Artistes’ optimism fails to keep flame glowing

James Mwendwa

As the year ends in a cacophony of noises about constitution review, the Mau forest evictions and compensation, political shadowboxing and alliance formation in readiness for 2012, we still seem unsure of what defines us?

In other words, who are we culturally? Could we say that we are all a bunch of noisemakers? Or are we all politicians, given that almost all Kenyans have "political" opinion on almost all issues. One feels that this subject of Kenyan culture, just like the question of the constitution, is unlikely to be resolved any time soon. So, let’s look back at what this year has offered us culturally speaking and try to guess how things may turn out next year.

A visitor to Nairobi will definitely appreciate the range of cultural activities available for lovers of visual, literary and performed art. The city is awash with theatre performances, music, visual arts and all manners of literary activities all year round. The weekend witnesses scores of entertainment spots hosting popular musicians performing for audiences from different communities. The different benga music performances compete with the more youthful genge and hip-hop.

The theatre scene has been quite engaging this year, with several comedies offering some kind of antidote to the lingering trauma from the 2007 post-election crisis. The book industry has been quite productive. Several titles were released, including the year-ender autobiographies of Njenga Karume and Benjamin Kipkorir launched this December.

Thus one would argue that there are several positives this year. For instance consider the successes of the musical Mo Faya although one wonders if it reached the whole spectrum of the target audience given the cost of a ticket for a show, the location of the show — the GoDown in Industrial Area — and the period it ran. One also wonders if it could have been such a success were it not sponsored by Safaricom. Many art groups flounder and die after a few projects because of lack of sponsorship.

Several Commissions

The Government is still unable to perceive art and culture as significant elements of our identity. This is why a national cultural policy continues to be a mirage but one hopes that the new year will bring good tidings.

Activities such as the Nairobi International Book Fair, the Kenya International Film Festival and the Music Week, Lamu Cultural Festival, the National Schools and Colleges Music Festival and the National Drama Festival are all examples of selfless attempts by individuals and groups to keep the dim flame of art and culture alive.

There is a need for less reliance on donor funding and more targeting of the corporate bodies. Donors have specific ends in mind when releasing money for projects and thus applicants for the funds often get disappointed when they are turned down for not "highlighting" particular objectives in their applications yet this is a general demand in such situations. And when corporates come on board, the beneficiaries need to show serious commitment and invest energy and creativity in their products. Nobody is willing to be associated with mediocre productions. There seems to be an urgent need for collaboration. How difficult would it be to produce a benga hit involving a Luo and Kikuyu musician? Why is it that so few visual artists ever think of working with thespians? Our artists need to be ready to cross the borders of their ‘specialties’ and mix their ideas with others’. By seeking to work with others they increase the range of their audiences.

Could we have more of the urban-based artistes performing outside the cities? Many of the so-called popular or celebrity figures have limited influence. It beats logic when some one-song, one-line singer is called a ‘celebrity musician’ yet the young fellow is hardly known by anybody in Naivasha let alone Nakuru. If being popular or celebrated is what artistes are looking for, then let it not be only through the FM radio and TV stations; let them be seen, perform and be judged by audience beyond their hometowns. This is a sure way of popularising culture.

Lastly, cultural policy is important if our art and culture has to thrive. A policy sets rules such as: How do artistes go about claiming royalties? How does a local artiste enter into a contract, for instance, with a foreign-based group? How do we copyright communal art? Therefore until we get the policy in motion, Kenya’s cultural world will continue to be in turmoil. But one would add that given the undying spirit of artistes, it is always a good thing to hope that 2010 will be a better year.