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From Theatre Royal to Pop-Up Galleries Timeline of Art Venues in Nairobi Olivier Marcel

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From Theatre Royal to Pop-Up Galleries Timeline of Art Venues in Nairobi Olivier Marcel From Theatre Royal to Pop-up Galleries Timeline of Art Venues in Nairobi Olivier Marcel To cite this version: Olivier Marcel. From Theatre Royal to Pop-up Galleries Timeline of Art Venues in Nairobi. 2013. halshs-01206557 HAL Id: halshs-01206557 https://halshs.archives-ouvertes.fr/halshs-01206557 Submitted on 29 Sep 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Nairobi IFRA Mambo! Recent research findings in Eastern Africa From Theatre Royal to Pop-up Galleries Timeline of Art Venues in Nairobi Olivier Marcel Volume XI n° 3 - 2013 Maybe one day Nairobi will be laid out with tarred roads, with avenues of flowering trees, flanked by noble spaces and stately squares; a cathedral worthy of faith and country, museums and galleries of art, theatres and public offices. Dutton Eric in Kenya Mountain, 1929 While Nairobi is praised as East Africa’s a National Theatre that would become critical new cultural capital1, a closer look into the city’s venues for Kenyan and East African art worlds. In art history shows that such a function is nothing fact, the city has nested a century long struggle for new. At a glimpse, the 1980’s saw substantial the establishment, access and control of urban art investments coming from international music venues ever since the foundation of its first theatre industries such as Polygram, CBS or EMI that hall in 1912: the Theatre Royal, now a casino on attracted major artists from around the world: Kenyatta Avenue. This short paper aims to provide Alpha Blondy from the Ivory Coast, Burning Spear a reference timeline of art venues in Nairobi for the from Jamaica or Ladysmith from South Africa all purpose of artists, organizers and researchers. 2 came to Nairobi to record music . Around the The intention is primarily to acknowledge 1960’s, a whole host of fine art galleries opened: the existence of a diverse range of art venues Sorsbie’s Gallery New Stanley Gallery Gallery , or throughout Nairobi’s history. Far away from central Watatu3 and ambitious panafrican art centers such contemporary art markets, promoters of art in as the Chemchemi Creative Centre were started Nairobi are used to claiming novelty as a tactic to with the goal to “radiate to the benefit of the rest of 4 attract attention and funding. In 2013, such claims Kenya and of East Africa” . From the 1940’s, cultural as “first ever art auction” or “first ever art museum” and artistic infrastructure were built including a still echo in the local art world. Besides, even Conservatoire of Music Literature Bureau , a and the wealthiest and most established institutions 1 Warah Rasna, 2009, “Yes, Nairobi is East-Africa’s cultural capital.” have extremely limited archival inclinations. An Daily Nation, 09/08. astonishing example is the fifty year old Goethe- 2 Malm K. and Wallis R., 1992, “Case Study: Kenya”, Media policy and music activity, Psychology Press, pp. 84-107. Institut, which has virtually nothing but testimonies 3 Miller Judith, 1975, Art in East Africa, London: Frederick Muller, to account for the activity that preceded the arrival 114 p. of the current director in 2007. Additionally, when a 4 Mphahlele Ezekiel, 1965, “Chemchemi Creative Centre”, Nairobi, The Journal of Modern African Studies, vol. 3, n°1, pp. 115-117. Adresse: Laikipia Road, P.O. Box 58480 - 00200 Nairobi, Kenya Tel : 254 20 43 43 446 - Fax : 254 20 43 43 052 E-mail: [email protected] - Web site: www.ifra-nairobi.net Mambo! 2013 n°3 - From Theatre Royal to Pop-up Galleries, a Timeline of Art Venues in Nairobi -Olivier Marcel venue shuts down, as did Wahome centers are “sites of ambivalence, and the upper class neighborhood Mutahi’s popular Citrus Whispers complexities and contradiction”6. of Gigiri. Limuru is arguably a similar Theatre in Ngara, its memory Nevertheless, this fundamental case: the Kamirithu Cultural Center, is only shared orally in small grayness that characterizes many although initiated against what the circles of theatre enthusiasts and art venues should not obliterate city culturally represented, derived progressively fades into oblivion. the imbalanced “competition for from connections made between the Beyond these symptomatic local the right to use a venue”7. While University of Nairobi and Makerere shortcomings, the lack of historical they do not always determine University in Kampala and therefore consciousness should be analyzed content, the gatekeepers have an falls into the scope of Nairobi taken at a global scale in which art obvious edge in this competition. as a metropolis. Secondly, the and culture are seldom included Therefore, the proposed timeline approach is openly multidisciplinary, in Africa’s urban history. While includes information to visualize tackling equally literature, visual Western donors and art organizers this imbalance by distinguishing arts, performance arts and music. are obsessed with the idea of State-led, commercial-led, donor- The reasoning behind this choice “putting Nairobi on the map”, it led and community-led venues. is that most of the studies of art in is of public interest to establish a It has to be noted that these Africa are limited to one specific comprehensive timeline of the art categories are rarely perfect field: theatre, dance, painting, etc. venues that Nairobi has actually fits. For example, the National Do these western subdivisions hosted over time. Museum of Kenya was refurbished apply to Nairobi? Since the British European A second objective is to situate with money from the established Nairobi’s first artistic Union art’s main driving forces and and their gallery is infrastructures, most of the venues Kenya their chronology. If Nairobi has partly commercial. The are discipline-specific. Nevertheless, Conservatoire of Music been a cultural capital for years, hosted immediatly after Independence, British Council the question here is rather: for the ’s offices up to the first indigenous African efforts The Nest whom has it been a capital? In 2006. For , an art hub in to establish art venues discarded Chemchemi 1981, Ngugi wa Thiong’o stated Kilimani area, support from the such separations. Both Paa ya Paa that the central divide in Kenya Dutch development organization and were open to Hivos was “the fierce struggle between was decisive in launching writers, painters and performers. GoDown Arts Centre the cultural forces representing the project, but it was initiated The , that beforehand by a group of young built its legitimacy on claims of foreign interests and those 8 representing patriotic national Nairobians. being local , also shares the same interests”5. Nairobi, as a periphery The scope of this timeline is multidisciplinary logic. Additionally, of the British Empire and then framed by three guiding principles. many artists’ trajectories embrace Maasai Mbili a periphery of the “developed First is to consider Nairobi as a versatility: artists are world”, has indeed been very metropolis. This puts the focus such chameleons, shifting from sign- dependent on foreign donors, on urban influence rather than painting to fashion or installation. foreign market and exterior urban setting. In that perspective, Beyond the dubious application assistance in attempts to organize venues such as Banana Hill Art of disciplinary categories, an open places for art. But such aid has not Gallery are included despite being approach allows the establishment come uniformly in time and space; in a rural environment and outside of parallels between political and neither has it impacted uniformly of Nairobi’s provincial boundaries. artistic contexts: What type of venue on Kenyan society. Furthermore, Indeed, their activity and market opened during the Emergency? national interests in the field of derive from the spatial proximity What impact did the Coup attempt arts and culture are anything but a to places like the Village Market, or the introduction of multipartism homogeneous bloc. George Odera the United Nations Headquarters, have on the art landscape? When did the State invest the most in arts Outa has tried to nuance Ngugi’s 6 Odera Outa George, 2009, Performing Power: antagonistic landscape making the Ethnic Citizenship, Popular Theater and Context 8 Mboya Joy, 2007, “The Story of the Godown point that even foreign cultural of Nationhood in Modern Kenya, Book Surge, Arts Center: A Journey to Freedom through Charleston, p. 6. the Arts” in Njogu K. and Oluoch-Olunya 7 Ndigirigi Gichingiri, 1999, “Kenyan G. (ed.), Cultural Production and Social Change in 5 Ngugi wa Thiong’o, 1981, Writers in Politics, Theatre after Kamiriithu”, The Drama Kenya: Building Bridges, Arts, Culture & Society Nairobi: Heinemann, p.42. Review, n°43/2, pp. 72-93. vol. 1, Nairobi: Twaweza, pp. 169-186. 2 Mambo! 2013 n°3 - From Theatre Royal to Pop-up Galleries, a Timeline of Art Venues in Nairobi -Olivier Marcel and culture? What link is there between the arrival of new donors in the 1990’s and community led initiatives? Such questions can only be addressed in a multidisciplinary approach. A last methodological choice is to look at places rather than groups or institutions that occupy them. This restricts the timeline to physical places that are organized for the sole purpose of art education, production, exhibition or distribution: theaters, galleries, cultural centers, cinemas, museums, concert halls, art schools, publishers, recording studios, etc. These guiding principles have their limitations. For example, organizations with no venue such as the feminist group 3 Mambo! 2013 n°3 - From Theatre Royal to Pop-up Galleries, a Timeline of Art Venues in Nairobi -Olivier Marcel Hawa Women or the online Little Art Gallery are not featured.
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