PRINCE CLAUS AWARDS 2018 2 FOREWORD: UNDER THE PRINCE CLAUS SPOTLIGHT

by HRH Prince Constantijn Honorary Chairman of the Prince Claus Fund

Every year the Prince Claus Awards Committee comes up with another selection of outstanding artists and cultural organisations. It never fails: the range and diversity is always impressive. Each year we are filled with admi­ ration for all the creative people who come up with fresh ideas, different approaches, new combinations and forms of expression. Again, the Laureates this year are enriching lives and challenging fixed ideas in their own societies, from Adong Judith, whose plays energise theatre­ goers in East Africa, to Eka Kurniawan, whose literature mercilessly but with humour raises issues that Indonesia has long kept buried, to Marwa al-Sabouni, whose architectural perspectives open the possibility of building more peaceable communities, to Kidlat Tahimik, whose energetic creativity and promotion of indigenous people in the Philippines never fails to delight, and O Menelick Act 2 and Market Photo Workshop that – through their different mediums – have given expression to rarely seen realities of black life in South Africa and Brazil. One change in this year’s celebration is the addition of a Next Generation Award. The Prince Claus Fund has always been open to young and emerging artists but this new award reflects a more conscious emphasis, in all the Fund’s programmes, on developing the creative possibilities of young people. Dada Masilo, the Fund’s first Next Generation Laureate, started young and already has a remarkable career. She has broken through conventions and created her own melding of African dance and classical ballet that is relevant to modern life and speaks to audiences of all ages. She radiates an energy that says there’s much more to come. Moreover, with her strength, her innovations, and her success, she has become a role model, not only but especially for young girls and women in South Africa. We shouldn’t be surprised each year, but we are – surprised and delighted and awed – by the abundance of talent there is all around the world, and by the remarkable achievements of those who come under the spotlight of the Prince Claus Awards.

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CONTENTS

FOREWORD 3 INTRODUCTION 7

2018 PRINCE CLAUS LAUREATES 9

PRINCE CLAUS AWARDS 13 POLICY AND PROCEDURES 14

2018 PRINCIPAL PRINCE CLAUS LAUREATE MARKET PHOTO WORKSHOP 17

2018 PRINCE CLAUS LAUREATES ADONG JUDITH 29 MARWA AL-SABOUNI 41 EKA KURNIAWAN 53 O MENELICK 2º ATO 65 KIDLAT TAHIMIK 79

PRINCE CLAUS NEXT GENERATION AWARD 93 POLICY AND PROCEDURES 94

2018 PRINCE CLAUS NEXT GENERATION LAUREATE DADA MASILO 97

CONTRIBUTING AUTHORS 106 PRINCE CLAUS AWARDS COMMITTEE 2018 108 CEREMONIES 112 THE PRINCE CLAUS FUND 112 PRINCE CLAUS LAUREATES 2018–1997 116 ACKNOWLEDGEMENTS AND THANKS 122

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INTRODUCTION: ART THAT MAKES SENSE OF OUR LIVES AND KNITS THINGS TOGETHER

by Henk Pröpper, Chair of the Prince Claus Fund and Joumana El Zein Khoury, Director of the Prince Claus Fund

Connection and inclusion are two themes that run through most of the work that the Prince Claus Fund does; the projects it supports and the Laureates that it honours. In this era of building walls and retreat behind borders, those themes have never been more important. The history of humankind (according to historian Noah Harari) began with small family groups and slowly expanded to larger clans and eventually even larger tribes. Fast forward to feudal lords, kingdoms, city states, nation states and republics, these were the configurations that determined identity. In the last century, there was first a great movement towards internationalism and latterly a strong counter-movement towards individualism, bolstered by technology that promoted self-expression. Discover yourself! Say what you think! Follow your dream! The challenge for each of us is to realise our potential while not losing the touchstones of what makes us who we are – staying connected to family, to community, to history, understanding those connections and how they affect us, in order to forge a meaningful path for ourselves. This search is not new. It is what Socrates was referring to in the 4th century BC when he said: ‘The unexamined life is not worth living.’ Art and culture are essential in these quests. In primitive art we saw rock paintings of the hunt. The hunters were the rock dwellers’ heroes, for they provided the food essential for life. In classical art we saw symbols of power and spirituality. Art offers models. It reflects the tenor of the times. And throughout human history, culture has served a basic need. It often feels like in our current era, things are falling apart. Societies are changing and we need art to somehow help knit things back together in a new way. We need to mend, to repair, to bring together again, to renew beauty, to connect the pieces of the broken, link the past with the present and find the reborn. This year’s Laureates are knitters. They bring people together. They shed light on problems, while showing us paths to better places. This year’s honours include a Next Generation Award that emphasises an essential connection among generations, because it is youth who must go forward in this technologically fast-changing world. This year’s Next Generation Award goes to an outstanding ‘knitter’ who gathers many elements into her dances; a choreographer who connects classical themes and movements with specific cultural traditions and contemporary issues. A Next Generation Award that represents connection and inclusion in the finest Prince Claus tradition!

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THE PRINCE CLAUS LAUREATES 2018

9 2018 PRINCIPAL PRINCE CLAUS LAUREATE

Market Photo Workshop – SOUTH AFRICA training institution and cultural platform that has revolutionised photography in South Africa. Emphasising social consciousness alongside technical skills and ensuring opportunities for disadvantaged communities, its innovative methodology instills the ideals of socially committed photography, stimulates critical reflection, and has consistently empowered and supported generations of remarkable photographers.

10 2018 PRINCE CLAUS LAUREATES

Adong Judith – UGANDA playwright, filmmaker and theatre-maker who boldly provokes public debate to initiate positive change. Her entertaining productions draw audiences into personal encounters with the injustice and cruelty caused by official policies, local conventions and socialised attitudes related to issues such as child soldiers, war reparations and gender rights.

Marwa al-Sabouni – SYRIA architect and urban thinker who analyses and explains the role of modern city planning in triggering and fuelling conflicts. Based on personal experience in Homs, she proposes innovative designs that aim to restore co-operation, social cohesion and a sense of identity after the devastation of war.

Eka Kurniawan – INDONESIA writer who explores Indonesia’s complex recent history through appealing and accessible fiction that reveals the universal relevance of his subject matter. His inventive style draws on local storytelling, fantasy and humour to convey often traumatic realities and controversial subjects in a way people can relate to directly.

O Menelick 2º Ato – BRAZIL independent publishing platform making Afro-Brazilian culture visible in a racially unequal society. It documents and empowers black cultural production, increases insight into black people’s experience and generates critical debate, counteracting the lack of diversity in mainstream institutions and opening paths to inter-racial communication and integration.

Kidlat Tahimik – PHILIPPINES artist in many disciplines and a creative force in his community, inspiring others, building infrastructure, sharing his gifts and creating spaces of freedom. His innovative works in multiple fields reject imposed conventions in favour of an ingenious, indigenous, environmentally aware DIY ethos and aesthetic.

2018 PRINCE CLAUS NEXT GENERATION LAUREATE

Dada Masilo – SOUTH AFRICA dancer and choreographer who opens up striking new perspectives on the intertwining of African and Western cultures and histories. Her ground- breaking work reconfigures traditions, offers fresh narratives on volatile issues such as love, gender, HIV/Aids and spirituality, and illustrates the vast potential of future intercultural coupling.

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THE PRINCE CLAUS AWARDS

13 POLICY AND PROCEDURES

The Prince Claus Awards The Prince Claus Awards honour outstanding achievements in the field of culture and development. The awards are presented annually to individuals, groups and organisations whose cultural actions have a positive impact on the development of their societies. In keeping with the Prince Claus Fund’s guiding principles, the awards highlight significant contributions in regions where resources or opportunities for cultural expression, creative production and preservation of cultural heritage are limited.

Procedures The Fund invites cultural experts from its global network to nominate candidates for the awards. Research is carried out by the Fund’s Bureau and second opinions are sourced for all nominations. The Prince Claus Awards Committee meets twice a year to consider the information about the nominated candidates and presents its recommendations to the Board of the Prince Claus Fund. In December each year, the Prince Claus Awards are presented to the Laureates in a ceremony at the Royal Palace in Amsterdam in the presence of members of the Royal Family and an international audience. The Prince Claus Awards are also presented to the recipients at cere­ monies in their respective countries by the Dutch Ambassadors.

2018 Data For the 2018 Prince Claus Awards, 213 people were formally invited to make nominations. A total of 85 nominations was received and researched by the Bureau. The Prince Claus Awards Committee met on 16–18 December 2017 and drew up a shortlist for further research and second opinions from experts and advisors. During their second meeting on 15–16 May 2018, the Awards Committee­ conducted in-depth assessments of the 27 shortlisted candidates for the awards. The Awards Committee’s recommendations were presented to the Board of the Prince Claus Fund in June 2018.

14 Policy and Criteria The Prince Claus Fund maintains a broad view of culture open to all artistic and intellectual disciplines. The Prince Claus Awards are presented to artists and intellectuals in recognition of both the excellent quality of their work and their significant impact on the development of their society. The Awards are given to individuals, groups and organisations based mainly in Africa, Asia, Latin America and the Caribbean. Outstanding quality is a sine qua non for a Prince Claus Award. The quality of a laureate’s work is assessed in professional and personal contexts and for its positive influence on cultural and social fields. The Prince Claus Awards recognise­ artistic and intellectual qualities, experimentation and innovation, audacity and tenacity. They seek to foster inspirational leadership and to enhance the positive impact of cultural expression on societies.

The complete Report of the 2018 Prince Claus Awards Committee is available in Spanish, French, Dutch and English on the Fund’s website: www.princeclausfund.org.

15 Market Photo Workshop © Siphosihle Mkhwanazi Workshop Photo Market

“PHOTOGRAPHS THAT ACT AS WITNESS OF LIVED EXPERIENCES, DEALING WITH COMPELLING SUBJECT MATTERS THAT ARE PRESENTED FROM AN AUTHENTIC AND ESTABLISHED POSITION, ARE A POTENT VEHICLE FOR SOCIAL CHANGE. THEY HAVE THE STRENGTH TO IMPACT HUMAN PERCEPTIONS AND AT A VERY LARGE SCALE DUE TO ACCESSIBILITY AND FAR REACHING DISTRIBUTION ON DIGITAL AND PHYSICAL PLATFORMS.”

* ALL QUOTATIONS ARE BY LEKGETHO MAKOLA, HEAD OF THE MARKET PHOTO WORKSHOP 16 2018 PRINCIPAL PRINCE CLAUS LAUREATE MARKET PHOTO WORKSHOP

17 MARKET PHOTO WORKSHOP – SOUTH AFRICA Photography

Market Photo Workshop (1989, Johannesburg) is a training institution and cultural platform that instills and promotes the ideals of socially committed photography. It was the first space to provide photographic training, equipment and support to black South Africans during the apartheid era, giving huge impetus to the visual expression of black perspectives on local realities, exposing discri­ mination, injustices and oppression in powerful images. Almost 30 years later, it has 150-200 students per year and continues its transformative premise of recruiting people from disadvantaged communities and creating accessible and affordable opportunities in marginalised areas. When Market Photo Workshop started it was operating illegally; today its graduates are among the most acclaimed and influential photographers on the African continent, for example Zanele Muholi, Jodi Bieber and Sabelo Mlangeni. Founded by David Goldblatt and now under the leadership of Lekgetho Makola, Market Photo Workshop is independent, inclusive and non-profit. It has developed an innovative methodology that combines technical training with social consciousness raising. Market Photo Workshop challenges conventional thinking and constantly interrogates the role of photography and modes of representation. It encourages students to engage profoundly with the world around them. Project work that sharpens critical and research skills is central to all pro­ grammes, and the strong body of teaching professionals is complemented by guest lectures and workshops facilitated by leading journalists, photographers and academics. There is an emphasis on one-to-one mentorship with renowned photographers which has increased transfer of knowledge between generations and built a strong network and supportive community. Studies on multimedia and visual literacy, journalistic ethics, professional practice and entrepreneurial skills, as well as internships, enable students to flourish in the photography market. Alumni are further supported through multiple public programmes, exhibitions and an Alumnus Award, and often continue to interact and contri­ bute to the learning at Market Photo Workshop, serving as role models for younger generations. Among its diverse programmes, Market Photo Workshop offers introductory courses in communities, weekend classes, an interactive module on archiving for street photographers, and intensive incubator programmes for emerging artists. Open to all genres of the photographic arts, it urges students to develop their own individual voice. Many of its graduates explore complex issues such as state violence, sexual politics, migration, homelessness, memory, and identity in a transitional society, capturing post-apartheid realities. Through its three decades of revolutionary work, Market Photo Workshop has created a vast image archive of unique historical and social importance. To reach a wide public and expand critical discourse on visual culture and social change, it organises and supports photographic exhibitions both in its own gallery space and at external venues. It runs frequent public lectures, seminars and community events, and it is building regional links and exchange programmes with neighbouring countries.

18 Market Photo Workshop is honoured:

for its political courage and historically significant act of opening photography to black South Africans during apartheid;

for sustaining the radical spirit and ideals that grew out of the struggle against apartheid, stimulating critical reflection and enabling a continuing evolution of photo­graphic expression of social realities and injustices;

for creating a dynamic education process that propagates the role of photography as a proactive agent in social development;

for providing access to essential storytelling tools and supportive networks, enabling young people, including the marginalised and disadvantaged, to envision and share their experience; and

for its integrity over 30 years of dedication as a catalyst and springboard for talent, consistently empowering generations of remarkable photographers.

From the 2018 Prince Claus Awards Committee Report

“LIVING IN A WORLD OF PREJUDICE AND INEQUALITIES, POWER DYNAMICS TEND TO CREATE OPPORTUNITIES FOR SEGREGATION AND SUPPRESSION. PHOTOGRAPHY HAS A POTENTIAL OF GETTING UNDERWAY CRITICAL REFLECTION AND INNOVATIVE METHODS OF RE-THINKING REPRESENTATION AND IDENTITY PRACTICES IN A DIGNIFIED AND SELF-WORTH WAY.” 19 Joburg Photo Umbrella: Woza Sisi exhibition opening, 2014 © Madoda Mkhobeni Sisi exhibition opening, Woza Photo Umbrella: Joburg Joburg Photo Umbrella: Mine Waste Commission opening, 2014 © Madoda Mkhobeni Commission opening, Waste Mine Photo Umbrella: Joburg

“IMAGES SERVE AS A VISUAL REFLECTION OF THE SOCIOLOGICAL AND PSYCHOLOGICAL CONDITIONS OF HOW WE MIRROR OUR DESIRES AND ASPIRATIONS.” 20 Foundation Course student in the analogue class session, 2015 © Sipho Gongxek Course student in the analogue class session, Foundation In Jus’this Exhibition, a collaboration with Market Theatre Laboratory, 2017 Laboratory, Theatre a collaboration with Market Exhibition, In Jus’this © Siphosihle Mkhwanazi

“PHOTOGRAPHY ARCHIVES MEMORIES OF LIVED EXPERIENCES AND IDEALS. IT CAN BE USED EITHER TO ENHANCE OR TO DIMINISH A PEOPLE’S INTEGRITY AND DIGNITY.” 21 In Jus’this Exhibition, a collaboration with Market Theatre Laboratory, 2017 Laboratory, Theatre a collaboration with Market Exhibition, In Jus’this © Siphosihle Mkhwanazi Photo Incubator: Edition 3, exhibition opening, Market Photo Workshop Gallery, 2018 Gallery, Workshop Photo Market exhibition opening, Edition 3, Photo Incubator: © Siphosihle Mkhwanazi

“LACK OF DOCUMENTARY IMAGES IMPACTS NEGATIVELY ON A SOCIETY’S UNDERSTANDING AND KNOWLEDGE OF CURRENT AND PAST EVENTS. HUMANITY WOULD BE DENIED ACCESS TO VISUAL REFERENCES THAT COULD INFORM NEW WAYS OF THINKING AND CRITICAL ENGAGEMENT IN DIVERSE COMMUNITIES.” 22 Tierney Fellowship group critique session, 2017 © Siphosihle Mkhwanazi critique session, group Fellowship Tierney Faces and Phases 11, exhibition opening at Market Photo Workshop Gallery, 2017 © Sipho Gongxeka

“PHOTOGRAPHY HOLDS THE POSSIBILITY OF CONSTRUCTING AND PRESENTING IMAGES THAT RAISE UP THE VOICE OF THE MARGINALISED.” 23 Mobile Journalism Training Project, 2018 © Bongani Ndlovu Project, Training Mobile Journalism Working the City Exhibition, street installation, 2010 © Munyaradzi Chamalimba 2010 © Munyaradzi installation, street the City Exhibition, Working

“PHOTOGRAPHY AS A PRACTICE HAS A SIGNIFICANT CAPACITY OF ESTABLISHING MULTIPLE PLATFORMS WHERE DIVERSE VOICES AND VISUAL NARRATIVES ARE SHARED AND ENGAGED WITH, AND WHICH IN TURN ALLOW FOR THE CONSTRUCTION OF NEW SHARED IDEAS AND INNOVATIVE WAYS OF DEALING WITH ISSUES.” 24 Back and Forth Exhibition, street installation, 2007 © Lerato Maduna installation, street Back and Forth Exhibition,

“PHOTOGRAPHY IS A EXPRESSIVE MEDIUM THAT PROVIDES OPPORTUNITIES AND POSSIBILITIES TO CONFRONT, ENGAGE, EXPLORE, EXPOSE, REFLECT ON VITAL ISSUES, WHILE SETTING OFF CRITICAL SOCIOLOGICAL DISCOURSES AND MOVEMENTS, CONVERSATIONS, WHICH ALLOW HUMAN RIGHTS AND DEMOCRATIC PRACTICES TO BE CONTINUALLY IN-CHECK.” 25 MARKET PHOTO WORKSHOP: CRITICAL PHOTOGRAPHY FOR A SOCIETY IN TRANSITION by Rory Bester Founded in 1989 by world-renowned photographer, David Goldblatt (1930–2018), the Market Photo Workshop (MPW) has over the last 30 years risen to become one of the pre-eminent centres for independent and inclusive photography education in South Africa. It has been an unremitting beacon of the right to education from its inception – when it had to operate illegally to give equal access to all – right up to the present, against a back­ ground of increasing privatisation and narrowing of educational opportunities in South Africa. For especially students from margi­ nalised communities and without financial resources, the MPW has never wavered in its nurturing of talent and potential through access to training, equipment, critique, mentorships and exhibitions. The MPW was born into a history of anti-apartheid photo­ graphy. In many ways it has not only continued this tradition of socially committed photography, but has also been at the forefront of understanding and evolving photography’s critical voice in contemporary South Africa. From an early aim to provide practical photography training and visual literacy skills for students excluded from opportunities at traditional universities, the MPW has evolved to offer foundation, intermediate and advanced courses, the highly regarded Photojournalism and Documentary Photography (PDP) programme, a range of internship and exchange opportunities, an incubator programme for emerging artists and photgraphers,­ and opportunities to participate in an active exhibition programme. In all of this growth and development the MPW has never veered far from the complex questions of identity that inhabit the character of the institution itself, the use of the medium, and the work of the students and graduates in the wider world. At the foundation of the MPW rich learning and sharing experience is a community of people that includes trainers, students, alumni, photographers, mentors, and for a long while,

26 an advisory board. Each of these contributions has been knitted together and steered by authentic leadership from Gillian Cargill, TJ Lemon, Jenny Gordon, Cedric Nunn, Germaine Horowitz, John Fleetwood, and in the current role, Lekgetho Makola. One of the features of the MPW pedagogy is how it augments training through opportunities to participate in public projects, mentorships and fellowships. Not only have the uniquely struc­ tured public projects translated coursework into active inter­ pretations of complex social and political issues, but the Edward Ruiz and Gisèle Wulfsohn mentorships, as well as the Tierney fellowship, have enabled individual students to take their practice to new levels. Collectively, training, projects mentorships and fellowships have seen the MPW produce a number of highly acclaimed artists, curators and photographers, including Jodi Bieber, Themba Hadebe, Lebogang Kganye, Sabelo Mlangeni, Tumelo Mosaka, Ruth Motau, Zanele Muholi, Musa Nxumalo, Thabiso Sekgala and Lolo Veleko. The accumulation of 30 years of image making at the MPW constitutes one of the most remarkable archives of photographs that exists in South Africa today. It is a collation of individual and shared voices that not only explore complex questions around migration and xenophobia, sexual politics, access to land, home­ lessness, gender violence, and memory and remembrance, but also vigorously advocate for the role of photography in so many of the issues and debates that preoccupy a society in transition.

27 Adong Judith © Courtesy of the Artist © Courtesy of the Adong Judith

“THEATRE IS RAW, FRESH AND IMMEDIATE. THERE IS SOMETHING ABOUT LIVE ACTORS AND AUDIENCES THAT MAKES THE EXPERIENCE MORE RAW AND IMMEDIATE. ONE CAN USE THEATRICS TO MAKE POWERFUL COMMENTS. THIS HELPS IN REPRESENTATION OF ISSUES THAT CHALLENGE THE NORM OR ARE SOMETIMES TOO SHOCKING AND ABSURD TO DIGEST THROUGH REGULAR MEANS.” 28 2018 PRINCE CLAUS LAUREATE ADONG JUDITH

29 ADONG JUDITH – UGANDA Theatre

Adong Judith (1977, Gulu) is a playwright, film- and theatre-maker who fearlessly provokes public debate on highly contentious issues to initiate positive change. She does extensive research, including personal interviews with people directly involved in her subjects. Having studied music, dance and languages as well as literature, film and drama, she uses multifaceted artistic and technical skills, local languages, convincing characters and local detail to ensure audience engagement. Her powerful drama Silent Voices (2012) evolved out of her MA thesis on the use of drama therapy for psycho-social support of former Lord’s Resistance Army child soldiers. Revealing the terrors of the 20-year conflict, the play challenges the peace-building process implemented by the dominant ethnic group. It asks: Why amnesty? Why compensation for perpetrators while the victims are ignored? Who should forgive who? Who has the right to forgive on behalf of another? Staged in a society undergoing transitional justice, Silent Voices evokes powerful responses. A local language version was very well received in the conflict areas. It confronts people with their passivity and complicity as citizens and warns of future problems if justice is not relevant to the war-affected communities. It resonates with post-conflict communities around the world. To increase impact, performances are free and there is a one-hour discussion by a panel of victims, lawmakers, human rights and community NGOs, and academics after every show. Adong’s other theatre works include: Just Me, You and the Silence (on the LGBTIQ rights struggle in Uganda), Ga-AD! (a satire on religious politics, hypocrisy and gender), A Time to Celebrate (on local child sacrifice practices), Holy Maria (on social media deception) and Blood (an updated adaptation on the horrors of colonialism*). She has also written film, television and radio dramas on HIV/AIDS prevention, family planning, land mines, and human rights, as well as children’s books in the Acholi language and an Acholi-English dictionary. Formerly a drama lecturer at Makerere University, Adong is now the artistic director of Silent Voices Uganda (2016), a performance company dedicated to rebuilding Ugandan theatre-making. The company runs a potent apprenticeship programme that puts experienced and aspiring theatre- makers together to produce and perform a social change play. This transfers critical thinking and writing skills, and provides hands-on learning in acting, directing and all aspects of stage management and production. The programme was opened to participants from across Africa in 2018.

* Based on Lorraine Hansberry’s Les Blancs, 1970.

30 Adong Judith is honoured: for the passion and persuasive eloquence of her writing and directing;

for her provocative and engaging use of theatre as a platform for witnessing, reporting, raising social consciousness and stimulating dialogue to achieve social change;

for bringing the stories of vulnerable and disadvantaged people to the wider public of Uganda and the world;

for her brave and relentless commitment to fighting injustice and discrimination in a conservative context, boldly speaking out and challenging not only official policies but also local conventions and socialised attitudes;

for teaching, mentoring and acting as a strong role model for young theatre producers and directors, especially women; and

for leading a renaissance re-energising the drama and performance arts in Uganda.

From the 2018 Prince Claus Awards Committee Report

“I BELIEVE, AS IT IS SAID, THAT HISTORY IS RECORDED BY THE VICTORS. CULTURE AND ARTISTS WHO CHOOSE ACTIVISM IN DIFFICULT AND DANGEROUS POLITICAL CIRCUMSTANCES BECOME RECORDERS OF THE HISTORY OF THE NON VICTORS. THIS IS IMPORTANT!” 31

Sharon and Pamela at the 2017 Theatre Directors Apprenticeship Apprenticeship Directors Theatre and Pamela at the 2017 Sharon Artist © Courtesy of the

2018 Theatre 2018 Theatre Directors Apprenticeship Artist © Courtesy of the

“ANY CHANGE STARTS WITH CHANGE IN ATTITUDE. BY PERSONALISING CONTROVERSIAL ISSUES AND BRINGING IT CLOSE TO HOME, THEATRE MOVES THE AUDIENCE TO LOOK BOTH INWARD AND OUTWARD AND NOT JUST OUTWARD WHICH WE USUALLY FIND EASIER.” 32 2015 © Zahara Abdul 2015 © Zahara Dwon Ma Peke (Silent Voices), (Silent Dwon Ma Peke Audience at , 2018 © Brian Magoba , Shades

“WHILE SOCIETY WOULD RATHER THROW THE UNCOMFORTABLE AND EMBARRASSING UNDER THE RUG, CULTURE AND ARTISTS MIRROR THE FLAWS OF HUMANITY SO WE MAY LOOK INTO THE MIRROR AND SEE WHAT WE WOULD RATHER AVOID AND THEREFORE BE PUSHED TO FACE IT AND DEAL WITH IT.” 33 , 2018 © Zahara Abdul 2018 © Zahara , Blood , 2018 © Zahara Abdul 2018 © Zahara , All Ok

“PUBLIC DEBATE HELPS TO FIGHT THE CULTURE OF SILENCE AND CENSORSHIP, BOTH SELF AND INSTITUTIONAL, BUT MOST ESPECIALLY SELF-CENSORSHIP. MANY CITIZENS CENSOR THEMSELVES BEFORE THEY ARE EVEN CENSORED FOR FEAR OF BEING CENSORED.” 34 , 2015 © Zahara Abdul 2015 © Zahara , Dwon Ma Peke (Silent Voices) (Silent Dwon Ma Peke l 2018 © Zahara Abdu 2018 © Zahara Holy Maria, Holy Maria,

“MY WORK AIMS AT DE-TABOOING TABOO SUBJECTS – TO ALLOW FOR HEALING FOR THE VICTIMS, TO AMPLIFY VOICES OF DISADVANTAGED GROUPS, AND TO PROVOKE CONVERSATIONS BETWEEN DISAGREEING PARTIES TO BRIDGE MISUNDERSTANDINGS.” 35 ADONG JUDITH: TELLING STORIES WE DESPERATELY NEED TO HEAR by Bridgit Antoinette Evans She wasn’t arrested. Still, Ugandan writer Adong Judith knew the risks when in 2011 she organised a reading of her play, Just You, Me, and the Silence, about her country’s anti-homosexuality laws. It was, after all, held in Kam­ pala, the epicentre of a growing climate of hate that had resul­ted in the harassment and physical assault of gay Ugandans and their straight allies. In the most extreme case, respected LGBT activist David Kato was brutally murdered. First introduced into Uganda’s parliament in 2009, the so-called ‘Kill the Gays’ legislation – which called for a death sen­tence for cer­ tain homosexual acts – was met with a mass outcry, including public condemnation by US President Obama and other world leaders. As opposition to the bill surged, lawmakers in Uganda appeared to back down. That is, until Uganda’s parlia­ment reintroduced­ the bill, replacing the death penalty with a life sen­tence for those convicted of numerous homosexual ‘offences’. Far from being a discouragement, this news only further con­ vin­ced Adong Judith that the hearts and minds of Ugandans, as much as their laws, needed to be challenged and changed. Judith is not alone in her instinct to use art to change the world. In truth, artists are uniquely equipped to transform cultural attitudes and deeply entrenched beliefs. From films likeHotel Rwanda, which after its 2004 premiere became a clarion call in the movement to end the genocide in Darfur, to Pulitzer Prize-winner Lynn Nottage’s play Ruined, which brought the trauma of rape in conflict to interna­ tional audiences, artists have used their creative talent to chip away at the bigotry, indif­ference­ and fear that can cripple communities across the globe. In Adong Judith’s case, this work is done at considerable risk to her safety. While she hasn’t been imprisoned, Adong has faced a deluge of angry, vicious feedback on various online forums since she began writing and producing her politically charged plays, which have mobilised thousands of audience members in London, New 36 York, Kampala and other international cities. She has emboldened­ other Ugandan artists to step out on faith that being on the right side of history will protect them should their government target them or their neighbours harass them. She has inspired panel dis­ cussi­ons, press articles, and spirited online exchanges between a diverse group of activists, artists, UN officials,­ and philanthropists.­ Ultima­tely, she was instrumental in moving Uganda’s LGBT rights crisis into the global conversation. I met Adong Judith after attending a reading of Just You, Me, and the Silence at the Malcolm X and Dr Betty Shabazz Memorial and Educa­ tional Center in Harlem. I was so riveted by the expe­rience­ that I produced­ other performances of the play, Off Broad­way in New York City and in a gala benefit reading at the Old Vic Theatre in Lon­ ­don. What struck me most about these performan­ ces­ was the laugh­ter. Because Adong Judith’s work is often very, very funny, blen­ ding caustic wit with incredibly painful truths. In my opinion, her talent bears the hallmark of a truly great writer: finding authen­tic humour and pathos in the most dire of situations. It is one of the qualities that makes us human. There are those in government and in the global human rights move­ment who might argue that there are more urgent needs to be addres­sed before we can invest in artists. Organisations need offices, staff, security and safe houses. Activists need lawyers to repre­sent them when they are targeted. All real needs. But if we, as a commu­nity committed to change, hope to uproot the beliefs and behaviours that provide the engine for hate – and replace them with those that advance pluralism – we would also do well to pro­ tect, nur­ture and support artists who, like Adong Judith, are taking risks, speaking truth to power, and telling stories we so desperately need to hear. On behalf of the Pop Culture Collaborative, we congratulate Adong Judith on her Prince Claus Laureate designation, and com­ mend the Prince Claus Fund for recognising her power and pres­ cient vision.

37 l 2018 © Zahara Abdu 2018 © Zahara Holy Maria, Holy Maria, 2018 © Zahara Abdul 2018 © Zahara Keepers, Keepers,

“STORIES PROVOKE NECESSARY CONVERSATIONS THAT OFTEN HAVE NO EASY GATEWAY TO START! I LOVE STORIES BECAUSE OF THEIR POWER TO INFECT AND HUMANISE … AS HUMANITY PREFERS TO LIVE IN DENIAL RATHER THAN FACE REALITY, STORIES HELP BRING THE PROBLEM CLOSER TO MOVE COMMUNITY MEMBERS TO FEEL IT, THINK ABOUT IT, DISCUSS IT AND EVEN TAKE ACTION AGAINST IT.” 38 2018 © Zahara Abdul 2018 © Zahara Shadow of An Angel, Shadow of An Angel, 2012 © Milan Boie Silent Voices, Silent Voices,

“AS A WOMAN WHO HAS BEEN A VICTIM OF LOTS OF PATRIARCHAL IDEALS – IN WHICH THE DEHUMANISATION OF WOMEN TOOK CENTRE STAGE – I USE THAT EXPERIENCE TO CREATE POWERFUL FEMALE CHARACTERS, WHOSE JOURNEYS I FIGHT TO MAKE SURE ARE DIFFERENT FROM THOSE OF WOMEN I GREW UP KNOWING.” 39 Marwa Al - Sabouni © Ghassan Janisz Marwa

“ARCHITECTURE CAN INCREASE OR DECREASE THE CHANCES FOR SOCIAL ENCOUNTERS; IT ALSO PLAYS A ROLE IN DECIDING THE FORM AND DURATION OF SUCH ENCOUNTERS. THIS IS EASILY LINKED TO THE ECONOMICS OF THE PLACE. HOWEVER, THE EMOTIONAL ASPECT OF BONDING AND ATTACHMENT WITH ONE’S PLACE AND ONE’S COMMUNITY IS ONE OF THE MOST IMPORTANT ASPECTS THAT SHAPES OUR SOCIAL LIVES. IN SHORT: ARCHITECTURE CAN EITHER CREATE A SUSTAINABLE ENVIRONMENT SOCIALLY, ECONOMICALLY, AND POLITICALLY OR MAKE IT A VICTIM TO CONFLICTS AND STRUGGLES.” 40 2018 PRINCE CLAUS LAUREATE MARWA AL-SABOUNI

41 MARWA AL-SABOUNI – SYRIA Architecture and Urbanism

Marwa al-Sabouni (1981, Homs) is an architect and urban thinker who analyses and reveals the role of modernist city planning in triggering and fuelling conflict. Living and working in war-devastated Homs, she has seen the urban zone lines become the fault lines of violence. Her book, The Battle for Home: The Vision of a Young Architect in Syria (2016), examines changes inflicted on the city’s social fabric from French colonisation onwards. It shows how the ancient towns were gradually ‘improved’ with modern elements that distorted community relationships and fragmented societies. Anonymous concrete tower blocks contributed to loss of identity and self-respect. Administrative zoning, focused on efficiency, hygiene and traffic, separated people into enclaves by class, income, religion or ethnic group. This resulted in alienation from a wider sense of belonging, which generated mistrust, rival identities and ultimately the enmity that exploded in the civil war. Al-Sabouni believes that architects have a duty to stimulate social cohesion. As she is unable to build due to the war, she designs proposals for the future based on the communal values that underpin good living spaces. Her innova­ tive solution for reconstructing the destroyed Baba Amr district of Homs has the renewal of human connection at its heart. It draws on older Syrian spatial arrangements, when churches and mosques were built alongside one another and diverse classes and ethnicities constantly interacted. Her proposals reintroduce the traditional connections linking public and private spaces, and the buildings are designed to grow organically like trees. These ground-breaking proposals for Baba Amr could be extended to remake and heal the city. They are the opposite of current government plans for massive tower blocks isolated in regimented green spaces. Al-Sabouni urges rethinking rather than blindly following international trends and repeating past mistakes. As well as publishing numerous articles and giving lectures on her ideas, al-Sabouni and her husband run the Arabic Gate for Architectural News, the only online media outlet dedicated to architectural news in Arabic. They have also recently opened an educational and children’s bookshop in Homs.

42 Marwa al-Sabouni is honoured: for her profound analysis, clear reflections and incisive critique of modern architectural and town planning conventions, showing through lived experience that they contribute to the fragmentation of society and conflict;

for emphasising that a city is first and foremost a home for people and that the built environment should reflect local values;

for her imaginative and innovative proposals for urban design that can help to restore co-operation, social cohesion and a sense of identity after the devastation of war;

for highlighting that 21st-century cities face increasing diversity and there is an urgent need for a global reconsideration of the values on which urban planning and architecture are based;

for inspiring Middle-Eastern architects with ideas that counter both the European-centred paradigm and stereotyped Islamic architecture; and

for her daring resilience in presenting future possibilities for Syria even as it is being bombed and destroyed, reminding us that war doesn’t erase humanity, culture, pride or hope.

From the 2018 Prince Claus Awards Committee Report

“WHETHER CONSCIOUSLY OR UNCONSCIOUSLY PEOPLE REACT TO THEIR SURROUNDINGS. THIS IS VERY WELL KNOWN IN THE AREA OF DESIGN AS A GENERAL FIELD WHERE THE IMPACT OF COLOURS AND SHAPES ON PEOPLE’S MOODS AND PSYCHE IS COMMONLY REALISED, BUT WE TEND TO OVERLOOK HOW MUCH ARCHITECTURE AS A FORM- DICTATING TOOL CAN PLAY AN ESSENTIAL ROLE IN CREATING CHANNELS FOR PEOPLE’S LIVES AND SOCIAL BEHAVIOURS.” 43 Walid Mosque in Homs, its main facade and minaret damaged, 2016 damaged, its main facade and minaret Mosque in Homs, Khalid Ibn - Walid Al - Sabouni © Marwa The Church of St Mary of the Holy Belt in Homs, its main entrance damaged, 2016 its main entrance damaged, of St Mary Belt in Homs, The Church of the Holy Al - Sabouni © Marwa

“EVERY ASPECT ON EVERY POSSIBLE LEVEL OF ARCHITECTURAL AND URBAN DESIGN IS A MEDIUM OF CHANGE AND EFFECTIVELY INFLUENTIAL ON PEOPLE’S LIVES AND BEHAVIOURS.” 44 A neighborhood in Homs reduced to rubble, 2016 © Marwa al - Sabouni to rubble, A neighborhood in Homs reduced Sabouni’s vision of ‘tree units’ for the redevelopment of the razed district the redevelopment units’ for ‘tree vision of Marwa al - Sabouni’s 2016 © Marwa al - Sabouni Amr, of Baba

“ARCHITECTURAL DESIGN, LIKE EVERY OTHER CREATIVE PROCESS, IS THE RESULT OF ONE’S APPROACH TOWARDS LIFE AND FELLOW HUMANS THAT MANIFESTS ITSELF IN THE SHAPE OF A ‘PRODUCT’.” 45 “TECHNOLOGY IN THE 19TH AND 20TH CENTURIES IS THE MAIN REASON FOR THE DISTINCTION BETWEEN WHAT WE HAVE COME TO TERM AS ‘CONTEMPORARY’ AND SUBSEQUENTLY THE OTHER AS ‘TRADITIONAL’. EVER SINCE THAT RAPID AND RADICAL CHANGE IN PRODUCTION, THE RECONSOLIDATION BETWEEN THE OLD AND THE NEW WAS NEVER MADE. HENCE, IT IS OUR JOB, AFTER ALL THIS TIME, TO MAKE THIS RECONCILIATION HAPPEN. THIS CAN ONLY BE MADE BY INVESTIGATING THE GOOD QUALITIES IN EACH, AND BRIDGING THEM TOGETHER.” 46 47 Between two minarets in Old Homs, 2016 © Marwa al - Sabouni in Old Homs, minarets two Between Overview of the inner configuration of Krak des Chevaliers in Talkalakh, Syria, Syria, Talkalakh, in of the inner configuration Krak des Chevaliers Overview 2016 © Marwa al - Sabouni damage, recent showing

“SUCCESSFUL ARCHITECTURE CAN INTRODUCE US TO BEAUTY, SAFETY, BELONGING, NEIGHBOURLINESS AND PRODUCTION; WHEREAS FAILING ARCHITECTURE CAN BE STERILE, UGLY AND EGO-CENTRIC, AND CONSEQUENTLY SURROUND US WITH NEGATIVE FEELINGS OF LONELINESS AND ALIENATION.” 48 , 2016, book cover © Thames & Hudson Ltd © book cover 2016, , The Battle for Home The Battle for Sabouni, Marwa al - Sabouni,

“THE MISSION OF ART IN GENERAL IS TO SURROUND US WITH GREAT VALUES, GRANT US A PLACE FOR HUMAN DIALOGUE AND HUMAN EXPRESSION, AND MOST IMPORTANTLY, TO REMIND AND INSPIRE US OF WHAT MATTERS.” 49 MARWA AL-SABOUNI: BUILDING ON CULTURAL AND SPIRITUAL HERITAGE by Sir Roger Scruton Marwa al-Sabouni was born and educated in Homs, Syria, and has devoted her adult life to the study and practice of architec­ ture. She has sought to spread the message that architecture matters and that the abuse of the urban environment in the Middle East is one contributing cause of the tragic instability there. She has set an example of courage, not only in speaking her mind in a country where there is a real personal cost in doing so, but also in staying at her post in difficult times, and encouraging her fellow Syrians to think about the long-term destiny of their country and its urban fabric. She is a genuine Syrian patriot, committed to the search for an architecture that will respect the Syrian cultural heritage, and contribute to remaking her damaged country as a shared home. Ms al-Sabouni has made an eloquent case for a return to genuine Islamic archetypes in order to develop a modern urban vernacular that will encourage communities to settle side by side in a negotiated space. Her wonderful book, The Battle for Home, tells her personal story, and describes how the pro­ foundly moral significance of architecture and urban planning has been impressed on her by the conflict through which she and her family have lived. She gives a moving description of all that is at stake in the settlement patterns and building types that are so often inflicted on people against their will. It was a great honour to me that she asked me to write a preface to the book, and here is a part of what I wrote: ‘Marwa al-Sabouni … boldly criticises the corruption that has surrendered her city to both materialist vandalism and hate- filled revenge… The book is a moving record of one person’s effort to stay loyal to her homeland, at a time of great suffering and personal distress. It tells a painful and tragic story.’

50 Since writing that preface I have come to know Marwa al-Sabouni personally, and have conceived the deepest admiration for her courage and modesty. I have learned from her continually, both through discussing the need for beauty in our everyday environ­ ment, and from debating the great question of how the Christian and Islamic civilisations can be reconciled in the volatile world around us, and how our shared conception of what matters can be passed on to future generations. It is in cities that communi­ ties and faiths come together, to live side by side in mutual respect. And cities are made as much by their architecture as by the people who live in them. Marwa al-Sabouni’s message is one of hope in a time of destruction, and it is my belief that she will be increasingly listened to as people discover what they risk losing in losing the cities of Syria and the Levant. I am delighted that Marwa al-Sabouni will be honoured by the Prince Claus Fund for Culture and Development. She is a major cultural figure who is working openly and honestly for the right kind of development in her country, one that builds on its cultural and spiritual heritage in a spirit of reconciliation and hope.

51 Eka Kurniawan © Tya Listyani Tya © Eka Kurniawan

“HISTORY AND REALITY ARE ALWAYS DISTORTED IN THE END. THE QUESTION IS, WHO CONSCIOUSLY DOES IT AND WHO HAS ENOUGH POWER TO IMPLANT THIS INSIDE THE MIND? IF IT IS CARRIED OUT BY AN AUTHORITARIAN REGIME, IT IS VERY LIKELY THAT THIS HAS TO BE DONE TO PRESERVE ITS POWER. THE GREATEST EFFECT WOULD BE FELT BY PEOPLE WHO ARE CONSTANTLY SHACKLED. THE ONLY WAY TO FIGHT THIS IS BY COMMUNITIES THAT HAVE ACCESS TO KNOWLEDGE AND MANY VERSIONS OF HISTORIES.” 52 2018 PRINCE CLAUS LAUREATE EKA KURNIAWAN

53 EKA KURNIAWAN – INDONESIA Literature

Eka Kurniawan (1975,Tasikmalaya, West Java) is a writer who explores Indonesia’s complex recent history through appealing fiction. Having studied the great Indonesian writer Pramoedya Ananta Toer for his philosophy thesis, Kurniawan turned away from social realism and developed his own innovative style to make sensitive and often traumatic realities accessible and relevant to a wide audience. He combines elements of diverse literary forms and influences, including local folklore traditions, oral histories, wayang theatre, Indonesian martial arts and horror comics, and magical realism, to portray people’s real, multi-layered experiences. With acute historical intelligence, expansive storytelling, and page after page of fantastical plot twists and irreverent humour, Kurniawan’s work is a deep affirmation of the humanity of those shunted to the margins – the exploited, the excluded, the persecuted, who are really the majority. His first major novel,Beauty Is a Wound (2002), is both a hilarious satire and a family tragedy of epic scope that ensues from the physical and sexual violence of Indonesia’s Dutch colonial history, Japanese occupation and Suharto’s dictatorship and genocide. It evokes a vivid sense of poverty and rural isolation, and urges a reassessment of history and its unresolved conse­ quences. The many ghosts that haunt the imaginary town at the centre of Kurniawan’s works suggest that the past will not be over until the culprits are held accountable. Man Tiger (2004) concerns a murder, a man possessed by the spirit of white tiger, and two tormented families caught in village politics. Kurniawan borrows from local tales about magical male tigers who protect good villages or families. But here the tiger is a female who takes possession of a man – a twist that enables a sharp critique of patriarchy and the oppression of women. Strikingly lyrical and elegantly constructed, Man Tiger gained Kurnia­ wan the accolade of being the first Indonesian writer to be nominated for the Man Booker international prize (2016). Other works include: Graffiti in the Toilet(2000), a collection of satirical short stories on his generation including leaders who become power-hungry opportunists; A Bunch of Satan's Slaves (2010), a co-authored anthology of ghost stories; Vengeance Is Mine, All Others Pay Cash (2014), a study of masculinity, rape, authority and impotence; and a fable with adult appeal titled O (2016). His major works have been translated into 24 languages.

54 Eka Kurniawan is honoured: for his profoundly imaginative storytelling, the remarkable beauty of his prose and the universal relevance of his subject matter;

for confronting violent political acts that are absent from official discourse and examining controversial issues in a way that people can really relate to, helping them to reclaim stories of their past and construct a better understanding of their country;

for projecting the distinctiveness of Indonesian culture and giving status to local stories and myths;

for highlighting the power of language and literature in the way we perceive and process information on difficult topics, particularly at a time when language is hijacked by those in authority; and

for bringing attention for alternative readings of Indonesian history, stimulating long-overdue awareness and greater understanding of his homeland.

From the 2018 Prince Claus Awards Committee Report

“I DON’T THINK THERE IS ANYTHING DIFFERENT BETWEEN HISTORY, MEMORY AND IMAGINATION. MOST PEOPLE SEE THEIR HISTORY AS NOTHING MORE THAN A MEMORY, AND FEW ARE NOTHING MORE THAN AN IMAGINATION. AND HOW DO PEOPLE EVOLVE? WE ARE PUSHED FORWARD BY THE FORCES OF THE PAST, AND THE ATTRACTIVENESS IN THE FUTURE, AND MOST OF THEM ARE NOTHING MORE THAN PREJUDICE, SPECULATION OR FANTASY. I THINK ALL OF THEM DETERMINE HOW THE SOCIETY WOULD FLOURISH IN THE FUTURE.” 55 , book cover © Gramedia Pustaka Utama, Jakarta, 2004 Jakarta, © Gramedia Pustaka Utama, book cover , Lelaki Harimau (Man Tiger) Lelaki Harimau (Man

“HUMOUR IS A STRONG VOICE TO QUESTION EVERYTHING; FROM TRAGEDY TO POLITICAL CHOICES, AND TO LAUGH AT THEM. I THINK HUMOUR IS THE BEST WAY TO STAY SANE IN THIS LIFE.” 56 , book cover © Gramedia Pustaka Utama, Jakarta, 2004 Jakarta, © Gramedia Pustaka Utama, book cover , Cinta Tak Ada Mati (Love Never Dies) Never Ada Mati (Love Tak Cinta

“STORYTELLING HAS ALWAYS BEEN IMPORTANT, NOW AND LATER. I’M NOT SURE HUMANS CAN LIVE WITHOUT IT.” 57 EKA KURNIAWAN – INDONESIA Sastra

Eka Kurniawan (1975, Tasikmalaya, Jawa Barat) adalah penulis yang, dalam fiksi menarik, menjelajahi kompleksnya sejarah mutakhir Indonesia. Menulis skripsi sarjana filsafat tentang penulis besar Indonesia Pramoedya Ananta Toer, Kurniawan meninggalkan realisme sosialis dan mengembangkan sendiri gaya menulis inovatif untuk menggapai kenyataan yang peka dan sering traumatis sehingga relevan dan bisa dipahami pembaca luas. Ia menggabungkan unsur-unsur pelbagai aliran sastra dan pengaruh, termasuk cerita rakyat, sejarah lisan, pewayangan, pencak silat dan komik horor serta realisme magis, untuk menggambarkan pengalaman orang yang nyata dan berlapis-lapis. Dengan kecerdasan sejarah mendalam, penuturan cerita luas, dan halaman demi halaman pembalikan plot yang mempesona serta humor yang melenceng, karya Kurniawan adalah pembenaran mendalam bagi aspek kemanusiaan kalangan yang terpojokkan — mereka yang tereksploitasi, tersingkirkan dan menjadi buron yang sebenarnya merupakan mayoritas. Novel besar pertamanya Cantik itu Luka (2002) adalah satire kocak maupun tragedi keluarga dalam cakupan maha besar menyusul kekerasan fisik dan seksual sepanjang sejarah penjajahan Belanda, pendudukan bala tentara Dai Nippon dan kekuasaan tangan besi serta genosida rezim Soeharto. Novel ini membangkitkan gambaran nyata tentang kemiskinan dan keterpencilan di desa serta mendesak supaya sejarah kembali dipertimbangkan termasuk dampak sejarah yang tidak tuntas. Banyaknya hantu yang menggentayangi sebuah kota imajiner dalam karya Kurniawan menegaskan bahwa masa lampau tidak akan selesai sebelum para pelaku mempertanggungjawabkan perbuatan mereka. Lelaki Harimau (2004) berkisah tentang pembunuhan, tentang seorang pria yang kerasukan nyawa harimau putih, dan tentang dua keluarga terpuruk yang terjebak dalam politik pedesaan. Kurniawan menggunakan dongeng setempat tentang harimau jantan gaib yang melindungi desa atau kelurga baik. Tetapi di sini harimaunya ternyata betina yang merasuki seorang pria — sebuah pembalikan plot yang memungkinkan kritik tajam terhadap patriarki dan penindasan kaum perempuan. Begitu liris dan elegan penyusunannya, Lelaki Harimau melimpahkan penghormatan kepada Eka Kurniawan sebagai penulis Indonesia pertama yang masuk nominasi hadiah internasional Man Booker (2016). Karya-karya lain termasuk Corat-coret di Toilet (2000), kumpulan cerita pendek satiris tentang generasinya, termasuk para pemimpin yang ternyata cuma kalangan oportunis haus kekuasaan. Kumpulan Budak Setan (2010), antologi cerita hantu yang disusun bersama penulis lain; Seperti Dendam Rindu Harus Dibayar Tuntas (2014), kajian tentang maskulinitas, perkosaan, otoritas dan impotensi; buku anak-anak dengan seruan kepada orang dewasa berjudul O (2016). Karya-karyanya sudah diterjemahkan ke dalam 24 bahasa.

58 Eka Kurniawan memperoleh penghargaan: karena penuturan cerita dengan fantasi begitu kaya, keindahan mencolok prosanya dan relevansi universal tema yang diangkatnya.

karena berani menghadapi tindak kekerasan politik yang tidak disinggung-singgung oleh wacana resmi dan mengolah masalah- masalah kontroversial dengan cara yang memudahkan orang untuk benar-benar memahaminya, membantu mereka meraih kembali kisah masa lampau dan membentuk pemahaman lebih baik bagi negara mereka.

karena menggambarkan kekhasan budaya Indonesia dan memberi status kepada dongeng dan mitos lokal.

karena menekankan kuasa bahasa dan sastra dalam cara kita meresapi serta mengolah informasi tentang topik-topik sulit, khususnya pada zaman ketika bahasa dibajak oleh pihak berwenang dan

karena memusatkan perhatian pada cara alternatif untuk memahami sejarah Indonesia, merangsang kesadaran yang sudah lama dinanti dan pengertian lebih mendalam bagi tanah airnya.

Laporan Komite Hadiah Pangeran Claus 2018 – Juni 2018

“ALL COMMUNICATIONS ARE BASICALLY FANTASY. EVEN WHAT WE SAY (OR IN THIS CASE, WHAT WE WRITE) IS CLEARLY NOT REALITY ITSELF. THERE IS ALWAYS SOME DISTORTION HERE AND THERE, SOMETHING THAT IS DELIBERATELY DONE OR NOT. AND THAT CREATES FANTASY, ANOTHER VERSION OF REALITY.” 59 , book cover © Gramedia Pustaka Utama, Jakarta, 2016 Jakarta, Utama, Pustaka © Gramedia cover book , Coret-Coret Di Toilet (Scribbles in the Bathroom) Toilet Di Coret-Coret

“FICTION AND FANTASY CAN ABSOLUTELY CREATE A DIFFERENT WORLD. WE CAN CONSTRUCT MANY SPECULATIONS ON THINGS. THAT WAY, WE WILL CONTINUE TO GROW AND FACE VARIOUS POSSIBILITIES.” 60 , book cover © Gramedia Pustaka Utama, Jakarta, 2004 Jakarta, © Gramedia Pustaka Utama, book cover , Cantik Itu Luka (Beauty Is A Wound) A Cantik Itu Luka (Beauty Is

“THROUGH LITERATURE, WE CONNECT WITH STRANGERS WHOM WE NEVER MEET FOR THE REST OF OUR LIVES. WE CONNECT WITH PEOPLE FROM DIFFERENT GENERATIONS. WE TELL A VARIETY OF THINGS, NOT ONLY OUR LIVES, BUT ALSO OUR IDEAS ABOUT THE FUTURE, FEAR AND HOPE, AND THE WAY WE SURVIVE.” 61 EKA KURNIAWAN: BOTH FANTASTIC AND DEVASTATINGLY TRUE by Tiffany Tsao

Eka Kurniawan’s unflinching fiction brings readers face-to-face with a deeply unsettling fact: that for many in Indonesia, brutality is a pervasive and inescapable affliction of everyday life. His first novel Cantik Itu Luka (Beauty is a Wound), published in 2002, writes a history of small-town Java that challenges official, sani­ tised accounts of Indonesia’s past – more unreal because of the novel’s magical elements (people rising from the dead, ghosts, flying women), yet more factual because it includes the senseless murder and violence that undoubtedly occurred, but that textbook histories omit. In the same vein, his 2004 novel Lelaki Harimau (Man Tiger) delves beneath the superficialities of a bizarre attack – boy bites man – to uncover a backstory both fantastic and devastatingly true. We find out the boy is possessed by a she-tiger spirit, but we also learn of the abuse that women like the protagonist’s mother must endure, the privilege that men are socialised into believing is their due, and the unthinking cruelty that ensues when men are denied what they perceive should be theirs. Fantasy and harsh reality aren’t the only opposing elements that converge in Eka Kurniawan’s work. His writing is a combi­ nation of so-called ‘high brow’ and ‘low brow’ content and style. Though more than familiar with international literary ‘greats’ (Pramoedya Ananta Toer, Nikolai Gogol, Gabriel García Márquez, just to name a few), he is unabashed about the influence that sastra picisan, or Indonesian dime novels, have had on his work, in particular, the horror and martial arts novels from his child­ hood. In 2010, he collaborated with two other Indonesian authors to compose Kumpalan Buduk Setan (The Devil’s Slaves Club), a collection of creepy tales written in homage to pulp- horror-fiction writer Abdullah Harahap. Eka’s novel epertiS Dendam, Rindu Harus Dibayar Tuntas (Vengeance is Mine, All Others Pay Cash) draws overtly on martial arts (silat) novels,

62 appropriating and channeling the genre to provide a darkly humorous commentary on the violent and machismo-dominated norms governing the world of its characters. By incorporating elements of sastra picisan into his work, Eka acknowledges the literature most affordable and accessible to the majority of Indonesians. In doing so, he accords these books – and by extension, their readers – respect, rather than abando­ ning them in favour of catering more to middle- and upper-class sensibilities. Tragedy is depicted in his work without varnish, without pontification – for most Indonesians do not have the luxury of philosophising at length on their misfortune, the terrible deeds done to them, or the cruelty that circumstances compel them to enact. In Eka’s work, the human condition is what it is, as simple as that. Not loftier than its material surroundings, but importantly, not lower either. As much is implicit in the tenuous distinctions between animals and humans throughout his fiction, from the dog-like creature whom the narrator raises as a child in the short story ‘Caronang’, to the woman who marries a dog in Cantik Itu Luka, to the monkey protagonist of his latest novel O who joins a monkey-circus troupe in order to become human. In stripping the art forms of literature, history, and tragedy of pre­ tension, Eka Kurniawan asks his readers to clamber down to earth.

“LOCAL MYTHS AND FOLKLORE ARE UNIQUE SOURCES TO LEARN SOMETHING THAT IS RARELY TOUCHED. LOCAL FOLKLORE CONSERVES THE DIVERSITY OF OUR LITERARY VARIATIONS. MODERN SOCIETY CERTAINLY HAS ITS OWN STORIES AND MYTHS, BUT BREAKING AWAY FROM OLD STORIES AND MYTHS WILL ONLY MAKE MODERN SOCIETY ALIENATED FROM EVERYTHING.” 63 , Menelick 2º Ato

O Nabor Jr and Luciane Ramos, members of the Editorial Board of members of the Editorial Board Nabor Jr and Luciane Ramos, 2017 © Micha Nunes

“THE ADVENT OF RACIST, XENOPHOBIC, MISOGYNIST AND OTHER TYPES OF DISCRIMINATION INVOLVING, IN PARTICULAR, RACE AND GENDER, IS INTRINSICALLY RELATED TO LACK OF KNOWLEDGE. EPISODES OF DISCRIMINATION AND THE CONSTRUCTION OF NEGATIVE STEREOTYPES ARE RECURRENT IN BRAZIL BECAUSE WE DO NOT HAVE PUBLIC EDUCATION POLICIES SUFFICIENTLY CAPABLE OF PROVIDING THE MAJORITY OF THE POPULATION WITH CRITICAL KNOWLEDGE OF OUR PAST AND PRESENT REALITY, NOT TO MENTION THE PERMISSIVE TRACK RECORD OF THE STATE.”

* ALL QUOTATIONS ARE BY NABOR JR, DIRECTOR OF O MENELICK 2º ATO 64 2018 PRINCE CLAUS LAUREATE O MENELICK 2º ATO

65 O MENELICK 2º ATO – BRAZIL Media/Journalism

O Menelick 2º Ato (Menelick Act 2) (2010, São Paulo) is an independent platform making Afro-Brazilian culture visible in a racially unequal society. Although less than half of the population self-identify as white and most Brazilians are of mixed ancestry, the majority people of colour have almost no presence and no voice in Brazilian media. Menelick Act 2 gives thinkers and protagonists of Afro-Brazilian artistic production a space to share their perspectives and project the ideas, creativity and concerns of the contemporary black community in Brazil. Founded and directed by journalist and photographer Nabor Jr, it is the rebirth of the first-ever black journal in Brazil, titled Menelick*, which was launched by a poet in 1915 but was unable to sustain publication. Menelick Act 2 is an avant-garde, non-profit, quarterly magazine published online and in a physical version distributed free through libraries and cultural events as well as in conflict areas of São Paulo. Cultural activists, artists, scholars and journalists comprise the editorial board and diverse creative, popular and academic writers and artists are contributors. Committed to counteracting black cultural invisibility and the lack of diversity in mainstream cultural institutions, Menelick Act 2 believes art is a powerful way to make the struggles and contributions of black people seen and disseminated. Covering all forms of music, theatre, cinema, dance, fine arts, photography, fashion, literature, poetry and popular urban manifestations such as clowning and hip-hop, it introduces many individuals and collectives to a wider public. Menelick Act 2 highlights cultural actions that question social conventions and challenge stereotypes. It features work that reflects on black experience but the artist does not have to be black. Critical essays discuss cultural works that deal with racial identity, gender politics, class, the socio-economic condi­ tions of Afro-Brazilians, war, colonialism and consumerism, among others. Reports tackle topics such as black representation in Brazilian advertising; a section on Africa generates diasporic connections; and academic studies review the legacy of past black masters of Brazilian arts who have been overlooked in the nation’s history and are unknown, particularly among younger generations. By documenting black cultural activities and productions, Menelick Act 2 is establishing a body of knowledge that is an educational and research resource for present and future generations. Its critical reading of artworks forms a foundation for the inclusive Brazilian art history that is currently lacking.

* The title is a tribute to Menelick I of Ethiopia, the only African country to escape colonisation.

66 Menelick Act 2 is honoured: for its dynamic commitment to redressing the lack of representation of the Afro-Brazilian community in Brazilian media and cultural institutions;

for documenting, promoting and empowering black cultural production;

for emphasising the conceptual content of Afro-Brazilian arts and extending its reach and social impact;

for increasing insight into black people’s experience, generating critical debate and opening paths to inter-racial communication and integration;

for exemplifying the need for alternative publishing channels to counter dominant discourses and advocate equal opportunities; and

for building a sense of pride and self-esteem in the majority black community and youth of Brazil.

From the 2018 Prince Claus Awards Committee Report

“THE EXISTING SYSTEMS, WHICH WE REFER TO AS ‘WORLD PRODUCTION SYSTEMS’, ARE BASED ON PATRIARCHAL, RACIST AND MISOGYNISTIC LOGIC. SUCH SYSTEMS DO NOT CONCERN A LARGE PORTION OF HUMANITY; THUS, THE CONSTANT SEARCH FOR NEW AND INNOVATIVE ALTERNATIVES OFFERS THE ONLY POSSIBILITY FOR UNDERREPRESENTED POPULATIONS – INCLUDING BLACK PEOPLE, WOMEN AND GAYS – TO EXIST IN FULLNESS.” 67 , Edition 00, 2010 © Victorone 2010 © Edition 00, , 2010 © Edson Ikê Edition 01, , Menelick 2º Ato

O Menelick 2º Ato O Menelick 2º O Cover of Cover of Cover Edition 03, 2010 © Urso Morto Edition 03, , Edition 08, 2011 © Ditinha, Mogi Mirim/SP, 1954 Mogi Mirim/SP, 2011 © Ditinha, Edition 08, , Menelick 2º Ato

O Menelick 2º Ato, O Menelick 2º O Cover of Cover of Cover

“A SOCIETY THAT DOES NOT RECOGNISE DIFFERENCES AND THEREFORE DOES NOT RESPECT THEM IS DOOMED TO EXTREMISM AND TOTALITARIANISM.” 68 , Edition 04, 2011 © André Pato 2011 © Edition 04, , 2011 © Onesto Edition 05, , O Menelick 2º Ato O Menelick 2º Ato O Menelick 2º Cover of Cover of Cover Edition 07, 2011 © Daniel Melim Edition 07, , Edition 06, 2011 © Nabor Jr Edition 06, , O Menelick 2º Ato, O Menelick 2º O Menelick 2º Ato O Menelick 2º Cover of Cover Cover of Cover

“ALTHOUGH DIFFERENCE IS AN INTEGRAL PART OF HUMAN EXPERIENCE, SUPREMACIES OF DISTINCT NATURES ACTUALLY IMPOSED HOMO­ GENEITIES AND HIERARCHISED THESE DIFFERENCES, ATTRIBUTING THEM TO ‘SAME’ OR ‘OTHER’. THE INSTANCES OF ‘OTHER’ IN TERMS OF RACE, GENDER, AND CLASS ARE FOUND IN MULTIPLE DEGREES DEPENDING ON CONTEXT, GENERATING INEQUALITIES AND, ULTIMATELY, DEATHS.” 69 O MENELICK 2º ATO – BRASIL Mídia/Jornalismo

O Menelick 2º Ato (2010, São Paulo) é uma plataforma independente que está proporcionando, em uma sociedade racialmente desigual, visibilidade à cultura afro-brasileira. Apesar de menos da metade da população se identificar como branca e grande parte dos brasileiros serem de ascendência hetero­ gênea, a maioria das pessoas negras quase não tem presença ou voz na mídia brasileira. O Menelick 2º Ato viabiliza aos pensadores e protagonistas da produção artística afro-brasileira um espaço para compartilharem suas perspectivas e projetarem sua criatividade, suas ideias e suas preocupações referentes à comunidade negra brasileira contemporânea. Coordenado pelo jornalista e fotógrafo Nabor Jr., O Menelick 2º Ato foi fundado por ele como tributo ao primeiro jornal negro do Brasil, intitulado O Menelick*, lançado em 1915 por um poeta, que, porém, logo se viu impossibilitado de manter sua publicação. Trata-se de uma revista avant- garde trimestral, sem fins lucrativos, publicada tanto virtualmente quanto em sua versão física, e distribuída de forma gratuita a partir de bibliotecas e eventos culturais, assim como em regiões de São Paulo, onde os conflitos raciais são mais evidentes. Ativistas culturais, artistas, intelectuais e jornalistas constituem o conselho editorial da revista, e diversos escritores e artistas populares e acadêmicos colaboram a cada edição. Comprometido com o combate à ausência de visibilidade da cultural negra e à falta de diversidade nas instituições culturais dominantes, O Menelick 2º Ato compreende que a arte é uma xforma poderosa de fazer com que os esforços e as contribuições do povo negro sejam vistos e disseminados. Abarcando todas as formas de música, teatro, cinema, dança, belas-artes, fotografia, moda, literatura, poesia e manifestações populares urbanas, como hip-hop e palhaços de rua, a revista apresenta muitos desses indivíduos e coletivos a um público mais amplo. O Menelick 2º Ato dá ênfase a ações culturais que questionam convenções sociais e contestam estereótipos. A revista difunde artigos que refletem a experiência negra sem, contudo, deixar de aceitar textos de autores que não sejam negros. A cada edição, estudos críticos discutem trabalhos culturais relacionados à identidade racial, às políticas de gênero, a questões de classe, às condições socioeconômicas dos afro-brasileiros, à guerra, ao colonialismo, ao consumismo, entre outros. Há artigos que abordam questões relativas à representação negra na publicidade brasileira; uma seção apresenta o debate acerca do continente africano e seus vínculos com a diáspora; e estudos acadêmicos retomam o legado de antigos mestres negros das artes brasileiras negligenciados pela história do país e que são desconhecidos, particularmente, entre as gerações mais jovens. Ao documentar atividades e produções culturais negras, O Menelick 2º Ato disponibiliza, às atuais e futuras gerações, um conjunto de conheci­ mentos que se consolida como recurso educacional e material para novas pesquisas. As leituras críticas de trabalhos artísticos publicadas pela revista constituem os alicerces para uma história da arte brasileira mais inclusiva, algo cada vez mais imprescindível na atualidade.

* O título serve como tributo à Menelik I da Etiópia, o único país africano a escapar da colonização. 70 O Menelick 2º Ato distingui-se por: seu empenho dinâmico em sanar a escassez da representatividade da comunidade afro-brasileira na mídia e nas instituições culturais;

documentar, promover e empoderar a produção cultural negra;

enfatizar o conteúdo conceitual das artes afro-brasileiras e estender seu alcance e impacto social;

ampliar o conhecimento da experiência negra, gerando debates críticos e abrindo espaço para a comunicação e a integração interracial;

demonstrar a necessidade de canais alternativos de publicação a fim de fazer face aos discursos dominantes e defender oportunidades igualitárias; e

construir um senso de orgulho e autoestima em grande parte da comunidade e juventude negra do Brasil.

Relatório do Comitê dos Prêmios Príncipe Claus 2018 – Junho de 2018

“WE LIVE IN AN ERA OF EXTREMES AND POLARISATIONS. SOCIETIES HAVE UNLEARNED HOW TO SEE DISAGREEMENT AS SOMETHING HEALTHY AND HOW TO DEBATE. DEBATING MEANS EXERCISING REASONING, QUESTIONING CERTITUDES AND ESSENTIALISMS, AND DEALING WITH OUR OWN CONTRADICTIONS. CRITICAL SOCIETIES THAT ARE ABLE TO INTERPRET THEIR OWN HISTORY AND CRITICISE THEIR OWN MISTAKES CAN GLIMPSE HORIZONS AND ATTAINABLE CHANGES.” 71 , Edition 014 © Rosana Paulino , Menelick 2º Ato

O Cover of Cover

“WE STRONGLY BELIEVE IN ART AS A TOOL OF STRUGGLE AND RESISTANCE. SEEN FROM THIS POINT OF VIEW, CULTURE PLAYS A FUNDAMENTAL ROLE BECAUSE IT IS CAPABLE OF FIGHTING PREJUDICE AND APPRECIATING THE TARGET PUBLIC OF THESE POLICIES AND REPRESSIVE AND/OR DISCRIMINATORY ACTIONS. AS THE SINGER NINA SIMONE ONCE SAID, THE ARTIST SHOULD REFLECT THE TIMES.” 72 , 2010 © Edson Ikê , O Menelick 2ºAto Invitation to the launch of Edition 03 Invitation

“DOCUMENTING AND RECORDING A MULTIPLICITY OF HISTORIES – THAT HAVE BEEN FORGOTTEN, REMAINED UNTOLD, OR ARE NARRATED ONLY FROM THE OPPRESSOR’S VIEWPOINT – IS FUNDAMENTAL TO PROVIDE THE GENERATIONS OF TODAY AND TOMORROW WITH THE TOOLS FOR BUILDING A SOCIETY THAT RESPECTS ALL ITS CITIZENS, WITHOUT EXCEPTION.” 73 O MENELICK 2º ATO: CHAMPIONING AFRO-BRAZILIAN ANCESTRY AND CULTURE

by Aracy A. Amaral It was only in relatively recent times that people began champio­ ning or upholding the banner of a culture that for long had been sidelined – a surprising initiative in a country like Brazil, where over 50 percent of the population is of African origin. Essentially, this situation reflects a history and economy based on slavery until 1888 in a territory sanctioned as a Portuguese colony in the early 16th century. Notwithstanding, native Afro descendants have stood out in the Brazilian scene, as for instance Carlos Gomes, the country’s greatest 19th-century composer, or Antonio Francisco Lisboa, a leading sculptor of the colonial period. There have also been painters such as Artur Timóteo da Costa, artists such as Ruth Cardoso, or great popular musicians such as Gilberto Gil, Paulinho da Viola, Ari Barroso, Milton Nascimento, Carlinhos Brown, and many more. Novelist Machado de Assis, whose oeuvre experts and aca­ demics from all over the Western world have studied and ana­ lysed, must also be mentioned. Then there was Mário de Andrade, the major modernist-movement leader, and 19th-century poets that included Cruz e Souza and Castro Alves, not to mention more recent figures such as ambassador Souza Dantas, Milton Santos, the illustrious Universidade de São Paulo professor, or Abdias do Nascimento, the theatrical movement activist. The 19th and 20th centuries also saw Afro descendants becoming celebrated engineers and public figures in Brazil, as for instance the distinguished town planner André Rebouças. And there were great sporting idols, of course, of which perhaps 90 percent were Afro descendants. However, the extensive roster of political and cultural perso­nalities of African ancestry in the Brazilian scene would certainly not fit in a laudation whose sole purpose is to highlight the phenomenal emergence of a movement, if we may call it that, over the last 30 years. A movement that finally aims at raising awareness and promoting activism 74 amongst the new generations of young Afro-descendant intellectuals. More than 100 million Brazilians are of African ancestry, so we should find it odd that this movement only started to emerge over the last few decades and, even so, timidly. Hence the importance, in this context, of highlighting a publication such as O Menelick 2º Ato with its presence, affir­ mation, and struggle to secure a place that is long overdue although insufficiently noticed. Ingrained racial prejudice is persistent in Brazil and the ‘whitening’ process has muted our history of Afro ancestry. For ‘unknown’ reasons, this ‘whitening process’ has always been a significant factor determining the social acceptance of Brazilian intellectuals, athletes and artists. Thus, every initiative intended to enhance self-pride for this huge number of inhabitants of South America's largest country must be hailed as positive and worthy of support. This goes for the press too. Although Menelick (founded in 1915) was a short-lived journal, let us recall The Black Press in São Paulo, an exhibition held in 1977 on the initiative of the historian Eduardo de Oliveira e Oliveira at Pinacoteca do Estado de São Paulo. The show featured publications dated from 1918 to 1965 that included O Bandeirante, A Liberdade, O Kosmos, Elite, O Clarim, O Clarim da Alvorada , Auriverde, O Patrocinio, O Clarim/Alvorada, A Voz da Raça, Tribuna Negra, O Novo Horizonte, Mundo Novo, Quilombo, O Mutirão, Hifen, O Novo Horizonte, Monarquia, and Arvore das Palavras. The first of its kind, the exhibition was a memorable event too: as Pinacoteca director, I saw how it drew so many interested visitors from absolutely new segments of the audience! In this context of self-affirmation, let us recall the incisive initiative of the artist and museologist Emanoel Araujo, founder of Museu Afro-Brasileiro in São Paulo. This museum regularly holds exhibitions on the African diaspora and its artistic expres­ sion in Brazil, from the colonial period through to contemporary art made by Afro descendants in our own time.

75 Visual artists from past decades started to emerge at these events in addition to our mid-20th-century Afro ‘classics’ such as Otavio Araujo, Rubem Valentim, Emanoel Araujo, and distinguished artists Rosana Paulino and Genilson Soares. In addition to providing a set of themes for Brazilian visual artists as was the case from the end of the 19th until the mid- 20th century, now there are more artists – Afro descendants Paulo Nazareth or Arjan Martins, for example – being posed as personae or artists, irrespective of their ancestry. Martins gave emphasis to the history of this huge population with the drama of more than four million slaves crossing the Atlantic Ocean and their growing numbers in Brazil. For all these reasons I extol the rightly-earned honour awarded O Menelick 2º Ato, the combative journal headed by Nabor Junior and his team. Nowadays, its role is to contribute to the explanation and mobilisation around the acknowledgement of an ancestrality to which we owe much for our culture and personality as Brazilians.

76

, 1984 © Courtesy Kidlat de Guia , Memories of Overdevelopment, Redux 1 Memories of Overdevelopment, Kidlat Tahimik: “We must use our local ViewFinder not Hollywood's framer...” framer...” not Hollywood's ViewFinder use our local must “We Tahimik: Kidlat film still from

“KAPWA IS A PRE-COLONIAL FILIPINO CULTURAL DISPOSITION THAT SEES THE ‘SELF’ IN THE ‘OTHER’ … A DEEP FAMILIAL RESPECT FOR CO-EXISTING WITH FELLOW BEINGS – HUMANS AS WELL AS NON-HUMANS … IMAGINE A FRIENDLY DIALOGUE BETWEEN A TRIBAL CHILD WITH A TREE SPIRIT, ACTED OUT IN A PLAY; OR, HEAR A HAUNTING REFRAIN IN A CHANTED PRAYER TO THE IFUGAO GODDESS OF THE WINDS; OR, WATCH A POETIC VIDEO OF A MONGOLIAN HERDER SINGING TO A MOTHER CAMEL TO ACCEPT AN ORPHANED BABY CAMEL; OR, SMELL A FRESH MOSAIC ON A RAINFOREST FLOOR ASSEMBLED FROM DIFFERENT COLOURED LEAVES; — ALL THESE CAN BRING BACK THE MEMORY OF ONENESS WITH THE KAPWA BEINGS OF MOTHER NATURE, WHOM INDUSTRIAL SOCIETIES ARE DECIMATING SO RAPIDLY. CAN ENVIRONMENTAL ARTISTS AND ECO-WARRIORS REVIVE THE KAPWA ORIENTATION TOWARDS MOTHER NATURE, BEFORE THE WHOLE PLANET GOES POOF?” 78 2018 PRINCE CLAUS LAUREATE KIDLAT TAHIMIK

79 KIDLAT TAHIMIK – PHILIPPINES Visual Arts/Film

Kidlat Tahimik (1942, Baguio City) is a self-described ‘Kultur Warrior’, artist in many disciplines and a creative force in his community – his name means ‘quiet lightning’ in the Tagalog language. Always using a low-budget DIY ethic, his work ranges from engaged performance to free-style architecture and carved installations. But it all started with film. While working as an economic researcher in Paris, Kidlat tore up his MBA diploma and quit his job. He joined a Bavarian artists commune where, helping a film student, he learned to shoot a 16mm camera. Deeply inspired, he poured his heart and soul into his first film,Perfumed Nightmare (1977). A fictionalised version of his own dream trip to the West and disenchantment, it is a satirical critique of ‘undeveloped’ nations’ obsession with the ‘overdeveloped’ West. It won awards at international festivals and was Kidlat’s turning point back towards the Philippines. An enthusiastic advocate of indigenous culture, Kidlat built a hut in an Ifugao tribe village where he taught villagers to document their culture. With his wife Katrin, Kidlat organises conferences with indigenous peoples from around the world. His subsequent films include:Why is Yellow Middle of Rainbow? (1980–94, aka I am Furious Yellow), a father-and-son chronicle of joyfully surviving the Philippines’ 1980s revolution and natural catastrophes; Turumba (1983) on the impact of globalisation and Western religions on village families and crafts; and Balikbayan#1 or Memories of Overdevelopment (2015), a revisionist historical drama about Enrique, Magellan’s indigenous slave and technically the first person to circumnavigate the globe. A passionate supporter of independent cinema, Kidlat returned his Lifetime Achievement award to protest Cinemalaya Philippine Independent Festival’s decision to merge the section for debutant filmmakers with veteran cineastes. Co-founder of the Baguio Arts Guild (1986), Kidlat mentors and teaches young creatives through workshops and community projects. He has designed and built two highly imaginative, nonprofit art centres. The Victor Orteyza Community Art Space is an energy hub encouraging talent through all-expenses-paid exhibitions, performances and live music funded by the proceeds of its popular restaurant/café. The Ili Likha Artists Watering Hole, an ecology oasis which hosts artists’ studios, galleries and a café, is centred on a free cinema, created in the form of a ship, which shows independent films. Like Kidlat’s films, these centres had no blueprint. They were constructed organically by local craftsmen using recycled found materials to create striking and delightful community spaces. Since 1998, Kidlat and his Ifugao mentor Lopes Nauyac revived an ancient rice terraces ritual – the Pun-nuk. It is an annual thanksgiving to the Gods for the gift of rice. UNESCO in 2016 inscribed Pun-nuk in its list of Intangible Culture Heritage (ICH).

80 Kidlat Tahimik is honoured: for his holistic, free-spirited and joyfully rebellious approach and lifetime commitment to independent creativity;

for his charismatic role as a catalyst and thought leader inspiring people to tap into their own inner spirit;

for his innovative works in multiple fields that reject imposed conventions in favour of an ingenious, pragmatic and environmentally aware DIY ethos and aesthetic;

for his vital and compelling filmmaking showing how to condemn and fight injustice while living joyfully;

for his commitment to Philippine culture and pro-indigenous activism, creatively resisting cultural imperialism and showing that local ways and knowledge are a rich resource; and

for his deep social engagement and generosity in doing whatever he can to change things for the better, building infrastructure, sharing his gifts and creating spaces of freedom. From the 2018 Prince Claus Awards Committee Report

“DIFFERENT ‘SYSTEMS’ OF LIVING OR DOING OR EVEN ‘BEING’ – OVER TIME – OSSIFIED INTO DIFFERENT CULTURES. THEY BECAME STANDARDS FOR JUSTIFYING RIGHT OR WRONG BEHAVIOUR. SLAVERY WAS A SYSTEM ACCEPTED IN MANY CULTURES FOR ECONOMIC EFFICIENCY. RELIGIOUS INTOLERANCE WAS AN ACCEPTED SYSTEM TO SUBJUGATE THE HEATHEN ‘OTHERS’. RACISM CONTINUES TO CREATE COLOUR BARS THAT ‘SYSTEMATISE’ NEIGHBOURHOODS. ACCEPTED UNTIL ONE DAY, THE SYSTEM IS FINALLY QUESTIONED. THEN POLITICAL WILL (OR A REVOLUTION) CATALYSES THE UPHEAVAL OF THE SYSTEM THAT IS NO LONGER TENABLE.” 81

eyes © Courtesy Kidlat de Guia eyes genius green our 20/20 vision of development with our our 20/20 vision of development - green re Let’s gospel: Kidlat’s indio - harvest river games the Punnok post - harvest river revived Nauyac, Kidlat and his tribal mentor, Intangible Heritage ritual to be preserved) UNESCO as world by (declared © Courtesy Kidlat de Guia

“ARTISTS ARE ‘FRAMERS’ WHO CALL ATTENTION OF MAINSTREAM SOCIETY BY SPOTLIGHTING, EXEMPLIFYING, DRAMATISING (SOMETIMES OVER-BEAUTIFYING TO A FAULT) WHAT IS ORDINARY IN LIFE.” 82 Kidlat regularly gives his Bamboo Camera Awards to indies who tell stories outside the Hollywood formula films © Courtesy Kawayan de Guia films © Courtesy formula Kawayan to indies who tell stories outside the Hollywood Awards his Bamboo Camera gives Kidlat regularly

“IF WE REMAIN STUCK IN THE ILLUSORY ECHO-CHAMBER OF ‘PROGRESS’, HOW CAN WE EVEN THINK OF CONTRIBUTING TO THE RE-BALANCING OF OUR PLANET?” 83 KIDLAT TAHIMIK – PILIPINAS Sining Biswal/Pelikula

Si Kidlat Tahimik (1942, Baguio) ay sariling banyag na ‘Kultur Warrior’ (Mandirigmang Pangkultura), manlilikha sa iba’t ibang larangan, at isang pwersang sining sa kanyang komunidad. Sa pamamagitan ng kanyang etika ng sariling sikap at paggamit ng di-mamahaling materiyales, binabagtas ng kanyang mga obra ang larangan ng performance, bukas-estilong arkitektura, at mga inukit na installations. Gayunpaman, ang lahat ay nagsimula sa pelikula. Habang nagtatrabaho bilang isang mananaliksik ng ekonomiya sa Paris, pinunit niya ang kanyang diploma sa MBA at nilisan ang kanyang trabaho. Sumapi siya sa isang lipon ng Bavarian artists kung saan, habang tinutulungan ang isang mag-aaral ng sining pampelikula, natutunan niya ang paggamit ng 16mm camera. Inspirado ng karanasang ito, ibinuhos niya ang kanyang puso at kaluluwa sa kanyang unang pelikula, Perfumed Nightmare (1977). Isang fictionalisadong bersyon ng kanyang pangarap na paglalakbay sa Kanluran at pagkabigo, ang pelikula ay isang satirical na puna sa pagkahumaling ng mga bansang di-maunlad sa kalabisan ng Kanluran. Nanalo ito ng mga parangal sa mga pandaigdigang festivals na siyang nagudyok sa pagbabalik ni Kidlat sa Pilipinas. Isang masigasig na tagapagtaguyod ng katutubong kultura, nagtayo si Kidlat ng kubo sa isang pueblo sa Ifugao kung saan tinuruan niya ang mga katutubong magdokumento ng kanilang kalinangan. Kasama ang kanyang asawang si Katrin, inorganisa ni Kidlat ang mga panayam ng mga taong katutubo mula sa iba’t ibang panig ng mundo. Kabilang sa kanyang mga subsekwenteng mga pelikula ang: Why is Yellow Middle of Rainbow? (1980 –94, kilala rin bilang I am Furious Yellow), kuwento ng mag-amang mapalad na nakaligtas sa rebolusyon ng Pilipinas noong 1980 at mga natural na sakuna; Turumba (1983) patungkol sa epekto ng globalisasyon at mga relihiyong Kanluranin sa pamilya at kasanayan ng mga taganayon; at BalikBayan # 1 or Memories of Overdevelopment Redux III (2015), isang rebisyunistang dramang historikal tungkol kay Enrique, ang katutubong alipin ni Magellan at ang unang taong umikot ng mundo. Isang marubdob na tagasuporta ng independiyenteng pelikula, isinauli ni Kidlat ang kanyang Lifetime Achievement award upang tutulan ang desisyon ng Cinemalaya Philippine Independent Festival na pisanin ang seksyon ng debutanteng filmmaker at mga beteranong cineastes. Isa sa mga tagapagtatag ng Baguio Arts Guild (1986), si Kidlat ay mentor ng mga batang manlilikha na ginagabayan niya sa pamamagitan ng mga workshop at mga proyektong pangkomunidad. Nagbanghay at nagtayo siya ng dalawang di- pangkomersyong sentro ng sining. Lunduyan ng kasiglahang pangsining ang Victor Oteyza Community Art Space na naghihikayat ng talento sa pamamagitan ng mga libreng pag-eksibisyon, pagtatanghal at musika. Tinutustusan ito ng pondong nalilikom ng kanyang bantog na restaurant/café. Ang Ili Likha Artists Watering Hole, isang ekolohikal na oasis ay tahanan ng mga studio, gallery, at cafe para sa mga artista. Tampok rito ang isang libreng sinehang anyong barko na nagpapalabas ng mga independiyenteng pelikula. Tulad ng mga pelikula ni Kidlat, walang plantilya ang mga gusaling ito. Itinayo ang mga ito ng mga lokal na manggagawa gamit ang mga recycled at found materials upang lumikha ng kapansin-pansin at kasiya-siyang mga espasyo para sa komunidad. Mula 1998, pinagpauli ni Kidlat kasama si Lopes Nauyac (ang kanyang mentor na Ifugao) ang Pun-nuk, isang sinaunang ritwal sa hagdang-hagdang palayan. Ito ay taunang pasasalamat sa mga diyos para sa kaloob na bigas. Mula 2016, ang Pun-nuk ay nakapaloob sa listahan ng Intangible Cultural Heritage (ICH) ng UNESCO. 84 Pinarangalan si Kidlat Tahimik: para sa kanyang holistico, malaya, masigla, at mapaghamong diskarte, gayundin sa kanyang panghabambuhay na panata sa independiyenteng paglikha;

para sa kanyang karismatikong papel bilang katalista at lider ng kamalayang naghihikayat sa mga tao upang sumalok mula sa kani-kanilang panloob na diwa;

para sa kanyang mga makabagong obra sa iba’t-ibang larangan na tumututol sa mga pataw na artistikong kombensiyon para sa kapakanan ng ingeniyoso, pragmatiko, at makakalikasang etos at estetikang sariling-sikap;

para sa kanyang makabuluhan at mapaghimok na paglikha ng pelikula na kumukundena at tumututol sa kawalang-katarungan habang namumuhay nang may galak;

para sa kanyang pagtatalaga ng sariling tungkulin sa kultura ng Pilipinas at maka-katutubong aktibismo, malikhaing pagtutol sa imperyalismong pangkultura, at pagpapamalas ng mga lokal na pamamaraan at dunong bilang bukal ng yaman; at

para sa kanyang malalim na pakikipag-ugnayan sa lipunan at bukas-palad na pagkilos sa ikapagbubuti ng sambayanan, pagbuo ng imprastraktura, pagbabahagi ng kanyang mga kagalingan, at paglikha ng mga puwang para sa kalayaan.

Ulat ng Hurado 2018

85 , 1977 , Perfumed Nightmare Perfumed Kidlat in his ‘cocoon of American Dreams’, film still from film still from American Dreams’, ‘cocoon of Kidlat in his © Courtesy Kidlat de Guia

“WHEN YOU COME FROM A COPY-CAT CULTURE (I.E. A COLONISED CULTURE) THE ORIGINAL EXPRESSIONS OF THE INDIGENOUS SOUL ARE SUPPRESSED. THIS IS THE FIRST TARGET OF ATTACK IN ‘KULTUR ASSASSINATION’ VIA CULTURAL ASSIMILATION POLICIES OF THE INVADING DOMINANT CULTURE … AFTER A THIRD OF A CENTURY ON THIS PLANET, I BEGAN TO QUESTION MY CULTURAL EVOLUTION, WHICH WAS IMPOSED BY MY COUNTRY’S HISTORICAL CIRCUMSTANCES (A.K.A. COLONIAL HISTORY). DIGGING FOR MY NATIVE ROOTS UNDER LAYERS OF COLONIAL LAHAR, AS AN INDIE FILMMAKER AND MULTI-TASKING ARTIST, SLOWLY TRANSFORMED ME INTO SOME SORT OF A KULTUR-WARRIOR.” 86 battle tactics © Courtesy Kidlat de Guia genius Kidlat poses before his idol, Lapulapu, who repulsed Magellan’s armada invasion with his indio - armada invasion Magellan’s who repulsed Lapulapu, his idol, Kidlat poses before

“IN OUR TIME-IS-MONEY SOCIETY, THE DAILY MANTRA IS TO ‘STAY ON TRACK’. HOWEVER, IN MY ITINERANT WANDERING TO EXPLORE ISSUES OF INDIGENOUS CULTURE AND HOLISTIC DEVELOPMENT, I CAN SAY AMUSEDLY THAT BY ‘STRAYING ON TRACK’ I FOUND MY WAY.” 87 KIDLAT TAHIMIK: BALIKBAYAN #1 AND HIS HOMECOMING JOURNEY by Hiromu Shimizu As an admirer and a self-claimed comrade of Kidlat Tahimik, who is engaged in a lifelong project to liberate himself from American cultural hegemony and to re-construct himself as a native Filipino, I was very pleased with the news that he received the Caligari Prize for his latest filmBalikbayan #1 at the Berlinale in Germany in 2015, and now again, I am very happy that he is receiving the 2018 Prince Claus Award for his lifetime achievement. It is perhaps hard to understand the story development of Balikbayan when watching it for the first time. The film eschews the easily comprehended editing which typically arises from the omniscient eye, and instead moves spontaneously, developing a chain of discrete images. It easily crosses the boundaries of time and space as the protagonist, Enrique (enacted by Tahimik), freely travels between Portugal, Spain and the Philippines over a time span of 500 years. Enrique was a Malacca-born real-life slave, who was ransomed by Ferdinand Magellan in Goa in 1511, followed his new master to Portugal and then set off with Magellan on the famous circumnavigation from Spain. When the fleet crossed the Pacific Ocean and finally arrived at the Philippine archipelago, people there understood Enrique’s Malay. He served as the interpreter for all communication between Magellan and the leader of Cebu, and he contributed to the Christian conversion of local people. Magellan, however, died in the battle against the leader Lapu-Lapu on Mactan island, and his sailors took over the voyage. History books still tell us that the first person who made a circumnavigation of the globe was Magellan, but Tahimik insists that it was the interpreter-slave Enrique who actually was the first as he left Malacca, travelled to India, and to Portugal, and arrived back in his native linguistic area before Magellan completed his return to Spain.

88 Tahimik himself made a round-the-world trip when he was young. After graduating from the University of the Philippines, where he served as the president of the student council, he received an MBA at the prestigious Wharton School of Finance at the University of Pennsylvania in America, and then travelled to Europe and started working at the OECD in Paris in 1968. However, he wasn't comfortable in this elite life and quit after five years to join a vegetarian-artist commune in Berlin, where he learned filmmaking from commune members. He directed and starred in a self-produced film,Perfumed Nightmare, which was highly praised by Francis Ford Coppola and won the Fipresci (International Critics’) Prize at the Berlinale in 1977. Balikbayan #1’s winning the Caligari Prize is, in a sense, another circumnavigational journey back to Germany. After his five years at the OECD and another five years in the commune, Kidlat Tahimik moved back to his homeland, Baguio in northern Luzon, with his German wife Katrin, a stained-glass artist. In Baguio, Tahimik met an Ifugao leader, Lopes Nauyac, and learned about Nauyac’s reforestation and cultural revitalisation movement. Attracted to Nauyac’s words and deeds, Tahimik began making documentaries about him. Later, when Nauyac began reforestation in his homeland Hapao village in Ifugao, which is famous for its UNESCO World Heritage rice terraces, Tahimik also built himself a traditional style house there so he could regularly shoot Nauyac’s activities. Balikbayan #1 interweaves Enrique’s homecoming journey with segments of images that Tahimik has filmed over 35 years. It is as if the film traces Tahimik’s own round-the-world trip – dropping out of Western elite society and following an indigenous sage to become a genuinely native Filipino.

“ORGANIC ARCHITECTURAL EVOLUTION MORE APPROPRIATELY SATISFIED THE COMMUNITY’S NEED FOR A CENTER OF LIVING TRADITIONS. THE MORE ORGANIC MY STRUCTURES WERE, THE STRONGER THE APPLAUSE FROM THE COMMUNITY. WAS IT THE ARCHITECTURAL CRAZINESS? WAS IT THE WHOLE ANTI-MALL AMBIANCE? WERE PEOPLE EXCITED BECAUSE I ALLOWED TREES TO GO ON GROWING, AT THE EXPENSE OF LOST RENTABLE SPACE?" 89 Moreover, his son Kawayan, who plays the role of reincarnated Magellan, follows Tahimik's trip (as Enrique) to Hapao, Ifugao. (Actually, I myself have followed Tahimik’s life for these 35 years since we first met at the party for the South Asian Film Festival organised by the Japan Foundation in 1982 when his Perfumed Nightmare was first screened in Japan.) This bold work suggests the reinterpretation of world history from the starting point of globalisation. At the same time, it is also a memoir of Tahimik’s soulful journey to become an truly native Filipino. With Katrin, his two sons Kidlat Jr and Kawayan, and his soul guru Nauyac as main characters, plus his 90-something mother, Balikbayan #1 embraces family-movie-specific intimacy and humour. The title Balikbayan #1 means – with ‘balik’ as ‘return’ and ‘bayan’ as ‘home’ – people who come back from expatriate work. It is a metaphor for the current Philippines, which has nearly 10 percent of its population of 100 million working overseas. The year 2021 will be the 500th anniversary of Magellan’s round-the-world trip. Balikbayan #1 might be reedited and ultimately be completed by that year, as a work which will raise subtle objections to Western hegemonic interpretations of world history, from a peripheral ‘contact zone’ in a former colony nation. How will Kidlat Tahimik, this serious but somehow jokey trickster, conclude his life-work film? I look forward to seeing the results.

“NO CULTURE HAS A MONOPOLY OF WHAT IS ‘GOOD’, ‘TRUE’ AND ‘BEAUTIFUL’.” 90

THE PRINCE CLAUS NEXT GENERATION AWARD

93 POLICY AND PROCEDURES

The Prince Claus Next Generation Award In 2018 the Fund introduces the Next Generation Award for outstanding achievements and contributions in the field of culture and development by an individual under the age of 35. The Next Generation Award is presented to an individual who is a role model for younger generations and whose cultural actions have a positive impact particularly on young people in their society. In keeping with the Prince Claus Fund’s guiding principles, the award high­ lights significant contributions in regions where resources or opportunities for cultural expression, creative production and preservation of cultural heritage are limited.

Procedures The Fund invites cultural experts from its global network to nominate candi­ dates for the Next Generation Award. Research is carried out by the Fund’s Bureau and second opinions are sourced for all nominations. The Prince Claus Awards Committee meets twice a year to consider the information about the nominated candidates and presents its recommendations to the Board of the Prince Claus Fund. The Prince Claus Next Generation Award is presented to the Laureate during the ceremony for the Prince Claus Awards in December at the Royal Palace in Amsterdam in the presence of members of the Royal Family and an international audience. The Next Generation Award is also presented to the recipient at a ceremony in their respective country by the Dutch Ambassador.

94 Policy and Criteria The Prince Claus Fund maintains a broad view of culture open to all artistic and intellectual disciplines. The Prince Claus Next Generation Award is presented to artists and intellectuals in recognition of both the excellent quality of their work and their significant impact on the development of young people in their society. It recognises­ creative work that engages young people in the building of more inclusive, open-minded societies. It honours cultural endeavours that enable youth to explore issues related to gender, diversity and inclusion, and that allow young people to create alternative narratives and see their world in new and different ways. The Next Generation Award is given to individuals based mainly in Africa, Asia, Latin America and the Caribbean. Outstanding quality is a sine qua non for the Next Generation Award. The quality of a laureate’s work is assessed in professional and personal contexts and for its positive influence on cultural and social fields. The Next Generation Award recognises artistic and intellectual qualities, experimentation and innovation, audacity and tenacity. It seeks to foster inspirational leadership and to enhance the positive impact of cultural expression on societies.

The complete Report of 2018 Prince Claus Next Generation Award is available in Spanish, French, Dutch and English on the Fund’s website: www.princeclausfund.org.

95 Dada Masilo © Suzy Bernstein

“THINGS ARE ALWAYS CHANGING. WE HAVE TO MOVE WITH THE TIMES. WE CANNOT BE SITTING WITH IDEALS FROM THE STONE AGES. THAT IS NOT PROGRESSIVE. I BELIEVE THAT THE IDEA IS TO LEARN FROM OLD CONVENTIONS­ AND THEN CREATE NEW ONES. THIS IS HOW WE GROW, BY CONSTANTLY CHALLENGING THE NORM, STEPPING OUT OF BOXES AND CREATING OUR OWN NORMS WHICH OTHERS CAN CHALLENGE AFTER US.” 96 2018 PRINCE CLAUS NEXT GENERATION LAUREATE DADA MASILO

97 DADA MASILO – SOUTH AFRICA Dance

Dada Masilo (1985, Soweto) is a dancer and choreographer who boldly intertwines African and Western cultures and histories in challenging and groundbreaking performances. Her formative experiences encompass performing modern township dance, and formal training in classical ballet and contemporary dance in South Africa and Europe. Open to ideas from this multiplicity of sources, she skilfully selects and brings seemingly incom­ patible elements together to reflect people’s experiences in her homeland. Masilo’s first choreographic work was conceived as a tribute to her aunt who had died of AIDS. Set to Saint-Saëns’ icon ballet music The Dying Swan, it explores the social stigma, rejection and lonely death of AIDS patients in South Africa. In her revised version of Giselle, the heroine dies of heartbreak, as per convention, but then she rises to seek revenge. Answering an ancestral call, she joins a band of spirits led by a sangoma (traditional healer) who seek the deeper political goal of freedom, which is possible only when those who betrayed them die. Swan Lake was the first ballet Masilo saw and fell in love with as a child. She has rewritten it to explore the pressures and consequences of South African norms around arranged marriages, domestic violence and homo­ phobia. In Masilo’s Swan Lake (2010), the hero’s parents buy him a bride, and she is forced to marry him. However, the hero’s lover gatecrashes the wedding party and reveals in a beautiful duet that the hero is gay. Every detail is cleverly designed to strengthen the stories’ messages. The unique choreography is energetic and muscular, integrating diverse African gestures, rhythms and footwork with traditional ballet movement and contemporary dance. The expressive sound scores contain music from contemporary South Africa and the Western canon, as well as episodes of shouting and chatter in a mix of languages. Costume design features striking juxtapositions of tutus and African clothing, bare feet and point shoes. The strong African performance elements counteract ballet’s fairy-tale aura and increase the realism of Masilo’s altered narratives. Masilo has created and performed eleven original choreographies as well as many collaborations with other choreographers and artists. This includes cutting-edge contemporary choreography and performance for four of William Kentridge’s recent artworks. She mentors and teaches many young dancers using training processes that re-think and re-invent dance, and her company’s productions and tours support numerous artists and performance technicians.

98 Dada Masilo is honoured: for the artistic passion, inventive experimentation and dynamic quality of her work;

for her courageous creativity, mixing intelligence, wit and performance skills to convey volatile social issues in an accessible and captivating way;

for transforming traditional Western ballet into a feminist vehicle that speaks to black identity;

for transgressing the barriers of rigid cultural practices and taking huge aesthetic risks in fusing two very different perfor­ mance styles, opening up the boundaries of 21st-century dance;

for creating a highly innovative dance language by embracing elements of other cultures, showing a new way of expressing universal ideas in our multicultural reality; and

for inspiring young generations and confidently projecting the possibilities open to South Africa’s young black women.

From the 2018 Prince Claus Awards Committee Report for the Next Generation Award

“WE ARE LIVING IN A DANGEROUS TIME WHERE SOCIAL MEDIA IS CONSUMING ALL OF US, BUT WE ARE NOT PAYING ATTENTION TO THE REAL THINGS. DECISIONS ARE BEING MADE FOR US, ESPECIALLY THE YOUTH, AND WE THINK IT DOESN’T AFFECT US. TEN YEARS DOWN THE LINE EVERYONE IS GOING TO WISH THEY HAD PAID MORE ATTENTION. I SAY DO IT NOW! GET OFF INSTAGRAM FOR A MINUTE AND WATCH CNN. IT’S DEPRESSING YES, BUT IT IS ALSO REALITY.” 99 Dance Factory, Johannesburg, 2014 © John Hogg 2014 © John Johannesburg, Dance Factory, Carmen, Dada Masilo, Dada Masilo, Dance Factory, Johannesburg, 2017 © John Hogg 2017 © John Johannesburg, Dance Factory, Giselle, Dada Masilo, Dada Masilo,

“DANCE IS A SOCIAL ART FORM. IT BRINGS PEOPLE TOGETHER. IN SOUTH AFRICA WE DANCE WHEN WE ARE HAPPY, SAD, ANGRY AND MOURNING. DANCE IS USED AS A FORM OF EMOTIONAL RELEASE. IT IS ALSO USED TO BRING COMMUNITIES CLOSER TOGETHER.” 100 101 HUMOUR ETC. MY WORK ISNOT JUST ABOUT THE PHYSICAL TECHNIQUE; DANCE EMOTING ISMORE VITAL. INMYOWN WORK IPREFER TO EMOTE COMMUNICATION TOOL BALLET. INCLASSICAL INCONTEMPORARY HONESTLY. I WANT THE VIEWER TO FEEL PAIN, JOY, SADNESS, ANGER,

Dada Masilo, Giselle, Dance Factory, Johannesburg, 2017 © John Hogg NARRATIVE ISREALLY THE DRIVING FORCEINMY WORK. “ MIME AND GESTURES ARE A VERY IMPORTANT FORMOF ” , 2008 © John Hogg 2008 © John , Romeo & Juliet Dada Masilo, Dada Masilo,

“MY INTENTION IS TO TELL STORIES THROUGH MOVEMENT. I WANT TO MAKE THE CLASSICS MORE ACCESSIBLE TO A GLOBAL AUDIENCE. CLASSICAL BALLET IS CONSIDERED TO BE ELITIST, AND I WANT TO BREAK THAT BARRIER. I ALSO WANT TO TACKLE SOCIAL ISSUES THAT ARE AFFECTING US TODAY. I STRIP THESE CLASSICS OF THEIR FAIRYTALE ASPECT AND USE THEM TO TELL REAL STORIES.” 102 , Dance Factory, Johannesburg, Johannesburg, Dance Factory, , Swan Lake Swan Dada Masilo, Dada Masilo, Hogg 2012 © John festival, during the Dance Umbrella , Dance Factory, Johannesburg, Johannesburg, Dance Factory, , Swan Lake Swan Dada Masilo, Dada Masilo, Hogg 2012 © John festival, during the Dance Umbrella

“FUSING WESTERN AND AFRICAN OR OTHER TRADITIONS IS IMPORTANT BECAUSE IT BRINGS DIFFERENT WORLDS TOGETHER. IT CREATES A VERY DIFFERENT DYNAMIC, CHALLENGING FOR THE BODY AND BRAIN. IT IS MOSTLY DIFFICULT, BUT IT BECOMES EASIER WITH PRACTICE.” 103 DADA MASILO: A WIDER FIELD OF VISION by William Kentridge I am delighted Dada has been honoured by the Prince Claus Fund. I had seen Dada Masilo’s Swan Lake. She had seen some work of mine. We put aside an afternoon to see what would happen if we worked together. There was of course a shyness, a young dancer (black), a middle-aged non-dancer (not black) in the studio. We started from basics. Dada would lift her leg to an impossible height, I would copy with an up-raised arm. I would make a circular action, a non-dance action, for example, explaining something with a gesture of my hands. She would copy, repeat, expand the action, parodying it, exaggerating, finding the edges of what was being done. Simply getting up from a chair, specifi­ cally the way a non-dancing 55-year-old man raised himself, became the starting point for a series of movements, a duet in which I was a straight man and she performed a series of inventions, reversals and transformations of it. There is a sharpness and wit and a clarity in what Dada does. The idea is a starting point, but then there is the repeating, the honing, the refinement of the action. The years of training and performance embodied in her as a dancer give her a material, a means for thinking through ideas. There is a double commitment: a commitment to the broader idea, a view of history, of a metier, the weight of ballet on the feet and shoulders of dancers from outside of the centre from which it emerged; and a commitment to the material she works with, her body and the bodies of the dancers she works with. How far can an attitude be extended? How can we shift between the weightlessness of a dancer en pointe and the groundedness of a Tswana or Pedi dance with its feet thumping the earth? Dada embodies a healthy disrespect for the traditions she straddles. This position at the edge of a tradition is a source of strength. Dada acknowledges bastardy, acknowledges the margins as a position from which new perspectives can emerge. In her reworking of the classical ballets, Swan Lake, Giselle, 104 Carmen (and coming up The Rite of Spring), Dada takes on a particular history of movement, of narrative. It is there to be cut up, reorganised, reconfigured and sent back out into the world as something both familiar and utterly new. It has been our pleasure to have Dada reimagine our bodies, to challenge our familiar verities, to make our ears hear differently, and to give our eyes a wider field of vision.

105 CONTRIBUTING AUTHORS

Aracy Amaral is an art critic, curator and art historian active since the mid-1960s. She is a Full Professor of art history for the Faculty of Architecture and Urbanism at the University of São Paulo. Former director of the Pinacoteca do Estado (1975–1979), and the Museum of Contemporary Art, University of São Paulo (1982–1986), Amaral is also the recipient of the Simon Guggenheim Memorial Foundation Fellowship, 1977. She is the author of numerous essays and publications on Brazilian and Latin American Art and Brazilian Modernism. Aracy Amaral lives and works in São Paulo.

Rory Bester is a Professor of art history at the University of the Witwatersrand, Johannesburg, where his teaching and research focuses on histories of photography. His writing on art and photography has appeared in Art South Africa, Art Africa, Camera Austria, Nka; Journal of Contemporary African Art, Portfolio: Contemporary Photography in Britain, and Prince Claus Fund Journal. Bester co-curated Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life (ICP, New York, 2012), as well as A Short History of South African Photography (Fotografia Europea, Reggio Emilia, 2017). He served as chair of the Market Photo Workshop Advisory Board from 2007–2012.

Bridgit Antoinette Evans is a thought leader in the culture change strategy field. A professional Off Broadway actor and devised theatre producer, she received her MFA from Columbia University and BA from Stanford University. Founder of Fuel / We Power Change, a culture change strategy studio in New York City, her commissions include the NYCLU/ ACLU Policing Project, Make It Work campaign, National Domestic Workers Alliance’s #BeTheHelp strategy; Breakthrough’s #ImHere for Immigrant Women strategy; GEMS’ Girls Are Not for Sale strategy; and Save Darfur’s “Live for Darfur” campaign. As a 2016 Nathan Cummings Foundation Fellow, she piloted Culture Changes Us, a coordinated learning system for the social justice sectors. She is Executive Director of the Pop Culture Collaborative that aims to transform the narrative landscape around people of colour, immigrants and refugees, Muslims and indigenous people, especially those who are women, queer, transgender and disabled.

William Kentridge is internationally acclaimed for his drawings, films, theatre and opera productions. His practice is born out of a cross-fertilisation between mediums and genres and responds to the legacies of colonialism and apartheid, within the context of South Africa's socio-political landscape. Kentridge’s work has been seen in museums and galleries around the world since the 1990s. Opera productions include Mozart’s The Magic Flute (2005), Shostakovich’s The Nose (2010), and Alban Berg’s Lulu (2015) and Wozzeck (2017). The Head & the Load (2018), with original music by composer Philip Miller and Thuthuka Sibisi, interweaves music, dance, projection, shadow-play and sculpture. Kentridge is the recipient of honorary doctorates from several universities. In 2010, he received the Kyoto Prize. In 2015 he was appointed an Honorary Academician of the Royal Academy in London. In October 2017, he received the Princesa de Asturias Award for the Arts.

106 Sir Roger Scruton is a writer and philosopher who has taught in universities in Great Britain and America. He is the author of over 50 books, including The Aesthetics of Architecture, Green Philosophy, Music as an Art and Souls in the Twilight (stories). He is a Fellow of the Royal Society of Literature and a Fellow of the British Academy, and currently teaches a Masters course in philosophy for the University of Buckingham.

Hiromu Shimizu is Emeritus Professor, Center for Southeast Asian Studies, Kyoto University, and Specially Appointed Professor, Faculty of Policy Studies, Kansai University, Japan. Graduating from University of Tokyo, he holds a PhD in anthropology. He previously served as Research Associate at the Depart­ ment of Anthropology, College of Arts and Sciences, University of Tokyo, and also at the Institute of Oriental Culture, University of Tokyo, and then as Professor at the Graduate School of Social and Cultural Studies, Kyushu University. Along with numerous academic research essays and publications, his major works include Grassroots Globalization: Cultural Practice and Life Strategy in a UNESCO World Heritage Village (2013), which was awarded the Japan Academy Prize, and Echoes of the Eruption: Culture, Development and NGOs in the Suffering and Rehabilitation of Pinatubo Aytas (2003), Politics in Culture (1991), and Ethnography of Events: Continuity and Change of the Pinatubo Ayta Society (1990).

Tiffany Tsao is a writer and literary translator. She is the author of the Oddfits fantasy series, the novel Under Your Wings (2018) and short fictional writings as well as poetry. She has translated several Indonesian novels, stories and poems into English, including Eka Kurniawan’s short story, ‘Caronang’. She holds a PhD in English literature from the University of California-Berkeley. Her essays include ‘Rethinking Censorship in Indonesia’ (Sydney Review of Books, 2015); academic literary criticism such as ‘Postcolonial Life and Death: A Process-Based Comparison of Emily Brontë’s Wuthering Heights and Ayu Utami’s Saman’ (Comparative Literature, 2014), ‘Environmentalism and Civili­ zational Development in the Colonial British Histories of the Indian Archipelago (1783–1820)’ (Journal of the History of Ideas, 2013), as well as essays on Indonesian literature including ‘The Evolution of Java-Men and Revolutio­ naries: A Fresh Look at Pramoedya Ananta Toer’s Buru Quartet’ (Southeast Asia Research, 2012), and ‘In Suspicion of Beauty: On Eka Kurniawan’ (Sydney Review of Books, 2016). Tsao is a regular contributor to Asymptote.

107 PRINCE CLAUS AWARDS COMMITTEE 2018

Solange Farkas (Chair) is the creator and chief curator of the International Contemporary Art Festival Sesc_Videobrasil, from 1983 to the present, and curator and director of Associação Cultural Videobrasil, an institution she established in 1991 to house artworks and publications from the world’s geopolitical South amassed during the festival. Other curatorial highlights of her work include the Pan-African Exhibition of Contemporary Art (Salvador, 2005); La Mirada Discreta: Marcel Odenbach & Robert Cahen (Buenos Aires, 2006); Roteiro Amarrado (CCBB Rio de Janeiro, 2010); Suspensão e Fluidez (ARCO, Madrid, 2007) and the Contemporary African Art Show (2000) in partnership with Clive Kellner. Farkas was director and chief curator of the Bahia Museum of Modern Art (2007 –10), guest curator for the Sharjah Biennial (2011), Portugal’s Cerveira Biennial (2011), FUSO – Mostra Anual de Videoarte (Portugal, 2011–14 & 2017), the 6th Jakarta International Video Festival (2013) and the Dak’Art – Biennial of Contemporary African Art (Senegal, 2016). She was a member of the award jury of the 10éme Rencontres de Bamako and is currently on the jury of the Netherlands’ EYE Art & Film Prize, a member of the advisory committee of South magazine and on the advisory board of the Pivô art venue in São Paulo. In 2017 she received the Montblanc Arts Patronage Award.

Sheikha Hoor Al Qasimi is President and Director of the Sharjah Art Foundation, and Director of the Sharjah Biennial. She is President of the Africa Institute, Sharjah, and President of the International Biennial Association. She serves on the Board of Directors for MoMA PS1, New York; KW Institute for Contemporary Art, Berlin; Ashkal Alwan, Beirut; Darat Al Funun, Amman, and Sharjah Architecture Triennial, Sharjah. She is Chair of the Advisory Board for the College of Art and Design, University of Sharjah, a member of the Advisory Board for Khoj International Artists’ Association, New Delhi, and a member of the jury for the 5th edition of PinchukArtCentre’s Future Generation Art Prize (2018). Recent curatorial projects include Hassan Sharif: I Am The Single Work Artist (2017–18), Yayoi Kusama: Dot Obsessions (2016–17), Robert Breer: Time Flies (2016–17), Simone Fattal (2016) and Farideh Lashai (2016) as well as 1980–Today: Exhibitions in the United Arab Emirates, UAE Pavilion, 56th Venice Biennale (2015); Rasheed Araeen: Before and After Minimalism (2014) and Susan Hefuna: Another Place (2014). Al Qasimi was co-curator for Joana Hadjithomas and Khalil Joreige: Two Suns in a Sunset (2016), When Art Becomes Liberty: The Egyptian Surrealists (1938–1965) (2016) and The Khartoum School: The Making of the Modern Art Movement in Sudan (1945–Present) (2016–17). Al Qasimi has served on numerous juries and prize panels, most recently for the Bonnefanten Award for Contemporary Art (2018) and the Maria Lassnig Prize (2017).

Defne Ayas is a curator and consultant actively working at the inter­ section of contemporary art, media, and politics. Ayas has served as a director and curator to several cultural institutions and research initiatives across the world, including the Netherlands, China, the United States and Russia. Until recently, she was the Director of the Witte de With Center for Contemporary Art in Rotterdam (2012–2017) where she commissioned and organised long-term projects, group exhibitions and solo projects, including 108 Kunsthalle for Music (2017–2018), Öğüt & Macuga by Ahmet Öğüt and Goshka Macuga (2017), The Ten Murders of Josephine by Rana Hamadeh (2017), The Music of Ramon Raquello and his Orchestra by Eric Baudelaire (2017), Art in the Age of... (2015), Bit Rot by Douglas Coupland (2015) and Tulkus 1880 to 2018 by Paola Pivi (2013–2018), amidst others. Prior to that, she was a director of Arthub Asia, a former Prince Claus Fund Network Partner. Ayas acted as the curator of the Pavilion of Turkey in the 56th Venice Biennale; co-curator of the 6th Moscow Biennale; co-curator of the 11th Baltic Triennale, and curator of Performa, New York’s visual art performance biennial, in its first four editions. She is currently advising the expansions plans of VAC Foundation (Moscow).

Manuel de Rivero is an architect and urbanist from Peru. Graduating with a B.Arch from the University Ricardo Palma (Lima, 1996) and a Master of Excellence in Architecture from the Berlage Institute (Rotterdam, 2002), he worked for MVRDV (The Netherlands) as a project leader (2002–05). He is the Dean of the Architecture School at Latin American Arts & Science University (UCAL) in Lima. Since 2005 he is co-leader (with Cesar Becerra and Fernando Puente Arnao) of 51-1, an architecture studio based in Lima that was named among the 30 emergent studios from Iberoamerica (2G Dossier, Spain, 2007). 51-1 was selected for the III Latin American Archi­ tecture Biennale (Pamplona, 2013) and for the Peruvian Pavilion at 13th Venice Biennale. Their work was nominated for the Iakov Chernikhov Prize (Moscow, 2014) and they won the international competition for the exten­ sion of Medellin Museum of Modern Art in Colombia. Further projects include Mistura food fair, restaurants IK and Astrid&Gaston Casa Moreyra, hotels NM Lima and Gran Cóndor Quito (Ecuador), and houses like Pacha­ manca and Serpiente (nominated for Mies Crown Hall Americas Prize). Manuel de Rivero is a founding member of the think-tank Supersudaca.

Tejumola Olaniyan is Louise Durham Mead Professor of English, African, and African Diaspora literatures and cultures studies at the University of Wisconsin, Madison. He received his BA and MA from the Obafemi Awolowo University in Nigeria, and PhD from Cornell University. He has lectured widely in Africa, Europe, and North America, and taught at the University of Virginia from 1991 to 2001 when he joined UW Madison. He was Chair of the Depart­ ment of African Cultural Studies (2015–2018), and currently directs the Afri­can Diaspora and the Atlantic World Research Circle. He has served on the exe­ cutive boards of the African Studies Association (2013–2015) and the African Lite­rature Association (2010–2016) including being President (2014–2015). He is Editor in Chief of Journal of the African Lite­rature Association. His authored, edited or co-edited books include Scars of Conquest/Masks of Resistance: The Invention of Cultural Identities in African, African American and Caribbean Drama (1995); Arrest the Music! Fela and His Rebel Art and Politics (2004); African Drama and Performance (2004, with John Conteh-Morgan); African Literature: An Anthology of Criticism and Theory (2010, with Ato Quayson); African Diaspora and the Disciplines (2010, with James H. Sweet); Audible Empire: Music, Global Politics, Critique (2016, with Ron Radano); State and Culture in Postcolonial Africa: Enchantings (2017); and Taking African Cartoons Seriously (2018, with Peter Limb). He runs the compre­hensive web encyclopaedia of African cartoons and cartoonists, africacartoons.com. 109 The 2018 Prince Claus Awards Committee (left to right) Manuel de Rivero, Fariba Derakhshani, Sheika Hoor Al Qasimi, Solange Farkas, Tejumola Olaniyan, Defne Ayas ©Telmo Antunes, Antigravity Portugal

CEREMONIES

The 2018 Prince Claus Awards are presented by HRH Prince Constantijn of the Netherlands on 6 December 2018 at the Royal Palace, Amsterdam, The Netherlands.

The Prince Claus Awards are presented in the laureates’ countries by:

H.E. H. Peters, Netherlands Ambassador to South Africa H.E. K. van Rij, Netherlands Ambassador to Brazil H.E. R. Swartbol, Netherlands Ambassador to Indonesia H.E. M. Derckx, Netherlands Ambassador to the Philippines H.E. H.J. Bakker, Netherlands Ambassador to Uganda

The Prince Claus Fund is grateful for their co-operation and their advice.

THE PRINCE CLAUS FUND

Board of the Prince Claus Fund HRH Prince Constantijn, Honorary Chair Henk Pröpper (Chair), Amsterdam, The Netherlands Pascal Visée (Treasurer), Management Consultant, Rotterdam, The Netherlands Patricia Spyer (Vice-Chair), Professor Anthropology and Sociology, Graduate Institute, Geneva, Switzerland Lionel Veer, Consul General, St. Petersburg, Russia Eppo van Nispen tot Sevenaer, Director Beeld en Geluid, Hilversum, The Netherlands Marietje Schaake, Member of European Parliament, Brussels, Belgium Alexander Ribbink, General Partner at Keen Venture Partners, Amsterdam, The Netherlands Clarice Gargard, Journalist, Columnist, Filmmaker and Professional Moderator, Amsterdam, The Netherlands Nani Jansen Reventlow, Human Rights Lawyer, Berlin, Germany 2018 Prince Claus Awards Committee Solange Farkas (Chair), Curator and Director of Associação Cultural Videobrasil, Brazil Sheikha Hoor Al Qasimi, President and Director of the Sharjah Art Foundation, United Arab Emirates Defne Ayas, Curator, Rotterdam, The Netherlands/ Berlin, Germany Manuel de Rivero, Architect and Urbanist, Peru Tejumola Olaniyan, Durham Mead Professor of English, African, and African Diaspora Cultural Studies at University of Wisconsin-Madison, USA Fariba Derakhshani, Secretary to the Awards Committee Office of the Prince Claus Fund Joumana El Zein Khoury, Director Fariba Derakhshani, Programme Coordinator Awards Deborah Stolk, Programme Coordinator Cultural Emergency Response Bertan Selim, Programme Coordinator Grants & Collaborations Mechtild van den Hombergh, Programme Coordinator Next Generation Mette Gratama van Andel, Coordinator Monitoring & Evaluation & Research Dilara Jaring-Kanik, Coordinator Public Programme Liesbeth van Biezen, Coordinator Fundraising 112 Adrienne Schneider, Executive Assistant Sarah Smith, Coordinator Communications Charlotte Waltz, Staff member Social Media Ginger da Silva, Writer & Editor Linda van der Gaag, Researcher Laura Alexander, Researcher Sanne Letschert, Researcher Tessa Giller, Researcher Eveline de Weerd, Monitoring & Evaluation Officer Cora Taal, Finances & Administration Heleen de Hoog, Assistant Awards Evely Reijnders, Assistant Public Programme Annick Bettink, Staff member Fundraising Nathalie Ho-Kang-You/Katinka de Jong, Office Manager Evelyn Onnes, Documentalist (Volunteer) Network Committee Joseph Osae-Addo – ArchiAfrika, Accra, Ghana Jama Musse Jama & Ayan Mahamoud – Redsea Online Cultural Foundation, Hargeisa, Somaliland Marcel Pinas – Kibii Foundation, Paramaribo, Suriname Consuelo Bassanesi – Despina, Rio de Janeiro, Brazil Marc Schmitz & Dolgor Ser-Od – Land Art Mongolia, Ulaanbaatar, Mongolia Dinh Q. Lê & Tra Nguyen – Sàn Art, Ho Chi Minh City, Vietnam Loreto Garin Guzman & Marilina Winik – CRIA, Buenos Aires, Argentina Eroll Bilibani – Dokufest, Prizren, Kosovo Vasyl Cherepanyn – VCRC, Kiev, Ukraine Bertan Selim, Secretary to the Network Committee Next Generation Network Partners Njoki Ngumi – The Nest, Nairobi, Kenya Lorraine Charlotte Bgoya – Magamba, Harare, Zimbabwe Maria Rodriguez Collado – Platohedro, Medellín, Colombia Roberto Guillén Salinas – Managua Furiosa, Managua, Nicaragua Darina Manasbek – Art Group 705, Bishkek, Kyrgyzstan Gabriel Lima – Escola Livre de Dança da Maré, Maré, Rio de Janeiro, Brazil Aulonë Kadriu – Kosovo 2.0, Prishtina, Kosovo Agnesia Linda Mayasari – Cemeti ­ Institute for Art & Society, Yogyakarta, Indonesia Khaled Abdelhadi – Aman, Amman, Jordan Avni Sethi – Conflictorium, Ahmedabad, India Lina Attalah – Mada Masr, Cairo, Egypt Demi Walker – NLS Kingston, Kingston, Jamaica Mechtild van den Hombergh, Secretary to the Next Generation Network CER Network Partners Yasmeen Lari – Heritage Foundation of Pakistan, Pakistan Salma Samar Damluji – Daw’an Mudbrick Architecture Foundation, Yemen Deborah Stolk, Secretary to the CER Network

113 2017 Prince Claus Awards Ceremony (front left to right) HRH Princess Laurentien, HRH Prince Constantijn, HM Queen Maxima, 2017 Principal Laureate Ma Jun, 2017 Principal Laureate Vincent Carelli, HM King Willem-Alexander, HRH Princess Beatrix, HRH Princess Mabel, Henk Pröpper (back left to right) 2017 Laureate Amar Kanwar, 2017 Laureate Francis Kéré, 2017 Laureate Khadija Al-Salami, Joumana El-Zein Khoury, 2017 Laureate Selma Ouissi (L’Art Rue), 2017 Laureate Sofiane Ouissi (L’Art Rue), 2017 Laureate Brigitte Baptiste © Frank van Beek

PRINCE CLAUS LAUREATES 2018 – 1997 Burkina Faso Jean-Baptiste Kiéthéga (1998) AFRICA Diébédo Francis Kéré (2017) Senegal NORTH AFRICA Council for the Development of Social Tunisia Science Research in Africa (CODESRIA) Abdeljelil Temimi (1997) (1997) Sami Ben Gharbia (2012) Oumou Sy (1998) L’Art Rue (2017) Baaba Maal (1998) Algeria Youssou N’Dour (2002) Fellag (1999) Ousmane Sow (2008) Barzakh (2010) Y’en a Marre (2015) Habiba Djahnine (2012) Egypt CENTRAL AFRICA Claudia Roden (1999) D.R. Congo Van Leo (2000) Chéri Samba (2005) Arab Human Development Faustin Linyekula (2007) Report 2002 (2003) Sammy Baloji (2009) Lenin El Ramly (2005) Central African Republic Ahmed Fouad Negm (2013) Samuel Fosso (2001) Bahia Shehab (2016) Morocco EAST AFRICA Mohammed Chafik (2002) Ethiopia Dessalegn Rahmato (1999) WEST AFRICA Kenya Benin Mathare Youth Sports Association (2003) Paulin J. Hountondji (1999) Opiyo Okach (2005) Idrissou Mora-Kpaï (2013) Henry Chakava (2006) Cameroon Godfrey Mwampembwa alias Gado (2007) Doual’art (2009) Kwani Trust (2010) Jean-Pierre Bekolo (2015) Boniface Mwangi (2012) Mali Tanzania Cheick Oumar Sissoko (1999) Ernest Wamba-dia-Wamba (1997) Aminata Traoré (2004) Abdul Sheriff (2005) National Museum of Mali (2006) Burundi Ivory Coast Radio Isanganiro (2007) Werewere Liking (2000) Sudan Nigeria Ibrahim Salahi (2001) Chris Abani (2001) The Sudanese Writers Union (2007) Committee for Relevant Art (2006) Somaliland Uchechukwu James Iroha (2008) Mohamed Ibrahim Warsame alias El Anatsui (2009) Hadraawi (2012) Jelili Atiku (2015) Uganda Ghana Adong Judith (2018) Joseph Hanson Kwabena Nketia (1997) Tetteh Adzedu (1998) SOUTHERN AFRICA Niger Angola Alphadi (1998) Pepetela (1999)

116 South Africa EAST ASIA David Koloane (1998) China Bush Radio (2000) Tian Zhuang Zhuang (1998) Film Resource Unit (2000) Cui Jian (2000) District Six Museum (2003) Wu Liangyong (2002) Jonathan Shapiro alias Zapiro (2005) Wang Shixiang (2003) Santu Mofokeng (2009) Li Xianting (2008) Chimurenga/ Ntone Edjabe (2011) Ma Ke (2008) Zanele Muholi (2013) Liang Shaoji (2009) Market Photo Workshop (2018) Jia Zhang-Ke (2010) Dada Masilo (2018) Lu Guang (2013) Zimbabwe Perhat Khaliq (2015) The Zimbabwe International Ma Jun (2017) Book Fair (1997) Taiwan Mick Pearce (2003) Tsai Chih Chung (1999) Edgar Langeveldt (2005) The Book Café (2011) SOUTHEAST ASIA Amakhosi (2015) Indonesia Mozambique Sardono W. Kusumo (1997) Malangatana Valente Ngwenya (1997) Jim Supangkat (1997) Heri Dono (1998) ASIA Ayu Utami (2000) Lembaga Kajian Islam dan Sosial (2002) SOUTH ASIA Biboki Weavers and Yovita Meta (2003) India Slamet Gundono (2005) Jyotindra Jain (1998) Teater Garasi (2013) Kumar Shahani (1998) FX Harsono (2014) Communalism Combat (2000) Eka Kurniawan (2018) Bhupen Khakhar (2000) Malaysia Komal Kothari (2000) Redza Piyadasa (1998) G.N. Devy (2003) Ken Yeang (1999) Indira Goswami (2008) Vietnam Dayanita Singh (2008) Duong Thu Huong (2001) Jivya Soma Mashe (2009) Dinh Q. Lê (2010) SPARROW Sound & Picture Archives Tran Luong (2014) for Research on Women (2014) Vo Trong Nghia (2016) Amar Kanwar (2017) The Philippines Pakistan Elena Rivera Mirano (2001) Arif Hasan (2000) Lav Diaz (2014) Madeeha Gauhar (2006) Kidlat Tahimik (2018) Naiza Khan (2013) Cambodia PeaceNiche | The Second Floor (2016) Reyum Institute of Arts and Culture (2003) Bhutan Phare Ponleu Selpak (2012) Bhutan Archery Federation (2004) Myanmar Nepal Tin Moe (2004) Kanak Mani Dixit (2009) Aung Zaw (2010) Tibet Maung Thura alias Zarganar (2012) Tsering Woeser (2011) Thailand Apichatpong Weerasethakul (2016)

117 Papua New Guinea Francisco Toledo (2000) Michael Mel (2006) Oscar Hagerman (2007) Maya Goded (2010) WEST/CENTRAL ASIA/EURASIA Teresa Margolles (2012) Turkey Carla Fernández (2013) Hasan Saltık (2003) Colombia Halet Çambel (2004) Rogelio Salmona (1998) Gülsün Karamustafa (2014) Patricia Ariza (2007) Tajikistan Simón Vélez (2009) Farroukh Qasim (2004) Óscar Muñoz (2013) Armenia Abel Rodríguez (2014) Michael Poghosian (2005) La Silla Vacía (2016) Harutyun Khachatryan (2007) Brigitte Baptiste (2017) Mongolia Cuba Venerable Purevbat (2008) Vitral (1999) Kyrgyzstan Tania Bruguera (2008) Gulnara Kasmalieva and Desiderio Navarro (2009) Muratbek Djumaliev (2010) Yoani Sánchez (2010) Kazakhstan Brazil Saïd Atabekov (2011) Cildo Meireles (1999) Oksana Shatalova (2015) Jaime Lerner (2000) Azerbaijan Viva Rio (2000) Rena Effendi (2011) Ferreira Gullar (2002) Uzbekistan Carlinhos Brown (2003) Ilkhom Theatre (2011) Ivaldo Bertazzo (2004) Niède Guidon (2005) EUROPE Augusto Boal (2007) United Kingdom Ana Maria Machado (2010) Index on Censorship (1997) Lia Rodrigues (2014) The Netherlands Vincent Carelli (2017) Stichting Zomercarnaval (2001) O Menelick 2º Ato (2018) Bosnia and Herzegovina Panama Ars Aevi (2007) Talingo (2001) Albania Peru Fatos Lubonja (2015) Iván Thays (2001) Gastón Acurio (2009) SOUTH AND CENTRAL AMERICA Museo Itinerante de Arte por la Memoria (2014) Chile Bolivia Alejandro Zambra (2013) Marcelo Araúz Lavadenz (2002) Ignacio Agüero (2014) Uruguay Costa Rica Walter Tournier (2002) Bruno Stagno (1997) Argentina Virginia Pérez-Ratton (2002) New Argentine Cinema: Lita Stantic (2003) Paraguay Memoria Abierta (2004) Ticio Escobar (1998) Joaquín Salvador Lavado alias Quino (2005) Juana Marta Rodas and Julia Isídrez (1999) Eloísa Cartonera (2012) Orquestra de Instrumentos Reciclados Etcetera (2015) Cateura (2013) El Salvador Mexico Carlos Henríquez Consalvi (2008) Carlos Monsiváis (1998) 118 Nicaragua Israel Instituto de Historia de Nicaragua y Amira Hass (2002) Centroamericana (IHNCA) (2009) Palestine Nidia Bustos (2011) Mahmoud Darwish (2004) Guatemala Al Kamandjâti Association (2006) Regina José Galindo (2011) Emily Jacir (2007) Rosina Cazali (2014) Elia Suleiman (2008) Decolonizing Architecture Institute (Dai) (2010) CARIBBEAN Riwaq (2011) Jamaica Iraq Erna Brodber (2006) Jawad al-Assadi (2004) Ian Randle (2012) Latif Al-Ani (2015) Trinidad and Tobago Jordan Peter Minshall (2001) Widad Kawar (2012) Hollis Liverpool alias Chalkdust (2007) Yemen Christopher Cozier (2013) Khadija Al-Salami (2017) Haiti Frankétienne (2006) Jeanguy Saintus (2008) Ketty Mars (2011) Martinique Patrick Chamoiseau (1999)

MIDDLE EAST Iran Rakhshan Bani-Etemad (1998) Jahan-e Ketab (2001) Ebrahim Nabavi (2005) Reza Abedini (2006) Mehrdad Oskouei (2010) Newsha Tavakolian (2015) Lebanon Nazek Saba-Yared (1998) Christine Tohme (2006) Rabih Mroué (2011) Kamal Mouzawak (2016) Qatar Al-Jazeera (1999) Afghanistan Mehri Maftun (2001) Omara Khan Massoudi (2004) Lida Abdul (2006) Syria Antoun Maqdesi (2001) Ali Ferzat (2002) Yassin al-Haj Saleh (2012) Ossama Mohammed (2015) Marwa al-Sabouni (2018)

119 ACKNOWLEDGEMENTS Dalia Dawoud Omar Robert Hamilton Laura C Dean Laura Hammond Rasha Abdulla Maral Deghati Amr Hamzawy David Adjaye Patrick De Groote Hou Hanru Sona Aghbalyan Frederick Deknatel Mikkel Harder Munck-Hanse Amr Al-Azm Janet DeNeefe Jowe Harfouche Khalid Albaih Chris Dercon Laura Hassler Kecia Ali Karin Deutsch Karlekar David Heinemann Pamela Allen Mamadou Diawara Jessica Hemmings Mai Al Shazly Joy Dietrich Dorothea Rosa Herliany Ayse Gul Altinay Lyse Doucet Stephanie Hessler Hasif Amini Baz Dreisinger Ayaan Hirsi Ali El Anatsui Xiyun Du Peter van Hoof Alex Anderson Shannon Dudley Djidar Houaria Marie Arago Michele Dunne Eyad Houssami Naziha Arebi Ntone Edjabe Yvette Hutchison Lacy Austin Laura Edmondson Akwari Chidiebere Iroha Sherif Azer Martin Egblewogbe Sean Jacobs Celenk Bafra Ismail Einashe Fredric Jameson Simon Bainbridge Samuel Ekeh Ashraf Johaardien Tevfik Balcioglu Touria El Glaoui Laura Jones Sammy Baloji Beti Ellerson Gjorgje Jovanovikj Maria Balshaw Rabab El Mahdi Jessica Kaahwa Julia Barco Mohamed El Masry Amine Kabbaj Olivier Barlet Rajae El Mouhandiz Ahmed Kamel Pierre Barrot Nadia El-Sebai Gülsün Karamustafa Christine Barthe Fulya Erdemci Magueye Kassé Consuelo Bassanesi Kareem Fahim Laura S. Kauer García Mario Bellatin Khaled Fahmy Maura Keefe Daniela Berger N'Goné Fall Bill Kelley Rory Bester Mohamed Farah Hersi Chris Kennedy Katrien van Beurden Feng Boyi William Kentridge Hazel Biana Gertrude Flentge Clara Kim Hilde Bjørkum Patrick D. Flores Anna Alix Koffi Tom Bogaert Katharina von Flotow Stephan Köhler Osai Bonsu Marie Fol Vasif Kortun Giscard Bouchotte Bjørn Inge Follevaag Sharif Abdel Kouddous Laura Boushnak Christine Frisinghelli Marloes Krijnen David Brezina David Frohnapfel Marten Kuijpers Ginanne Brownell Lynn Gaspard Pamela Kwami Matthew Bryden Ivan Goldschmidt Mario LaMothe Kathleen Bühler Ozkan Golpinar Berend van der Lans Zoe Butt Macarena Gómez-Barris Gabriela Leon James Byrne Tsering Gonkatsang Todd Lester Merve Çaglar Lucero González Emeric Lhuisset Valia Carvalho Maximo Gonzalez Aimee Lin Mónica Castillo del Castillo Menene Gras Balaguer Cato Litangen Mateo Chacón Pino Kerryn Greenberg Hollis "Chalkdust" Liverpool Dasha Chapman Joy Gregory Lliane Loots Bernice Chauly Diego Gutierrez Cat Lucas Roberto Conduru Anne Haaksman de Koster Lv Peng Carolina Coppel Heba Hage-Felder Emilia van Lynden Molly Crabapple Nahla Haidar Yung Ma Diana Darke Venera Hajrullahu Martha Luz Machado

120 Ayan Mahamoud Philip Rizk Jeta Xharra Maude Malengrez Carlo Rizzo Li Xianting Araceli Mancilla Zayas Arnaud Robert Suzhen Xie Lorraine Mangones Max Rodenbeck Joachim Ben Yakoub Khaled Mansour Thomas Roueché Marie-Anne Yemsi Christina Mansson Stéphanie Rousseau Michelle Yun Gregory Maqoma Katharina von Ruckteschell-Katte Akram Zaatari Christopher Mayo Catherine Ruelle Alejandro Zambra Jenny Mbaye Alison Russo Aung Zaw John McGlynn Peter John Sabbagha Same Mduli Freddy Sabimbona Goran Miletic Damir Sagolj Arja Miller Heba Saleh Sada Mire Renata Sampaio Ziba Mir-Hosseini Brigitte van der Sande Ainsworth Mohammed Tiago Santana Rima Mokaiesh Jürg Schneider Felippe Moraes Marco Scotini Roberto Moreira Junior Mark Sealy Valent Mustamin Basak Senova James Nachtwey Stefano Serafini Haytham Nawar Anthony Shay Bonaventure Ndikung Adrienne Sichel Ibrahim Nehme Mark Simmonds Moritz Neumüller Devika Singh Simon Njami Antonio Sison Finbarr O'Reilly Melle Smets Nicole O'Rourke Ahdaf Soueif Sean O’Toole Rosa Spaliviero Sylvester Okwunodu Urs Spindler Ogbechie Margaret Steber Pinar Ogrenci Monika Szewczyk Richard Oh Alexia Tala Dominique Olier Bela Tarr Toshi Omagari Ko Ko Thett Merel Oord Drew Thompson Marina Otero Verzier Philip Tinari Marian Pastor Roces Khalifa Touré Tenzin Phuntsog Julie Trébault Inez Piso Hilda Twongyeirwe Carla Power Quirine Mireille van der Hoeven Barbara Prézeau Stephenson Indrasen Vencatachellum Phloeun Prim Emma Wadsworth-Jones Arlette Quynh-Anh Tran Christine Wagner Khaled Ramadan Byrt Manfred Wammack Judy Raymond Apichatpong Weerasethakul Ron Reid Marta Weiss Valerie Reinhold Katja Weitering Anthony Reynolds Selene Wendt Juliana Ribeiro da Silva Sue Williamson Bevilacqua Salah Wilson Sarah Rifky Jana Winderen Vanessa Rivera de la Fuente Paolo Woods Ben Rivers Samuel Wuersten

121 THE PRINCE CLAUS FUND WISHES TO THANK

The Dutch Ministry of Foreign Affairs and the Dutch Postcode Lottery for their long-standing support of the Prince Claus Fund since 1996 and 2001 respectively

The Dutch Embassies in Brazil, Indonesia, the Philippines, South Africa and Uganda, for their cooperation in the organisation of ceremonies and events celebrating the 2018 Prince Claus Awards in the Laureates’ respective countries

Directors of the Luxury Hotels of Amsterdam and Lloyd Hotel & Cultural Embassy, which have offered rooms to the international guests of the Prince Claus Fund annually

NH Collection Grand Hotel Krasnapolsky Amsterdam for hosting and sponsoring the Awards Dinner on 6 December

KLM Royal Dutch Airlines for flying the Laureates from every corner of the world to the Prince Claus Awards ceremony

De L’Europe Amsterdam and Mr Edward Leenders for sponsoring the Prince Claus Fund Annual Dinner on 6 September

The late Mr Pieter Sanders (1938–2018), Torchbearer and friend of the Fund for many years

Our Funding Partners Dutch Ministry of Foreign Affairs Dutch Postcode Lottery

Our Collaborating Partners AM Qattan Foundation Amerpodia Amsterdam Fund for the Arts (AFK) Arab Fund for Arts and Culture (AFAC) Brabant C British Council Compagnietheater Daw’an Mudbrick Architecture Foundation Dutch Ministry of Education, Culture and Science (OCW) Gerda Henkel Foundation Goethe Institute GSRD Foundation Heritage Foundation of Pakistan ICCROM ICCROM-ATHAR Kathmandu Valley Preservation Trust Leiden University Lutfia Rabbani Foundation Magnum Foundation 122 Mondriaan Fund Netherlands Commission for UNESCO Smithsonian Cultural Rescue Initiative Whiting Foundation WORM

Our Torchbearers Arjan and Rhodé Baars-Schaafsma BeamSystems Irma Boom Cees and Inge de Bruin-Heijn De L’Europe Amsterdam Marc and Janneke Dreesmann-Beerkens Benno Friedberg and Judith Mahn Duco Hordijk and Arnout Ploos van Amstel IBFD KLM Luxury Hotels of Amsterdam Evert Meiling Ton and Maya Meijer-Bergmans New Amsterdam Film Company Ribbink-Van Den Hoek Familiestichting Marieke Sanders Han-Maurits Schaapveld Ron and Wilma van Straalen Stichting Hinderrust Fonds Stichting Robben Stichting Schouwenburgh Stichting Vermeer 14 TEFAF Versteeg Wigman Sprey advocaten Elise Wessels

Our Supporters Brabant Heritage Lenoirschuring Lloyd Hotel & Cultural Embassy Alexander Maljers and Chantal van Erven Dorens Richard Messina Municipality of Breda Municipality of ’s Hertogenbosch Province of North Brabant Amadeo Manuel Valente-Rodrigues and Maria Rodrigues, Altis Group

The Prince Claus Fund is supported by the Dutch Ministry of Foreign Affairs, the Dutch Postcode Lottery and private companies and individuals.

Would you like to support the Prince Claus Fund? Please visit princeclausfund. org/support-us or contact Liesbeth van Biezen, Coordinator Fundraising at [email protected] to find out how you can contribute. 123

Published and produced by the Prince Claus Fund, Amsterdam Editors: Fariba Derakhshani, Barbara Murray Editorial assistants: Giovanni Bottacini, Ana Ramos Barretto, Corina van Beelen Translators: Sumaya Abdelsadig (Arabic), Joss Wibisono (Indonesian), MeLê Yamomo (Filipino), Gabriel Lima (English to Portuguese) and Izabel Burbridge (Portuguese to English) Design: Irma Boom Offi ce, Amsterdam Printing: Lenoirschuring, Amsterdam

© 2018, Prince Claus Fund

No part of this book may be reproduced in any form without prior written permission from the Prince Claus Fund and the copyright holders. Copyright permissions have been sought from all copyright holders.

ISBN 978­90­822913­9­1 Prince Claus Fund Herengracht 603 1017 CE Amsterdam The Netherlands

T +31.20.344.9160 F +31.20.344.9166 [email protected] princeclausfund.org