Kenya

AfricanColours, Press Centre, Chester House, Koinange street, Nairobi, KENYA P.O. Box 56814 -00200, phone + 254 20 250373 njoroge@africancolours.com , info@africancolours.com

^{Posted on Thursday, 10th January, 2007}

The Museum mural debate

^{By Bertha Kang'ong'oi, AfricanColours}

^{Landmark mural at the National Museum of Kenya.}

^{Picture by Andrew Njoroge : AfricanColours}

^{On 12 December 2007 – Kenya’s independence day – the Kenya national museums of Kenya decided to paint all its buildings in its corporate colours. That included painting over a landmark mural, that for a year had become one of the main attractions of the museum. Painting of the mural, sponsored by Africancolours, was done by a host of renowned Kenyan artists.}

^{A heritage professional, Dr Gonda Geets, who arrived at the museum as the wall with the mural was being painted tried to no avail to stop the destruction of the mural. On}^{contacting the museum director of regional museums sites and monuments, Dr a Mzalendo Kibunjia, Dr Geets was told that the museums owned the building on which the mural was painted and so it was its (museum) discretion to do what it deemed fit.}

^{All the walls were being painted in the museum’s corporate colours.}

^{But Dr Geets concerns, as well as those of the artists who were involved in the project and many others following the controversy – had nothing to do with what the museum can or cannot do with its buildings. It is more of a concern to do with the very mandate the necessitated the formation of the national museums of Kenya: to identify, protect, conserve and transmit the cultural and natural heritage of Kenya as well as promoting the cultural resources in the context of social and economic development.}

^{The mural, which the NMK had agreed to have it on the Africom building within its premises, was a cultural heritage, a work of art to be treasured, not destroyed.}^{But then again, perhaps the national museum of Kenya’s interpretation of what is art may have caused them to go ahead and scrap the mural without even consulting the artists. What makes art art, is perhaps the point at which the controversy lies. What role does that art play in shaping a people’s culture and society? And getting back to the museum, should the form and appearance of the museum – buildings and all – take precedence over its function? What’s should be of greater value, the form or the function? And should art only be tucked away in museums or should be something that is accessible to all – regardless of social standing and interpretation of the art?}

^{Please send us your views and opinions at}^{info@africancolours.com}^or^{bertha@africancolours.com}

^{Here in South Africa -Community Mural Project has over the past 17 years- painted numerous murals throughout the country. They include The Human Rights Mural at the International Convention Centre in Durban and Nomkhubulwana Mural at the Berea station, also in Durban. We have also done approximately 45 other murals all over the country. Many of these murals were executed with the collaboration between CMP and local artists. But some of these murals have also been obliterated in the name of progress. We are presently pressing the City of Durban to renovate the physical wall of the Human Rights mural and are canvassing for funds to support the artists’ renovation of the wall.}

^{- Terry-anne Stevenson
Trustee Community Mural Projects
Durban, South Africa}

^{I write in regard to the above article and am in complete agreement with Binyavanga (Wainaina) in that a place established under the nation's Constitution to perpetuate and protect its national and cultural heritage is bastardised by the selfish egos and interests of the sponsors. These persons ought to be told by the Kenyans that their utterly selfish actions to boost their personal desires and coffers, as well those of the sponsors, are totally unacceptable and must be eradicated with the utmost speed. The sponsors especially must be told that while Kenya accepts their assistance with thanks, they are not, repeat not, at the helm of what is or not accommodated in this national repository nor are they to dictate the decor.}

^{I was also startled to learn that Asian Heritage Trust is also egging for a separate representation of its very commendable task in presenting and preserving a vital aspect of contributions by a section of Kenyans. While I am not fully aware of details in this matters, I sincerely hope that the AHT will find itself agreeable to be the part of and not an exclusion, of the greater picture and body that the National Museum ought to be.}

^{I have included a picture of self showing an aspect of life and culture in Kenya that is no more. It shows one of the very popular kahawa men serving coffee during his last round outside the Mombasa Fish Market near the Old Port. Perhaps the National Museum or the Ft. Jesus Museum at Mombasa may find a spot for this historic and cultural aspect of Kenya life. The buildings in the background still exist. The building with the green windows on the right of pictures indicates the house where I lived with my grandparents, Mr. Mrs. Burjorji Commissariat, in late 1940 - early 1950s. An Arab, Swaleh, ran a duka (shop) below the window and two yellow drums can be seen. The picture was taken in late 1950.}

^{Sincerely yours}

^{Kersi Rustomji.}

^{I find it interesting to see that mural, which i like. The character of a museum and it's identity is to foster art, create and conserve art, make it accessible for everyone. The mural was part of their identity which they now have destroyed. What's the sense of having a museum when it goes against its own function and purpose. Or is it}^{the personality of the board/ directors which is lacking identity so they destroy the museum's in order to elevate their own ? A traffic sign has a corporate colour as well.....}

^{Pity really ..}

^Michael

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