By
Margaretta wa Gacheru (Posted 7 October 2019)
Few Kenyans
know much about Tanzanian art, unlike the Ugandan scene which is bustling with
art galleries and artists, many of whom make their way to Kenya to exhibit
everywhere from Circle Art Gallery to Village Market and Banana Hill Gallery.
Many people
have heard of Tinga Tinga, first from the animated series of African folk
stories, and then, from the musical by Eric Wainaina and Claudia Lloyd. But
most of them may not know that Edward Saidi Tinga Tinga was a real-life
Tanzanian artist who was a humble bicycle repair man before he picked up
painting (using enamel bike paint on scavenged ceiling boards) and realized
being an artist was more lucrative than fixing bikes. But once he did, he began
training all his relatives and friends to follow in his footsteps, which they
have.
Last month,
a number of Tinga Tinga ‘disciples’ exhibited their art at Nairobi Gallery in
the first phase of the ‘Legendary Artists of Tanzania’ exhibition. The second
phase is about to open this weekend, on Sunday, also at Nairobi Gallery.
Phase 2 will
feature several original E.S. Tinga Tinga artworks and a few by his followers. The
61 paintings in this show will include over a dozen Tanzanian artists, including
prints and paintings by George Lilanga and his second and third generation
family members.
Students of
Lilanga, like those of Tinga Tinga, have the most vibrant and colorful
paintings in this show. However, two of the most proficient artworks are by
Elias Jengo and Claud Chantenda whose painting, ‘Umoja: A sinking ship’ is the
most stunning, yet sobering work in the show. Almost Turneresque in its
treatment of tempestuous weather threatening to sink a ship which is clearly
meant to symbolize his troubled post-Independent homeland.
In contrast,
the other painting highly favored by the show’s curator and founder of Nairobi
Gallery’s Pioneer Gallery is Professor Elias Jengo’s ‘African Pride’. This
semi-abstract piece occupies the pride of place in the Gallery, just next to
another one of Alan Donovan’s favorites.
‘Grace’s
Thoughts’ by Mohamed Charindi is a sweetly naïve portrait of a young girl whose
scull seems to have been penetrated by a magical x-ray that allows one to see
right into her mind. And there one finds four encircled scenes of Grace doing
various daily chores. It’s a charming portrait quite unlike any other piece in
the show.
All three of
the above referenced works are framed oil paintings as is one by Robino Ntila,
the only artist among the thirteen on display who will be on hand at the
opening this Sunday at 2pm.
Ntila will
also be one of the best represented artist, given that he not only has oil
paintings but also several etching and woodcut prints which are favorably
priced.
Being one of
the youngest of the artists whose works are among those by ‘legendary’
Tanzanians, Ntila will also talk at the opening about the work of Nyumba ya
Sanaa, the art gallery and workshop established in Dar es Salaam and founded by
the late Sister Jean Pruitt.
NYS is where
many of Tanzania’s most acclaimed artists, including Tinga Tinga, were based
for a time. What’s more, several artists whose etchings or woodcut prints are
in the exhibition also worked at NYS. They include, Valentino John Sauti,
Edward Kiiza, Augustne Malaba and even George Lilanga himself spent some time
at NYS.
The one
Nyumba ya Sanaa artist whose artworks are not at Nairobi Gallery, but nonetheless
are on display at Nairobi National Museum is Lute Mwakisopile
Lute is one
of the 70 artists selected to be included in the 2020 Kenya Arts Diary which
just got launched last Friday night at Heinrich Boell Foundation (HBF). His
painting on ‘Free Speech’ was initially displayed at HBF during the opening.
But immediately after that night, all 70 pieces were moved over to the
Creativity Gallery at the National Museum where they were curated and hung by Lydia
Galavu. That show will be up until the end of the month.
Last Friday
night, the Diary celebrated its tenth anniversary, which could be its last
edition, according to KAD founder, Nani Croze of Kitengela Glass and Research
Trust.
“We are
hopeful the Diary will continue as in years past when we have highlighted
up-and-coming Kenyan artists,” says Nani who has been assured by one African art
enthusiast that he will take charge of the Diary in the new year. But time will
tell. In the meantime, work has already begun assembling the 2021 Diary.
By a Lilanga grandson
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