, Cultural Coordinator of Alliance Francaise Dar es Salaam, partner organization “I believe Nafasi is the only place that hold arts together in Tanzania.”

- Ayubu Mbarazi, performing artist and recent graduate of the University of Dar es Salaam “Nafasi Art Space gave me experience in the art industry (especially as an Assistant Curator) and taught me a lot about my culture and artists in my community.”

- Cindy Tibazarwa, former summer intern “The only centre of its kind that brings together all sorts of artists from different walks of life to promote ,exchange and preserve Tanzanian art and culture heritage . As an art collector ,Nafasi Art Space feeds into my passion as an art lover.”

- Chabaka Kilumanga, retired Tanzanian ambassador and civil servant, art collector, and new Board Member of Nafasi “You are providing a very important meeting platform for artists, and culture sector professionals and supporters, no matter which arts background they are from, you are giving access to cultural and contemporary arts experiences for free through your Public events, you are providing a high quality and unique arts shopping opportunity through your galleries (also online), you are building pride of being an arts supporter, you are providing something different than other social platforms do, you provide a cultural tourism spot for guests visiting Tanzania.”

- Anette Otilie Pettersen, Adviser for Culture and Gender, Royal Norwegian Embassy In addition to the results of the survey, Nafasi’s progress toward the overall goal of the project can be measured by the success of its organizational development and transformation journey and strategic planning process (further detail provided below), the graduation of its long-term (5+ years members), the Nafasi Academy programme design, construction, and inauguration (detailed in Outcome 2 section), increased capacity and leadership from the Management team, and a Financial Management consultancy during Jan – March 2020 with an experienced financial manager who made significant improvements to Nafasi’s financial systems and provided capacity building to the team.

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Organisational Development facilitated by Empower Limited Based on the challenges of organizational growth, stability, and sustainability faced in 2018-19, especially around the membership programme, Nafasi decided to engage expert outside help from the respected Tanzanian firm Empower Limited. The first step in the process was the Climactic Survey which began in March 2019 and was completed in April 2019. Based on the results and recommendations of the Climactic Survey, Nafasi began the Organisational Development process. Empower agreed to become a “Friend of Nafasi” and contribute support valued at 12 million shillings in exchange for visibility and promotion at Nafasi.

Goals of the OD Process 1. Develop strategies to evaluate and develop performance and efficiency 2. Evaluate and develop the vision of the organization 3. Strengthen the collaboration within the team and develop individual capacities

A key part of the Organisational Development process has been helping Nafasi to undertake the important groundwork for preparing to write the next five-year strategic plan.

In December 2019, Empower facilitated a Co-creation vision workshop with the Board, management and membership to ensure understanding and engagement with the mission and vision, a feedback session where shared commitments were made, and priority mapping and priority setting exercises.

Nafasi Art Space – Annual Report - 2019/20

In March 2020, Empower led a team Strategy Retreat with board members and management team to establish organizational values and analyse the results of the stakeholder feedback survey that received more than 45 responses from all of Nafasi’s stakeholder 38 next of 43 groups. In this session, the main objectives/goals for the Strategic Plan were drafted based on the stakeholder feedback.

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Supported by

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