Creating a Culture of Collaboration in Post-Colonial Nations:
Nairobi’s Arts Ecosystem and the Practice of Collectivity
Art in a Post-Colonial World
Many, if not most, developing nations with a history of colonialism face a similar uphill battle as they seek to develop their arts sectors in today’s global world and the periods that came before. The post-colonial period for formerly colonised nations was marked by a victorious fight for independence followed by an intense drive towards a newly defined national identity. There existed a syncretised society, made up of the different cultures and ethnicities passing on their traditions and various practices, with art as no exception.
The post-colonial period for many former British colonies, for example, took place from the 1960s onward. Jamaica and Kenya, for example, gained independence in 1962 and 1963, respectively.
Art was a crucial cultural output of postcolonialism and served as a means of analysing and responding to issues of national and cultural identity. It became a powerful tool of decolonisation and nation-building, and this remains true today. Postcolonial art, therefore, as Dennis Howard noted in The Creative Echo Chamber, “was primarily about art, not for art’s sake, but art for identity construction, colonial deconstruction, economic independence, bricolage and appropriation” (2016:122).
Today, in a new, digital age, the world’s borders have become blurred and many independent states have found themselves drifting towards an increasingly homogenous, Western culture rooted in technology, multiculturalism and futurism, simultaneously. How then, do these former colonies find ways to maintain the national identities they fought so hard for and how do they ensure that they are able to gain access to and take advantage of a more open and fluid world without losing their cultures again in the process? How have the ecosystems that have been created to produce and sustain art spaces today been able to maintain themselves in the midst of art being seen as a hobby and not a legitimate industry?
Nairobi’s Arts Ecosystem
Sticking true to the popularly cited ‘African Proverb’, “if you want to go fast go alone, if you want to go far go together,” the arts ecosystem in Nairobi, Kenya exudes a culture of collectivity. While the arts community in Nairobi is small in comparison to the vast physical and economic scale of the capital city, its work is largely significant. However, much like many developing nations, the sector has had to fight to solidify its importance within a space where other sectors are deemed more important and beneficial to the general population- such as healthcare, education and infrastructure. What many of those making the decisions in developing nations do not realise is that these other industries do not move without culture and creativity. Thus, investing in the arts sector and broader cultural and creative industries is just as important as investing in other ‘traditional’ economic sectors. Importantly, also, these other sectors can further be enhanced by investing and celebrating the expression of their people creatively.
This ‘culture of collectivity’ can be seen across Nairobi’s arts ecosystem with the presence of various art collectives (such as The Nest Collective and Wajukuu Arts Collective) who collaborate on various initiatives as one, as well as physical spaces facilitating collective work and support for artists (such as Kuona Artist Collective, Brush Tu Art Studio and The Go Down Arts Centre). Additionally, outside of the visual arts space, the music and literature industries find that their work in Nairobi is deeply rooted with collaboration at its core.
During an interview with Kenyan author and co-founder of the collaborative literature initiative, Book Bunk, Wanjiru Koinange, she noted that this air of collaboration is mostly second nature rather than intentional. It is not something the creatives themselves may even notice without it being pointed out. “There is nothing that happens without collaboration,” Wanjiru noted. “It’s a lot of work and we need to do it together,” she continued, “If we had funding, maybe we would do it on our own but because it (the work) is so big we have to do it together.”
Speaking on the struggles of developing nations as they seek to carve out space in today’s world, Wanjiru noted that it is so much bigger than art for these nations. “We are not there yet,” she pointed out about developing nations like Kenya engaging in ‘art for art’s sake.’ “It has to be bigger than that. The work doesn’t stop at art or space. It has to provide jobs and change livelihoods.” This is no easy feat and certainly not one that can truly be as impactful as necessary without the coming together of these communities to tell their stories. Not only is it time-consuming, but it requires significant manpower. “The stuff that gives a space a soul takes time…” Wanjiru concluded.
Initiatives such as Book Bunk and the Kuona Arts Centre are largely successful because they involve intense public participation. Whether representing a particular physical community like the re-vamped libraries under Book Bunk or a non-physical community of people such as the arts workers who are supported and represented through Kuona, the work cannot be done without the contribution and participation of the community. How do you give back to a community without understanding its needs? How do you create space and facilitate expression and collaboration without understanding the history and why this space is necessary today? How do you encourage the expression and creativity of a people whose cultural expressions have been systematically held back for centuries?
Nairobi’s arts sector understands the responsibility it holds and why its success and continuity cannot be sustained without engaging the community. This extends far passed simply collaboration within the immediate communities themselves, however. Nairobian creatives equally understand the importance of collaboration with the Government, local and international Non-Governmental Organisations and even international organisations such as UNESCO and the British Council that already have an interest in the arts.
In addition to these external collaborations, the industry has grown increasingly strong at representing itself. This has become much easier in the digital age with social media allowing Nairobian artists to showcase and sell their art without any institutional red tape. With few commercial spaces available to artists, they have been able to take advantage of what is easily accessible to them and their audiences- the internet. Artists within the industry have also sought to create spaces for their peers as well. For example, the opening of the Nairobi Contemporary Arts Institute (NCAI) in 2020, was the first non-profit space for artists to showcase their art. NOIR Gallery also provides physical space for Kenyan artists to sell their art for a flat rental fee, without receiving a commission on each purchase but rather having those earnings go directly to the artists in full. While many of these spaces are owned and/or operated by international individuals, many are, in fact, created by Kenyans for Kenyans.
While it is an uphill task often to convince those outside the sector of its importance and legitimacy, the passion and determination of Nairobi’s arts workers is inspiring and their model of the art collective is one that many developing nations with a similar history can follow. The only way to truly ensure your culture is represented in an authentic way is to band together as a solid representation of these communities showing that, despite any and all interference, creative expression will never be truly lost but will remain resilient as it continues to carve out space in a forever changing world.
Final Thoughts
As an arts practitioner visiting Nairobi from Kingston, Jamaica, it was clear there was quite a bit we could learn from their arts ecosystem and implement back home. However, it was also very evident that we suffered from similar limitations- trying to operate within informal structures, a reliance on international support, particularly for funding, as well as internal organisational struggles with accountability and sustainability. It would certainly be a disservice not to acknowledge major inhibiting factors affecting our developing nations, such as inflation and a sliding dollar, which have often strained our ability to contribute to the sector in significant ways international stakeholders can. Although we may acknowledge these and other means we have been systematically limited by our colonial past, it is now up to us to identify the challenges and work together, as a collective industry, to find solutions to navigate these limitations. We cannot hang the future of our local artists on the dependency of outsiders, further reinforcing our colonial legacies. The aim should be to build more sustainable models that are made for us and by us. It may be a challenge but it will be worth it. It is not too late to move forward.
