How Africa’s Cultural Institutions are Leading the Way in Audience Development and Research



Over the previous decade, a brand new wave of entrepreneurs has invigorated Africa’s cultural panorama. These visionary entrepreneurs, who signify a number of the continent’s finest expertise in professions starting from structure to finance, are creating new fashions of preserving and showcasing artwork, historical past and tradition. From Lagos to Luanda, they’re constructing native museums, archives, libraries, arts areas, and cultural facilities. Earlier this 12 months, I launched a community with 25 of them and have seen firsthand how they’re redefining what the cultural sector can appear like, and what it may well obtain in Africa.

Look at We exhibition that includes works by Lois Arde-Acquah and Theresa Ankomah on the Nubuke Foundation in Accra, Ghana (picture by the writer)

While cultural establishments in Africa are making nice strides, their contributions are largely missed within the international debate concerning the restitution of African cultural heritage. In the previous few weeks, a number of museums in Europe and the United States have introduced their determination to return objects of their collections or take them down from show. Others have shared plans to ascertain institutional partnerships in Africa, which regularly lack monetary commitments or clear outcomes. As these establishments face a reckoning with their historical past and practices, a possibility exists to study from their African friends. Rather than partaking with Africa’s cultural sector by means of a singular lens, what if the world appeared to it as a supply of innovation and instruction?

When Morocco’s Museum of African Contemporary Art Al-Maaden (MACAAL) first opened its doorways in 2016, it had an enormous problem: to develop an area viewers. As one of many first museums within the nation devoted to up to date artwork, MACAAL’s crew had to determine a technique to transcend class limitations in an effort to draw a various group of Moroccans into the museum. Their answer was a brand new public program impressed by Morocco’s custom of sharing a meal of couscous each Friday.

On Fridays, MACAAL started inviting native taxi drivers into its house for a couscous lunch. The taxi drivers quickly started to carry their members of the family, mates and folks from all walks of life — from vacationers to building staff. The ripple results of this custom have reworked the museum from an unique house for elites into one which bridges social and financial divides. In an period the place many museums within the West are going through challenges in welcoming numerous audiences, African museums like MACAAL can present a helpful blueprint for different establishments in search of to perform the identical.

The “Art and Couscous” program within the gardens of the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech, Morocco (picture courtesy MACAAL)

One of the persistent challenges at a museum within the United States the place I labored was the low variety of guests, particularly, college students. Across the Atlantic within the Republic of Benin, a partnership with native faculties developed by the Zinsou Foundation’s Museum of African Art, supplies insightful classes. In 2008, the museum hosted an exhibition of the legendary Malian photographer, Malick Sidibe, which attracted over a million guests. Most of those guests have been youth. To obtain this at its inception, the museum developed methods to allow younger individuals from totally different backgrounds to entry the museum.

Through an area partnership with a personal college and an oil and fuel firm, the museum supplies free bus rides to college students who can’t afford transportation to go to the museum. The museum additionally enlists the assistance of widespread musicians in Benin, partaking them in a communications marketing campaign oriented in the direction of younger individuals. The museum’s workers commonly go off web site to go to native communities somewhat than ready for guests to come back by means of its doorways. And, prior to every exhibition opening, the museum hosts an occasion for varsity lecturers, guaranteeing that they’re served equally alongside artwork patrons and collectors. With solely a small fraction of the funds possessed by many well-established museums, the Zinsou Foundation’s mannequin of partnerships and neighborhood engagement is exemplary.

Students studying concerning the historical past of the Benin bronzes on the Yemisi Shyllon Museum of Art in Lagos, Nigeria (picture courtesy the Yemisi Shyllon Musuem of Art)

The overarching narrative about Africa’s cultural establishments tends to painting them as in want of know-how and finest practices from the West. A narrative that’s much less advised is how African establishments just like the Women’s History Museum of Zambia are taking the result in share their experience and information globally. In 2010, the museum’s co-founders, Samba Yonga and Mulenga Kapwepwe, visited the National Museums of World Culture in Sweden the place they discovered lacking and incorrect knowledge on Zambian cultural artifacts held within the collections.

Yonga and Kapwepwe subsequently spearheaded a joint collaboration with colleagues in Sweden. This collaboration resulted within the growth of a digital heritage platform that gives open knowledge entry on Zambian cultural artifacts which have been acquired in the course of the colonial interval and are presently housed in Swedish museums. As a part of this mission, the Women’s History Museum has visited native information keepers and elders in communities throughout Zambia. These engagements have enabled Zambian individuals to look at a few of their oldest artifacts and illuminate the that means and historic significance that these collections maintain.  For Swedish museums, this represents a possibility to develop their studying {and professional} competencies in evaluation, documentation, and storytelling. In order to handle the gaps discovered within the analysis and scholarship of worldwide museum collections, African-led collaborations reminiscent of this one are very important. 

Co-founders of the Women’s History Museum of Zambia, Samba Yonga and Mulenga Kapwepwe, inspecting Zambian collections within the Museum of Ethnography in Sweden (picture by Andrea Kronlund, courtesy the Women’s History Museum of Zambia)

Recently, I had the chance to fulfill Paul Ninson, a trailblazing entrepreneur and photographer, who’s constructing the Dikan Center, the primary photographic library and archive in Ghana. By skillfully crafting a web-based fundraising marketing campaign, Ninson succeeded in elevating a million {dollars} final month and amassing 30,000 photographic books to ascertain the Dikan Center, which is about to bodily open in 2022. Paul’s unimaginable story of making an establishment throughout a world pandemic demonstrates a number of the thrilling approaches that Africa’s cultural entrepreneurs are using regardless of restricted entry to sources.

Everyday, as my work with cultural establishments throughout Africa continues to develop, I’m excited by the chance we’ve got to amplify their contributions and construct a neighborhood of companions dedicated to supporting this work. As extra establishments within the West transfer in the direction of returning cultural property to Africa, I hope that there will likely be fewer token gestures and extra transformation in the way in which the world understands and engages with Africa’s cultural establishments.

Participatory images goals to counter the pitfalls of images as an exploitative or voyeuristic medium.


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