DOCSLIB.ORG

Zigomo, Pamela. 2018. Unlocking Doors: Decolonising the Event Design Process

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zigomo, Pamela. 2018. Unlocking Doors: Decolonising the Event Design Process Zigomo, Pamela. 2018. Unlocking Doors: Decolonising the Event Design Process. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/25986/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Unlocking Doors: Decolonising the Event Design Process Pamela Olga Netsai Zigomo A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy 2018 Goldsmiths University of London 1 DECLARATION OF AUTHORSHIP I, Pamela Olga Netsai Zigomo hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ___________________ Date: 21 November 2018 2 ACKNOWLEDGEMENTS “Zvikomborero Zvikomborero zvizhinji Zvikomborero tinazvo Zvikomborero zvamwari”1 To the Maonero Visual Artists Collective, thank you for taking a risk and trying something new without guarantee of a successful outcome. Thank you for trusting me and teaching me about your world. To the amazing team involved with Chipawo Girl Power group thank you for sharing your amazing energy and creativity. To Dr Richard Hull, I am so thankful we finished this journey together. Your advice, words of encouragement, witty jokes and thoughtful suggestions have kept me going and led me to explore new and interesting paths that I would never have thought to consider. To the whole ICCE team, thank you for listening to my initially, very vague ideas, and accepting me into your community. To my family, thank you for being so patient and so encouraging. Mom and Dad, I thank you for being my constant cheer team, for calming me down in those moments when I panicked about the task being too big and for being my ever-willing chauffeurs and general ‘fixers’. To Petros, Lydia and Anna, thank you for taking me in and providing refuge, cake and ‘braai’ when resources and spirits were low. Rosie and Kuziwa, thank you for listening and being my sounding boards in those important times of reflection. Norman, thank you for sharing your amazing artistic talent and design skills. Selina, thank you for organising me and keeping me sane and for reading every single word of this beast. To Paul and Tadiwa thank you for being fantastic research assistants. To my friends Mutsa, Eve, Denise, Sapi and Janet thank you for providing the laughs, advice, the PhD soundtrack and much needed moments of escape. 1 Translation: Blessings; showers of blessings; blessings we have them; blessings from God. Shona Methodist Hymn – ‘Zvikomborero Kunemwi’ – an adaptation of English hymn ‘There Shall be Showers of Blessings’ written by Daniel Webster Whittle (1840-1901) 3 ABSTRACT Participatory Event Design (PED) is a potential innovative approach to the design of planned events intended to trigger social change. It is a values-based, transparent process that focuses on using safe, open spaces and dialogic encounters. The design of events for social change has traditionally relied on the voice of specialists commissioned by funders who prioritise socio-economic development objectives. This can result in the marginalisation of communities of interest. A Participatory Action Research (PAR) approach was applied to design an art exhibition with 17 Zimbabwean visual artists. The project focused on addressing problems relating to the access to spaces and resources that enable visual artists to achieve their economic empowerment. In PAR the researcher actively engages participants in the conduct of the research using an iterative process that requires periods of reflection for the researchers to identify key learning points. Post-Colonial theory was applied to examine the inherent power structures which enframed the traditional spaces of exhibition event design and to understand the beliefs and ideologies that informed the actions of the research community. The research drew on Participatory International Development practice to establish possibilities for solutions to the problems identified, this prompted the development of PED. The decolonisation of traditional event design processes is recommended to remove oppressive structures that compartmentalise stakeholders, encourage patronage systems and restrict the agency of marginalised communities. Event designers working on events with a social mission need to apply skills that enable them to empathise with communities that have experienced the traumas of being marginalised. They need to focus on facilitative and reflexive skills to leverage sustainable transformation. The notion of the colonial veranda is offered to explore the liminoid aspects of the PED experience which can be a safe space for communities to come together and create the necessary solutions for social change. 4 CONTENTS DECLARATION OF AUTHORSHIP ...................................................................................... 2 ACKNOWLEDGEMENTS ..................................................................................................... 3 ABSTRACT ........................................................................................................................... 4 CONTENTS .......................................................................................................................... 5 LIST OF TABLES AND FIGURES ......................................................................................... 9 List of Abbreviations ............................................................................................................ 11 PROLOGUE ....................................................................................................................... 12 CHAPTER ONE: INTRODUCTION ..................................................................................... 13 1.1 Introducing the Project ............................................................................................... 13 1.2 The research context and problem ........................................................................... 16 1.3 Why Planned Events? ............................................................................................... 17 1.4 Defining Social Change for This Research Project .................................................... 20 1.5. Setting the Context to the Development of the Research Focus ............................... 23 1.6 Research Questions .................................................................................................. 35 1.7 The Thesis Roadmap ................................................................................................ 36 CHAPTER TWO: POST-COLONIAL THEORY AND PARTICIPATORY INTERNATIONAL DEVELOPMENT STUDIES ................................................................................................. 39 Introduction ..................................................................................................................... 39 2.1 Post-Colonial Theorists .............................................................................................. 41 2.2. Applications And Manifestation Of Power Theories in Post-Colonial Theory ............. 45 2.3. Key Themes In Post-Colonial Theory ....................................................................... 48 5 2.4 Post-Colonial Arguments Against Development And The Emergence of Participatory International Development Studies .................................................................................. 60 2.5 Critical Pedagogy and Paulo Freire ........................................................................... 62 2.6 Participatory Development ......................................................................................... 68 Conclusion ...................................................................................................................... 72 CHAPTER THREE: REVIEWING THE LITERATURE IN EVENT STUDIES ....................... 75 Introduction ..................................................................................................................... 75 3.1 Events and Impacts linked to Social Change ............................................................. 77 3.2 Event Design For Social Change ............................................................................... 99 3.3 Participatory Design ................................................................................................ 115 Conclusion .................................................................................................................... 126 CHAPTER FOUR – THE ZIMBABWEAN CONTEXT ........................................................ 129 Introduction ................................................................................................................... 129 4.1 Understanding The Societal Structure - Political Legacies ....................................... 132 4.2 Key Issues Faced By The Creative And Cultural Industries In Zimbabwe ................ 144 4.3 Spotlight on the Zimbabwean Visual Arts sector ...................................................... 152 Conclusion ...................................................................................................................
Load more

Recommended publications
  • Africa Digests the West: a Review of Modernism and the Influence of Patrons-Cum Brokers on the Style and Form of Southern Eastern and Central African Art
    ISSN-L: 2223-9553, ISSN: 2223-9944 Part-I: Social Sciences and Humanities Vol. 4 No. 1 January 2013 AFRICA DIGESTS THE WEST: A REVIEW OF MODERNISM AND THE INFLUENCE OF PATRONS-CUM BROKERS ON THE STYLE AND FORM OF SOUTHERN EASTERN AND CENTRAL AFRICAN ART Phibion Kangai 1, Joseph George Mupondi 2 1Department of Teacher Education, University of Zimbabwe, 2Curriculum Studies Department, Great Zimbabwe University, ZIMBABWE. 1 [email protected] , 2 [email protected] ABSTRACT Modern Africa Art did not appear from nowhere towards the end of the colonial era. It was a response to bombardment by foreign cultural forms. African art built itself through “bricolage” Modernism was designed to justify colonialism through the idea of progress, forcing the colonized to reject their past way of life. Vogel (1994) argues that because of Darwin’s theory of evolution and avant-garde ideology which rejected academic formulas of representation, colonialists forced restructuring of existing artistic practice in Africa. They introduced informal trainings and workshops. The workshop patrons-cum brokers did not teach the conventions of art. Philosophically the workshops’ purpose was to release the creative energies within Africans. This assumption was based on the Roseauian ideas integrated culture which is destroyed by the civilization process. Some workshop proponents discussed are Roman Desfosses, of colonial Belgian Congo, Skotness of Polly Street Johannesburg, McEwen National Art Gallery Salisbury and Bloemfield of Tengenenge. The entire workshop contributed to development of black art and the birth of genres like Township art, Zimbabwe stone sculpture and urban art etc. African art has the willingness to adopt new ideas and form; it has also long appreciation of innovation.
    [Show full text]
  • Chapungu Sculpture Park
    CHAPUNGU SCULPTURE PARK Do you Chapungu (CHA-poon-goo)? The real showcase within the Centerra community is the one-of-a-kind Chapungu Sculpture Park. Nestled in the foothills of the Rocky Mountains, this 26-acre outdoor cultural experience features more than 80 authentic stone sculptures carved by artisans from Zimbabwe displayed amongst beautiful natural and landscaped gardens. The entire walking park which is handicap accessible, orients visitors to eight universal themes, which include: Nature & Environment • Village Life • The Role of Women • The Elders • The Spirit World • The Family The Children • Custom & Legend. Whether you are an art enthusiast or just enjoy the outdoors, this serenity spot is worth checking out. Concrete and crushed rock used from the makings of the sculptures refine trails and lead you along the Greeley and Loveland Irrigation Canal and over bridges. Soak in the sounds of the birds perched high above in the cottonwood trees while resting on a park bench with a novel or newspaper in hand. Participate in Centerra’s annual summer concert series, enjoy a self guided tour, picnic in the park, or attend Visit Loveland’s Winter Wonderlights hosted F R E E A D M I S S I O N at the park and you are bound to have a great experience each time you visit. Tap Into Chapungu Park Hours: Daily from 6 A.M. to 10:30 P.M. Easily navigate all the different Chapungu Sculpture Park is conveniently located just east of the Promenade Shops at Centerra off Hwy. 34 and regions within Chapungu Located east of the Promenade Shops Centerra Parkway in Loveland, Colorado.
    [Show full text]
  • “CHAPUNGU: Nature, Man, and Myth” April 28 Through October 31, 2007 ABOUT the ARTISTS
    “CHAPUNGU: Nature, Man, and Myth” April 28 through October 31, 2007 ABOUT THE ARTISTS Dominic Benhura, b. 1968 in Murewa – “Who Is Strongest?”, “Zimbabwe Bird” At age 10 Benhura began to assist his cousin, sculptor Tapfuma Gutsa, spending many formative years at Chapungu Sculpture Park. Soon after he began to create his own works. Today he is regarded as the cutting edge of Zimbabwe sculpture. His extensive subject matter includes plants, trees, reptiles, animals and the gamut of human experience. Benhura has an exceptional ability to portray human feeling through form rather than facial expression. He leads by experimentation and innovation. Ephraim Chaurika, b. 1940 in Zimbabwe – “Horse” Before joining the Tengenenge Sculpture Community in 1966, Chaurika was a herdsman and a local watchmaker. He engraved the shape of watch springs and cog wheels in some of his early sculptures. His early works were often large and powerfully expressive, sometimes using geometric forms, while later works are more whimsical and stylistic. His sculptures are always skillful, superbly finished and immediately appealing. Sanwell Chirume, b. 1940 in Guruve – “Big Buck Surrendering” Chirume is a prominent Tengenenge artist and a relative of artist Bernard Matemura. He first visited Tengenenge in 1971 to help quarry stone. In 1976 he returned to become a full time sculptor. Largely unacknowledged, he nevertheless creates powerful large sculptures of considerable depth. His work has been in many major exhibitions, has won numerous awards in the National Gallery of Zimbabwe, and is featured in the Chapungu Sculpture Park’s permanent collection. Edward Chiwawa, b. 1935 northwest of Guruve – “Lake Bird” This first generation master sculptor learned to sculpt by working with his cousin, Henry Munyaradzi.
    [Show full text]
  • The Art Magazine from Gallery Delta
    Sponsoring art for Zimbabwe Gallery Delta, the publisher and the editor gratefully acknowledge the following sponsors who have contributed to the production of this issue of Gallery magazine: The Rio Tinto Foundation Colorscan (Pvt) Ltd. ^ jmz coBromATiOM or zimbabwx ldoted MEIKLES HOTEL CODE THE CANADIAN ORGANIZATION FOR DEVELOI'MKNI IHROUCH KDUCATION Contents June 1995 2 Artnotes Art about Zimbabwe by Pip Curlin 6 I have a gallery in Africa: the origins of Gallery Delta by Derek Huggins 10 A gift that was hiding: Job Kekana by Pip Curling 12 Living and working in the mission tradition: in memoham Job Kekana by Elizabeth Rankin » \ 13 Helen Lieros: an interview with Barbara Murray 19 Letters 20 Reviews of recent work and forthcoming exhibitions and events Cover: Helen Lieros, Cataclysm, 1994, 1 12 x 86cm, mixed media. Photo by Dani Deudney Left: Zephania Tshuma, No Way To Go, 1986, 75 x 10 x 10cm, painted wood © Gallery Publications Publisher: Derek Huggins. Editor: Barbara Murray. Design & typesetting: Myrtle Mallis. Origination & printing by AW. Bardwell & Co. Colour by Colourscan (Pvt) Ltd. Paper; Express from Graphtec Ltd, Contents are the copyright of Gallery Publications and may not be reproduced in any manner or form without permission. The views and opinions expressed in this magazine are those of the writers themselves and not necessarily those of Gallery Delta, the publisher or the editor. Subscriptions from Gallery Publications, 7^ Gallery Delta, 1 10 Livingstone Avenue, PO Box UA 373 Union Avenue, Harare. Tel: (14)792135. -i Artnotes In his last interview, Job Kekana said, "When you travel between people it makes your knowledge stronger," and, despite all the criticism levelled at the Johannesburg Biennale, it did offer opportunities to "travel Andries Botha, Dromedarls Donderl between people".
    [Show full text]
  • “CHAPUNGU: Nature, Man, and Myth” April 28 Through October 31, 2007 FREQUENTLY ASKED QUESTIONS
    “CHAPUNGU: Nature, Man, and Myth” April 28 through October 31, 2007 FREQUENTLY ASKED QUESTIONS “Chapungu: Nature, Man, and Myth” presents 23 monumental, hand-carved stone sculptures of people, animals, and creatures of legend created by artists from the African nation of Zimbabwe, many from the Shona tribe. The exhibition illustrates a traditional African family’s attitude and close bond to nature, illustrating their interdependence in an increasingly complex world and fragile environment. How does this exhibition differ from the one the Missouri Botanical Garden hosted in 2001? All but one of the sculptures in this exhibition have never been displayed at the Missouri Botanical Garden. “Chapungu: Custom and Legend, A Culture in Stone” made its U.S. debut here in 2001. Two large sculptures from that exhibition were acquired by the Garden: “Protecting the Eggs” by Damian Manuhwa, and the touching “Sole Provider” by Joe Mutasa. Both are located in the Azalea-Rhodendron Garden, near the tram shelter. “Sole Provider” was donated by the people of Zimbabwe and Chapungu Sculpture Park in memory of those who died during the September 11, 2001 tragedy. An opal stone sculpture from the 2001 exhibition – Biggie Kapeta’s “Chief Consults With Chapungu”– returns as a preview piece, installed outside the Ridgway Center in January. Many artists from the 2001 exhibition are represented by other works this time. How do you say Chapungu? What does it mean? Say “Cha-POONG-goo.” Chapungu is a metaphor for the Bateleur Eagle (Terathopius ecaudatus), a powerful bird of prey that can fly up to 300 miles in a day at 30 to 50 miles per hour.
    [Show full text]
  • Transforming African Modernism
    Transforming African Modernism 25 Years of Zimbabwe Stone Sculpture (1980–2005) Transforming African Modernism 25 Years of Zimbabwe Stone Sculpture (1980–2005) September 20–November 3, 2013 Opening Reception: September 20, 6–8 pm SOUTH SHORE ART CENTER Cohasset, MA, www.ssac.org 1 EXHIBITION SPONSORS CONTENTS Major support for this exhbition was generously provided by: Acknowledgments 4 Susan Dickie About the Exhibition 5 Transforming African Modernism: 25 Years of Zimbabwe Stone Sculpture (1980–2005) 6 BJ and Steve Andrus A Short History of Zimbabwe Stone Sculpture 8 About the Art Form 13 Art in the Exhibition 11 – 24 About the Stones 25 Sculpture on cover and title page: Women, Nicholas Mukomberanwa, The Tonga Spirit, Joseph Muzondo 2 3 ACKNOWLEDGMENTS ABOUT THE EXHIBITION Russell Schneider, Curator South Shore Art Center is pleased to present Transforming African Modernism: 25 After Zimbabwe achieved independence in 1980, the doors of the new country were Sculpture Artists Works on Paper Artists Years of Zimbabwe Stone Sculpture (1980-2005). When Russell Schneider proposed flung wide open to the art world. The First Generation artists (1940s and 1950s) Fanizani Akuda Chikonzero Chazunguza the exhibition, the Art Center’s exhibition committee was unanimous in its decision (those who were instrumental in the early development of the art form) became Dominic Benhura Peter Clarke to bring such outstanding international work to the South Shore community. As an ‘discovered’, subjected to critical acclaim, and thrust into art careers, some highly Lameck Bonjisi Azaria Mbatha educational organization, we are particularly pleased to show work from another successful. The “Second Generation” artists, inspired by the artworks and early suc- Arthur Fata John Muafangejo country and continent; enabling our students, members, and visitors to learn about cesses of their predecessors, continued to move the art form into new and excit- Tapfuma Gutsa Joseph Muzondo these artists who work in stone sculpture, as well as the tools and methods they use.
    [Show full text]
  • An Educator's Resource Guide
    April 28 to October 31, 2007 An Educator’s Resource Guide 4344 Shaw Boulevard, St. Louis, MO 63110 · www.mobot.org Animals, families, and creatures of legend spring to life in these monumental hand-carved sculptures from Zimbabwe. Carved from opal stone, cobalt, and springstone, the statues depict their African creators’ traditional close bond to nature and the environment. Children will love the new animals and creatures—and the stories they tell. 23 monumental sculptures of animals, legendary creatures, and humans—all new work One special statue on display the tropical rain forest inside the Climatron® conservatory Small original sculptures available for purchase at the Chapungu Gallery and Gift Shop Chapungu artists made their U.S. debut at the Missouri Botanical Garden in 2001, and we are pleased to welcome this new exhibit in 2007. Tips for the Best Experience • Pre-register your school group online at www.mobot.org/education or call (314) 577-5140. 2 educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN Table of Contents Preparing for your Chapungu Experience............................................4 The Garden and Africa............................................................................8 Where is Zimbabwe? .............................................................................10 The Shona Culture ................................................................................11 What is Chapungu?.................................................................................12 Guide
    [Show full text]
  • Following the Stone: Zimbabwean Sculptors Carving a Place in 21St Century Art Worlds
    FOLLOWING THE STONE: ZIMBABWEAN SCULPTORS CARVING A PLACE IN 21ST CENTURY ART WORLDS BY LANCE L. LARKIN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Anthropology with a minor in African Studies with a minor in Museum Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Alma Gottlieb, Chair Professor Matti Bunzl Associate Professor Theresa Barnes Krannert Art Museum Curator Allyson Purpura ABSTRACT This dissertation follows the historical trajectory of the products of Zimbabwean stone sculptors to examine the interplay between international art markets and the agency of the artists themselves. Although this 1960s arts movement gained recognition within global art circuits during the colonial era – and greater acclaim following independence – by the turn of the 21st century only a few sculptors were able to maintain international success. Following the depreciation on the markets, I ask: (1) for what reasons do international art buyers now devalue Zimbabwean stone sculpture after having valorized it in the 1960s-80s? (2) How do Zimbabwean artists react to these vicissitudes of the international art markets? In the first half of the dissertation I examine how the stone sculpture was framed by European patrons as a Modernist art that valorized indigenous beliefs in contrast to the Rhodesian colonial regime’s oppression. Following independence in 1980, the movement continued to be framed as a link to pre-state carving traditions – solidifying links with “tradition” – while the political economic situation in Zimbabwe began to deteriorate by the end of the 1990s.
    [Show full text]
  • Portfolio Magazine
    the EART HIWORLD CALL OF AFRICA’S NATIVE VISIONS GALLERIES CELEBRATE’S IT’S 21 TH ANNIVERSARY A fixture in South Florida for years, Art Dealer Ross Parker Heads Into His Fourth Decade With One Of The Leading Wildlife And Nature Themed Art Galleries In The World By: By Todd Wilkinson At Ross Parker’s Call of Africa’s Native Visions Gal - leries —a fixture for collectors of wildlife art—you’ll find a massive piece of leadwood 1200 years old. Once upon a time when the trunk of this great tree was still growing wild on the veld of southern Zimbabwe, and long before the arrival of Europeans, elephants, white and black rhi - nos, Cape Buffalo and wildebeest, zebra, impala, kudu, “is is, without question, Mopho’s greatest a dozen other species of African antelope, and, of course, masterpiece among hundreds of big game pieces he’s created and lions, cheetah and leopard roamed free in abundance. that are collected around the world,” Ross Parker Opposite page: Mopho Gonde Call of the Matriarch , Sculpture, 3’x4’ 84 PORTFOLIO MAGAZINE PORTFOLIO MAGAZINE 85 “To the bushmen, leadwood have al - ways been known as rubbing posts, where many different animals come to scent-mark their territories. Standing leadwood trees represent a crossroads,” says Ross Parker. “You can only imagine the kinds of things this ancient giant bore witness to.” Epic animal migrations. Generations of predators and prey. Warriors and other humans passing through. And the ex - traordinary passage of time, Parker adds, that brought Africa of yore into this newer age of profound uncertainty.
    [Show full text]
  • Meister Bildhauer Aus Simbabwe Master Sculptors of Zimbabwe
    Friends Forever Herbst - Autumn 2006 Meister Bildhauer aus Simbabwe Master Sculptors of Zimbabwe ART CENTER BERLIN FRIEDRICHSTRASSE Oktober – Dezember 2006 www.friendsforeverzimbabwe.com www.friendsforeverzimbabwe.com Friends Forever Introducing Zimbabwean Master Sculptors and the history of their art. The phenomenon of modern Zimbabwean Stone Sculpture is indeed a story Another condition was the building of The National Gallery in then Salisbury, well worth telling again and again. Not only because it is a beautiful voice today Harare, capital of Zimbabwe. from the beautiful country of Zimbabwe, but mainly because of its significance Frank McEwen was called from Europe as its first director, and he showed an for as an art form, with its humanistic expression trough a modern language, those times unusual interest in art created by Africans. It evolved into a proper at the same time based upon tradition and traditional beliefs. We wonder, art academy on the premises of the gallery, where many of today’s artists were when we experience this plastic world of contemporary art, created in stone trained. McEwen eventually brought the best artists abroad – to Paris, London in a southern African country by artists of meager means. What is it we feel? and New York with great success. The nearness of another soul – from another part of the world – from quite different circumstances – and yet – we have a lot in common; what is it? – We Many of the artists developed at Tengenenge, an artists’ society, which was wonder – and we certainly like it very much. This is not the “well-off” Europeans created at Tom Blomefield’s place northwest of Harare, located on the slopes of stretching out to the “poor” African citizen - and yet it is also this – but first and The Great Dyke.
    [Show full text]
  • ART for AIDS UNAIDS/07.14E / JC1312E (English Original, June 2007)
    ART FOR AIDS UNAIDS/07.14E / JC1312E (English original, June 2007) ISBN 978 92 9173 570 9 © Joint United Nations Programme on HIV/AIDS (UNAIDS) 2007. Contents Foreword 5 Overview 7 Art 9 UNAIDS headquarters 157 Partners 167 Foreword Dear friends: Art has always inspired me to think more deeply and question more carefully. In whatever form it takes—sculpture, painting, mixed media and more—art can express things in a way not possible with facts and fi gures, and this is especially true in the AIDS response. Art and AIDS have been inextricably linked throughout the epidemic’s quarter of a century history. Art has conveyed what words alone could not. I am especially pleased that we have been able to bring art and the AIDS response together in UNAIDS’ new headquarters. We are indebted to the artists and sponsors who have generously given their talent, time and resources to make Art for AIDS a reality. Twentieth century painter Mark Rothko said, “Art is an adventure into an unknown world, which can only be explored by those willing to take the risks.” On behalf of the UNAIDS staff and our partners, I hope the art shared in these pages inspires and challenges you as much as it has me. Dr Peter Piot Executive Director, UNAIDS ART for AIDS | art carte Overview The United Nations Joint Programme on HIV/AIDS (UNAIDS) commemorated its 10th anniversary in 2006. In November 2006 UNAIDS moved into its new headquarters in Geneva, a building it shares with the World Health Organization. For UNAIDS, this new space is a convening centre for increased dialogue on AIDS issues and a centre for Art for AIDS.
    [Show full text]
  • Ein Sehr, Sehr Großes Wunder…
    © Kunst Transit Berlin Tom Blomefield, 1992 Ein sehr, sehr großes Wunder… Interview von Michael Drechsler mit Tom Blomefield im Dezember1991 Tom Blomefield ist der Gründer des Bildhauerdorfes Tengenenge in Zimbabwe. 1966 entschloss sich der Tabakfarmer, seine Farm aufzugeben, Künstler zu werden und junge Tabakschnitter ebenfalls zu animieren, als Bildhauer tätig zu sein. Mit Unterstützung von Frank McEwen, dem Leiter der Nationalgalerie, gelang es den Autodidakten, zunächst im damaligen Rhodesien und dann in Amerika und Europa, Interesse für die Bildhauerarbeiten zu wecken. Künstler wie Bernard Matemera, Henry Munyaradzi oder John Takawira prägten lange Zeit das Gesicht von Tengenenge und waren auch international erfolgreich. Tom Blomefield hat 2007 Tengenenge auf Grund der politischen Unruhen im Land ganz der afrikanischen Bildhauergemeinschaft übergeben und lebt seitdem in den Niederlanden. Neuer Direktor von Tengenenge ist der international erfolgreiche Bildhauer Dominik Benhura. Michael Drechsler (MD) Was war der Anlass für den Wechsel von einem Tabakfarmer zur Gründung eines Bildhauerdorfes? Tom Blomefield (TB) Ich kam 1947 hierher und arbeitete in einer Tabakfarm. Danach, es war 1949, heiratete ich. 1950 erwarb ich 2000 Hektar Land, auf dem sich Chromboden befand. Das erste Jahr, als wir Ziegel anfertigten, um die Tabakbegrenzung zu bauen und die Felder frei zu machen, hatten wir einen Wirbelsturm. Ein schwerer Zyklon kam vom Sambesi-Tal. Das war sehr, sehr fremd. Der ganze Himmel war grau, er sah wie Rauch aus… rollende, rollende Wolken. 1 Dann hatten wir einen fürchterlichen Regen. Nach einer Woche war das Land überschwemmt. In diesem Jahr ernteten wir keinen guten Tabak. Das folgende Jahr hatten wir eine große Dürre. Unsere ganze Saat vertrocknete und wir mussten sie erneut pflanzen.
    [Show full text]