Transformation and the Visual Arts in South Africa: Building Diversity in the Public Sector
by Zayd Minty
The Visual Arts Network of SA (VANSA) will, in February, be hosting its first ever major event, a conference entitled 'Transformation Growth Opportunity'. The conference's programme was developed in late 2004 when Gabi Ngcobo was employed to visit the four provinces where VANSA has a presence, meeting with diverse groupings from across the spectrum of the visual arts. The key theme which emerged from the consulted buzz groups was the need for 'transformation' in the visual arts and for increased opportunities of 'access'.
'Transformation' is the key word, referring to a need to open opportunities to a wider grouping of peoples who have not had access to the sector - racial imbalances are paramount but greater opportunities are also needed for women and the disabled. One critical issue has been economics: making changes in the visual arts so that a broader range of persons may benefit and greater opportunities for poverty alleviation and wealth creation may occur. Another more fundamental issue around transformation has been the need to engage more fully with the role of the visual arts in shifting mindsets: developing a set of visions and narratives based on other traditions suppressed by apartheid, and finding a way to address the chasms that exist between us as people.
A number of prominent artists, collectives and groupings have over the past few years raised concerns about the lack of transformation in the arts sector, amongst these cultural practitioners associated with the BLAC project in Cape Town, as well as a controversial but important set of views which were articulated in Vuyile Voyiya's video The Luggage is Still Labelled.
Of all the issues considered by the Truth and Reconciliation Commission, the arts and the role they played, both in maintaining the apartheid state and driving democratic change, did not, sadly for many, receive the attention they deserved. At the time when the biggest set of transformational changes were taking place in public sector, when transformation boards were being established and educational institutions were being assessed, too much leeway was given for messy compromises within institutions. Since arts and culture play a major role in defining our ways of seeing the world, our values and principles, shaping our ways of relating to each other, it was a serious oversight that the image-makers - and those who work in what has been called the symbolic economy - escaped a rigorous consideration around their roles in maintaining the apartheid hegemony.
The relative robustness of the visual arts has much to do with a private sector which has succeeded, in an unregulated and unsupported environment, in maintaining a strong visual arts economy. However it would be easy to lose this debate in focussing on the cultural industries broadly when the most critical issue is the responsibility of publicly funded institutions: bodies who receive their key sources of funding from taxpayers and who are thus responsible to the nation. In the visual arts these would be galleries and archives, institutions of higher education, libraries, and schools. This does not mean that the private sector should be let off the hook - businesses also need to take a careful look at their selves and consider ways that they can and do make an impact on the broader community.
Race and opportunity are inextricably linked in the South African context where the effects of apartheid will be felt for decades on a range of levels, just as the effects of colonialism are still felt throughout the world. 'The colour line is the power line, is the poverty line' go the lyrics from British band the Asian Dub Foundation's song Community Music: 2000, a complex statement which cuts in many directions and reflects on a situation that affects all. Economic poverty, for one, is not the only type of poverty, and in South Africa, where Black Economic Empowerment in many sectors has become the buzzword, power too can be read in different ways.
It would be simplistic to expect that changing white staff to black is what is required. There are many white lecturers and curators who have been key in the positive transformation of the country during their employ. What is needed instead is the development of more diverse staffing bodies. Diverse societies need diverse organisations, not just diverse staffing at a junior level, but at the higher levels - where input is respected, where staff are part of decision-making and where skills and expertise are acknowledged and nurtured. The positive effect of diversity in the workplace is an ongoing theme of contemporary management practises, one which has immense impact on the economy and well being of the society as a whole. Organisations need clear, demonstrable policies and strategies, which are consistently implemented, evaluated and enhanced to allow diverse staff bodies to develop.
While diversity is in itself an area of contestation as are all matters of identity in the world today, this quote by Guillermo Gómez-Peña from The New World Border sheds some light on the importance of creating spaces which are hybrid (diverse in a richer, more complex form): 'For me, the solution lies in a paradigm shift: the recognition that we are all protagonists in the creation of a new cultural topography and a new social order, one in which we are 'others' and we need the other 'others' to exist. Hybridity is no longer up for discussion; it is a demographic, racial, social, and cultural fact. The real tasks ahead of us are to embrace a more fluid and tolerant notion of personal and national identity, and to develop models of peaceful co-existence and multilateral cooperation across nationality, race, gender and religion� We need to learn each others' languages, histories, art, and cultural traditions'.
A whole new generation of critics, theoreticians, curators and artists are needed in South Africa to engage intellectually and critically with ideas of nation-building, globalisation, human development and societal change. How else can we, as a society, see ourselves reflected in the narratives in our museums and in the texts of new books and journals when those who engage in these narratives do not come from diverse places within and outside our land.
For the rest of this article I would like to suggest a few practical solutions particularly aimed at publicly funded galleries and institutions of higher education, but which may find resonance in other structures in the private sector. These are not exhaustive, but show that a range of carefully considered and transparent strategies can potentially make a difference. An element of calculated risk-taking will be vital.
Build on your secure foundations -
Publicly funded institutions are stable, their budgets are confirmed at the beginning of the financial year and while it may be difficult for some with budget cuts, which have affected their growth, there is no reason why more aggressive funding shouldn't take place. It's no excuse for institutions to cry poverty or even try and deflect their transformational responsibilities to NGOs or voluntary associations who manage under extreme stress often not having basic running budgets at the beginning of their financial years. Look at the experience of Cape Town Opera which has aggressively fundraised starting from their secure base - there isn't a fund which hasn't given the company a fat grant, much of it due to its commitment towards building a black chorus from which it has been able to start creating a new set of operas over time, a number of which are now drawing on indigenous themes and motifs. Iziko SANG's Fresh Project is another case in point, a project that profiled especially black emerging talent and provided an opportunity for new writing and discourse and for the production of new work by our most important institution. We need more of these sorts of great initiatives.
There are a number of funds that have yet to be approached by the key visual arts bodies of this country for innovative work around productions, research and skills development. Many funders look favourably on projects which build capacity amongst the 'previously marginalised members of society'.
Be proactive -
There are few black curators in institutions in the country, it would make sense for institutions to raise funds specifically to allow curators from diverse groupings to host shows at their institutions. There is no reason to wait for independent curators to raise the funds to be able to mount shows at publicly funded institutions, especially when the independent sector is under huge economic stresses. The KZNSA is a useful example of an institution which, though not publicly funded, has used its stable long term standing to raise a large budget from the National Lottery, which has enabled it to support a range of outside shows and educational programmes, many driven by young black curators and intellectuals. It doesn't always require a conflict or a funder insisting that black intellectuals/artists/curators be given an opportunity - be proactive and take a risk.
Opportunities abound -
Educational institutions could rethink research projects more carefully to create opportunities for writing, research and for capacity building with more diverse teams. There are some interesting projects presently under way, but it's uncertain to what extent these projects are drawing on the wealth of black intellectuals (who are more often being trained in other disciplines such as history or anthropology) or drawing independent curators and producers in at decision-making levels. These would invariably change the focus on what issues are researched or how they are examined and even what ethical considerations may need to be made.
Go beyond what your perceived scopes of responsibilities are -
Even in Europe and the US there are already institutions that have done just this. The Whitney Museum, for example, has set up innovative annual training programmes for curators and critics. Programmes such as these don't necessarily have to be accredited, although the SETAs do allow for such accredited skills programmes to be set up and have funds and the experienced support to make it possible.
Learn from other experiences -
There are examples all around, sometimes in other disciplines worth adapting. The Johannesburg Art Gallery took a decision in the '80s to make a difference to the country in a progressive manner - often under extreme difficulty. While there may be ongoing problems, (which organisation doesn't have them?), the JAG is a shining example of an institution with a largely black senior staff who are now making a serious impact on the revision of visual history in South Africa. Look at Prince Dube's excellent Dumile Feni exhibition, for example. These staff are building on an impressive set of ground-breaking exhibitions and changes to its collecting policies which took place well before many other publicly funded institutions in the country began to do the same and this has resulted in an extraordinary collection which is rich in terms of its possibilities for reassessing South Africa's visual history.
Recruit aggressively and think long term -
We need appointments which make an impact where the person's voice will be valued. We need appointments where engagement will happen and where staff members are not just there for the colour of their skin. We need fearless, compassionate and wise intellectuals who are prepared to go the extra mile, to probe, to push, to create and drive. And if there aren't enough people around to fill these posts (as there will invariably be, considering the low level of work done in recruiting, nurturing and supporting black researchers, writers, and curators) then start mentorship programmes or job shadows. Think about the impact of someone having the opportunity to job shadow another at a key museum for 3 years - both on the increased output of the institution, and on the symbolic change that occurs where someone with potential is brought in and given a space to grow. The person in such a position could (and will, if they prove themselves) be headhunted by any number of institutions from both the private or public sector after the mentorship period is complete. Obviously there would be the fear of the threat to the person whose position is being shadowed, but there are a number of opportunities in the private sector and in other public institutions, which need trained people. A person who has been given the space and access to information, skills and networks is also more able to innovate and create opportunities for themselves.
There is also a need to recruit more black students at educational institutions. UCT's performing arts department has a 'darker' student base than its visual arts sister institution. Part of this may be due to the work a former director of the school - Mavis Taylor - did in townships to nurture and support black actors and producers, to provide opportunities for them to grow as performers and organisers. In the process these role models influence others to look to greater educational opportunities for growth. This way of engaging is being continued by the current director Mark Fleishman whose ground-breaking productions and educational programmes are developing a whole new generation of diverse and highly skilled performers, administrators and importantly, new diverse audiences.
In addition there is the opportunity to go out and recruit more black graduates, to do work in schools, to exhibit at spaces where school-goers get career guidance (such as the Learning Cape Festival). Creating structured bridging programmes with other relevant institutions, such as NGOs, or working with younger black graduates would also make a difference.
Put in place written and measurable strategies -
Structured mentorships would allow people who have been in positions for many years to pass on their knowledge in a safe environment. Internships, which are aimed at people with less experience, are also important and necessary - providing the intern receives ongoing opportunities and responsibilities, is monitored and where there is a timeframe set on the internship and others are given an opportunity. It's wonderful what the right person can do with an opportunity. Especially when the person is being guided by a set of measurable standards made explicit.
Any approach public institutions take in terms of a broad transformation strategy should be written and made transparent and regularly communicated to the public - besides holding institutions accountable to their own missions, it would take away the suspicion that institutions are not willing to make strategically considered long term changes.
Work together -
Too often publicly funded institutions such as universities and museums don't work together in a structured long-term way for any number of reasons. It's a good idea to get past these reasons, sit down, strategise, come up with innovative long term solutions to the problems. There is a great opportunity in it. At the same time make formal linkages with other institutions like residencies, community centres or libraries. There are more possibilities than problems when one put one's mind to it.
All it needs is vision, commitment and will. Can it be done?
Zayd Minty is an Independent Producer and a National Executive Member of the Visual Arts Network of South Africa
