The resident artists group at Sanskriti is as diverse as it can get. It’s international.  Over the past week I’d observed that one of resident artists has been making derogatory comments about various aspects of India, such as the caste system, the language, female oppression, traditions which I found deeply unsettling and frankly, offensive.  There came a point that this was beginning to affect the group dynamics and this morning I decided to confront it.  I took her to one side and told her that I found some of her comments about the Indian culture and people offensive. I asked her what she meant by some of her comments?  Realising the impact of her comments, she apologised and regretted that her comments had caused such upset.  She thanked me for bringing this up with her.  She agreed that much of her perceptions were driven by some old books that she had been reading about India.  In other words, not only she was suggesting that the books were her reference points but also shifting the responsibility for her actions. 

 We had a good open conversation. I told her that India is just as developed as anywhere else and suggested that she should take a more open look.  The juxtaposition of modern and traditional will always be there and it’s worth taking a look at how people of India negotiate these in their daily lives.  Centuries of traditions, religion, rituals, faith, cultural habits permeate the lives of Indians with seamless boundaries.  A piece of artistic expression can just as well be a religious experience in its finest sense, a small religious act can just as well be a form of cultural expression. These complexities and the way they are juggled, make Indians one of the most resilient, adaptable, diverse and flexible people around. There are extremes and I am not making a generalist statement.

We parted with a hug, she thanked me again for bringing it to her attention and giving her an opportunity to reflect on her behaviour.  I later learnt that she went and apologized to the other resident Indian artist about her comments.    

As CLP Project Manager, one of the programme strands I oversee is Powerbrokers - leadership development opportunities for Black and Minority Ethnic leaders. 

PILP

Since 2008 CLP, in partnership with Maureen Salmon, has delivered Powerbrokers International Leadership Placements. Our most recent placements took place from October 2010 to January 2011 in Delhi and Dakar.  I accompanied Maureen on a visit to Dakar to meet with Lynda Rosenoir, Business Development Associate at the Association of Arts Presenters and Festivals of Senegal (ADAFEST) and Beverley Sterling, Creative Development Associate at the Biennial of Contemporary African Art Senegal and Saint Louis 350.  Also accompanying me on this trip was Nike Jonah, Decibel Project Manager and a CLP Woman to Watch.

Journeys & Discoveries

Senegal – A former French colony with a rich history and culture, is considered to have one of the most stable political democracies in West Africa.  Its’ most famous artistic exponent - Youssou N'Dour - is the musician/singer whose collaborations with artists like Peter Gabriel, Neneh Cherry (‘Seven Seconds’) and Branford Marsalis have increased his status to International Musical Icon.  Dakar, the musical heart of the country, comes alive at night (the daytime market scene is strictly for the fearless), beats out its’ potent global rhythms and is rightfully regarded as the most vibrant African city for its incredible music scene. This, I was prepared for.  What I experienced was much more; a beautiful (still relatively tourist-free) tropical landscape; monuments for remembrance and celebration of Africa’s past and future; arts and culture woven into the lives of its’ residents; an exciting and thriving contemporary art scene; empowered women cultural leaders; and nothing short of a ‘home-coming’ feeling during this visit, my first to West Africa.

This blog documents my eight days in Dakar in December 2010; meeting with the associates and host organisations to discuss the nature and value of the placements; learning about the leadership culture in Senegal; and my experience of attending some of the truly inspirational World Festival of Black Arts. 

Thursday 9th December

So it’s goodbye to the ‘cold snap’ (understatement of the year) and after leaving London at 5.30 pm on Wednesday, we arrive (exhausted) in Dakar (via Casablanca, Morocco) at 6.30am on Thursday ( I have no idea of the 48 hour hell that would be bestowed onto me on my return to Heathrow - save that for later....)

First impressions

The (anticipated) hoard of unofficial baggage carriers & taxi drivers descend on us as we leave the airport and the use of the English language is non-existent.  Wolof is the most widely spoken African language although French is the official language here. The Hotel Novotel Dakar is an affordable, sleek and modern hotel with minimalist design and efficient staff. It could easily be a European hotel if it wasn’t for the scattering of large wooden carvings and the inclusion of Tiebou Dienn (cheb-oo-jen) Senegal’s national dish on the hotel menu, which as soon as I try and being a lover of fish, becomes a staple meal during my stay. 

First on the agenda is a few hours sleep (although I confess to getting distracted by the TV channel with the melodramatic ‘Nollywood-style’ drama in my hotel room), followed by the purchase of a local sim card, currency, food, and a two-hour long heavy-weight fee negotiation with Ahmed, an English speaking thirty-year old year old MBA graduate, currently seeking work, who has agreed to be our driver (cheaper, safer & no language barriers).  Senegal is a majority Muslim, tolerant country but for some, women walking about on their own is viewed with suspicion (and women smoking in public – well that’s another story). 

It’s early evening and I bump into Lynda, one of the PILP associates, sitting by the pool, working on her masters’ dissertation (wouldn’t you?).  Although I’ve caught up on her progress via her reports, it’s wonderful to hear first-hand how much she’s benefiting from the placement – she is visibly more confident than the woman I met a few months ago, buzzing with motivation and glowing from the experience of working in Senegal.  It’s a wonderful introduction and I’m so pleased to be here (and secretly hoping Senegal will hit me with a dose of her energy and spirit).  Before sleep takes hold, Nike, Maureen and I meet to go through our itinery of meetings and visits, ensuring space for evening festival events (and a little weekend downtime - a.k.a. shopping).  The festival programme is incredibly world-class, full and eclectic but little talked about back in the UK. We will be attending the opening ceremony as special guests tomorrow evening. How exciting!

Friday 10th December

My first full day begins with an introduction to Dakar life.  The streets are noisy and bustling with cars and traders on foot. You cannot walk without being approached by a man with or without goods to sell. Here, It is not polite to talk to someone before enquiring about their health, their day and their family members. We soon learn though that in the centre of Dakar, talk isn’t cheap and seemingly friendly new acquaintances require payment for acting as a ‘guide’ and pointing out the route to your destination.   We head out to the Gallerie Arte Dakar, driven by Ahmed, who quite casually scrapes the side of parked cars, cyclists and the odd crossing pedestrian.  He appears  amused by our objections.  The gallery is owned by Joelle Le Bussy, she has a larger gallery in St Louis, a designer-maker herself and a director of St Louis 305, one of our host organisations.  An all-round formidable woman - who leads with grace, humility and quiet confidence.  Large mixed media paintings cover the walls, cabinets display crafts, jewellery, carvings and other delightful treasures and we peruse intently before heading off to her house for lunch and conversation.

Teranga

Senegalese are legendary for their teranga (hospitality) and while I modestly offer my gift of English shortbread, Joelle’s housekeeper lays on a delicious feast made from of fresh local seafood, chicken vegetables and rice – seasoned to perfection. The house is how I’d imagined, with expansive but homely inside and outdoor spaces and a showcase for her favourite pieces of art and objects.  At the end of the garden (past the patio and pool) two men are industrially manipulating wood in her outdoor workshop.

The World Festival of Black Arts

or Fesman (Festival Mondial Des Arts Negres) as it locally known.

The first Fesman was held in Dakar in 1966, to highlight the struggle and persistence of black people in the face of colonisation. The second in Lagos, Nigeria in 1977 and now, three decades later, Senegal’s President Abdoulaye Wade brought it back to Dakar- in it's new context: Africa as free, proud, creative, and optimistic.  Free concerts, plays, exhibitions, dance performances, film screenings and seminars. Reasons to celebrate yes? Not for all.

Although Joelle is one of the few Senegalese artists showing her work in the festival, with a cultural event of this scale it is inevitable that there will be critics.  The festival, funded by the African Union has reputedly cost £50m and was given as a ‘pet project’ to the president’s daughter who (it is said) focused on rallying her international contacts at the exclusion of cultural leaders and practitioners in Senegal (bar the most famous names). With no local or fringe activities being promoted, Senegalese artists are frustrated and insulted that the profile and programming has reached and benefited African nations and across the Diaspora but left no legacy for them.  The expense is also under-fire considering that the host country is in need of much development and many still live in poverty.  Finally (which was our observation also) the programme was announced just over a week before the festival commenced and promotion has not been well organised given the scale and potential impact of a cultural event of this magnitude.

It’s difficult not to be affected by what I’ve heard but after more glowing reports about her placement from PILP Associate Beverley Sterling and our VIP tickets to the opening ceremony in hand– we look forward to our evening.

A Night To Remember

40/50,000(?) people filled the Leopold Sedar Senghor Stadium for launch of the festival – greeted by fireworks and a lone kora player in the centre of the field.  What followed was an extraordinary spectacle to behold. Hundreds of dancers lined up around the field before performing beautifully choreographed and synchronised routines, powerful movement and full-on dance. Billowing fabric shapes, stilt walkers, video projections and music perfectly combined in this feast of vision and sound – the scale of which could be compared to an Olympic games opening ceremony.  The meaning was a bit lost on me, but I have read that the video screen behind the field showed minnows and sharks - a warning to  young people not to make the dangerous trip over the ocean to seek work in Europe.

The speeches were not translated but (again thanks to other reports) President Wade spoke of his vision of creating the United States of Africa by 2017 whereby there would be free movement across borders, one currency, and all African presidents would become governors. He rallied young people to dedicate themselves to building the African Renaissance and led a call and response-- “Work, work again, always work”. The finale was the singing of the anthem of the African Renaissance – composed by Wade.  The presidents of Guinea Bissau, Mauritania and Equatorial Guinea also made their remarks.   At that point we left the stadium, due to the lack of translation and regrettably missed performances by Youssou N’Dour and Baaba Maal.   We did however bump into Kwame Kwei Armah in a restaurant later that night – the very exhausted and visionary Artistic Director of the festival, the opening ceremony and (equally important) a CLP Women to Watch Judge – had a lot to be proud of.

BBC Video clip of the festival

I just logged in to post my two pence worth of blog and was intrigued to find blog posts from someone called Shelley Shea on the CLP website. No relation to culture or cultural leadership or the arts in general. Am I missing something here? I think someone should tell Shelley that this is the wrong site for her blogs. Anyhow, rambling finished. 

Happy New Year Everyone!!! 

Welcomed the New Year in a very memorable way - surrounded by artists from different parts of the world, huddled in a cosy room, candlelit, some music playing on Kyong's laptop. We all toasted to a New Year, different to the one just gone. We wished that the traffic in Delhi runs between the two white lines on the road, that the internet works properly and that the taxi drivers turn up on time. My new friends also gave a toast for my future and wished me success with my plans. So nice of them. 

With all that behind me, I turned up for work today. Of course, so did others. And most of the population in India.  

Cheers everyone. 

Another opening! This time it was the Palette Art Gallery that showed the latest installations and mixed media work by Anjum Singh.  The place was heaving.. with family and friends, the art collectors, curators, other gallery owners, some artists – well known names, such as Subodh Gupta, Bharati Kher, Gigi..  and of course, some pre

sence of foreign cultural councils too. The work was certainly far more interesting than anything I had seen so far during my time here, but nonetheless less risqué.  May be symbolized by an installation of four rather large eggs that attracted huge curiosity from the visitors.  Two of them were broken in half.  One of them was lined with rusty sewing pins in hair like manner and the other had tiny pieces of drinking straw stuck on like a honeycomb.  The other two were whole eggs;  one of them strewn with metal nuts and the other had pretty map d

rawn all over it. (Sorry folks, no pics.) I stood in front of them, sipping my wine and munching on the delicious finger kebabs, deciphering the meaning behind the egg with a skin of rusty pins and wondering about the bubble that I was in.. the ‘Delhi Art Bubble’…  

But the evening kicked a high point for me when I met with Aranyani Bhargav, a contemporary dancer who helped to shed some light on the plight of the artists, especially dancers in India and a genuine need for the arts managers to step in to help them with the day to day management of the companies.  Equally interesting was to learn about the role of the gurus (not the spiritual ones) in the artists’ lives and the tightrope they have to walk in order to find a balance between their respect for the established and their ambition to be independent. This is seriously serious. Aranyani established her credibility in her own right as an artist, but also by having a famous guru.  Later she left her guru to establish herself independently and this was the acid test.  We spoke at length about leadership within the Indian cultural sector. Certainly in the dance sector here, there is a need for a dialogue on this. But it's not that simple either. There are semantics around 'leadership' that need to be understood and agreed before. There are many young artists who are carrying out pioneering work purely based on their passion, but there is little to support them either at the top or at the ground level. 

Charged with Aranyani’s passion, I then went to my next event, a dinner hosted by the Indian Council for Cultural Relations (ICCR) to welcome Rajesh Gopie, a South African artist/actor.  I met with both the incoming and the outgoing directors of the British Council, India and Sri Lanka. We were later (much later) joined by a theatre producer who demonstrated the most perfect example of ‘how to make a sales pitch’ (to secure funding for the touring of her play).  There was poise, persistence and passion.  By telling us a story about how she persuaded the American cultural attaché to support the touring of her play in America, she was able to convince us all about why her play deserved to tour in Britain.  I was quite impressed by the way she weaved various stories together from the past and present which gave an idea about the range of people who knew about her work.  She was effortless and undeterred. She was on stage and she was acting like it.

It was time for some self-reflection on my own style in marketing and the approach to securing sponsorships!  Needless to say that I’ve just lifted the lid on that.

On a slightly different but related note,  I never realised that a book on marketing/entrepreneurship could be so interesting that I would finish it on a two hour flight. This was ‘The One Minute Entrepreneur’ by Ken Blanchard, Don Huston and Ethan Willis.  

Saw the opening of ‘Oil on Canvas’ yesterday.  Subodh Gupta opened his solo show of sculptures last night at the Nature Morte, Delhi to a bustling crowd from all corners of the art fraternity in India and I am glad to have attended it.  There were art collectors, gallery owners, curators, artists, rich folks and of course, some who were simply curious about his work. Here I also met with artists such as Nidhi Agarwal, a rising artist and Narayan Mondal, an established voice who expressed reservations about some of the works displayed. This was yet another layer of the Indian art scene that fascinated me, but this was one evening when I didn’t want to question anything. It was sublime and I simply wanted to enjoy it.

Indian kitchen utensils were there, his signature medium and this time they took the form of three eggs in an egg carton and a serpentine spewing out froth.  There were also empty canvases on display and questions were raised about the meaning behind them.  My favourite was ‘Twins’ two  Indian tiffin-carriers in white placed on a huge box made of concrete.  The man himself was there, gracefully networking, greeting and accepting warm reception from the crowd.  I met him briefly at the show and congratulated him.  Equally freaking was the fact that he was born and raised in the same little town as myself – Khagaul. This had to be the most fortuitous coincidences ever, proving the theory around six degrees of separation.  I never thought that I would meet anyone from this little place – inconspicuous by all means and has no reason to produce famous sons. It made it more human talking to him about not just his art, but about his childhood, where he grew up and studied. I hope to see him again when we can have a little more relaxed conversation.

I came back to Sanskriti and in the dining hall, I got introduced to Rajesh Gopie, an established actor, director from South Africa by a resident theatre director Tina Johnson. A deeply inspiriting person who wants to produce a ‘heritage theatre festival’ in Durban. We had a long chat about the ‘hows’ and the ‘whys’.  In the end, he asked if I could help him structure the idea and develop the project. I thought it was a very interesting twist to the day and left me feeling hopeful. 

Uncovering the layers have been one of the most unsettling parts of this placement and of late, I was beginning to get a little frustrated and even disillusioned about the Indian arts sector. But meeting someone like Rajesh Gopie lifted my spirits and I’m now looking forward to my lunch with Gigi Scaria today, a visual artist, who uses video and installation as a main medium of work. I'll keep you posted if I ever get to have that coffee with Subodh Gupta..