Report back on the Visual Arts Network of South Africa, National Conference
by Renee Holleman
The Visual Arts Network of South Africa (VANSA) National Conference held earlier this February was refreshingly characterised by a genuine spirit of co-operation and enthusiasm. By most accounts it also succeeded in creating both a critical and constructive forum to debate a wide range of topics concerning 'Transformation, Growth and Opportunity' within the Visual Arts sector. The conference was intended as an interactive event specifically aiming to establish a set of practical outcomes and recommendations for VANSA, the Department of Arts and Culture (DAC) and other stakeholders to take forward in their respective capacities.
Day One
When registration morning dawned at the Hiddingh Campus venue, all was going swimmingly when, to the obvious surprise of the organisers, a significant crowd of unexpected people arrived to register. Now, most people probably know that you can't just show up at a conference, but then most people aren't the arts community. Shame on VANSA! thought I at this turning away of so many interested parties. But in retrospect, it strikes me as distinctly symptomatic of an underlying attitude that seems to pervade the visual arts arena. It is a sort of reluctance to take ourselves seriously, perhaps due to nothing more than a lack of resources. How can we expect others to do so, it must be asked, if we don't ourselves?
And so with this underlying theme of changing attitudes it was clear that the VANSA organisers had put a great deal of thought and planning into the conference infrastructure as a whole. Welcome packs, glitter stickers, tea and scones are always fabulous, but what soon became apparent was the intention to create an open conversational platform, giving delegates ample opportunity to interact with the conference material. Speakers' presentations were summarised throughout on large pieces of paper and displayed around the conference venue, while the large paper cloths covering each table proved extremely popular. These were enthusiastically attacked, providing a space for queries, thoughts, scribbles, comments, a few coveted artworks I warrant, and otherwise a forum for general dissent.
Much of the first day's programme was aimed at introducing VANSA's objectives, outlining them within the broader sphere, and laying out the path for the days ahead. Introducing the first session, Steven Sack rightly congratulated the organisers for achieving the near impossible task of co-ordinating that rarely co-operative, capricious bunch of people termed the 'arts community'. And indeed everyone leapt happily through the hoops of conference methodology and five year plan approach until we arrived at the great flaming circle that was the Department of Arts and Culture's Visual Arts Policy and Development Programme.
Clearly there were to be no graceful performances here. Lindi Ndebele presented a detailed report of the focuses and challenges facing the visual arts sector as identified by the DAC, and highlighted the government's new found commitment to the sector. Yet the lack of a structured policy, and the extremely vague conceptions of the sector they aim to transform, struck those in attendance as immensely worrying. As Gavin Jantjes, Creative Director of the Cape Platform pointed out, various forums were established, papers written and suggestions made to government at least 10 years ago, and little has been done to follow them through. We can only hope, as we are assured, that things will be changing in the near future.
The day's proceedings closed with keynote speaker David Koloane's survey of the radical shift in the cultural landscape over the past dozen years. This grounding recollection served to remind of just how much has indeed changed in this time. And even though we do believe that Minister Pallo Jordan really was ill, it was unfortunate that he was unable to accompany a stalwart of the South African arts community, and attend the first dedicated conference of its kind in the country since the State of the Arts Conference in 1978.
Day Two
Opening preliminaries dispensed with, the second day of the conference set about tackling a range of issues tabled as an Overview of the Visual Arts Sector, focusing on the last 12 years. While it soon became clear that this was not an easy task for even the most insightful of speakers, it was handled deftly in most cases, and comprised presentations on Financing and Resourcing, Promoting and Presenting, Education and Training, and Art in the Public Sphere. Highlights included a detailed examination of the arts economy by Susan Glanville of CAPE, who outlined the increasingly complex relationship between the arts sector and funding bodies (both public and private) within South Africa. As a result of broad misconceptions about the viability and importance of investing in the creative industries, there is a very real need to shift perceptions regarding the ability of the visual arts to develop cultural capital. We need to be reminded, said Glanville, that the most successful economies and societies of the 21st century will be creative ones. With this in mind, Wits University's David Andrew's summation of education in the visual arts (primary to tertiary, formal and non formal) was no less than distressing. Underfunded, underdeveloped and fragmented, it seems there are few resources available to stimulate and nourish a sector that is potentially crucial to a vibrant economy.
Its always interesting, of course, to look at comparative solutions to similar issues, especially when the terrain appears as pitted and treacherous as ours. Suzannah Silver of 'an' (Artists Network) in the UK, and Hilario Gemuce of Muvarts, Mozambique presented a cross-section of the activities of the organisations they represent. Although these differ quite dramatically in terms of resources and agendas, they provided not only an international perspective, but seemed to encapsulate the kind of dual economy which inevitably informs the SA art scene. We do have an increasingly vibrant gallery scene, artists with international profiles, and a broader range of opportunities than we've ever had before, but much of the real work ahead needs to be directed at basic development. VANSA's five year plan, touted as Art and Social Development, I think, recognises this disparity and seeks to address the challenges that the situation presents.
The four topics presented in the morning were picked up again in afternoon breakaway sessions, and opened up to rigorous interrogation by a range of administrators, artists, curators, facilitators and teachers all critically engaged in the field. If the kind of feedback to come out of these is indicative of just some of the complaints plaguing the ailing visual arts sector, then there is some work to be done. The situation, it appears, requires a multi-faceted approach. There may not be any easy solutions, but there are potential courses of action that VANSA will need to formulate so as to encourage the good practice that is required to get the visual arts sector up and running, be they creative, financial or institutional.
The day's final open session on Race, Gender and the Rural-Urban Divide was a disappointing one. The panel again missed a speaker, and the conversation took a predictable trend when young artist Nandi Mntambo was asked to vouchsafe for 'black women artists' in general, a point she was quick to interrogate. Generalising, much less essentialising does not promote good critical debate. Vuyile Voyiya, director of the hard-hitting The Luggage is Still Labeled, consolidated with a discussion of some of the issues he has encountered in his documentary and curatorial work, but the general consensus was that the public evening sessions presented a real missed opportunity.
Day Three
The overall theme of day three, Looking Forward, included sessions on Art Criticism and the Media, Job Creation and Training, Creativity and New Directions and Re-connecting Africa.
Art criticism undoubtedly has a significant role to play in defining and developing public perceptions of the visual arts. Ideally it has the potential to act as a creative intervention in its own right. Thus Sunday Independent critic Robert Greig's claim that artists should not really look towards the mass media for criticism or coverage came as a shocking revelation to artists and critics alike. Not only does it reveal a stunning lack of media responsibility, but, at its worst, perpetuates an insidious form of censorship.
Moving on to job creation in the arts, it was concluded that much seems to come about by somewhat precarious means. Training, unless in the formal sector, is equally sketchy. Presentations in this session ranged from projects dealing with utterly unfunded artists, through to exposure for young artists and continued support for established ones. Again the need for audience education and development appeared as crucially intertwined with both sustained support for individual artists and job creation.
In terms of finding new directions, delegates had the rather exciting opportunity to focus on some actual art in the midst of so much policy and politicking. Kathryn Smith and Mustafa Maluka provided interestingly alternative suggestions, with Maluka focusing on the potential of Internet technologies to establish new creative communities, and Smith looking at more hands-on socially engaged practices. Both, it would seem offer viable routes into a contemporary, emphatically South African practice, but not without problems.
And finally, the session on 're-connecting Africa' revealed a variety of interpretations as to what 're-connecting' might mean: The idea that Africa has ever been 'connected' is a dubious premise to say the least. Patricia Kyungu described the implementation and effect of a number of community initiatives in Kenya, while Nigerian Ijeoma Loren Uche-Okeke looked at re-connecting as a means of explaining art's role as a spiritual conduit. So despite flagging energies and failing voices, there was much to be discussed at the end of these sessions. Most crucially, a set of practical outcomes were eventually drawn up to suggest concrete ways in which VANSA could possibly get involved.
This conference proved to be hard work, and by the time all and sundry were let loose to prowl the galleries and bars on Friday's 'Art Night', signs of fatigue began to show. The AVA's evening event showcasing Vuyile Voyiya's recently curated show 'Umsi' seemed well attended, with a typically understated performance by Nicholas Hlobo. Cool local musician Mac Mackenzie and friends provided some rousing entertainment, but it was only the truly dedicated who could be spotted doing the gallery rounds. It was just as well really, that the conveners ingeniously organised a full brass band to herd delegates around the central city.
Day Four and Wrap Up
The final day of the conference consisted predominantly of the VANSA National AGM, although early morning walkabouts at Michael Stevenson and what if the world... enticed some committed individuals out of bed early. What this conference made clear is that VANSA has provided a much needed platform for a diverse host of voices. Policy makers and small community practitioners alike felt that VANSA has the potential to play a major role in supporting artists. The visual arts community needs VANSA, but the question remains how effective they can be at managing the huge expectations that have been raised. As a young, albeit voluntary organisation with a clear set of objectives, there exists a will and energy to facilitate some real transformation in the visual arts sector. It is also apparent however, that if VANSA is to function effectively and representatively they will need the support and input of a large membership base.
Renee Holleman is an artist and writer currently completing her Masters
of Fine Art at the Michealis School of Fine Art.
