“Dance to the Rhythm of My Soul” by Oh Myung Hee, Prina Shah and Nadia Wamuyu – Nairobi National Museum, 4th to 31st August 2024

Catalogue curatorial text: The exhibition title, "Dance to the Rhythm of My Soul," is both inviting and intriguing, promising an immersive and emotionally resonant journey through art. This title aptly captures the essence of a collaborative display by South Korean artist Oh Myung Hee and Kenyan artists Nadia Wamuyu and Prina Shah, curated by Metamorphosis Arts Projects. The soul is often regarded as the core of our being, embodying our deepest values, emotions, and consciousness. In this exhibition, the artists explore themes of identity, passion, and the essence of human experience, anchoring their artistic approach in memory and identity. Oh Myung Hee's "The Moondance" boldly blends femininity and culture, while Nadia Wamuyu's "Body of Evidence" investigates the black female form. Prina Shah's "Gates to Memory" invites viewers to explore personal and collective recollections. Together, these works offer a refreshing pedagogical, cultural, and creative experience enriched by the artists' diverse backgrounds. Throughout history, artists have drawn inspiration from their cultural roots, infusing their creations with narratives and symbols that resonate with their communities. The Nairobi National Museum, home to some of Kenya's most celebrated heritage, is an ideal venue for this exhibition. "Dance to the Rhythm of My Soul" aligns perfectly with the museum's four pillars: nature, culture, history, and art. This exhibition offers the museum's varied audiences a chance to reflect on their own memories and identities. The Nairobi National Museum's commitment to diversity and inclusion is further enhanced by the female perspectives showcased in this exhibition, supporting the museum's agenda to mainstream gender across its exhibitions and programmes. The planned workshops and discussions will be invaluable to the museum's youth heritage hubs, empowering young artists with fresh perspectives on a wide range of art topics. It is commendable that Metamorphosis Arts Projects plans to travel this exhibition, engaging local artists in each country. The Nairobi National Museum is proud to be a part of this initiative, serving as the starting point for this international artistic journey. A museum thrives on keeping visitors engaged and interested, and it is an honour to host "Dance to the Rhythm of My Soul." This exhibition fosters artistic and cultural exchange, provides access to new knowledge, and contributes to a more vibrant art scene. Lydia Gatundu Galavu Curator of Contemporary Art National Museums of Kenya

Akseli Gallen-Kallela from Kenyan Curator’s Perspective - Lydia Gatundu Galavu, National Museum of Kenya

Synopsis: "Akseli Gallen-Kallela from Kenyan Curator’s perspective – Lydia Gatundu Galavu, National Museum of Kenya" offers an insightful exploration of the Finnish artist Akseli Gallen-Kallela's experiences and work during his time in Kenya from 1909 to 1910. The article highlights how Gallen-Kallela, one of Finland's most renowned artists, found immense creative inspiration in Kenya’s landscapes, people, and culture, which influenced some of his most vibrant and impactful works. Lydia Gatundu Galavu, the Kenyan curator, provides a unique perspective, appreciating Gallen-Kallela's genuine engagement with the local environment and communities. The article draws comparisons between Gallen-Kallela’s work and that of other European artists like Karen Blixen and Joy Adamson, who also spent significant time in Kenya, as well as contemporary Kenyan artists like Leonard Kateete and Patrick Kinuthia. The curator underscores Gallen-Kallela’s non-stereotypical approach to portraying African people and landscapes, highlighting his respect and empathy for the local culture. His work, particularly his ethnographic collections and expressive paintings, remains relevant and influential in the Kenyan art scene today, serving as a bridge between European and African artistic traditions. Kenya Revisited – New Dreams of Gallen-Kallela’s Africa, page 21 To read full article in English: https://gallen-kallela.fi/tuote/pdf-book-kenya-revisited-new-dreams-of-gallen-kallelas-africa/ About the book: Kenya Revisited – New Dreams of Gallen-Kallela’s Africa is a book produced for an exhibition by the same name held at the Gallen-Kallela Museum in Espoo, Finland in 2023. The book is an interesting read with rich artwork. The articles by different contributors illuminate different perspectives to Akseli Gallen-Kallela’s time in Kenya and his art from the era.

Lydia Galavu in Conversation with Kamal Shah

Kamal Shah (b.1953) is a Kenyan artist and a master of mixed media. He holds a B.A. [Hons] degree in English Literature and Fine Arts and a Postgraduate Diploma in Textile Design, both from the University of Leeds, U.K. In the early 1980's he ran the Rowland Ward Gallery in Nairobi and was a founding member and art director of Kichaka, Artwear Africa: a multimedia workshop specialising in the printing of avant-garde African textiles. In the mid-1990s he closed his businesses to focus on being a full-time artist. Kamal’s art is exhibited and collected across the globe. At home his art is collected by private collectors, corporates as well as public institutions such as the National Museums of Kenya. 1. Kamal, what is your definition of art career success? More so than in other fields, in the art world, you measure your success from the respect and recognition your work receives from your peers. It is not necessarily measured in terms of the fiscal earnings from your output. I would say, if your feelings and impulses that led you in creating a particular artwork is felt by the observer, that is the definition of success. 2. Over the years you have mentored younger artists who are beginning their art careers. What is the most important piece of advice you would offer them today? First and foremost, each individual has to intrinsically understand their own innermost compulsions! And from that point on…Carry on regardless… I believe that every true artist will trust their innermost instincts and find their true trajectory. At the same time, they must continue to critically look at artwork produced by artists from around the world both historically as well as works made by their contemporaries. 3. When 30 years ago you decided to focus on being a full-time artist, what invaluable art business lesson did you learn that took your career to the next level? When, I decided to make art full time, after years of being in the “ business” field, I don’t think I had garnered any particular business angle to further my career…I basically allowed things to fall into place. 4. What personality trait do you have that has been most helpful in your art career? Positive expectations, and believing in myself was paramount. 5. What career accomplishment are you most proud of and why? Being selected to showcase my work with a solo show in Arhus in Denmark in 1993 at the Images of Africa Festival. Being featured by CNN International, on their program ‘The Art Club’ in July 2000. Winning “ Best in Mixed Media Art” at the first Juried art show organized by the Ministry of Culture, Alliance Francaise and Goethe in 2006. Invited to show my artworks at SOAS (School of Oriental and African Studies) at the Brunei Gallery in the curated show Sanctuary in 2013. Being one of 50 artists featured in Visual Voices, an amazing compendium of contemporary art in Kenya by Susan Wakhungu-Githuku in 2017. 6. When was the first time you exhibited or took part in an art activity at the National Museums of Kenya (NMK)? What impact did this have on you as an artist? My first solo show at National Museums of Kenya was in 1992. This was my first showing in Nairobi of New Large Format works, I had tremendous help from Wendy Karmali in setting up this show. It was overwhelming and very satisfying to see all my new works in the amazing Gallery of Contemporary Art. This particular showing, in a way I think, convinced a lot of family and others of my commitment to art. Over the years, I have had my art shown at the NMK on several occasions. 7. The National Museums of Kenya holds some of the most iconic artworks in the world such as prehistoric pottery and traditional jewellery. If you were to go back in time, at what period in history would you like to spend a day with artists of the time and would this have made a difference in your art? Traditional jewellery has always fascinated and attracted me, so I would have loved to see the formulation of these pieces, perhaps in the late 19th or early 20th Century. I have in my art practice tried to create neo-ethnic fusion jewellery at various times and I continue using certain traditional material cultural pieces in my mixed media works. 8. Artists sometimes say that they get very nervous towards the date of their exhibition opening. How do you usually feel before an opening? Openings of new shows of my work no longer make me nervous, or at least not as nervous as they used to make me feel. Rather I am excited to show new works, whether it is to an audience that is familiar with my previous works or to newer ones. 9. About 20 years ago the Nairobi art scene tended to be close-knit where almost every artist knew the other by name. Today, there is a significant growth in the number and diversification of artists and their trade. How do you maintain a social network with fellow artists? I am quite excited by the vast array of fabulous works created by the much larger community of Kenyan artists these days. I do try to familiarize myself with the works of these “newer” players. Even though I am often unable to attend openings, the digital media is used very vigorously by these youngsters and thankfully I am able to see the output. One other advantage of the digital media is that we are connected to each other as “friends”. I am often approached at art shows by individuals who I don’t know personally, but have had brief encounters online! 10. If it is true that the art market has shifted its focus from Europe and the USA to a more global perspective - Africa, South America, Asia; how does this, in your view reflect on the Kenyan art market? I really do not pay much heed to the shenanigans of the art market! Unless, of course, I am, if very rarely, affected!... A lot of the stuff out there is so contrived and convoluted, I find. 11. "Great artists have no country." - a quote by Alfred de Musset. How would you rate this quote as an African artist of Asian origin? Highly, most great artists consider themselves as citizens of the UNIVERSE.

A Good Collection Needs a Good Story: The National Museums of Kenya art collection

Throughout history, museums have partnered with artists to make the histories of objects in their collection visible to viewers. Beautifully crafted dioramas, models, murals, casts, and other forms of art breathe life into museums. Artists, working with museum researchers, can interpret content to recreate the natural setting of centuries-old specimens enhancing the museum experience in new and unexpected ways. Even though the National Museums of Kenya (NMK), founded in 1910, introduced an art space in their galleries in the mid-80s, it has engaged artists in developing museum exhibits for the last 111 years! NMK is the custodian to some of the most celebrated heritage collections of Kenya and the East African region. In this collection, that numbers in millions, is a relatively small but prestigious collection of extraordinary artworks that traverse time. The journey begins with prehistoric art dating back thousands of years. In particular, is a delicate over a 40,000-year-old piece of ostrich eggshell jewellery. Some of the pre-historic artworks are remarkably still preserved in their original state. The collection also includes over 60,000 ethnographic artifacts among which are figurative and abstract art. The contemporary art collection comprises just over 500 works mainly by artists from the East Africa region and includes paintings, sculptures, prints, drawings, installations, photography, and ceramics. Contemporary art in Kenya has its roots in Uganda’s Makerere University. This is where, beginning the late 1930s the early generation of pioneer artists first had formal training; as such Uganda is well represented in the NMK collection. Among the first in the collection are artists from the 50s to the 70s like Jak Katarikawe, Sane and Eunice Wadu, Wanyu Brush, Kivuthi Mbuno, Rosemary Namuli Karuga, John Diang’a, Elkana Ongesa, Yony Waite, Francis Nnaggenda, Geraldine Robarts, Charles Sekano, Kamal Shah, Teresa Musoke, Sukuro Etale, Robert Glen, Mazola Mwashigadi, Tabitha Wa Thuku, Martin Otieno and Annabel Wanjiku. Artists of the 80s onwards are represented by celebrated local and international names such as Elijah Ooko, Kizito Maria Kasule, Sebastian Kiarie, Julius Njau, Meek Gichugu, Penny Horsey, Dinesh Revankar, Joseph Bertiers, Allan Githuka, Shine Tani, Gakunju Kaigwa, Kioko Mwitiki, Michael Soi, Anthony Okello, Justus Kyalo, Moses Nyawanda, and Alexandra Spyratos among others. The history of contemporary art exhibitions at NMK began with the establishment of the Gallery of Contemporary East African Art (GCEAA), started up by Kenya Museum Society volunteers in collaboration with NMK in the mid-80s. The lack of a national art gallery or a national collection of contemporary art in the country was the motivation behind the creation of GCEAA. The gallery, located in the Nairobi Museum, quickly positioned itself as the most vibrant and progressive gallery in the East African region after Gallery Watatu, which was the biggest gallery in Nairobi at the time. GCEAA is credited as the space that gave exposure to a long list of young aspiring artists who today rank high on the list of international collectors — artists such as Peterson Kamwathi, Beatrice Wanjiku, Richard Kimathi, Peter Elungat, and others. On 15 October 2005, Nairobi Museum shut its galleries to the public for an extensive, two-year rebuilding programme and GCEAA closed. Following a major facelift, the museum reopened in December 2007 as the Nairobi National Museum (NNM), transformed into a world-class tourist destination and with a 700 square meters art gallery, almost thrice the floor size of GCEAA. The new art gallery was launched in 2008 with a new name, Creativity Gallery, and became fully operational in October 2010. Wholly managed now by NMK, Creativity Gallery took advantage of the critical lack of art galleries in Nairobi at the time and went full throttle rebuilding the reputation of NMK’s art space as vibrant, attractive, and dedicated to celebrating Africa’s creative heritage. The NMK contemporary art collection may not be large but it is rich in content. The collection is currently experiencing rapid growth that can be attributed to the resounding call for greater appreciation of the arts in the country. Spectacular NMK art collections, such as the government-commissioned series of over 1000 Joy Adamson paintings of Kenya’s peoples and plants dating from the 1930s, attract visitors and researchers from all over the world. Another striking painting that was government-commissioned is a 240 cm x 120 cm oil painting by the African American artist E. Harper Johnson, painted in 1970, that depicts a mass demonstration outside the Norfolk Hotel in Nairobi, demanding the release of anti-colonial activist Harry Thuku in 1922. The painting hangs in the Historia ya Kenya Gallery at Nairobi National Museum in a model window that allows the visitor to view the scene of the violent aftermath of the demonstration as it would have been seen through the windows of the Norfolk Hotel. While it is not possible to describe every item in the NMK art collection, it is important to mention a few interesting additions to the collection that have come through donations by NMK’s international collaborators. Of significance is a photo collection by Gerhard Lindblom from the exhibition In the mirrors of time, 2010, donated by the Russian Embassy to Kenya, and a Mexican prints (lithographs) collection from the exhibition Signs of History, 2012; donated by the Mexican Embassy to Kenya. The presence of Kenyan art on the international platform is heightened considerably by Kenyan artists in the diaspora who have penetrated the global art scene and are at the top of the market, such as Magdalene Odundo (United Kingdom) and Wangechi Mutu (New York). The most distinguished and valuable piece in the NMK contemporary art collection so far is a pot by Magdalene Odundo from her series Autobiography (earthenware, 18cm x 30cm). Odundo’s Autobiography came to NMK through the International Symposium for Ceramic Education and Exchange 2008 (ISCAEE) exhibition co-organised by Odundo, Kenyatta University, and NMK in July and August 2008. The exhibition saw NMK receive a rich donation of over 70 exquisite ceramic art pieces from prominent international ceramists such as Zehra Cobanli (Turkey) and Juliet Armstrong (South Africa), among others. Pottery shards have arguably been the most important pieces of physical evidence used by archaeologists and anthropologists to gain insight into the lives of human groups. Therefore, with the origins of modern humans generally being traced to Africa, an African museum is potentially a mentor in ceramic education. The ISCAEE donation brings the world to African ceramics. It is made available to students, researchers, and lovers of art through NMK’s public programmes. Art in Kenya is taking tremendous strides towards the global arena and taking with it stories of the past. This characteristic of past and present can also be seen in artworks in the museum’s contemporary collection such as the art by veteran couple Sane and Eunice Wadu, the visionaries behind the Sane Wadu Trust. The Wadus have had long professional careers in the visual arts and are also co-founders of the Ngecha Artist Association, a collection of artists located in the village of Ngecha. Sane Wadu’s painting, My Lady (Oil on canvas, 94 cm x 120cm), introduces a concept of royal leadership, which may not necessarily represent any Kenyan governance policy but seems to communicate a strong message about the historical social power women hold in the society as nurturers. Margaretta Akinyi Ocholla in her painting The flying trunk (acrylics on canvas,78 cm x 81cm), based on a Swedish story of the same name written by Hans Christian Andersen in 1838, expresses issues of universal social values such as discipline and honesty. The artist, who is half Kenyan and half Swedish, is inspired by this timeless tale which has links to her historical background. She introduces bright skies enthused by her sunny African experiences and cleverly introduces humorous figures to holding the viewer’s eye long enough to pick the underlying messages on important human values. Throughout human history, artists have been inspired by myths and legends to produce some of the most revered artworks on earth. Kenyan artist Anthony Okello’s painting, Orders from above (oil on canvas, 300 cm x 400 cm) meticulously executes a Taita myth on human mortality, the story is about a tortoise that was given a message to deliver to the nation; if man dies he would resurrect and live forever, and if the moon dies it would die forever. By the time the tortoise reached the nation, he had forgotten the message. In his efforts to remember he mixed it up and instead told the nation that if man dies he would die forever and if the moon died it would resurrect and live forever. The result is an overpowering creation that stops museum visitors on their tracks in awe. So, what really inspires Kenyan artists to produce collectible art? What journey has an artwork made before it becomes part of a museum collection? Factors range from whether the content is of national interest (history, culture, nature, governance, etc.), to the level of the artist’s profile, the artwork’s provenance, level of artistic execution, and several other considerations that make a discussion for another day. Kenyan artists find themselves having to compete with artists from the rest of Africa and Europe for the global market. Because of this, their source of inspiration has changed with the times. Where religion, for example, has been an inspiration, especially in the production of traditional art, today the artist’s inspiration comes from far and wide through travel and multinational exchange. Politics and current affairs, for instance, have been a major inspiration for artists over history. Nairobi based artists Michael Soi and Joseph Bertiers, are popular for their satirical approach. NMK recognises that the creative economy has become a powerful transformative force in the world today. Its potential for development is vast and waiting to be unlocked. It is one of the most rapidly growing sectors of the world economy, not just in terms of income generation but also in job creation and export earnings. In many ways, NMK has contributed to this growth locally in nurturing independent groups by hosting them in its premises during their formative years, Some of these groups moved on to attain significant international recognition, such as Kuona Trust, Sarakasi Trust, Uvumbuzi Club, and ZamaleoAct. NMK strives to provide an equal platform for artists of all levels through exhibitions and other learning programmes such as gallery walks, art workshops, art clubs, and exhibitions in collaboration with professional artists, art teachers, and students. There is no question that the NMK has the largest historical database of exhibitions and artists ever hosted in a single space in Kenya. With this recognition has also come investment in growing and preserving the collection both within and outside the museum. NMK with the support of the Kenya Museum Society recently upgraded its art storage system. The growing collection of contemporary art at the museum was beginning to outgrow the existing store. The store was modified and transformed into a modern, secure, and easy to operate mechanised system. As a good collection needs a good story to it, the National Museums of Kenya has partnered with the Government of Kenya to establish the country’s first National Art Gallery. Kenya boasts of several museums across the country but does not have an art museum. The establishment of a National Art Gallery will preserve the country's creative heritage and provide the public with an opportunity to discover Kenya’s national art collection, its culture, and history from prehistory to contemporary time. All in all, the success of Nairobi National Museum in art education will come not just through short-term exhibitions of items loaned from other institutions, or through hosting high-profile exhibitions that travel to multiple destinations, but from the strength and visibility of its permanent collections and from public programmes that aim to impart lasting skills through hands-on experiences. A well-narrated story of our art history will be an important reference point encouraging one to consider his or her situation in a more global and historical context. Lydia Gatundu Galavu Further reading: Berns, M.C. 1996. Magdalene Ayango N. Odundo. African Arts. 24 (1): 60-65. Ember, C. Ember, M. and Peregine, P. 2007. Anthropology. 12th edition, India, Pearson Education. Lagat, K. 2003. Perceptions towards the collection and exhibition of contemporary urban material culture: a case study of National Museums of Kenya, Nairobi Museum. PGD, research report, Institute of African Studies, University of Nairobi. Galavu, L and Kitungulu, L. 2019. Towards a National Art Gallery, The Business Daily, April 5. Miller, J. 1975. Contemporary Guide to East African Art, United Kingdom, TBS The Book Service Ltd. Kenya Museum Society 2014 , A journey through time: National Museums of Kenya historical art collection, Kenya Past & Present, Issue 41, Kul Graphics Ltd 1. Personal interview with Wendy Karmali, 11 June 2014

Grim picture for national gallery without funding

Over the past six decades there’s barely been more than just a sprinkling of creative art spaces in the country and many of these have closed their doors to the public within three to ten years of operation. The earliest recorded galleries popped up in Nairobi in the 1960s. They included Sorsbie Gallery, New Stanley Gallery, Chemichemi Cultural Centre, Gallery Africa, The East African Wild Life Society, Gallery Watatu and Paa-ya-Paa Gallery. By early 1970s they were all gone - with the exception of the latter that today stands as the oldest gallery in Kenya. In the last article, the authorship provided limelight on the importance of conserving our rich creative heritage and hence the need for a national art gallery. The fleeting existence of local galleries and their closures in almost the same measure is discernibly daunting and persists to date. Factors responsible for this occurrence are pegged on lack of funding and an unsustainable local art market. Therefore in discussing the establishment of a national art gallery of Kenya, questions on who will fund the project and how it will be funded become paramount. The sources of funding could well be the basis on which the public takes or rejects ownership of a project. As in the foregoing examples of local art galleries, the sources of funding can determine whether the activities of the national art gallery will remain sustained, fully actualised and operational. So then, should the funding of a national art gallery be a state project, a privately funded project or a public private partnership? Since the arts are fundamental to the humanity, prosperity and posterity of Kenyan citizens, this matter should be of national interest, with the key stakeholder being the central government of Kenya. Additionally several other factors point to the significance of the arts, making a national art gallery an attractive investment proposition. The arts spark creativity and innovation which in turn boosts production and consumption. It is scientifically proven that students with an education that is rich in arts have higher grade average. Arts build tourism, and tourism is all about seeking new and authentic cultural experiences of which art is core. Arts have a social impact, in bringing people together and improving social cohesion. Arts have for a long time been used as a form of therapy and thus could be said to improve health care. ‘With millions engaged in stable self-reliant jobs in visual arts, the sector managed well, can become one of the major economic contributors to the country’s GDP,’ emphasises Naftali Momanyi, Chairperson of Kenya National Visual Artists Association. With the significance of the arts in mind, any project that seeks funding requires a fundraising model and strategy. Fundraising is ideally driven by a Business & Finance Advisory Group that includes experienced, credible and enthusiastic individuals capable of engaging key fundraising private and public sector sources, and delivering results. The Fundraising target will then be determined by a Business Plan specific to the project. Major aspects of the National Gallery's development project that will need funding include its infrastructure, facilities, art programmes, technical staff support engagement & remuneration, research, preservation, documentation, state of the art information technology that will all be driven by stakeholder good will, effort and participation. As one of the key stakeholders to drive such a process, the National Museums of Kenya is mandated by law to promote the establishment of a national art gallery of Kenya for the purpose of serving as a national repository for things cultural, artistic and of human interest; where research and dissemination of knowledge in all fields cultural, artistic and of human interest may be undertaken. We conclude with a quote from Joe Sanna, an exhibitions and management consultant, curator and artist based in Nairobi, ‘The benefits of a national art gallery are definitely worth the effort.’ Lydia G. Galavu and Lydia K. Kitungulu Thursday June 20 2019 The Business Daily Newspaper

Towards a National Art Gallery of Kenya

Is there a need for a national art gallery of Kenya? The story of the ever elusive national art gallery of Kenya is almost as old as the country itself. The Late Joseph Zuzarte Murumbi, Kenya’s second Vice-President and an ardent collector, is known to have pushed for a national art gallery during his tenure in 1965 – 1966, a dream he never saw come live to his death in 1990. For decades artists in Kenya have made attempts to establish a space or a platform to collectively push their agendas and preserve their creations for future generations. Amongst the very first was Chemi-Chemi Cultural Centre in the 1960s followed closely by the establishment of the Paa ya Paa Arts Centre. A decade later, the ‘Sisi Kwa Sisi’ artists’ movement took root with a fiery goal to use art to highlight and create awareness about political and social issues. From the 1980s donor-driven organizations took centre stage in the Kenyan art scene. Most of these attempts were short lived. To date Murumbi’s dream of a national art gallery of Kenya remains elusive. Art is an integral part of a nation’s identity, culture and cohesion, yet often not fully accorded its rightful place in policy frameworks and development agendas. Notwithstanding, patriotic citizens, artists, policy makers, art and heritage promoters, development partners and patrons responsible for bringing art in Kenya to the world stage, continue to engage in critical discourse on the need for the provision of enabling structures necessary for the facilitation of art research, documentation, collection, preservation and exhibition. Kenya has come a long way. The arts have not always been aligned with the National Agenda or engrained in The Constitution. Kenya’s first development plan (1964-69) had no culture component. It was included later in the second plan (1970-74). Today efforts continue towards reviewing and operationalizing existing Cultural Policies and Bills for Kenya. In a series of articles, written from the perspective of heritage management and museum practice, we shall attempt to express the various thoughts and processes towards the establishment of a national art gallery of Kenya. This first article forms an overview of the topic; how important is a national art gallery to Kenya’s national agenda, who will it benefit, where will it be situated, how will it be funded, who will managed it, and most significantly, what will be exhibited in it? There is no question that Africa and Kenya for that matter, is endowed with artistic diversity, from painting, sculpture, architecture, literature, music, performing and film. The earliest records of art making in Africa are abstract engravings on rock that are scientifically dated as being 77,000 years old, making them the oldest in the world. African collecting institutions have a central role to play in protecting the continent's creative heritage. The depth and wealth of Kenya’s art history is immense and unique. A significant collection of art is archived in public and private institutions. Sadly, the Kenyan public does not get to access these collections and the stories that define their history; stories of how humans have used creative expression to record their rich cultural heritage and inform their posterity. How can we ease public accessibility to art? A national art gallery would provide an opportunity to discover the country’s best art. It would provide accountability for the evolution of art history in Kenya. Clearly, it would be the first of its kind nationally, perhaps internationally, as it would envisage defying and deconstructing the colonial perception and categorisation of our art. We acknowledge the establishment of national art galleries in some African nations of South Africa, Senegal and Zimbabwe - mainly dedicated to contemporary art. There has also been a burst of art museums in the recent past - Zinsou Foundation Art Museum, Benin 2013, Museum of African Contemporary Art, Morocco in 2016, Zietz Museum of Contemporary Art, Cape Town in 2017 and most recently Museum of Black Civilizations, Senegal in 2018. Perhaps one may question that Kenya already has a National Museum, so what difference would a national gallery of art make? Why spend national revenue that may run into billions of Kenya shillings on a national art gallery? The National Museums of Kenya may exhibit art but is not an art museum; rather it’s a general museum of cultural, historical and natural heritage. But if we consider that on average the National Museum in Nairobi alone attracts a minimum 300,000 visitors annually, it would not be overly visionary to imagine that a national art gallery would net in double or triple this number significantly augmenting the country’s GDP. In a 2015 UNESCO report visual arts was listed as the number two global revenue generator. On a list that includes performing arts, movies, advertising, architecture, books, gaming, music and radio, television is mapped as the largest sector with $477 billion in revenue, followed by visual arts with $391. Newspapers and Magazines are third and fourth respectively. In the same report is a global breakdown of the creative economy by region with Asia-Pacific as the largest creative economy generating $743 billion, Europe $709 billion, North America $620 billion, and Latin America and the Caribbean $124 billion. Africa and the Middle East account for $58 billion - which may seem comparatively less than the rest of the world but is still reasonably significant. How much more would this figure rise if we increased creative hubs, galleries and museums in Africa? We invite your readership and engagement in the next series of articles on why Kenya needs to realise the elusive dream of establishing a national art gallery and its socio-economic impact on the country’s national agenda. By Lydia G. Galavu and Lydia K. Kitungulu Thursday April 4 2019 The Business Daily Newspaper

The Leonard Kateete Collection

Oct 1st 2020 - Oct 1st 2021

Nairobi National Museum

Shujaa Stories

Nov 9th 2018 - Oct 20th 2020

Nairobi National Museum