Arts conspicuously missing from tourism booklet

By Andrew Mulenga

Any way you look at it, the arts continue to play a back seat role in our beloved republic. Zambians in general look at artistes as escapists, failures in life who take an ‘easy way out’.

The education system does not entirely recognise and support the arts as an academic discipline and since the post independence era, successive governments have never seemed to know what to do with, or where to place the arts.

Consequently, it is no surprise that the arts are conspicuously missing from the Zambia National Tourism Board’s (ZNTB) recently published promotional booklet, a full-colour publication that targets tourists and visitors to Zambia.

As you flip the cover page open, a cliché photo of tourists relaxing on the Zambezi greets you, followed by what appears to be some sort of foreword entitled “Zambia ...a beacon of peace” which has “Home of the Victoria Falls” as the first five words of the introductory paragraph.

The photo of tourists on the Zambezi and the mention of the so-called Victoria Falls (which of course is the “Mosi - Oa -Tunya” or “The smoke that thunders” ZNTB should know better) gives an indication of the scope of ZNTB as a marketing entity. It is obvious that the boards marketing priority is indeed the mighty Zambezi river from where the country gets its name, as well as the falls of which we are proud.

This however should not suggest that the 34-page booklet does not cover other areas that might be of interest to a visitor or indeed a tourist. It goes on to briefly profile wildlife, national parks, lakes, canoe safaris; elephant back safaris, bungi jumping and white water rafting.

It also has an impressive traditional ceremonies calendar listing about 30 of them complete with title, tribe and place of the event.

When it gets to the city profiles and travel tips it elaborately covers banking, climate, etiquette, currency, visa requirements and language among other things but does not mention a single thing about the arts.

There is no mention of the contemporary art scene or works that can be viewed at the National Museum and private collections such as Chaminuka, Villa Lucia and Namwandwe, or the Henry Tayali gallery and Twaya Arts where reasonably priced purchases authentic contemporary art can be made to carry off as souvenirs or gifts. 

Furthermore, there is no mention of the thriving handicrafts markets and ‘airport art’ that can be bought at Livingstone’s Mukuni market, the Kabwata Cultural Village and Arcade’s Sunday market in Lusaka, or even the Twapya roadside market in Ndola.

The Lusaka Playhouse, Kitwe and Chingola little theatres get no reference too, suggesting that theatre is none existent in Zambia and that a visitor cannot catch up with local productions.

Similarly, there are no profiles or consideration of local arts festivals such as the Mwela Arts festival or the Chikuni Music Festival that, according to an insider at ZNTB attracts scores of traditional musicians and over 70,000 villagers annually.

Generally speaking, it is not clear, whether ZNTB deliberately omitted the Zambian art scene from the publication or whether there has just been no collaboration between the board and the arts fraternity.

Nevertheless, since the booklets are already in circulation, some modifications could be made on the ZNTB website in this regard.

Reasonable prices characterize Zebra Crossing Cafe’s February exhibition

By Andrew Mulenga

You Want What? by
Antoinette du Rand

Once again the Zebra Crossing Cafe, that cosy little restaurant along Lusaka’s Addis Ababa Drive is host to small yet delightful exhibition by little known artists of foreign extraction.

The show that has been on display since February 2 and runs until the end of the month has no particular theme but features reasonably priced paintings of wildlife by the likes of Helen Gray, cattle by Storm Treger, some humorous entries of plump mice and dragons by Antoinette du Rand and some neo-impressionist portraits by Linda Castle.

It is obvious that the works were not done by professional artists, if anything they might as well be a collection of works from a part time art club, but they are entertaining and enjoyable nonetheless.

As you enter the restaurant area you are greeted by a huge portrait of a bull entitled ‘A Welcome Burden’ by Treger, alongside it is ‘You Want What’ a playful caricature of what looks like a mouse standing akimbo with a hard gaze and bug-eyes that look like eight balls off a pool table by Antoinette du Rand. But Linda Castle has probably one of the most remarkable pictures on display; ‘Man With Pipe’that depicts a bearded, old and wrinkled Caucasian seated on the floor smoking a pipe with half a glass of what might be scotch whiskey. Although this painting has a dreary and somewhat austere backdrop, the gawky, and seemingly irregular anatomy of the subject in the portrait gives the work a certain authenticity as a painting, one is tempted to describe it as ‘a painter’s painting’.

The next two viewing spaces in the restaurant are a bit more synchronised with regards a specific theme. In one corner you find explosively colourful renditions of floral arrangements and in the other you find a collection of game portraits, cheetahs, lions, elephant while the last viewing space is occupied by a couple of stone nude torsos, depictions of polo, a beach front, probably images that the artists captured while on holiday.

Man With Pipe by Linda Castle

Most of the work on display is reasonably priced, this however does not fully suggest that the work is from an amateur milieu, but rather, the artists do not depend entirely on selling their work to earn a living. Clearly they all paint and draw for fun in their free time and are quite comfortable selling their works for as little as K100, 000 (one hundred thousand kwacha). They are almost certainly content with having their work viewed and judged publicly in the first place, to make a sale at any price would be a bonus in itself.

The Zebra Crossing Cafe continues to be consistent as an alternative exhibition venue for local and foreign artists and one can only hope management continues supporting the arts by providing a venue.

Meanwhile, “Love Affairs” a solo exhibition by Lawrence Yombwe, one of Zambia’s most significant and plagiarised artists is now showing at the Alliance Francaise along Alick Nkhata Road in Lusaka. The show features Yombwe’s signature ’Mbusa’ style with his usual hazy browns and blues and is a definite ‘must see’ for all art lovers and collectors. The exhibition’s write-up reads as follows: “LOVE AFFAIRS they are among the host of issues that shape man’s existence under the sun, we remain blind to this reality until we intently ponder on life in and around us. Only when we patiently observe do we realise that life depends on these subtle patterns and rhythms that work for every individual. When surprised we should not hesitate to stop or even retreat until certain of where to place our next step, the true test is when we last.” Yombwe’s show runs until February 29.

Look out for the full review of Yombwe’s exhibition next week in your Saturday Post.

ZAOU seeks to correct a national anomally

By Andrew Mulenga

2nd year BA Fine Art student Rabecca Mwanza

Since inception, the University of Zambia has had no room for the creative arts as an academic discipline and the country’s scholastic elite continue to look down upon the arts.

Fortunately, about three years ago, the privately owned Zambia Open University (ZAOU) introduced the School of Media, Performing and Fine Arts in an effort to afford individuals in the creative sector to attain professional qualifications at bachelor’s degree level.

Billy Nkunika, the school’s dean and one of only three members of staff who make up the faculty says the school’s operations have been able to progress through the years but it has not all been smooth sailing.

“We have three groups but only two lecturers, it can be quite stressful. But the encouraging thing is that you can see the enthusiasm in the students, our students are really trying to put in all the best under the circumstances” he says.

Lecturer William Miko
guides a student

Konica says apart from the challenge of material inputs, studio and theatre space for the students is an urgent requirement although there are silent plans by the universities administration to construct the same, it does not seem to be placed as a matter of priority. Currently, the art students borrow space at the Lusaka National Museum for two weeks of residential school once a year; this is the only time the students are in full, practical contact with their lecturers.

And Amanda Chabeba a first year Bachelor of Fine Arts student from Ndola who was in Lusaka for two weeks annual residential school says the course was interesting but too hectic because of the limited time that constitutes the nature of the distance learning progrmme.

“We have been given work to take home. We are back in June for exams and we will bring back the assignments that we have been given,” she says “But anyway I am still excited at the opportunity because I have been looking forward to studying for a degree in art ever since I graduated from Evelyn Hone College”.

Amanda, who teaches grades 8 and 9 at Dag Hammerskjoeld basic school in Ndola is disappointed however that art students are the most under rated at ZAOU. She observes that students in other disciplines took their residential school at the Copperbelt University, whereas the art students had to squat with friends and relatives for the duration of their residential school.

And Nickson Alitili a first year student who decided to take up art after reading several articles on contemporary art in the Weekend Post.

“The course is a blessing to me and it will go a long way in enhancing the passion that I have for the arts. But we still lack in certain areas, I thought the university will come in and help us with easels and other equipment, they really have to improve on the infrastructure”.

Nickson also explains that due to the distance learning nature of the programme, as first years they are totally detached from their seniors who go for residential school at different periods.

“There are times when you need advise on certain issue and can’t get it. Maybe if we could have some student’s blog, or a portal, that could help,” he says “I also think it would be good to have a residential school in the middle of the year not just exams”.

In addition, William Miko, the school’s only fine arts lecturer says introducing the programme is merely an attempt to “correct a national anomaly”.

“Why subsequent governments have not paid attention to establishing a school I cannot answer. As for the current government, they have pronounced the establishment of at least 6 universities so far,” he says “But I doubt if any of them will have a faculty of arts and culture to be at par with many universities surrounding us in the region”.

Miko says the distant learning method of the art school at ZAOU may be the school’s major challenge because art is a technical subject that requires what he describes as face to face or contact hours with students.

“We have students coming in from as far as Chiyengi, Kabompo, Solwezi and Livingstone, this should tell you how much people have been looking forward to such a programme in the country”, he says “In my own view this is something that has been a conspicuous missing element in the development of arts and culture in Zambia. That’s why it is perhaps reflective of the lip-service that government pays to the arts.”

He says because artists have not been developed to degree level they are not able to assert themselves at high level symposia on the international stage.

“When it comes to administration in talent-based institutions, the petty squabbles that you find in NAC or Football Association of Zambia (FAZ) you will not find them in Law Association of Zambia (LAZ) or Engineers Association of Zambia (EAZ) because they have minimum levels of education at degree level” declares Miko “You will find them scrounging for little allowances here and there, that’s because their thinking capacity hasn’t been expanded to the highest levels”

He is hopeful that the government will try and rectify the issue of arts administration as soon as possible.

“As it is now, even in the government ministerial structure the arts are still scattered everywhere, why? Because people at cabinet office don’t know that to do with the arts, and you cant blame them”

Miko also regrets the fact that Religious Education and Physical Education teachers with degrees have now been given the responsibilty of supervising and marking art examination papers and the sooner ZAOU can churn out teachers with degrees in arts the better, so that they can assume their rightful position in this regard.