Documenting Living Heritage : 12 Photographers in Kenya - Unesco

104 Pages·2011·3.21 MB·English

Documenting Living Heritage : 12 Photographers in Kenya
Published in 2011 by the United Nations Educational, Scientifc and Cultural Organization
7, place de Fontenoy
75352 Paris 07 SP
France
Catalogue design by James Muriuki
Front cover photo: Angela Muteshi preparing lunch
©UNESCO/Bernice Macharia
Back cover photo: Edna Khamati leaving for work followed by her son and nephew
©UNESCO/Danson Siminyu
Printed in France
© UNESCO
All rights reserved
Documenting Living Heritage : 12 Photographers in Kenya
Okoko Ashikoye
Henry Bittok
Alan Govenar
Bernice Macharia
Paul Munene
James Muriuki
Dennis Okeyo
Isaack Omoro
Moses Otieno
Danson Siminyu
Sammy Situma
Charles Waithiru
Foreword
On 15 November 2010, I had the honour as Director-General of peoples. The power of these photographs lies here also – in their ability
UNESCO to open the ffth session of the Intergovernmental Committee for to remind us of everything that we share. Culture is a force for dialogue,
the Safeguarding of the Intangible Cultural Heritage in Nairobi. This was exchange and understanding between peoples.
the frst meeting of the Intergovernmental Committee in Africa. On the
same day, I was pleased to inaugurate the exhibition entitled Documenting Culture is also a force for development. It provides the prism through
Living Heritage – 12 Photographers in Kenya. Thanks to this catalogue, these which we understand the world and the tools by which we shape our
compelling works may now be appreciated by a worldwide audience. environment. Sustainable development can only be achieved if cultural
contexts are taken into account.
These are striking photographs. Striking, frst, by their beauty. They
capture a sense of simplicity and joy that speaks to us all. I wish to express my sincere gratitude to the Japanese Government
for its longstanding contribution to the Organization’s work, particularly
They are striking also in the messages they convey. These images in the framework of UNESCO/Japan Funds-in-Trust for the Safeguarding
document practices, knowledge and skills related to aspects of the of Intangible Cultural Heritage. Japan’s continued support is especially
intangible heritage of Kenyans living in Nairobi and Kakamega. This is appreciated in light of the economic and environmental crises that have
intangible heritage in action -- through the rituals of daily life, through recently afected the country. I wish to thank also the Ministry of State
social practices, through the preparation of meals. Distinct and singular in for National Heritage and Culture of Kenya for its leadership and support.
every detail, these photographs are universal in signifcance. They remind My fnal words are those of congratulations to the twelve talented
us of the importance of safeguarding humanity’s intangible cultural photographers, who have shared with us their unique vision of Kenya’s
heritage. This is the objective of UNESCO’s Convention for the Safeguarding living heritage.
of the Intangible Cultural Heritage.
No culture stands alone. Our intangible cultural expressions, our Irina Bokova,
traditions and practices fnd meaning in their relation to those of other Director-General, UNESCO
Dibaji
Mnamo tarehe 15 Novemba mwaka wa 2010, nilikuwa na heshima Hakuna utamaduni unaojitenga wenyewe. Maonyesho ya turathi
kama Mkurugenzi Mkuu wa Shirika la Elimu, Sayansi na Utamaduni la na utamaduni hisivu zetu, itikadi na desturi zetu kunapata maana yake
Umoja wa Mataifa (UNESCO) kufungua kikao cha tano cha kamati shirikishi pale zinapolinganishwa na za watu wengine. Utamaduni ni nguzo katika
za serikali ya Kuhifadhi Turathi na Utamaduni Hisivu jijini Nairobi.Huu mawasiliano, na pia katika ubadilishanaji na uelewano miongoni mwa
ulikuwa ni mkutano wa kwanza wa kamati shirikishi za serikali barani watu.
Afrika. Siku hiyo hiyo, nilifurahi kuzindua rasmi wonyesho yenye kichwa
Documenting Living Heritage-12 Photographers in Kenya( Uhifadhi wa Utamaduni pia ni nguzo ya maendeleo. Ni kioo ambacho tunakitumia
Turathi hai-Wapiga picha 12 nchini Kenya. Shukran kwa mkusanyiko huu, katika kuelewa ulimwengu na zile ala tunazozitumia kuyafnyanga
kazi hizi za kuvutia sana sasa zinaweza kutambuliwa vema na hadhira kote mazingira yetu. Maendeleo himili yanaweza yakafkiwa iwapo maswala ya
ulimwenguni. kitamaduni yatazingatiwa.
Hizi ni picha za kuvutia. Zinavutia, mwanzo, kwa jinsi zilivyo maridadi. Ningependa kutoa shukran zangu za dhati kwa serikali ya Ujapani kwa
Zinaleta ile athari ya ukawaida na furaha ambayo inatuzungumzia sote. mchango wake wa muda mrefu kwa shirika hili, hususan katika kielelezo
cha UNESCO/Hazina-kwenye-amana ya Ujapani ya Kuhifadhi Turathi na
Pia zinavutia kutokana na ujumbe unaotolewa. Picha hizi zinaonyesha Utamaduni Hisivu(UNESCO/Japan Funds-in-Trust for the Safeguarding of
desturi, welewa na ujuzi zinazohusiana na vipengele vya turathi hisivu Intangible Cultural Heritage. Kwendelea kwa ufadhili wa Ujapani hakika
za Wakenya wanaoishi Nairobi na Kakamega. Hii ni turathi hisivu katika kunatambuliwa hasa ikiangaliwa namna ambavyo taifa hili limekumbwa
hali halisi—kupitia matambiko ya maisha kila siku, kupitia mazoea ya na majanga hivi karibuni. Pia, ningependa kutoa shukrani kwa Wizara
kijamii, kupitia utayarishaji wa chakula. Zikiwa na sifa bainishi na pia teule, ya Turathi na Utamaduni wa Kitaifa kwa uongozi na ufadhili wake.
picha hizi zina ubia kwa umuhimu wao. Zinatukumbusha umuhimu Mwisho kabisa ni kuwapa hongera wapiga picha kumi na wawili, ambao
wa kuhifadhi turathi na utamaduni hisivu za walimwengu. Hii ndiyo wametulisha sisi maono yao kuhusu turathi za Kenya zenye uhai.
madhumuni ya Shirika la Elimu, Sayansi na Utamaduni la Umoja wa
Mataifa (UNESCO) ya Mapatano ya Kuhifadhi Turathi na Utamaduni Hisivu.
Irina Bokova
Mkurugenzi Mkuu, UNESCO
Preface
In studies of intangible cultural heritage today the uses of of fourteen applicants. The frst phase of the project combined in class
photography, both historically and methodologically, pose questions lectures and discussion with on-site feldwork and photography, and
that are crucial to the feld and to the understanding of the process of provided an opportunity to utilize a training manual I had developed
documentation. Photography has typically been utilized as a transparent for this purpose. The content of the workshop addressed issues such as
record of the reality it represents, but the role of the medium in photographic techniques and approaches for documenting the living
safeguarding intangible cultural heritage has not been fully considered. elements of intangible heritage in various feld conditions, protocols for
photographing community members (including free, prior and informed
The Convention for the Safeguarding of the Intangible Cultural consent from photo subjects), caption writing, and considerations related
Heritage, which was adopted in 2003 and entered into force in 2006, aims to archiving photographic materials.
at safeguarding intangible heritage expressions such as oral traditions,
performing arts, rituals, social practices, festive events, knowledge about James and I met daily to review the lesson plans for the workshop and
nature, and traditional craftsmanship. ‘Safeguarding’ is defned in Article to fnalize preparations for on-site photography training in Nairobi. Overall,
2.3 of the 2003 Convention as ‘’measures aimed at ensuring the viability the workshop in Nairobi prepared the participating photographers for
of the intangible cultural heritage.” A number of safeguarding measures, their feldwork in Western Kenya. The teamwork approach introduced in
including ‘documentation’ are mentioned in the same Article. Photographs the Nairobi workshop provided a highly efective template for their eforts
can help to ensure viability if they document “living heritage” in a manner in Kakamega and enabled the participants to maximize their capacity for
that highlights its vitality and the evolving process through which documentation through photography, interviews, and on-site research.
traditional practices and expressions are enacted.
In the end, the photographs produced by the workshop participants
“Photographic documentation of Intangible Heritage in Kenya,” speak for themselves and engender a forum for further study and dialogue
October 15-31, 2010, was organized to strengthen the capacity of about the documentation of intangible cultural heritage. Moreover, this
professional photographers by exploring diferent approaches to catalogue raises new questions about the ways in which photographs
documenting intangible cultural heritage. By doing so it is hoped that attain meaning and impact the people who are featured in them. The
these photographers will continue to contribute to raising awareness – aesthetic qualities of these photographs may be as important as their
through photography – about the importance of the 2003 Convention. content not only to cultural specialists, but also to the individuals and
communities who are the focus of study. Striking a balance between the
As project facilitator, I worked with Fumiko Ohinata, UNESCO photograph as art and as artifact may be necessary to ensure the viability
Program Specialist for Culture in Nairobi, and together we selected James of the living heritage that is documented.
Muriuki to serve as my collaborator. With James’ assistance, we then
chose ten photographers to participate in the workshop from a group
Alan Govenar
Documentary Arts
www.documentaryarts.org
Ikisiri
Katika masomo yanayohusu turathi na utamaduni hisivu hivi leo, wa James, tuliwateua wapiga picha kumi kushiriki kwenye warsha hii
upigaji picha, kihistoria na kimethodolojia, yapo maswala ambayo miongoni mwa kundi la wapiga picha kumi na wanne. Awamu ya kwanza
ni muhimu katika nyanja hii na katika kule kuelewa njia za uhifadhi. ya mradi huu ilihusisha mihadhara darasani na majadiliano ikiwemo kazi
Upigaji picha umetumika kama mkakati wa uwazi kuonyesha uhalisia za nyanjani na upigaji picha, na hii ilitoa nafasi ya kutumia kielezo cha
unaowakilishwa.Hata hivyo, nafasi ya picha katika kuchangia uhifadhi wa kutoa mafunzo nilichokitayarisha kwa shughuli hii. Yaliyomo katika warsha
turathi na utamaduni hisivu haijapewa umuhimu unaostahili. hii yalishughulikia maswala kama vile mitindo ya upigaji picha na mikakati
ya kuhifadhi elementi hai ya turathi hisivu katika hali mbalimbali nyanjani,
Mapatano ya Kuhifadhi Turathi na Utamaduni Hisivu, ambayo itifaki ya kuwapiga picha wanajamii( ikiwemo ruhusa huria, taarifa ya
yalikubaliwa mnamo mwaka wa 2003 na kuweza kwanza kutumika mwaka mapema na kuwajuza wanaopigwa picha), maelezo mafupi chini ya picha,
wa 2006, yanadhamiria kuhifadhi maonyesho ya turathi na utamaduni na mambo ya kuzingatiwa katika kuhifadhi nyaraka za picha.
hisivu zetu kama vile desturi simulizi, sanaa za maonyesho, matambiko,
desturi za kijamii, sherehe, elimu asili, na ufundistadi. ‘Kuhifadhi’ Mimi na James tulikutana kila siku kudurusu mpango wa masomo
kunafafanuliwa kwenye kifungu cha 2.3 cha Mapatano ya mwaka wa 2003 kwenye warsha na kumaliza matayarisho ya mafunzo ya upigaji picha
kama “ hatua zinazodhamiriwa kuhakikisha kujitosheleza kwa turathi na nyanjani jijini Nairobi.Kwa jumla, warsha ya Nairobi ilitayarisha wapiga
utamaduni hisivu.” Ipo mikakati kadha, ikiwemo ‘uhifadhi’ inatajwa katika picha husika kwa kazi yao ya nyanjani magharibi mwa Kenya. Mkakati wa
hicho kifungu. Picha zinaweza kuchangia katika utoshelezaji huu ikiwa kufanya kazi kwa pamoja uliovumbuliwa kwenye warsha ya Nairobi ulitoa
zitahifadhi “turathi hai” kwa njia ambayo inaangaza nguvu zake na mkondo ilhamu kubwa kwa juhudi zao huko Kakamega na kuwawezesha washiriki
wa mabadiliko ambapo desturi za kijamii na maonyesho yanaigizwa. kutumia uwezo wao wa kuhifadhi kupitia upiga picha, mahojiano, na
utafti wa nyanjani.
“Uhifadhi kwa Picha wa Turathi na Utamaduni Hisivu nchini Kenya,”
Oktoba 15-31, 2010, ulitayarishwa kuimarisha uwezo wa wapiga picha Mwishoni, picha zilizotolewa na washiriki kwenye warsha
weledi kwa kuangalia mikakati mbalimbali ya kuhifadhi turathi na zinazungumza yenyewe na kutoa nafasi ya kufanya uchunguzi zaidi na
utamaduni hisivu. Kwa kufanya hivyo, kunatarajiwa kuwa wapiga picha mawasiliano kuhusu uhifadhi wa turathi na utamaduni hisivu. Isitoshe,
hawa wataendelea kuchangia katika kuhamasisha-kupitia upigaji picha- mkusanyiko huu unaibua maswali mapya kuhusu namna ambavyo picha
kuhusu umuhimu wa Mapatano wa 2003. zinahifadhi maana yazo na taathira zake kwa watu ambao wanahusishwa
humo. Viwango vya ubora wa picha hizi vinaweza vile vile kuwa na
Kama mrahihishaji wa mradi, nilifanya kazi na Fumiko Ohinata, umuhimu sawa na yaliyomo sio tu kwa wataalamu wa utamaduni, bali
Mtaalam wa Mpango wa Utamaduni wa Shirika la Elimu, Sayansi na pia watu binafsi na jamii inayohusika. Kuweka usawa kati ya picha kama
Utamaduni la Umoja wa Mataifa (UNESCO) jijini Nairobi, na kwa pamoja sanaa na kitu ghushi kunaweza kuwa muhimu kuhakikisha utoshelezaji wa
tulimteua James Muriuki kutumika kama mshiriki wangu. Kwa msaada turathi hai ambayo inahifadhiwa.
Alan Govenar
Documentary Arts
www.documentaryarts.org
Workshop class lecture and discussion in Nairobi Participants at the end of the frst workshop
Introduction
In July 2010, I had a rousing discussion with a colleague about The Khayega community in Kakamega was very welcoming, and I
recording community practices. This was born by the notion that there’s was incredibly moved by their hospitality and pride in their heritage. All
a generation of people in our communities that is passing away with of us, by now our own small community, were engaged in an enriching
knowledge that is not engraved in any medium for the next generation. process both as photographers and collectors of cultural information.
She called them the “burning libraries.” We racked our brains on how to The photographers divided into three groups, while Augustus and I
collect and preserve the contents on these libraries. It is still a pending intermingled among them. The four main families we documented over
activity. the course of their daily lives from dawn to nightfall had been identifed
with the help of the area director of culture and the local Shihuli Primary
A week later, I received a call from Fumiko Ohinata at the UNESCO School.
ofces in Nairobi, and she introduced this project and the timely
possibilities to focus on intangible cultural heritage. I accepted her ofer Back In Nairobi, in consultation with Alan, I guided the photographers
and looked forward to meeting the international photography specialist, through the process of editing the more than ten thousand images we
Dr. Alan Govenar, who was coming to work on the project with me in had made. We then identifed the potential photos for inclusion in the
Nairobi. exhibition mounted during the 5th session of the Inter-governmental
Committee for the Safeguarding of the Intangible Cultural Heritage in
As the project got underway in Nairobi, a community was starting Nairobi. The post-feld documentation workshop became the basis for
to develop among the people involved, including the ten professional my curating, with Alan’s assistance, the exhibition Documenting Living
photographers coming from diferent backgrounds. For me, a person then Heritage: 12 photographers in Kenya .
working with contemporary art in a gallery/museum, this was a chance
to strongly introduce photography to primarily civil servants whose Throughout this process, I kept in close contact with Alan and
approach was certainly quite diferent from mine. discussed the various phases of the project as they developed. Our
collaboration, combined with the logistical support provided by Fumiko
Alan led a fve-day workshop with my assistance, which included Ohinata, was invaluable to me and to our team of photographers. Through
a feldwork among clay artisans that I had known for some time and our interactions in Nairobi and Kakamega, we learned much about the
weavers both along Ngong Road. After Alan’s return to the United States, I enduring importance of documentation. The fact that so many people
led the team of ten photographers and a cultural ofcer, Augustus Odubo, can identify with photography purposes it as a strong medium for helping
to the Kakamega area of Western Kenya to document the traditional to sustain living heritage.
foodways of the Isukha community. For the next week, we were in touch
with living heritage as it was passed on from day-to-day.
James Muriuki
Utangulizi
Mnamo Julai mwaka wa 2010, nilikuwa na mazungumzo kabambe Jamii ya Khayega kule Kakamega ilitukaribisha kwa ukunjufu, na
na mwenzangu mmoja kuhusu kurekodi desturi za wanajamii. Hii nilivutiwa mno kwa mwaliko wao na fahari ya turathi yao. Sisi sote, kwa
ilitokana na dhana kuwa kipo kizazi cha watu miongoni mwa jamii sasa jamii moja ndogo, tulihusishwa kwa njia ya kupata manufaa kama
zetu kinachotoweka pamoja na maarifa ambayo haijawekwa kwenye wapiga picha na wakusanyaji wa habari kuhusu utamaduni. Wapiga picha
kumbukumbu yoyote kwa kizazi kijacho. Aliwaita “Maktaba zinazoteketea.” waliwekwa katika makundi matatu, huku mimi na Augustus tukijiingiza
Tulipiga msasa bongo zetu kujua jinsi ya kukusanya na kuhifadhi yaliyomo miongoni mwao. Familia nne kuu ambazo tulirekodi na kuhifadhi maisha
kwenye maktaba hizi. Jambo hili halijatekelezwa. yao ya kila siku kwanzia macheo hadi magharibi zilitambuliwa kwa usaidizi
wa mkurugenzi wa utamaduni wa eneo hilo na pia shule ya msingi ya
Wiki moja baadaye, nilipokea simu kutoka kwa Fumiko Ohinata Shihuli.
katika ofsi za Shirika la Elimu, Sayansi na Utamaduni la Umoja wa Mataifa
(UNESCO) jijini Nairobi, na akataja mradi huu na uwezekano wa kuangazia Jijini Nairobi, kwa kushauriana na Alan, tuliwaongoza wapiga picha
turathi na utamaduni hisivu. Niliitikia wito wake na nikasubiri kwa hamu mapitio ya kuhariri zaidi ya picha elfu kumi tulizopiga. Kisha tukateua picha
kukutana na mtaalamu mpiga picha wa kimataifa, Dkt. Alan Govenar, bora za kutumika kwenye wonyesho wakati wa kikao cha tano cha kamati
ambaye alikuja kufanya kazi name kwenye mradi huu jijini Nairobi. shirikishi za serikali ya Kuhifadhi Turathi na Utamaduni Hisivu jijini Nairobi.
Warsha iliyofanyika baada ya shughuli nyanjani ilikuwa ndiyo msingi wa
Mradi ulipong’oa nanga jijini Nairobi, jamii moja ilikuwa inaibuka kuangalia, kwa usaidizi wa Alan, wonyesho Documenting Living Heritage-12
miongoni mwa wahusika, wakiwemo wapiga picha weledi kumi wenye Photographers in Kenya (Uhifadhi wa Turathi hai-Wapiga picha 12 nchini
usuli mbalimbali. Kwangu mimi, mtu ambaye awali alikuwa akifanya kazi Kenya.
kwenye nyumba ya sanaa/makavazi, hii ilikuwa ni fursa ya kuanzisha
ipasavyo kwa upigaji picha miongoni mwa wafanyakazi wa umma ambao Kwa muda wote wa kazi hii, nilishauriana kwa karibu na Alan na
mbinu zao zilikuwa tofauti na zangu. kujadili awamu mbalimbali ya mradi huu ilipokuwa unakuwa. Ushirikiano
wetu, pamoja na usaidizi wa utaratibu wa ugavi na usafrishaji wa watu
Alan aliongoza warsha ya siku tano kwa msaada wangu, ambayo na vitu uliotolewa na Fumiko Ohinata, ulinifaa sana na kundi letu la
ilihusisha kazi za nyanjani miongoni mwa wafnyanzi ambao niliwafahamu wapiga picha. Kila mahali tulipoenda Nairobi na Kakamega, tulijifunza
kwa kipindi fulani na pia wafumaji wote hao katika barabara ya Ngong. mengi kuhusu umuhimu wa uhifadhi. Hali halisi kuwa watu wengi sana
Baada ya Alan kurudi Marekani, nililiongoza kundi la wapiga picha kumi wanajihusisha na picha inaifanya kuwa chombo muhimu sana katika
na afsa wa utamaduni, Augustus Odubo, hadi eneo la Kakamenga kuhimili turathi hai.
huko magharibi mwa Kenya kwa minajili ya kuhifadhi njia mbalimbali
za kitamaduni za mapishi ya jamii ya Waisukha. Kwa wiki moja ifuatayo,
tulikabiliana ana kwa ana na turathi hai kwa jinsi ambavyo ilipitishwa siku
moja hadi nyingine.
James Muriuki