1

ART & ART IN EAST AFRICA_ A WORKING BIBLIOGRAPHY 04.03.12-3

Elsbeth Joyce Court, Lecturer in World Art_Africa at SOAS: School of Oriental and African Studies and Birkbeck College; Associate, Centre of African Studies: CAS, of London; formerly research Associate, Bureau of and Institute African Studies, University of (1978-86).

KEYWORDS/discourses: art, art education, children’s artistic development [growth] in , art : formal (school-based, mostly drawing), non-formal (non-school based ‘workshop’), 8-4-4 system, skills, symbolism, aesthetic, pre-vocational /vocational training, educational planning, regionalism: legacy of Makerere Art School, local knowledge, indigenous/local art movements (Akamba, Gusii), Creative Industries, NGOs; tension between advocacy and research; history of art/visual culture in , art:craft, contemporary art worlds in Kenya, artist/‘African’ artist, patronage, ‘tourist’ art, heritage, underdevelopment, gender specificity, intellectuals, critical , development [well-being] and art-making, jua kali. Art Education elsewhere, globalization, international policies - UNESCO: Creative Arts, Cultural Diversity, World Heritage; WTO: Geographical Indications.

A BIBLIOGRAPHY with selected studies for ‘Africa’ & theory This ongoing bibliography with notes supports the Centre of African Studies seminars on 10 March 2011: Art Education in Kenya and on 8 March 2012: Lilian Nabulime: A Post-Modern Sculptor from and my presentations Kenya’s Art Worlds and Effective Art Education for the African Stones Talk Seminar, Kisii. Kenya‘, 1-3 August 2011, and Akamba Mavisa: Carving a local art world in East Africa & beyond for the symposium Commemorating the Past, Creating the Future, Kenya’s Heritage Crossroads at the British Library, London (below, www open.ac.uk). This is a working list. New books other texts will be added regularly, indeed I await the new monographs sponsored by the Goethe Institute, Nairobi and intend to extend coverage for and Uganda.

KENYA, EAST AFRICA, AFRICA Agthe, J 1990: Wegzeichen Signs Art from East Africa 1974-89. Frankfurt: Museum für Völkerkunde. Inputs from Etale Sukuro and Francis Msangi.

______with Court, E 2001: Jak Katarikawe_Dreaming in Pictures, Uganda. Frankfurt: Museum der Weltkulturen. Cites regional artists workshops organized by Sam Ntiro in the mid-1960’s; discussions in Dialogue. African Arts 2002-04.

Akala, W J 2007: ‘Africa [Kenya]’ (pp 35-36) in response to MA Stankiewicz ‘ Capitalizing Art Education: mapping international histories’. In L Bresler, ed. International Handbook of Research in Arts Education. Springer. Describes Kenya as “an area of marginal analysis with forms of art: stone tools, rock art, which predate western culture” to the range of current practices such as “technical drawing”.

Amutabi, M 2007: Intellectuals and the Democratisation Process in Kenya. In G Murunga & S Nasong’o, eds Kenya The Struggle for Democracy. Dakar: CODESRIA. Discusses kinds of intellectuals and their change over time: traditional/ academic, bourgeois, organic/activist, general, the latter can include creative artists.

Arero, H & Kingdon, Zachary, eds 2005: East African Contours Reviewing Creativity and Visual Culture. London: Horniman Museum. Research-based papers on visual culture and sculpture in East Africa, the ethics of Kenyan objects in a Stockholm museum, , Booran age sets, Luo headresses, Joy Adamson’s portrait paintings.

Arnold, M ed. 2008: Art in Eastern Africa. Dar-es-Salaam: Mkuki ya Nyota.

Ashley, C & Reid, A 2008: A reconsideration of the figures from Luzira. Azania. An excellent example of how further research modifies the story: pushing back date, making regional connections and likely ritual use; the object is displayed in SAG.

Bloom, S 2009: Trading Places The Merchants of Nairobi. London: Thames & Hudson Photographic studies of 14 merchants and their decorated premises in Nairobi city and periurban areas.

Bogonko, S 1992: A History of Modern Education in Kenya. Nairobi: Evans Bros.

Chamberlain, N 2006: Report on the Rock Art of South West Samburu District, Kenya. Azania XLI.

Chami, F 2008: The Great Lakes: a Complexity of Cultural Wellsprings. In M Arnold, op cit.

Chege, M 2009: The Politics of Education in Kenyan : A Call for a Paradigm Shift. African Studies Review. 52(3).

Coulsen, D & Campbell, A 2001: African Rock Art. New York: Abrams. Comprehensive photographic survey by regions; further research and activities of TARA: Trust for African Rock Art, www below; TARA is based in Nairobi.

2

Court, E & Mwangi, M 1976: Maridadi Fabrics. African Arts 25(1). Case study of a mission-sponsored community silk-screen cottage industry for women’s employment in Gikomba, Nairobi; until today.

Court, E 1981: The Dual Vision: Factors affecting Kenyan children’s drawing behavior. Paper prepared for the INSEA World Congress, Rotterdam; also presented at National Association of Education through Art, New York, l982. From unpublished MA thesis: A Developmental study of drawing characteristics of attending Kikuyu children, ages 3-8, in Nairobi and . Kenyatta: Bureau of Educational Research & Antioch.

Court, E with Patel, D l982: Report to Teachers’ Colleges on the Art Education Paper for the Primary Teachers’ Examination. Nairobi: Kenya National Examinations Council.

______1985: Margaret Trowell and the development of art education in East Africa Art Education, journal of the National Art Education Association, USA [mid-1930’s -1950’s including exhibitions of students’ work in London].

______1992: Pachipamwe II: the avant-garde in Africa? African Arts 25(1).

______1992: Researching Social Influences in the Drawings of rural Kenyan Children. In D Thistlewood, ed. Drawing, Research and Development. London: Longmans. Chapter related to the exhibition ‘Drawing on Culture’ at the Institute of Education, U London and toured to Kenya and , with art education conferences at the BM, London and KIE, Nairobi.

______1994: How culture influences children’s drawing performance in rural Kenya. In E Thomas, ed International perspectives on culture and schooling: A Symposium proceedings. London: Institute of Education. A further, unpublished, Power Point version ‘Andika Picha: writing pictures_Picture-making and art education in eastern Africa’ focuses on the influences of formal schooling. London 2005, ‘07 & Viana do Castelo, ‘06.

______1996: Kenya. In Macmillan Dictionary of Art. London. OxfordartOnline, was being revised 2011-12 now suspended.

Cunningham, et al 2005: Carving out a Future. Forests, Livelihood and the International Woodcarving Trade. London: Earthscan. Several chapters on the Akamba carving, claimed to be the oldest and largest modern movement in tropical Africa. Saving the Wooden Rhino a subsequent video by the same team has an upbeat account of the carving movement albeit with shallow oral history (one mzee who ‘mis-informs’ re WW 1 influences of Makonde; most sources posit connections with Zaramo carving, whichever agreement on a missionary-connection) and extensive coverage of research and action re the ecology of trees.

DAK’ART (joint authorship) 2006: DAK’ART 7th Bienniale of African Contemporary Art. Dakar. Profiles for Kenyan associated artists: Joseph Bertiers, Jak Katarikawe, Ingrid Mwangi-Hutter.

Della Rosa, A 2008: The Art of Recycling in Kenya. Milan: Charta. Texts: English, Italian; a range of materials, places and projects including Ecounique (‘flip flops’), Kitengela glass, Ki[G]ikomba with Kioko Mtwitki.

Deliss, C ed. 1995: Seven stories about modern art in Africa. Exhibition catalogue. London: Whitechapel Art Gallery. Curator for East Africa: W Nyachae, ‘Concrete Narratives and Visual Prose (Uganda and Kenya)’ pp 160-189; 272-287; ‘Notes: Kenya workshop activity and modern art’ pp 300+.

Digolo, O 1986: A Proposal for Effective Implementation of Art Curriculum in A Changing Cultural Environment: The Kenya Case. KU: Bureau of Educational Research.

Digolo, O & Orchardson-Mazrui, E 1988: Art and Design for Form 1 & 2. Nairobi: East African Educational Publishers. A survey of techniques, minimal context of a few photographs of local art practices; the most widely-used art education school text in eastern & southern Africa, reprinted 10x as of 2006.

Eisemon, T, Hart, L & Ongesa, E l988: Schooling for self-employment in Kenya. The Acquisition of craft skills in and outside schools. International Journal Educational Development.

Esbin, H 1998: Carving lives from Stone: Visual Literacy in an African Cottage Industry (Kenya). Unpublished Phd Thesis, McGill U.

______Spring 2000: Soapstone Carvers of East Africa: Not Isolated and Not Alone. Inuit Art Quarterly, 15.3.

3

Fall, N & Pivin, J-L, eds 2000: An Anthology of in the 20th Century. Paris: Revue Noire & New York: DAP. Includes G Kyeyune on Makerere art school, S Sanyal on art education in Kenya and Tanzania; Jules-Rosette on ‘Airport Art’; images: Kyalo: 1923, Maloba: 1940’s, Ong’esa: 1978; J.Wanjau:1999.

First Word [joint authors] Autumn 2011: ACASA Arts Council African Studies Association (USA) Fifteenth Triennial Symposium 23-27 March 2011, Los Angeles. African Arts 44(3) pp1-9. The ACASA Triennial is the state-of-the art symposium for African art; the 2011 edition had 46 panels comprising 210 presentations albeit with scant attention to the eastern region -- two panels (Pido, below) plus a few other papers. In a five-section review, only one writer gave an example from Kenya/east Africa. ‘Theoretical Trends’ by S Anderson cites a presentation that discusses the phase/moment in which matatu public transport vehicles were decorated in ‘gangsta’ style (note that any painting on such vehicles other than a yellow line was outlawed in 2003 by the Ministry of Transport; and again in 2004 by Parliament; in 2011, the law was being enforced.). Anderson’s account states that the matatu genre “synthesized Nairobi urban culture” and for some “is celebrated as the only ‘true’ Kenyan art” (p8). I wonder the extent of local credibility for such a very slight interpretation of Kenya’s contemporary art? External scholars could be more self-critical in response to the Triennial’s core question: “How African art is being interpreted, and by whom?” (p4). African Arts, the professional magazine for the academic field of Africanist/African art, is available on-line through JSTOR.

Gachanga, T 2008: How Africans view Peace Museums. An unpublished paper; shorter version on-line: www. Hiroshimapeacemedia.jp.

Galavu, L ed. 2011: Visionary Women: An Art Exhibition Marking International Woman Day & the Centennial celebration 1911-2011. Nairobi National Museum Introduction by M Odundo.

Gombe, C 1990: The Status of Art in the Kenyan curriculum, with reference to Nairobi schools. Unpublished PhD thesis, .

Gore, C 2007: ‘Kyalo son of Ngila, Prodigal Son, 1929. In Objects of Instruction Treasures of the School of Oriental and African Studies. London: SOAS, p 118.

Guille, J 2006: Crafts, Enterprise and Intersectoral Partnership in East and . In E Court, ed [forthcoming] Artists and Art . London: Saffron Books. Available on-line www. eapgroup.com.

______2010: Health, Design, Community: Creative approaches to craft in Uganda_ Transferring the Siyazama project to Uganda. Paper presented at TATU Visual Traditions of Eastern Africa, Oxford, 23 July 2110. Guille’s England-Africa Project includes tertiary level in Kenya [http://www.northumbria.ac.uk/sd/academic/scd/research/news/siyazama].

Hirst, T Summer 1971: New Art from Kenyatta College. African Arts.

Hughes, L 2011: Promoting Peace through Dialogue: Facilitating cultural exchange visits in Kenya. Discusses the Community Peace Museums; on-line www. open.ac.uk.

ISCAFEE: International Society for Ceramics Art Education and Exchange. Tertiary level collaboration between University of Creative Arts, Farnham, England and the Dept Fine Arts, Kenyatta U, on the initiative of Prof M Odundo, Farnham.

Jules-Rosette, B 1984: The Messages of Tourist Art An African Semiotic System in Comparative Perspective. New York: Plenum Press. Includes a case study of the Akamba carving movement.

Kader, T 2000: Material Culture and Art Education: Examining cultural artifacts of the Bohra [Asian] from Mahaan to Masjid (Kenya). Unpublished Phd Thesis, Penn State U (once an art teacher at Lenana Secondary School during the early years of the 8-4-4 curriculum when it included the study of material culture, see Somjee).

Kagia, M 2003: Drawing As Process. MA Thesis, Kingston University. For Mercy Kagia, drawing as process is a means of thinking, exploring, “a way of knowing” the world that is based upon creative interaction with what/whom is observed. After close to a decade in the UK, she is completing her practice-based PhD with the proposed title ‘Objectivity and the Ephemeral: The Reportage Artist in Society”. A new kind of academic research in which the researcher investigates her/his own practice, Kagia is analyzing her drawings in relation to other contemporary reportage artists, relevant discussions and photographs. In her 10.03.11 SOAS presentation, she spoke about her determination to become a professional artist. She discussed a sample of her drawings, some associated with her teaching (in London and Nairobi) but most from her field research in , western Kenya. Ironically, she selected the city for her PhD study because “it didn’t 4 have connections”, but by the time of her research the location had experienced fierce ethnic clashes following the 2007 elections. Thus, the timing of her research may have affected the nature of her experience. Rather, the very presence of a person drawing in the Kisumu market stimulated varied conversations about drawing “what is it for”, interestingly with little reference to politics; she observed a very low level of public awareness of drawing, of drawing as a career or “that there are people who just draw.”

Kakande, Angelo 2008: Contemporary Art in Uganda: a Nexus Between Art and Politics. Unpublished Phd thesis. : U Witswatersrand.

Kasfir, S 1999: Contemporary African Art. London: Thames & Hudson. Kasfir’s contribution is a thematic, systems approach with many examples from eastern Africa examples, eg. Kamba wood carvers, peri-urban Nairobi art collaboratives, Makerere artists, eg. Francis Nnaggenda.

______2005: Narrating Trauma as Modernity Kenyan Artists and the American Embassy Bombing. African Arts 28(3), 66-77.

______2007: Jua Kali Aesthetics Placing the city as a context of production. Critical Interventions. 1:1, 35-45.

Kasule, Kizito Maria 2001: The Independence Decade as the Renaissance of Art in Uganda. Unpublished Phd thesis. Kampala: Makerere University.

Kenya Arts Diary 2011. Nairobi: Kul Graphics. Fifty artist profiles cite only 2 trained at a Kenyan university; Gallery Watatu - 4, Kuona Arts - 6, Creative Arts Centre - 5, Buru Buru Institute of Fine Arts - 2; rest/most are self-taught plus non-African Kenyans and residents.

Kenya Arts Diary 2012. Nairobi: Kul Graphics. Selection of artists is more contrastive than 2011, inclusive of well-known pioneers omitted in the 1st edition: Njau, Ongesa, Robarts, Waite, cartoonists, jewelry-makers and many painters of daily life.

Kenya Institute of Education 1986: Primary School Syllabus.

______2002: Primary School Syllabus.

______2002: Secondary School Syllabus, Volume 4.

______2010: Summative Evaluation of the Primary School Education Curriculum. Assessment of “gaps in achievement of objectives on appreciation of aesthetic value… learners have not attained skills in areas such as creativity... respect for the dignity of work… non-coverage of the syllabus is due to heavy workload of teachers and high pupil-teacher ratio”; on-line www. kie.ac.ke..

Kenya, Republic of 1988: Presidential working party on education and manpower training for the next decade and beyond. Kamunge Report: ‘8-4-4’. Nairobi: Government Printer

Kenya Republic of, MOEST Ministry of Education, Science & Technology 2005: Kenya Education Sector Support Programme 2005-2010. Delivering Quality Education and Training to all Kenyans. Candid assessment concerning the weaknesses in formal provision. An objective of TIVET is “To produce skilled Artisans, Craftsmen, Technician and Technologies for both formal and informal sectors” (pp 208-9).

Kenyatta, Jomo 1938: Facing Mount Kenya. London: Secker & Warburg. 1978, Nairobi: East African Educational Publishers. “Education might help to promote progress and at the same time to preserve what is best in the traditions of the African people and assist them to create a new culture which, though its roots are still in the African soil, is yet modified to meet the pressure of modern conditions ” (p128).

Kirumira, Rose Namubiru 2009: Art Residency Programs: The Formation of An African Artist. Unpublished Phd thesis. Kampala: Makerere University.

King, Kenneth 1996: Jua Kali Kenya Change and development in an informal economy 1970-95. London: James Currey. Second edition of King’s seminal 1970’s text.

Kingdon, Zuleika 1998 [video, 118min]: Visions and Dreams. Uganda’s contemporary art worlds through case studies of artists Nabulime, Sserulyo, Banadda, Tumwine in the context of recovery from war and Makerere Art School’s resilience.

Kiruthu, F M 2009: A History of the Informal Enterprises in Kenya: A Case Study of the Artisan Subsector of Nairobi 1899-1998. Unpublished PhD thesis, Kenyatta University. 5

Klumpp, D & Kratz, C 1993: Aesthetics, Expertise and Ethnicity: Okiek and Maasai Perspectives on Personal Ornamentation. In T Spear & R Waller, eds. Being Maasai Ethnicity and Identity in East Africa. London: James Currey.

Kuona Trust (joint authorship) 2003: Thelathini: 30 Faces of contemporary art in Kenya. Nairobi: Kuona Trust. Minimal if disappointing text; more information in the Kenya Art Dairies 2011 and 2012, above.

Kwesiga, Philip 2005: Transformation in Arts Education: Production and use of Pottery in Nkore S.W Uganda. Unpublished Phd thesis. London: Middlesex University.

Kyeyune, G 2003: Art in Uganda in the 20th Century. PhD Thesis. Dept of Art & Archaeology, School of Oriental and African Studies, London.

_____2008: Pioneer Makerere Masters [Maloba, Njau, Ntiro]. In M Arnold, ed., op cit.

Lagat, K & Hudson, J eds. 2006: Hazina: Traditions, Trade & Transitions in eastern Africa. Nairobi: National Museums Kenya with the British Museum. Lagat’s MA project: a regional survey by theme: trade, well-being, leadership, contemporary art; p 31-33 kanga with hujui kitu: you don’t know anything.

Lagat, K 2008: Traditions, Trade & Transitions in East Africa: A collaborative educational project between the National Museums of Kenya and the British Museum. In K Yoshida & J Mack, eds. Preserving the Cultural Heritage of Africa. Oxford: James Currey. lo Liyong, T, ed 1972: Popular Culture of East Africa. Nairobi: Longman.

MacGregor, N 2010. A History of the World in 100 Objects. British Museum Press. The BM Director begins with Olduvai tools: a core and hand axe).

Mack, J 1995: Eastern Africa In Tom Phillips, ed. Africa Art of a Continent. Exhibition catalogue. London: Royal Academy of Arts.

______2000: East Africa. In Africa Arts and Cultures. London: British Museum Press.

Mazrui, A 2000: Cultural (re)construction and Nation Building in Kenya. In B Ogot & W Ochieng, eds Kenya: The Making of a Nation A Hundred Years of Kenya's History 1985-1995. Maseno: Kenya University Press.

Mboya, J 2007: The story of the Godown Arts Centre: A Journey to Freedom through the Arts. In K Njogu & G Oluoch-Olunya, eds Cultural Production and Social Change in Kenya Building Bridges. Nairobi: Twaweza Communications. Director of the Godown, Mboya retells a story about a chicken who had been tied by a string to a tree which restricts her movement and nourishment. Even after being released, she remained in her small space. Mboya posits “that in East Africa, artists behave like the chicken. The string has been cut but we are afraid to move into the wider civic space, to play our part. We are still tethered in our minds” (p 184).

Mboya, J 2010: (Over)riding the Rainbow Ethnic Diversity and the Kenyan Creative Economy. In K Njogu et al, eds. JM reiterates J v Miller on the ethnic, tradition-based carving movements of the Kamba and Kisii, calling for them to be reframed as national movements (which non-Kenyans usually do); then p 65 she identifies two individual artists Mwitaki, E Ongesa who extended conventional to unique practice; pp 68-9: JM concludes with 5 policy points, including 1 “comprehensive mapping the creative sector”, 2 “consolidate K’s creative economy sector”, 3 “financing the sector”, 4 p69 “the arts must be reinstated in the education system as a core subject in schools. At the same time, a broader offer of vocational training, one that would include creative sector-related courses in areas such as arts management and technical courses such as sound engineering and lighting design ought to be developed.”, 5 “dynamic and timely policy and laws.”

Maingi, D 2003: ‘Secondary School Art teachers and administrators’ viewpoints on the role of Art Education: Nairobi and Central Provinces, Kenya.’ Unpublished MA Thesis, Kenyatta University. In his presentation of 3.10.11 at SOAS, Donald Maingi described the social science/art education methodology that he employed to profile and investigate the attitudes of educators who are and are not specialists in art but have responsibility for the subject in secondary schools, in order to ascertain “the main root” of the subject’s marginalization in secondary schools. His evidence from two adjacent Provinces (and not Western which has the highest provision for secondary art) was inconclusive, in part because many teachers’ knowledge of their subject was limited. Most respondents agreed the purpose of art teaching was for “societal concerns” eg., “improving the appearance of the school” and as having both individual and utilitarian/vocational purposes. His key observation is that “school culture is more particular than the national curriculum”. He calls for improvements that will facilitate an holistic approach to art education. For his Phd, Maingi has 6 shifted disciplines to the History of Art at Birkbeck College, University of London; his path breaking research addresses the development of modern art in Kenya from the perspective of nationhood

Miller, J 1975: Art in East Africa A Guide to Contemporary Art. London: Frederick Muller. Mid-1970’s comprehensive survey of art movements: Kamba, Kisii, Makonde; art institutions and many artists in Kenya, Tanzania and Uganda, though it does not include material culture.

Mount, W 1973: African Art The Years Since 1920. Indiana University Press. Relevant chapter titled: Souvenir Art: Akamba carving movement; a section on Makerere Art School.

Musa, H Winter 2010: The Party of Art: When the People Entered the Gallery. The South Atlantic Quarterly 109(1). Durham, N.C.: Duke U. With reference to Khartoum in the 1970’s and 2008, Musa describes and analyzes the transformative role of modern art exhibitions, curated mostly by artists with Leftist politics, which he likens to improvisational theatre; instructive to compare with conditions for art in Nairobi, Kampala and/or Dar.

Mwangola, M 2007: Leaders of Tomorrow? The Youth and Democratisation in Kenya. In G Murunga & S Nasong’o, eds Kenya The Struggle for Democracy. Dakar: CODESRIA Discusses different attitude of the post-colonial Uhuru Generation and role of expressive arts - music and drama – in political protest; omits visual art.

Nabulime, L 2007: The Role of sculptural forms as a communication tool in relation to the lives and experiences of women with HIV AIDS in Uganda. PhD thesis. Newcastle University, UK.

Nabulime, L & McEwan, C 2010: Art as social practice: transforming lives using sculpture in HIV/AIDS awareness and prevention in Uganda. Cultural Geographies 18 (3) 275-296. Ugandan Lecturer of Sculpture moves out of the gallery into the community to use art/soap sculpture as a form of social practice to modify gender relations and improve understanding of this medical ‘elephant in the room’.

Nagawa, M 2008: The Challenges and Successes of Women Artists in Uganda. In M Arnold, ed., op cit.

Nakazibwe, V 2005: Barkcloth of the Buganda People of southern Uganda: A record of continuity and change from the late 18th to the early 21st c. Phd Thesis, Middlesex U, London. 2007: Arts Council African Studies Association USA Triennial Award for outstanding doctoral thesis.

Ngugi, Catherine 2004: Kenyan Artistic Narratives Across the Generations. In KWANI? 2. Nairobi: Kwani Trust.

Ngugi waThiongo 1981: Writers in Politics. Nairobi: East African Educational Publishers Several essays on education and culture.

______1993: Moving the Centre The Struggle for Cultural Freedoms. Nairobi: East African Educational Publishers; London: James Currey. Unpacks neo-colonial habits.

______2011: Dreams in a Time of War A Childhood Memoir. London: Vintage Books. Regarding the struggle over the content of formal schooling during the author’s childhood, “The syllabus would be determined by colonial masters. The effects were immediate. In the new Manguo [‘old ‘was an independent school], music and performance died. The interschool sports festival became a thing of memory. The marching band too. The school no longer was the centre of community festivities” (p167).

Njogu, K & Mugo-Wanjau, M 2007: Art and Health Promotion: Creativity against HIV and AIDS. In K Njogu & G Oluoch-Olunya, eds., op cit. Reviews several NGO projects; also see Njogu’s Introduction.

Njogu, K, Ngeta, K, Wanjau, M, eds. 2010: Ethnic Diversity in Eastern Africa Opportunities and Challenges. Nairobi: Twaweza Publications.

Nyairo, J 2006: Modify: Jua Kali as a metaphor for African’s urban ethnicities and cultures. In J Nyairo & J Ogude, eds Urban Legends, Colonial Myths Popular culture & literature in East Africa. Trenton, NJ: Africa World Press (on-line Google: Kingsley Lecture, London: AEGIS, 02.07.05)

Oketch, M & Somerset, A 2010: Free Primary Education and After in Kenya: Enrolment impact, quality effects and the transition to secondary school. Research Monograph 37. University of Sussex & IoE, London: CREATE.

Okworo, B 2009: Ong’esa: The Master Artist. Nairobi: The Artisan World. Includes Ong’esa’s criteria for an effective art education to “uphold professionalism”: 1 “training for the acquisition of necessary skills and 7 conceptualization of original ideas”, 2 sufficient “practice to become resourceful… innovative” 3 theory/context, “understand the historical background of art”.

Ong’esa, E 2010: Artists’ Day Speech, Nairobi National Museum (unpublished).

[Onyango, R] 1992: Richard Onyango: The African Way of Painting 1992. Exhibition catalogue for Gallery of Contemporary East African Art, Nairobi National Museum, Kenya & international tour:. Malindi Artists’ Proof printed in Italy. Includes the artist’s autobiographical statement and interview, 98pp art works; title on dust cover “The Paintings of Richard Onyango: Vehicles, Vessels, Trains and Planes 1992 Salvatore ala Gallery New York.

Orchardson-Mazrui, E 1986: ‘A Socio-historical perspective of the art and material culture of the Mijikenda of Kenya’. PhD thesis. SOAS, U London.

______2006: Aliens at Home. In Jahazi. Commissioned firstly for Thelathini 2003, op cit.

Osako, J, Muyela A, Odula V, Shiundu L 2003-6: Creative Arts, Standards I-VIII. Nairobi: Foundation for the Kenya Institute of Education. Primary school text books designed for the 2002 syllabus. p’Bitek, O 1986: Artist the Ruler. Essays on Art, Culture and Values. Nairobi: Heinemann.

Petrovich-Mwaniki, L & Kaderbhai, T Fall 1995: The Traditional arts of Kenya as reflected in school art textbooks. Journal of Multi-cultural and Cross-cultural Research in Art Education.

Pido, D 2011: The Flashless Spirit: Ignoring cultural history and belief systems in contemporary life. Paper presented at Arts Council ASA (USA) Triennial Conference March, 2011 in the panel session ‘Kenya in the Fusion Period: Art, Esthetics and Development’ chaired by JP Odoch.

Picton, J, Loder, R & Court, E eds: 2002: Action & Vision Painting and Sculpture in Ethiopia, Kenya and Uganda from 1980. Exhibition catalogue Rochdale Art Gallery. London: Triangle Arts Trust. Kenya essays by R Burnet, G Kyeyune, R Loder , E Court.

Republic of Kenya Ministry of Education, Science and Technology 2005: Kenya Education Sector Support Programme 2005-2010. Delivering Quality Education and Training to All Kenyans. Nairobi.

Rychner, R-M 1996: Contemporary Art in Uganda. Catalogue for 12 artists to document their participation in the 1995 Africus-Johannesburg-Biennale ’95. Kampala.

Sanyal, S 2000: Imaging Art, Making History: Two Generations of Makerere Artists. Phd Thesis. Atlanta: Emory University.

Sifuna, D 1990: The 8-4-4 Education System in Kenya: A Study of pre-vocational subjects in primary school. Nairobi: Kenyatta U.

Somjee, S 1993: Material . Nairobi: East African Educational Publishers.

______1996: Learning to be indigenous or being taught to be Kenyan, An ethnography of teaching art and material culture in Kenya. PhD thesis. Montreal: McGill University A version is in D Boughton & R Mason, eds. Beyond Multicultural Art Education: International Perspectives. Munich, Germany & NY, NY: Waxmann Publishing for INSEA: International Society for Education through Art.

______1997: Honey and Heifer: Grasses, Milk and Water: A Heritage of Diversity in reconciliation. Nairobi: Mennonite Committee & National Museums of Kenya.

______2008: Building Kenyan Identities: Art Education, Material Culture, Indigenous Aesthetics and Community Peace Museums. In M Arnold, ed. op cit.

Spring C 2008: Angaza Afrika African Art Now. Laurence King. Small section on Nairobi sign painters and metal workers; essays for M Charinda, J Katarikawe, R Ntila, M Odundo, S Wadu.

Spring, C 2009: African Art in Detail. British Museum Press. The curator’s introduction to the BM’s African galleries which exemplify an inclusive approach for global, modern Africa by media and some practices, concludes with the kanga hujui kitu).

Swigert [wa Gacheru], M 2011: Globalizing Kenyan Culture: Jua Kali and the Transformation of Contemporary Kenyan Art: 1960-2010. Phd thesis. Dept of Sociology. Chicago: Loyola University. 8

Topan, F 2008: Swahili Aesthetics: Some Observations. In M Arnold, ed. op cit.

Triangle Arts Trust [joint authorship] 2006: Triangle variety of experience around artists’ workshops and residencies. London: Triangle Art Trust. Concerns the Triangle network which then included Kuona Arts; contributions by Rob Burnet, founder of Kuona and others involved in artists’ workshops in the region.

Trowell, K M 1937: African Arts and Crafts: Their Development in the School. London: Longmans. Classic for art education in eastern Africa; KMT lived in Ukambani, Kenya before her many decades in Uganda where she founded the art school at Makerere and made collections for the national museum (and the BM); author of many texts that document the late 1920’s to mid-1950’s.

Vikiru, G 2006: Skilled Talent vs Talented Skill. In Jahazi_Culture, Arts, Performance. 2006:1.

Visona, M et al eds 2007: East Africa. In A History of Art in Africa. New Jersey: Prentice Hall.

Vohora, A 2011: Wall Art in Kenya. Nairobi: Ramco Printing Works.

Wainaina, B 2008: Joga: Making Reality. In M. Arnold, ed. op cit.

Wong, L, ed. 1999: Shootback: Photos by Kids from Nairobi Slums. London: Booth-Clibborn Editions.

Wright, K 2005: Ethnic Identities and Cultural Commodization in the Jua Kali Art World of Kenya. Unpublished MA Thesis in Art History, U Illinois at Chicago.

____ 2012: Zarina Bhimji. Exhibition catalogue. London: Whitechapel Art Gallery & Riding House.

THEORY Addison, N, Burgess, L, Steers, J, Trowell, J, eds. 2010: Understanding Art Education Engaging Reflexively with Practice. London: Routledge.

Allen, F ed 2011: EDUCATION Documents of Contemporary Art. London: Whitechapel Art Gallery.

Andersson, I & Andersson, S 2009: Aesthetic representations among Himba people in . In International Art in Early Childhood Research Journal 1(1) Compares drawing and modeling performance of a small sample of rural, unschooled children.

Apple, M, Au, W, Gandin, L, eds. 2009: The Routledge International Handbook of Critical Education. NY & London: Routledge.

Becker, H 2008: Art Worlds. revised edition from 1982. Los Angeles: UCLA Press. The Art Worlds model posits an inclusive contemporary notion: all forms happening at the same time; it fits well with the plurality of art practices in Kenya; notion of ‘Art World’ associated with the philosopher Arthur Danto,1964.

Bruner, J 1996: The Culture of Education. Harvard U Press. Excellent theoretical grounding for culturalism, i.e. culture-based education/ cultural psychology, building on Vygotsky, Cole, Wertsch.

Cole, M 1992: Culture in development. In M Bornstein & M Lamb. Developmental psychology: an advanced textbook. New Jersey: Erlbaum.

_____ 1995: The Pictorial World of the Child. Cambridge University Press.

Court, E 1999: Africa on Display: Exhibiting art by Africans. In E Barker, eds. Contemporary Cultures of Display. London: Yale & Open U. Discusses themes in the display of ethnic art traditions traces the entry of contemporary African art in UK galleries/museums with reference to the africa’95 art season.

Eisner, E & Day, M 2004: Handbook of Research and Policy in Art Education. New Jersey: Erlbaum. Excellent scholarship, 6 sections: history, policy, learning, teaching, assessment, visions in 36 chapters, including L Hetland & E Winner, G Sullivan’, A Efland, B Wilson.

Efland, A 1976: The School art style: A functional analysis. Studies in Art Education. 17 (2).

Geertz, C 1983: Art as a cultural system. In Local Knowledge Further Essays in Interpretative Anthropology. New York: Basic Books.

9

Harney, E Summer, 2007: Canon Fodder: The Battles over Contemporary African Art. Art Journal. 66 (2).

Hetland, L, Winner, E, Veenema, S, Sheridan, K 2008: Studio Thinking: The real benefits of . Harvard UP.

Hopkins, D 2000: After Modern Art 1945-2000, Oxford History of Art.

King, K & Palmer, R 2010: Planning for technical and vocational skills development. Paris: UNESCO IIEP.

Kresse K & Marchand, T 2009: Introduction: Knowledge in practice. In K Kress & T Marchand, eds. Knowledge in Practice: Expertise and the Transmission of Knowledge. Africa. Special Edition 79(1).

Lindstrom, L, ed 2000: The Cultural Context Comparative studies of art education and children’s drawings. Stockholm: Institute of Education Press.

O’Farrell, L 2010 Final Report -- of the closing session of the Second World Conference on Arts Education, 28 May 2010]. Seoul: UNESCO.

Oketch, M 2007: To vocationalise or not to vocationalise? Perspectives on the current trends and issues in technical and and training (TVET) in Africa. International Journal of Educational Development 27:220-234. Relevant to Kenya, though not a case study; more recent research on Kenya’s Free Primary Education with CREATE, www below.

Phillips, R 2007: Exhibiting Africa after Modernism: Globalization, Pluralism and the Persistent Paradigms of Art and Artifact. In G Pollack & J Zemans, eds. Museums After Modernism Strategies of Engagement. Oxford: Blackwell. Stimulating volume in which Phillips’ chapter interrogates new approaches to the display of African objects in historical museums of the North, noting changes due to the entry of contemporary art by Africans, cf Court:1999.

Smith, N 1983: Experience and Art Teaching Children to Paint. NY: Columbia Teachers’ College Press.

Smith, N 1992: Development of the Aesthetic in Children’s Drawings. In D Thistlewood et al, eds. Drawing, Research and Development.op cit.

Stankiewicz, MA 200 Capitalizing Art Education: mapping international histories. In L Bresler, ed. International Handbook of Research in Arts Education. Springer. Uses P Bourdieu’s model of capitals: human, cultural, economic, fits well with conditions in Kenya.

Sullivan, G 2005: Art Practice as Research Inquiry in the Visual Arts. NY & London: Sage Also in E Eisner & M Day, eds. op cit.

Vygotsky, L 1978: Mind in Society The Development of Higher Psychological Processes. Harvard U Press.

Wertsch, J ed 1986: Culture, communication and cognition: Vygotskian perspectives. Cambridge U. P. See M Cole’s ‘The zone of proximal development: where culture and cognition create each other’ and other essays by J Bruner, M Cole, S Scribner, all Vygotsky-philes.

Wilson, B 2004: Child Art after Modernism Visual Culture and New Narratives. In E Eisner & M Day, eds. op cit. Critique of the concept ‘Child Art’/’School Art’.

UNESCO 1995: Our Creative Diversity. Report of the World Commission on Culture and Development. Paris: UNESCO Publishing.

UNESCO 1995: The Cultural Dimension of Development Towards a Practical Approach. Paris: UNESCO Publishing.

UNESCO 2010: Seoul Agenda: Goals for the Development of Arts Education. The Goals are to (1) Ensure that arts education is accessible as a fundamental an sustainable component of a high quality renewal of education; (2) Assure that arts education activities and programs of a high quality in conception and delivery; (3) Apply arts education principles and practices to contribute to resolving the social and cultural challenges facing today’s world. (This policy statement incorporates the Road Map that was developed collaboratively during and after the 2006 World Conference and before the 2010 World Conference, latterly with Kenyan participation.) 10

KENYA MAGAZINES/JOURNALS that have art content Chonjo (2006-) Lamu, Malindi & the North Coast (Ed: H Bwanaadi Ernst) Jahazi culture, arts, performance; Twaweza Communications (2006- ) Kenya Past and Present; Kenya Museum Society (from 1971) WajIbu April-May 2006 Special issue ‘Voices from the World of the Arts’ (Ed: J Sibi-Okumu) Msanii contemporary art; RaMoMA (2001-09, 25 issues) KWANI? critical literary (from 2003 Founding editor: B Wainana, Ed: B Kahora).

SELECTED WEBSITES www kie.ac.ke (Kenya Institute of Education) www onbi.ac.ke (, School of Arts and Design) www ke.ac.ke (Kenyatta University, School of Visual and Performing Arts, Department of Fine Arts) www. kuonatrust.org (model networking; also site for Footnotes) www unesco.org/en/arts education [for 2006 (Lisbon) and 2010 (Seoul) World Conferences in Creative Arts Education; 2010: ‘Seoul Agenda, Report of the survey results on the implementation of the Road Map for Arts Education’, Final Report by Larry O’Farrell. www researchkenya.org (national site for theses and dissertations with over 12,000 listings, some 2000 of which 18 relate specifically to art education; regarding local art movements/worlds, one entry for Kisii stone and none Akamba wood carving. Please note omission of my MA thesis which was deposited at KIE and VP’s Office with acknowledgement, thus, suggesting other studies may not be listed. www for startjournal.org [German Embassy, Kampala] Journal of Arts and Culture, Kampala Arts Trust. www. acp-mts-programme.org/en/geographical-indications-conference (local materials & knowledge) www. africanchildforum.org (‘Picture Gallery’ offers comparison with paintings by Ethiopian children) www. africancolours.net (on-line contemporary art and culture news) www. africanrockart.org (site for TARA: Trust for African Rock Art which is based in Nairobi; includes education & community programmes) www. annosafrica.org.uk (arts education for orphans and children from the slums; 3 month programmes with existing child care institutions) www. apesinspace.net (animation by Kwame Nyong’o, e.g. Tinga Tinga Tales, 2011: Legend of the Ngong Hills). www. art2bebodymaps.com (international exposure includes ‘Our Positive Bodies’ exhibition at the Brunei Gallery, SOAS, 2008) www. awbkenya.com (Art Without Borders, directed by James Mbuthia, Nairobi) www. thebritishmuseum.org (check under Research for Collections) www. create-rpc.org (CREATE: Consortium for Research on Educational Access, Transition and Equity, Centre for International Education, Sussex; includes Free Primary Education in Kenya) www. drawing-research-network.org/uk (cited by Mercy Kagia) www. fliplopiwas.com (Uniqueco-designs, Nairobi) www. gatsby.org.uk (Kenya Gatsby Trust, support for development of craftwork) www. thegodownarts.com (houses 12 arts NGOs plus artists’ studios) www. harambeearts.org www. hawaartists.com (NGO to promote women artists) www knatcomunescoyouth.org (Kenya National Commission for UNESCO, specifically ‘UNESCO Youth’ with portal intended for the AST Seminar papers. www. kwani.org (check for photography project ’24 Nairobi) www.lamuchonjo.com www. maryknoll Institute of African Studies, Nbi (East African Art course) www. masaimbili.com (Kibera art group; see C Halliday’s video on U-Tube) www. mobileartschoolkenya.org www. museums.or.ke (3.11 Nairobi Museum’s temporary exhibition is ‘Visionary Women’) www. Nairobi-arts.org (Centre for Contemporary Art in East Africa; Jimmy Ogonga) www. open.ac.uk/Arts/ferguson-centre/memorialization (for Peace Museums) www. portraitsofnairobi.wordpress.com (London-based project ‘Koinonia’) www. sarakasi.org (performing arts, Nairobi) www. shujaaz.fm (development radio in Sheng [slang Swahili with English], monthly cartoon supplement in Nation newspaper) www. sil.si.edu/SILpublications/Modern African Art/ www. slumkidsart.com www. sussex.ac.uk/education/research/cie/projects/tpa/Kenya (pre-school, technical education) www. triaidcraft.co.uk (product development, ‘Good Wood’) www. trianglearts.org (on-line is full video coverage of ‘NETWORKED: Dialogue & VExchange in the Global Art Ecology’, London, 26-27 Nov 2011, eg. a panel that discussed “Not-Networking” with Kuona’s Director Danda Jaroljmek) www. ugandart.com (Uganda Art Consortium with focus on art education, based in Washington, DC, organizer Tom Herriman) www. wajukuuuart.org

‘Google’ for sites featuring the local movements of Kisii stone on U-Tube (Kisac Fair Trade, Smolart Self Help amongst others; KISEF: Kisii Soapstone Industry Empowerment Forum) and Akamba wood carving (co-operatives: Wamunyu, Nairobi_Gikomba, Mombasa_Changamwe amongst others.

NGO & community-based art groups > a notional, partial listing of an estimated 60 or more 11

Anno’s Africa, Nairobi Art in Kibera (NGO sponsored by GAIN: Georgetown African Interest Network) Banana Hill, Culture Boyz, Lamu Kyanika Adult Women Group (KAWG), District (conserving the ‘traditional’ gourd plant) Lake Basin Arts Group, Kisumu Maasai Mbili, Kibera (see Craig Halliday’s video on U-Tube) Ngare Ndare, Laipikia Ngecha Artists, Limuru Lily Pond Art Centre, Nanyuki Sane Wadu Studios, Navaisha WAPi, Nairobi (Words and Pictures project sponsored by the British Council, Nairobi) Wildebeeste Environmental Workshops, Athi & Lamu

‘Changing Education Paradigms’- Prof Ken Robinson, advocate/researcher in creative arts education. Royal Society of Arts. http://www.youtube.com/watch?v=zDZFcDGpL4U&feature=youtu.be

For suggestions, thank you to Lydia Galavu, Curator for Contemporary Art at Nairobi National Museum; Dr George Kyeyune, Makerere University; Dr Lillian Nabulime, Makerere University; Donald Maingi and Craig Halliday, both emerging art historians; Janet Stanley, Librarian, National Museum of African Art, Smithsonian Institution, Washington, D.C and Ruth Thomas.