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Found Objects & Waste Transmutation Dominates African Art?

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Found Object, Recycled Art, Readymade or Junk Art?

Abstract

The phenomenon of found objects and waste transmutation into works of art, dominates contemporary African art ostensibly as the new continental creative identity. Majority of contemporary African artists experiment with waste as their preferred artistic medium and find in them (waste), potent metaphors for creative expressionism. However, although this art form is rapidly gaining prominence and international acclaim, it is surrounded by equivocations emanating from available literature sources.

Calixte Dakpogan – between tradition and modernism | AFRICAN CONTEMPORARY ART NOW (wordpress.com)

Discourses have emerged which attempts to theorize this genre of art but such discourses have only created varying levels of ambiguities which impedes understanding of its history, conceptuality and context in contemporary art-space. This article reviews recent literature dealing with found object appropriation in Africa, to expose the obscurities inherent in such studies. Using discourse analysis, this review indicates the existence of ambiguities ranging from terminology devising and classification to issues of hegemonic exclusivity and problems of contextualization. On the premise of these existing gray areas, I propose an in-depth study into this modern African art type, such study should adopt a particularized system to investigate the methodology of African found object art, its ideology and cultural motivation as basic criteria to enable our understanding and establishing of this modern art form as traditional to Africa in form, content and context and subsequently differentiate it from those of European art conventions to which it is currently erroneously likened to.

Keywords: Found Object, Readymade, Ambiguity, Junk Art, Upcycling, Surrealistic Object, Bricolage.

1. Introduction

Incorporation of materials from pop culture into African visual practice may have existed since the continent’s encounter with the west during slave trade and even earlier, as evidenced in the use of European spirit bottles assembled to build deities and shrines (Shiner 1994). But very little is found in literature that provides an account of any in-depth investigation into the historiography of this African art convention. This art genre (waste and found objects appropriation) has proliferated across the entire continent and now dominates contemporary art practice. As observed by Sylla and Bertelsen (1998), “found object art dominates modern African visual practice and very few are those who have not practice found object appropriation art in the continent”.

Numerous reasons are responsible for the fast propagation of this art type and subsequent adoption of ‘bricolage’ creative methodology by African artists, but the most noticeable factor is globalisation (Shiner 1994, Sylla & Mertelsen 1998). While through 21 st century advances in technology and innovations the world is becoming a global village, it conversely leads to increased consumption and accompanying generation of varieties of waste. These waste and found materials occasioned by modernity, become materials for artistic use (Kart 2009). Modern waste (the bye products of modernity and civilization) are employed by Africans as effective visual metaphors for creative explorations and expressionism. This interconnectivity between globalization, modernity and waste generation, accompanied by technological advancements in contemporary Africa, results in waste uniquely adapted into art to a high level it has even been argued that, discarded objects incorporation into art originated from Africa. Evans (2010, p.1) posited that, “through found object transformation, African artists have created a truly unique art form and have bequeathed a new art context to the world”. Reasons being that, for many contemporary African artists trained in western art education systems and equipped with such artistic conceptualism, interrogating the rich meanings locked in waste and found objects is considered quintessential for artistic self expressionism and creation of heighten multifarious layers of meanings since according to Aniakor (2013), “images and objects are plaited with meanings and only by interrogating them, that knowledge is extended and certain messages and ideologies expressed”. Thus, such artists tailor their creative experimentations towards achieving artistic self expressionism and higher codified meanings. This is because as observed by O.Connor, found object artworks are believed to be enriched with superlative double fluidity of meaning (Op cit 2013).

Mamiwata, 2006 Calixte Dakpogan

It is perhaps achieving that fluidity of meaning which has driven modern African artists to position themselves as material experimentalist to creatively interrogate waste and found objects, exploring their artistic qualities and meanings, as well as using such works to reflect societal circumstances and issues in contemporary Africa, as the basis for their art. They do so because, according to Fontaine (2010, p57), “by engaging with ready-mades from pop culture, the artist becomes an agency through which the inherent beauty and art qualities trapped in found/waste materials are brought to lime light via transmutation”.

From an African

Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 42 trajectory, not just the beauty in waste is considered but the circumstances creating these waste (globalization, modernity and consumption) forms the ideological/conceptual framework for waste transformation into new art conventions. Whilst this genre of art is gaining prominence and widespread international recognition, it has stirred up scholarly interest from both African/western art historians and critics. Available literature with regards to this contemporary African art form, consist of numerous ambiguities which impedes understanding of its contextual artistic existence. Such literatures have sprang up in the 21st century by scholars [African and western] who, ignoring the historiography of this African art form, only problematically treat found object transmutation into art in Africa as a recent artistic endeavour.

A lot of hasty generalizations and confused contextualizations exist, pointing to the fact that no in-depth research has been conducted to provide clarity to existing gaps in this body of knowledge. Some scholars have struggled with devising a rubric for this art form that will define and categorize it as African. Others have adopted what may be considered a problematic discourse of likening this art form in parallel morphological and ideological terms with European Readymade, Dadaism, Surrealism and Found Object Art, indicating the extent to which scholars have grappled with this subject.

The rubric ‘Recycling in Contemporary African Art’ has been problematically adopted by scholars to holistically describe this African art form in the past two decades, a rubric which Binder (2008) argues that is “misleading”. Binders view point is supported by Van-Dyk who observed that “A lot of artists have made art out of found materials before the word ‘recycle’ was even known in our society… the term Recycling in African Art therefore is a misconception” (Van- Dyk, 2013. P2). This paper reviews recent articles and catalogues which deals with waste transmutation into art, in order to reveal the ambiguities surrounding this modern art genre in Africa, it goes further to posit that for proper understanding to be attained, an in-depth research into found object art is exigent.

Providing solutions to these existing gaps is beyond the scope of this paper, however, in the course of this discourse, insights will be provided into ways through which studies can be effectively directed using cultural perspectivalism of particularised methodological investigation which will enable the possible establishing of this contemporary art convention as African in form, content, and context and, distinguish it from those of western art culture.

2. Articles, Submissions and Gray Areas on waste ‘Upcycling’ into contemporary Africa art:

Four literature sources (three papers and a book) are reviewed in this section to bring to lime light gray areas and gaps in the body of knowledge with regards to found object appropriation in contemporary African art.

African Folk Art Recycled Tin Can Turtle Tanzania

2.1 Globalizing East African Culture: From Junk to Jua Kali Art.

By Margaretta Swigert-Gacheru 2011 Swigert-Gacheru’s paper focuses on waste transformation into art practiced in East Africa, using Kenya as case study. The main idea from an economic and innovative view point purported by the author is that, Jua Kali Ingenuity which culminates into Kenyan Junk Art is a contemporary East African renaissance movement which not only defines a unique genre of art, but contributes to boosting the economy through its bricolage productivity. Also, the author pointed out that Jua Kali is the most dynamic contemporary art form in Kenya which exists as a heighten level of creative ingenuity inspired by the presence of global waste/throw-away and poverty (Swigert- Gacheru 2011. P129).

She further observed that, by virtue of its appropriation of global waste, Jua Kali Junk Art bridges the gap between African and western art worlds by creating a global flow through such hybridization which in turn defies the myth of tribal art and primitive order (Swigert-Gacheru 2011. P127). Another submission made by the author is that, through creative resuscitation of discarded materials deposited in East Africa from Europe, Jua Kali Junk Art combines makeshift creativity with entrepreneurship as a strategy for survival (Swigert-Gacheru 2011. P129). Thus, poverty is cited as the motivation for the innovation of Jua Kali Junk Art in Kenya, whilst various artists inspired by economic hardship are listed. Although Swigert-Gacheru presents evidence of how makeshift creativity in the arts can boost the economy of both the artists and the nation, and also brought to lime light the fact that this ingenuity in East Africa was relegated to the background before now by scholars, the authors classification of what constitutes junk and debris is very confusing and especially problematic because this classification is the proviso for her dubbing of this art form as Junk Art.

The author stated that Junk Art is made from electronic garbage and found natural objects, while environmental debris and old clothes are used in installation (Swigert-Gacheru 2011, p. 131). This classification brings about various unanswered questions which subvert this genre of contemporary African art. For instance, can all art made from junk in Africa be classified as Junk Art? How does natural found object like stones, sea shells etc which are not electronic garbage justify their inclusion in the categorisation Junk Art? Or, does the inclusion of discarded materials into an artwork in this case as the author enumerated (old clothes and environmental debris), automatically transform such works into installation art? Is discarded material Upcycling into art, the-same as installation art? By using media as the criterion for devising the rubric ‘Jua Kali Junk Art’, one will assume that all artworks in East Africa or Africa at large made from found, discarded or readymade

Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 43 objects will ideally fall into this category (junk art) but this isn’t the case. Castellote (2011) observed that Olu Amoda uses discarded materials and junk which he prefers to call ‘Re-Purpose Materials’, and that his art be looked at as ‘Repurpose Material Art’. One observes that, Olu Amoda and other African artists even though make use of junk, devise different names for their waste materials and refuse that their artworks be called junk art. This is why Swigert-Gacheru’s adoption of the term junk art to generalize found objects transmutations in Kenya is problematic because other waste appropriation artists in Kenya have different names for their waste materials. Furthermore, by using numerous names for waste materials, devised by different artists as the main trust or generic mode of investigation to explore and interrogate this genre of African art, such line of enquiry as adopted by Swigert-Gacheru and other scholars has only lead to different confused classifications. Two issues stand out from Swigert-Gacheru’s study.

Firstly, the fact that the categorization of what constitutes waste and what falls into the typology debris is problematic means the terminology adopted for this art form is equally problematic. From the author’s submissions, it implies that natural objects, old clothes or environmental debris are excluded from the typology Junk art and by virtue of their waste composition, have become installation art. Also, classifying electronic garbage as the material used for making Junk Art, means they can’t be used in installation art by the author’s submission which makes her proposition very confusing. Secondly the author’s problematic waste categorisation culminates in an inability to differentiate junk art from Installation art. We are thus left with a rubric (Junk Art), which doesn’t even encompass all of Kenya’s found object appropriation, neither does it, reflect or encompass found object transmutation practiced elsewhere in East Africa, nor the entire African continent, and submissions which leaves us unaware of the boundaries between this art (Junk Art) and Installation Art. These unanswered questions and issues stated above, indicates the presence of more than a modicum of gray areas and uncertainties in Swigert-Gacheru’s paper.

2.2 Zimbabwe: The Lost and Found Art.

By Knowledge Mushohwe 2012 This article provides peripheral insights into contemporary African found object appropriation and possesses accompanying obscurities. The main purport of the article is the branding of art that utilizes available waste or ready-mades as ‘Found Object Art’, with the author positing that Zimbabwean artists use found object art as a way of finding meaning in thrash to communicate encoded messages. One major assertion made by the author is that, found object works of art are superlative to the more mundane forms of sculptures which are the old conventions. Arguing that, the punctuated coding system within found object art gives such sculptures a contemplative challenging quality which is an edge over traditional forms of sculpture (Mushohwe, 2012. P1). That additive aesthetic edge is born out of the complex creative process which the author describe as ‘Organised Vandalism’, a process which involves displacing old meanings and forms of objects to create and accord them new forms and meanings (Mushohwe, 2012. P1).

Whilst pointing to the fact that, found object art involves re-contextualisation of objects by dislocating them from their original context and locating them in higher realms of artistic existence, the author equally draws ones attention to the fact that its vandalising nature constitutes a cause for concern as critics question the legality of such practice. Most noticeably and ambiguously so too, is the fact that the author describes and associates found object art in Africa to those of western rebellious art movements. He stated that, “the rebel nature of this found object art is traced to Dadaism and its principal exponent is Marcel Duchamp” (Mushohwe, 2012. p2). Such a bold assertion however, is not proven with adequate facts which make it confusing and problematic as will be enunciated in the next paragraph. Although this paper provides some new insights into this genre of contemporary African sculpture, especially by branding it ‘Found Object Art’ and establishing the fact that, because this art form dislocates discarded objects from their original context to a new creative realm, it assumes contemplative/challenging qualities which accord them aesthetic/creative edge over traditional forms of sculpture such as modelled statues, carvings etc, the article notwithstanding, constitutes further ambiguities and raises various questions.

The author’s likening of this African art convention to Dadaism and purporting that Marcel Duchamp is the founder of Dadaism is shrouded in obscurities without sufficient scholarly evidence to support such claims. Firstly, in as much as Duchamp, Ricaba and Man Ray started anti art in America, Duchamp is not the founder of Dadaism.

Dadaism began in Zurich with artist like Tristan Tzara, Marcel Janco, Jean Arp, etc credited for stemming the process that lead to Dadaism (Hans 1965, Uwe M 1979, Sandqvist 2006). However, Duchamp a pioneer member of anti-art in America originated the ‘Readymade’ which varies from Dadaist Surrealistic objects in various respects. Therefore, his linking of Duchamp’s Readymade and Surrealistic Found Object in same category is problematic. This is because, he implies by such proposition that Duchamp’s Readymade and Surrealist found objects are same art types which from literally evidence is not the case. Duchamp’s Readymade is a conceptual art style arrived at through his disinterested art ideology and experimentation with his ‘Creative Order and Infrathin’ [aesthetics of indifference] emphasizes the intellectual/conceptual content of an artwork over its visual form, to question what defines/constitute art and the entire art institution. Furthermore, such Readymade were unaltered by the artist and only assumed the dignity of art through ‘Dislocated Contextual Description’ (Read 1985, Obalk 2000, Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 45 El Anatsui’s works and practice methodology.

Her main submission is that Anatsui’s works frequently interpreted principally in relation to clothe, should instead be read as conceptual contemporary sculpture, and a localized reading be adopted in discussing his practice of incorporating locally available or sourced materials into his art. The author also argues that the rubric ‘Recycling in Contemporary African Art’ used to describe all modern African art involving material reclamation is misleading. Also, the term Found Object Art is said to be inappropriate and a wrong reflection of Anatsui’s practice and works since the artist himself chooses to refer to his materials and works as “Objects the Environment Yielded” (Binder 2008, p.27). Thus, she refers to Anatsui’s works as ‘Transformations’ instead of Found Object Art on the premise that the term ‘Found Object’ was born to art history of a particular European movement not relating to Africa, so the term ‘Transformation’ is more appropriate and not only signifies ownership but also an elevation of the material form of Anatsui’s art.

Citing Dilomprizulike (The Junk man of Africa) who works with discarded materials and always requires his works whether they are transformed or not to be called ‘Junk’ as an example, Binder argues that although many artists in Africa work with discarded materials, they are dissimilar in many ways thus, the dubbing of this art type “Recycling in Contemporary African Art” is cloaked in misconceptions. Another valid contribution in this paper is the advocating for a ‘Localized Reading’ of discarded material appropriation in modern African art as the most appropriate method of investigation for understanding its individual cultural peculiarities, since studies and categorizations with emphasis on material rather than practice methodology is inadequate. (Binder 2008, p.35)

By proposing a ‘Localized Reading’, the author indicates that dissimilarities exist between African artists practicing found object appropriation and between this African art convention and those of western art cultures. This view is supported by Olu Oguibe who observed that “the found object for Anatsui was not complete in and of itself, but required the transfiguring intervention of human agency in order to be translated into sculptural form thus, his works differ from others” (Oguibe 1998, p.48). This is why Binder proposed a localized reading into individual’s practices to be able to understand this art phenomenon.

What this reiterates is the fact that, the individual/cultural ideology, methodology and motivation behind found object creative manipulation are key to understanding the works produced and determines the way we perceive and appreciate such oeuvres. This is because “ones aesthetic responses are often functions of what one’s beliefs and perceptions about an object are” (Danto 1981. p99). Furthermore, the suggestion for a localized reading into this genre of contemporary African art is one that will provide a possible vantage point towards really understanding its modern art qualities and conceptuality. If a localized methodological reading is adopted perhaps alongside cross cultural comparison, then Binder’s argument that the adopted rubric ‘Recycling in Contemporary African Art’ for this art genre by western and African scholars is ambiguous and misleading will properly be understood and addressed.

This is because, only by understanding the practice methodology, cultural inspiration and ideology upon which these works derive the potency for their artistic being that the point of departure can be established that will lead to a comprehensive understanding as to why this art form may be peculiarly African. This said, propositions in Binder’s article raises a lot of issues that further contribute to the obscurity ubiquitous on this subject matter. The author classifies Anatsui’s artworks as ‘Transformations’ and her decision to adopt this terminology as appropriate for this style of art, hinges on two hypothesis; on the one hand is the fact that the found materials are manipulated creatively and the degree of such manipulation is employed as a vital coefficient and on the other hand, the ideology and intended codified messages locked in the piece to be expressed or communicated to the general public.

This paradigm of thinking though insightful, leads to the following lines of questioning; If the degree of manipulation of the discarded is the basis for devising the rubric and classification ‘Transformation’, how is Anatsui’s works different from Jua Kali Junk Art which adopts even deeper levels of material manipulation? By adopting the degree of artistic manipulation of the discarded as the sine qua non for classification, it is apparent that Anatsui’s assemblages or constructions are not different from Kenyan Junk art nor are they different from those of other Nigerian and African artists who work with found objects. On this premise, can those other works be classified too as Transformations? Or, the other way round, Anatsui’s works as Junk Art? Furthermore, by citing technique of making (Construction) as the basis for differentiating Anatsui’s works from others, does it mean that artworks made with this same technique (Assemblage/Construction) using different materials are or not qualified for this sobriquet Transformations?

Another trajectory in Binder’s investigation is the use of intent/metaphoric content (ideology) behind the works as a criterion and reason for underpinning the exclusive categorization of Anatsui’s works as Transformations. If the conceptuality, and metaphoric content are central to terminology devising for art types, then it becomes very confusing why Anatsui’s art should be treated as exclusive from others nor is there any need for discussing and differentiating found object appropriation in Africa under numerous terminologies by scholars because, almost all African artists who engage in this practice uses their art for same purposes; which according to Peek (2012), “is to create aesthetic objects for appreciation or to comment on the present condition of modern societies”. Issues relating to over consumerism, socio-economic and political ills and cultural/moral decadence are regular Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 46 themes associated with this art genre in Africa, which is equally the conceptual feature in most postcolonial art.

Which is the aesthetics of humanity that engages with the current and transforming state of human race and defined by such extend of engagement with these concerns (Young 2010). As this is the case, based squarely on ideology and messages conveyed like in most post colonial African art, there are no major differences between Anatsui’s art and those of other African artist who work with waste and convey same contemporary concerns in visual form.

Olu Amada “Trois Jeunes Filles”

Conversely, will it then be a misplaced submission, if Anatsui’s art is called Junk or Found Object art? Or can Jua Kali Junk Art or that of Zimbabwe, those of Delomprizulike or the works of Olu Amoda qualify to fall under the typology Transformations? While Binder’s article provides great insights into Anatsui’s practice, as well as pointing out the fact that, attempting to generalize this genre of African art under the rubric ‘Recycling in Contemporary African Art’ as is often the case is misleading, and further observing that, adopting Euro-American terminologies and likening African found object art tradition to those of the west is a faulty proposition, her assertions in this article equally bellies lots of uncertainties observed above which hasn’t help provide clarifications needed on this subject.

3. Ambiguities Identified

This brief survey indicates the presence of gaps in the knowledge and discourse of found object appropriation in modern Africa. Thus, various issues emanating from the reviewed literature sources are categorised into the following problems subheadings:

3.1 Muddle Terminologies and Classification Problem

From the foregoing, it is apparent that the first ambiguity is the problem of classification. Terminologies such as Junk Art, Trash Art, Found Object Art, Recycled Art, Transformations, Readymade, Objects the environment yielded, Re-purpose Material Art, etc have all been adopted by scholars and artists alike to exclusively discuss and describe their art as products of individual ingenuity even though their artworks like those of others, equally involves the use of same creative methodologies and ideologies for waste and found object appropriation from pop culture into art in Africa. This trenchant attempt at carving out a unique individualistic identity or for ethnic groups or gilds working in this modern African art convention as is the main purport in many literary discourses, is an evidence of classification ambiguity which constitutes into grappling with devising or coining a suitable terminology for this art form which will effectively categorize it as individually exclusive or holistically encompassing to accommodate all African art forms made from readymade or found materials into one typology.

3.2 Hegemonic Exclusion of the Historiography of African Found Object Appropriation

There is also the problem of hegemonic exclusion which is made manifest in the writings of western scholars on African contemporary art. In an attempt to co-opt other art traditions into western art mainstreams, these scholars have refused to investigate or make any references to the origin of found object art in Africa and have concentrated in treating this art form as a recent artistic endeavour. In doing so over the years, that is ignoring the historiography of this African art convention, western scholars have fashioned a discourse on African found object transmutation art, which problematically excludes its historic context (origin). The resultant effect is evidenced in the fact that, even African scholars and critics have adopted this paradigm and thus, problematically treats African found object appropriation as simply an extension of European modernism rather than an art form with any cultural particularities/inspirations or determined by traditional philosophies.

So long as this remains the case and the origin of this art convention in Africa hegemonically excluded from contemporary discourse, the ambiguities surrounding it will continue to impede any comprehensive understanding of its contemporary artistic existence.

3.3 Problem of Contextualization

“There has been much debate surrounding the applicability of Euro-American terminology and classification to systems of art production outside of that specific history. While I am in no way arguing that these terms are not also applicable to practices other than those in Europe and America, I am suggesting a considered application rather than a catch-all grouping of the work as either recycling or found object. The answer is to acknowledge the local while assessing the reciprocity of art practices in a global historical context” (Binder 2008, p36) Binder’s argument is on the premise that, Euro-American terminologies may not effectively reflect or apply to art traditions or styles that fall outside the specific history which generated such terminologies.

If this happens, that is, Euro-American terminologies applied to outside art traditions, it will deprive such art forms or traditions drawn into European art mainstreams, of their true cultural artistic value, identity and conceptuality. Binder’s observation exhibits another level of ambiguity surrounding found object appropriation art in Africa as equally observed in the studies surveyed earlier in this paper, which is the problem of contextualization. Most writers both African and western, have applied Euro-American terminologies to describe this genre of art and in the process contextualize it based on western art movements of the 1900s like Readymade, Found Object, Dadaism etc. This application has not proven to be exceptionally adequate because, the ideological and conceptual frameworks that gave birth to those art forms and movements in the west are not responsible for the innovation.

Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 47 of this modern African art form. This means that such Euro-American terminologies cannot effectively reflect and encompass this art type in Africa. Other writers have invented terminologies to treat this art type as uniquely African yet they fall into the pit fall of making references to and likening this African art convention to western terminologies/theories and modernists art movements attempting to justify their course, but in the process, do not provide enough evidence to establish why this art form is uniquely African and different from those of the west. Such multifarious terminology devising and faulty contextualization for exclusivity purposes by these scholars and artists end up excluding others in the continent who work in same style convention and beclouding their art practices in ambiguities.

This problem exists because contemporary African artists and critics as well as their western counterparts have consciously and continuously engaged in the discourse of treating found object art in Africa as a very recent artistic endeavor and have avoided any trace of history to establish the origin of this African art form. If an in-depth research into the origin and growth of found object art in Africa is conducted, then the problem of contextualization of this art genre will be addressed.

4 Conclusion

Whilst found object appropriation into art in Africa has become the core of almost all contemporary creative experimentation, artist’s inventions of numerous rubrics to describe their materials in unison with some African and western scholars, has lead to problematic and obscured submissions. Such problematic propositions as this paper illustrates, has created various levels of obscurities (muddle terminologies/classification problem, problem of western hegemonic exclusion of the historiography of this art form in Africa and the problem of contextualization) which impedes understanding of this modern art convention.

Available literature sources reviewed in this discourse which contextualizes this art type in analogous aesthetic context with European art movements are misleading, while those that treat it as traditional to Africa provide insufficient information to underpin their assertions. Conversely, it is my opinion that for clarity to be attained, an in-depth research into found object transmutation into art in Africa is exigent. The point of departure firstly for such investigation will be to examine the origin and history of found object art in Africa. If the origin is established, it will determine if this art convention is inspired by traditional culture or occasioned by western influences.

Furthermore, such study should adopt a particularized reading system to examine the practice methodologies of African found object appropriation artists, the ideologies and cultural motivations behind this art convention. If a particularized reading is conducted into these three key aspects of African found object art, both the colonial, cultural and contemporary context of waste and found object appropriation into African art will be accorded much needed clarity and the problem of contextualization addressed. If this is done, it will effectively establish it (found object and waste appropriation genre of art in the continent), as African in form, content and context as well as differentiate it from European art movements/art cultures for which it is currently erroneously likened to. Providing solutions to these ambiguities is beyond the scope of this investigation.

Rather, what I have done is simply bringing to lime light the various obscurities surrounding this modern art type and suggesting directions for further investigations. For the Silo, Clement Emeka Akpang, School of Art and Design, University of Bedfordshire, Luton, United Kingdom.

Featured image- Dadaab Refugee Camp :: Behance

References

Adewunmi, A. ed (2008) Art is Everything 7: International Waste-to-art Workshop Catalogue. Nigeria: Timex Press Aniakor, C. (2013) ‘Interrogation of Objects and Images as means for Postgraduate Visual Enquiry in Environmental Sciences’ [Oral Interview]. Cross River University of Technology Calabar-Nigeria. 20th June, 2013 Arthur, D. (1981) The Transfiguration of the Commonplace. Cambridge: Harvard University Press. Breton, A (1938) Surrealist Situation of the Object, in Manifestoes of Surrealism, trans. R. Seaver and H. R. Lane Michigan: University of Michigan Press, 272. Breton, A. (1987) Mad Love, trans. Mary Ann Caws. Lincoln: University of Nebraska Press. Binder, L. M. (2008). ‘El Anatsui: Transformations’. African Arts, 41(2), 24-37. Castellote, J (2011) ‘Olu Amoda’ A View From My Corner [Online] Available at: http://jesscastellote.wordpress.com/2011/01/16/olu-amoda/ Accessed on: 10 th June 2013 Emgin, B. (2012) ‘Trashion: The Return of the Disposed’. Design Issues, 28(1), 63-71. Evans, B (2010) ‘Contemporary African Art’ Contemporary African Art Newsletter [Online],

Available at :http://www.contemporary-african-art.com/contemporary-african- art.html#sthash.wGlqQyzZ.dpuf….14 Accessed: 3rd June 2013 Hans, R. (1965), Dada: Art and Anti-art. Oxford: University Press. Iversen, M (2004) ‘Readymade, Found Object, Photograph’ Art Journal Vol. 63, No. 2, pp. 44-57 Kart, S. (2009). ‘The Phenomenon of Récupération at the Dak’Art Biennale’ African Arts, 42(3), 8-9. Mushohwe, K. (2012) ‘Zimbabwe: The Lost and Found Art’. The Herald [Online]

Available at: Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 48 http://www.allafrica.com/stories/201210240435.html?viewall=1 Accessed: 8th April 2013. O’Connor, L., (2013) ‘El Anatsui: When I Last Wrote to You about Africa’ CAA Reviews [Online] p.1-3. Available from: Art Full Text (H.W. Wilson), Ipswich. Accessed June 5, 2013. Oguibe, O. (1998). “El Anatsui: Beyond Death and Nothingness,’ African Arts 21(1):48-55. Sandqvist, T. (2006) Dada East: The Romanians of Cabaret Voltaire. London: MIT Press Shiner, L. (1994) ‘`Primitive fakes,’ `Tourist Art,’ and the Ideology of Authenticity’, Journal of Aesthetics & Art Criticism, 52 (2), pp.225. Swigert-Gacheru, M. (2011) ‘Globalizing East African Culture: From Junk to Jua Kali Art’, Perspectives on Global Development & Technology, 10 (1), pp.127-142 Sylla, A., Betelsen, M. (1998) ‘Contemporary African Art: A Multilayered History’, Diogenes, 46 (184), pp.51- 70. Uwe M, S. (1979), George Grosz, His life and work: Universe Books Van Dyk, M. (2013) ‘The Transformer: Mine Hill artist Re-imagines Found Objects as Art’ Daily Report [Online].

Available at: http://www.dailyrecord.com/article/20130509/GRASSROOTS/305090005/The- transformer-Mine-Hill-artist-re-imagines-found-objects-art?nclick_check=1 Accessed on: 29 th August, 2013 Young R. J. C. (2010) Explorations – What do we mean by Postcolonial Art [Video]. Edinburgh: British Council. Available Online At: http://vimeo.com/15559912 Accessed: 5th June 2013.

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Botswana Elephant Trophy Hunt Still Shockingly Legal

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Botswana’s president recently threatened to send 20,000 elephants from Botswana to Germany in a feud over stricter regulations on trophy imports. Find out why President Mokgweetsi Masisi’s claims about hunting simply don’t stack up and how animal-friendly approaches in Botswana actually help conservation goals and the economy.

Earlier this year, Germany proposed stricter limits on trophy imports, which led to controversy and claims from President Masisi that it would further impoverish Botswanans. 

Trophy hunters worldwide are attempting to justify their killing by making outlandish claims to hide their conservation harms and economic exploitation. 

According to Dr. Keith Lindsay, a renowned conservation biologist with over 30 years of research and hands-on experience conserving African elephants, including population management, nothing could be further from the truth.

While there are challenges for African countries that have elephant/human conflicts, many have found proven solutions that respect elephants without killing or trapping them.

The way to create harmony with elephants is to know the facts first.

  • Elephant populations have not “exploded,” as President Masisi claims. Botswana’s elephant population has not increased significantly for about two decades.
  • Trophy hunting funds corruption and does not bring in significant net revenue for conservation. The ones that profit are sports hunting companies, a few government officials, and community trust members who siphon off funds. Very little goes to the hundreds of households sharing the meager proceeds, which Dr. Lindsay says is “enough for a pair of socks.”
  • According to the numbers, hunting does not keep elephant populations in check, as President Masisi claims. A 2022 survey of elephants in Botswana indicated there were about 132,000. The hunting quota in 2024 is 400 elephants, which is less than 0.3%. It’s not enough to make a dent in their population, even if all 400 were killed, but it is a risk to all older male elephants and large-tusked elephants, who hunters target despite their vitally important role in elephant societies.
  • Botswana banned trophy hunting in 2014 but lifted it in 2019 to give the impression it would boost the economy, but elephants are much more valuable alive.
  • Live elephants contribute a much greater amount to the economy than dead ones. Per Dr. Lindsay, “Photographic ecotourism, even in Botswana, employs more people and contributes more to the national economy, including through multiplier effects on value chains of suppliers to the industry than does the minimal amount from trophy companies.” Only a few countries in southern Africa exploit wild animals as a resource through killing and consumption.
  • Conflicts from elephants eating crops and killing people are not due to elephant overpopulation but to human populations expanding into elephant territories and growing vegetation that elephants like to eat.
  • Many conservation experts advocate against killing keystone species on ecological grounds. The minority who stand to gain from trophy hunting often attempt to marginalize all who oppose hunting and killing elephants as “extremists” despite being the vast majority. 
  • Organizations like Ecoexist and Elephants Without Borders are working successfully with local farmers on practical approaches to human-elephant coexistence to resolve conflicts where they exist.

Elephants are not products to buy and sell. They are majestic living beings who deserve to live free as they have for thousands of years on the lands of their ancestors.

For the Silo, Courtney Scott / In Defense Of Animals.

Featured image: German sport hunter kills old Bull elephant in Botswana. image courtesy of National Geographic.

Fashion

Africa Becoming New Global Fashion Leader?

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Today Audrey Azoulay, UNESCO’s Director-General, unveiled a report arguing that the continent has all it takes to become one of the next global fashion leaders, if public decision-makers offer greater support to all those who work in the sector and play a role in the fashion ecosystem.

Fashion is really taking off in Africa, and this report shows that it can be developed even further. In order to achieve this, designers, professionals and the entire production and distribution infrastructure need more support from public decision-makers. The potential is enormous, not only for the economy, but also for young people’s inclusion, women’s empowerment and for African culture to resonate globally.

Audrey Azoulay, Director-General of UNESCO, at the launch of the report at Lagos Fashion Week.

Entitled “The Fashion Sector in Africa: Trends, Challenges and Opportunities for Growth”, the UNESCO analysis shows that the continent holds all the cards to become one of the next world fashion leaders. It is a major producer of raw materials – 37 out of 54 countries produce cotton -, an exporter of textiles to the value of $15.5 billion a year, and an importer of textiles, clothing and footwear to the value of $23.1 billion a year.

There is a growing consumer trend on the continent for fashion Made-in-Africa, particularly among young people – the under-25s account for 50% of the continent’s total population – and among the burgeoning middle class – which already make up more than 35% of the population – opening up new consumer markets. Africa is also experiencing very rapid growth in the digital sector, which is facilitating intra-African trade and the emergence of young talent.

As evidenced by the 32 Fashion Weeks held each year, Africa is also brimming with talent in the fields of haute couture, crafts and clothing. A 42% increase in demand for African haute couture is expected over the next 10 years.

In its report, UNESCO highlights 4 challenges which governments and decision-makers must tackle if they want to realize the potential of Africa’s fashion sector:

1.    Legal protections for designers and professionals need to be strengthened, in terms of intellectual property rights, remuneration levels, working conditions and the ability to organize into professional unions and social rights. With this aim, UNESCO is already helping 23 African countries to improve the status of artists through legislation and regulations.

2.    Investment must be made in small and medium-sized enterprises, which today account for 90% of businesses in the fashion sector in Africa. Covering the entire continent, they are the gatekeepers of the diversity of cultural practices and expression. Generators of local employment, they are also a powerful lever for giving young people who want to enter the sector a chance.

3.    Environmental standards need to be set. While the fashion industry remains one of the most polluting industries, Africa can make greater use of local materials, innovate around sustainable textiles, and raise awareness of sustainable consumption patterns. Production of organic cotton fibre in Africa has already risen by 90% between 2019 and 2020, and now accounts for 7.3% of global production. The second-hand clothing market is one of the most dynamic in the world – representing a third of global imports – but still suffers from a lack of recycling channels, with 40% of these garments ending up in landfill sites, or even in oceans and rivers.

4.    Both the transmission of savoir-faire, and formal training need to be improved. Africa is rich in traditional skills and unique textile techniques, some of which are already protected by UNESCO. The report encourages countries to set up mentoring schemes to ensure that these practices are passed on from generation to generation and can continue to inspire young designers. At the same time, UNESCO is calling for an increase in the number of qualifications available in key related professions – quality control, commercial law, marketing – and in training in new technologies, such as 3D printing and e-commerce.

“Across the continent, people are increasingly looking for products ‘Made in Africa’ which they see as a symbol of pride and a way to affirm their identity. But in order to meet this growing demand, the entire production chain needs to be strengthened. This UNESCO report is useful because it maps out the path to achieve this, and it will increase the awareness of public decision-makers”, said Omoyemi Akerele, the Director of Lagos Fashion Week. 

UNESCO supports creative industries in Africa

The Organization’s commitment to the development of a dynamic creative economy in Africa is in line with the principles set out in the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. Recently, UNESCO has produced a series of reports on the strategic importance of cultural and creative industries in Africa, including, a report on African cinema published in 2021, The film industry in Africa: trends, challenges and opportunities for growth.

Finance

African Shaman- Devotion To Your Business Is Key To Success

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What does it take to make $1 Million Dollars at a business in just six months? Devotion. However, according to one expert, devotion and commitment are two totally different things.

Makhosi Nejeser, known as “The Royal Shaman”, is an authentic African shaman specializing in energetic alignment and human potential.  She helps individuals create powerful transformations amplifying success and mentors high performing entrepreneurs. Makhosi is being recognized as a Spiritual Guide For Business Empires. Asked about devotion versus commitment she said:

“You have to be all in. Devotion is that. It’s the same thing that generates $1M in revenue.

Right now, as a society we suck at this.

Devotion is a different energy. When you’re devoted to something you’re approaching it with your whole heart. Commitment is about what you can get out of a situation. Devotion is about what you can give. Commitment equals responsibility while devotion is love.  

It’s the ones that are devoted to their message and vision that really win big.”

With years of experience in mental & spiritual wellness, Makhosi can give valuable insight on:

  • Her journey from making $8/hour to generating $1M in revenue over just 6 months
  • Becoming your best by taking aligned action and implementing incremental change
  • Turning obstacles into opportunities and portals of evolution that improve yourself
  • How using integration can bring fulfillment, freedom, and mastery to your life
  • Understanding the energetic blueprint to reach your greatest human potential
  • Rewiring C-Suite executives and guiding their teams to maximize themselves

Referred to as “The Get Sh*t Done Shaman” by Refinery29, profiled in Business Insider, and featured for her expertise in POPSUGAR, Entrepreneur, Authority, Thrive Global, Nicki Swift, and on LA news station KTLA 5, Makhosi can provide incredible insight.

Travel

Top 8 Places to Visit: The Most Beautiful Destinations Around the World

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Our planet is incredibly beautiful! On every continent, even on the tiniest island lost in the vast ocean, there are striking places, meeting which leaves a long-lasting memory. Gritty fjords and impregnable cliffs of northern cities, idyllic corners of tropical coasts, clouds on the tops of mountains and flowing rivers in deep canyons, man-made and natural monuments will bring even more positive emotions than generous casino offers. Everyone is sure to find their paradise on earth. And you don’t always have to go far away – often there are places of fabulous beauty right next to us, if you only look around.

Jaisalmer - Wikipedia

Jaisalmer

The golden city of Jaisalmer is often ignored by travelers because of its remoteness. But once you visit this place, you will not be able to forget it. It is an exotic city in the great desert of Rajasthan. It has incredible architecture, craft shops and of course camel rides in the silent desert.

Where to go in the Amazon | Audley Travel

Amazon

The most full-flowing and one of the longest rivers on the planet was named one of the Seven Natural Wonders of the World in 2011. The Amazon and the rainforest along its course are populated by many rare plants, animals and fish, many of which are relict or endangered.

10 Things To Do in Fez Morocco — Ultimate Morocco Travel Guide

Fez

Morocco is an inexpensive version of an oriental fairy tale. And Fez is the second largest city, home to palaces, old markets, and quaint cafes serving Moroccan mint tea with local pastries.

Schloss Neuschwanstein

When the impregnable Neuschwanstein was built in the south of Germany in the 19th century, it immediately became a magnet for all those seeking peace and security. Its fabulous outline became the prototype of the palace built in Disneyland, where Sleeping Beauty lived, fell asleep and then met her love.

Windhoek, Namibia Event Space & Hotel Conference Rooms | Successful Meetings

Windhoek

If you have always dreamed of seeing Africa’s “rusty” deserts and animals in their natural environment, now is the time. Unlike other parts of Africa, Namibia has many safaris. It is home to many African animals: giraffes, rhinos, cheetahs and elephants. It’s also a low-cost place.

Amid criticism, 80,000 tourists visit Antarctica to swim with penguins

Antarctica

Antarctica is an amazing continent. It’s the coldest, even though it’s at the South Pole. Relative to the World Ocean, Antarctica is elevated more than other continents, it has the lowest relative humidity, the strongest and longest wind blows and the most significant solar radiation. At first glance, this is a harsh land consisting solely of ice. But it is not! Here you can find algae, mushrooms and even flowers – isn’t it an occasion to see it all with your own eyes!

Old Bridge Area of the Old City of Mostar - UNESCO World Heritage Centre

Mostar

Mostar is an ancient city and untouched section of the Ottoman Empire. The place is unique in that it coexists two different cultures (Europe and Asia), two religions (Islam and Christianity), and connects them by a medieval arch bridge (Star Most), the history of which is as unique as the city.

The Best Beaches In Montenegro To Keep You Cool! | Chasing the Donkey

Montenegro

Travelers who decide to come to Montenegro will be greeted by massive mountains, ancient Roman villas, clear waters, and incredible scenery. In addition, there are chic Adriatic beaches in Budva, Becici and on the Island of Sveti Stefan. And also the famous spa resorts of the Bay of Kotor. For the Silo, Batya Gill. Featured image: Jaisalmer India Desert City

Culture

Africa without vaccines while Canada doses are wasted

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Canada just moved from having enough doses to vaccinate every Canadian, into a surplus position.

This also means that Canada reached a new very problematic milestone. Doses are going bad in Canada, while desperate people, including frontline health workers in Africa, are still struggling to get access to vaccines.

None of us are safe until all of us are safe. We know this pandemic isn’t truly over until it is over everywhere. Canada MUST share more of our excess doses now. Canada MUST resist the urge to offer 3rd dose “boosters” to healthy Canadians (some of whom are getting them in order to vacation in the Caribbean) while nurses in Senegal are still unprotected.

We have more than enough vaccines, others don’t.

Africa is facing a COVID-19 crisis, cases are surging and the continent is heading towards a global catastrophe. Over the last month deaths from COVID in Africa have increased 80%. Only roughly 3% of Africans have received the first shot, and the continent is not on track to vaccinate 10% of its population by the end of the year. The WHO’s Bruce Aylward said this should be “a scar on all of our consciences.”

What can Canada do?

Meanwhile in Canada, Prime Minister Trudeau announced on July 27th that with 66 million doses received, we have enough to fully vaccinate every eligible Canadian. We have now reached a point where the supply of vaccine exceeds demand, and already Astra Zeneca doses have been thrown away and Moderna vaccines are sitting in freezers nearing their expiry dates.

Canada is the country that has ordered the most vaccines per person: counting optional purchases, enough to vaccinate each Canadian 5 times. Unless the excess doses are shared right now, we could end-up throwing away millions of doses while most of the rest of the world remains unvaccinated. This is a scandal that we cannot let happen.

Vaccines being discarded is not a theoretical concern. In addition to the 300,000 doses from Johnson and Johnson that were discarded due to a manufacturing issue, thousands of Astra Zeneca doses have already been wasted in Canada because they could not be used before their expiry dates. With this vaccine barely been used in anymore, there may be thousands more sitting in freezers or the garbage, and provinces are coy about how many they may be throwing away.  The same is starting to happen with Moderna, with pharmacists unable to put some of the doses they have in arms.

Figure 1: A tale of two pandemics
While Canada is in a very good position, some African countries are seeing an increase in cases with a very small share of their population vaccinated.


Canada has so far committed to share 30.7 million doses with COVAX, the global vaccine distribution mechanism, including a recent pledge to donate the remainder of our Astra Zeneca orders. But there has been no confirmation of when these donated vaccines might reach countries in need.

In addition, new analysis by the ONE Campaign based on data from analytics firm AirFinity shows that at the current rate, Canada will end-up with between 16 and 42 million more vaccines piling up in freezers or thrown away by Christmas, while the pandemic continues raging on in Africa and the developing world.

We not only have a moral obligation to share doses, it is in our own best interest to stop the global spread and emergence of new variants. Until then, more preventable deaths will occur and Canada’s own recovery will be threatened by a shaky global economy. According to the IMF, failing to help the developing world defeat Covid-19 could cost the global economy US$4.5 trillion.

The time to donate more doses is now. Lives depend on it.

Africa is experiencing an increasingly urgent COVID crisis and needs at least 200 million vaccine doses by the end of September to slow the spread and prevent more needless deaths. Canada should immediately transfer all incoming vaccine orders to COVAX, beyond ensuring that there are enough for every Canadians to be fully vaccinated. This should mean at least 12 million more doses shared before the end of September, and in total 16-42 million vaccines donated before the end of the year if we want to end the pandemic and avoid unimaginable waste.

Vaccines being discarded is not a theoretical concern. In addition to the 300,000 doses from Johnson and Johnson that were discarded due to a manufacturing issue, thousands of Astra Zeneca doses have already been wasted in Canada because they could not be used before their expiry dates. With this vaccine barely been used in anymore, there may be thousands more sitting in freezers or the garbage, and provinces are coy about how many they may be throwing away.  The same is starting to happen with Moderna, with pharmacists unable to put some of the doses they have in arms.

It may be tempting for the Government to keep vaccines stockpiled just in case boosters may be needed. But the evidence so far on the need for boosters is far from conclusive, and many experts have warned that it would be counterproductive to start giving third doses to healthy people in rich countries while at-risk populations have not yet had their first shot in developing countries. Stockpiling a product with a short shelf life will inevitably lead to a lot of waste. In any case, Canada has already ordered up to 60 million more doses of Pfizer a year for the next 3 years in case boosters are needed.

The excess doses we have coming in the next 5 months must urgently be shared with countries in need to stem the pandemic globally. Variants spreading around the world pose a threat to Canadians. The longer we wait to vaccinate the world, the more variants we will see and the longer this vicious cycle will continue. The time to donating more doses is now. Lives depend on it.

Up to 42 million doses could go unused in Canada by Christmas

By December 2021, Canada will have received at least 92 million doses of the four vaccines currently approved by Health Canada (Moderna, Pfizer, Astra Zeneca and Johnson & Johnson). If Medicago and Novavax post positive Phase 3 results and are also approved, total supply could increase to 117 million doses. [1]

To fully vaccinate every Canadian, including children under 12 should vaccines be approved for them, 76 million doses will be required in total. These are highly optimistic projections of actual demand, since it is unlikely that 100% of the population will want to be vaccinated.

This means that between 16 and 42 million excess vaccines risk being stockpiled or wasted in Canada by the end of the year. The higher scenario means our excess vaccines would be enough to fully vaccinate everyone in a country like Burkina Faso this year. Right now, 0.01% of people are fully vaccinated in Burkina Faso. For the Silo, Justin McAuley.

Figure 2: A growing stockpile
Even accounting for the already-announced donations, Canada will have millions of excess vaccines

[1] This excludes the 30 million doses already donated to Covax.

Culture

Invest In eSports- Ministers Welcome Commonwealth Interventions To Rebuild Hard Hit Sport Sector

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Commonwealth collaboration is vital to the recovery of the sport sector which has suffered a crushing blow from essential measures to stem the spread of COVID-19. This was the recurring theme as sports ministers from Africa, Asia, the Caribbean, Europe and the Pacific met at a landmark forum on the impact of the pandemic on their sector.

Countries spoke about the deep health and economic scars left by the closure of community sport, gyms and exercise facilities, the decimation of the local and international sporting calendar, and the loss of revenue from broadcasting and sponsorship deals.

Screenshot 2020-07-23 at 11.59.23.png

According to a recent Commonwealth study, while the overall economy of the 54 member countries would contract on average by 3.2 per cent in 2020, the contribution of sport sectors to GDP could drop by well over 20 per cent in several states.

Commonwealth Secretary-General Patricia Scotland said: “Our countries are shouldering many very heavy burdens as a result of the pandemic. Among these, necessary restrictions affecting the sport sector make much of its future is uncertain and are preventing it from making its much-needed contributions to physical well-being, mental health and economic activity. So it was really encouraging to see how Sports Ministers in our member countries are responding to the effects of COVID-19 with powerful and imaginative initiatives. Return-to-play tool kits, grants for community clubs and virtual programs to help people of all ages to be physically active were among examples shared at the forum. What also came through loud and clear is that by continuing to work together our chances of success in overcoming the impacts of the pandemic are greater, and our recovery will be swifter and more sustainable. Building on existing cooperation and momentum already achieved, the Commonwealth Secretariat has launched a range of innovative projects and programs, based on careful research and analysis, so that in all our member countries sport can be used more effectively to build communities that are socially and economically more resilient with healthier populations”

Resources such as the new Commonwealth Moves program was shared with ministers to support efforts to get more people active while complying with the rules imposed to suppress the pandemic. The online tool is tailored to tackle the ongoing ‘pandemic’ of immobility, exacerbated by COVID-19 disruptions. It includes activities for all demographics, including young people, the elderly and persons with disabilities. Forum participants expressed strong support for the Secretariat’s initiatives.

This includes its program on measuring sport’s contribution to the sustainable development goals and its recent online course on designing effective policies and programs.

Kenya’s Cabinet Secretary for Sports, Culture and Heritage, Amina Mohamed chaired the forum. She said: “This forum was timely and critical for many governments still working very hard to fight the devastating pandemic that ambushed the globe early this year. The forum confirmed an unmistakable desire among Commonwealth Sport Ministers to collaborate, share solutions and pool their collective knowledge aided by the Commonwealth Secretariat including a newly developed pool of resources, carefully crafted to support countries resuscitate sport sectors choked by COVID-19, and ensure that we re-build healthier, more resilient, inclusive and sustainable economies and populations. “

Ministers at the forum presented how they are responding to the current challenges and planning the safe and staged return-to-sport.

These range from guidelines for cross border competitions and provisions of economic support for grassroots clubs to investment in the e-sport sector and helplines to address abuse in sport. In a statement released after the forum, sports ministers agreed that future policies, programs and competitions should integrate delivery modifications and virus suppression measures, and that the sector should be a focus of recovery and rebuilding efforts. 
For the Silo, Snober Abbasi.

Culture

UNESCO Seeks To Open Markets For Global South Cultural Goods

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Paris, 30 May – Experts, stakeholders and government representatives will examine ways to improve exports of cultural products from the Global South, reinforce cultural entrepreneurship and improve the status of artists during the biennial meeting of the signatories to UNESCO’s Convention on the Protection and Promotion of the Diversity of Cultural Expressions, at the Organization’s Headquarters from 5 to 7 June.

Government officials and cultural professionals will address these and other issues at three Create|2030 debates during the session:

Rebalancing trade flows: making the case for preferential treatment in culture, will examine ways to open markets to cultural goods and services from the Global South, in line with the Convention’s binding provision to grant them preferential treatment in international trade.  Cultural goods and services from developing countries currently only account for 26.5% of the global trade in this rapidly growing sector. Panelists will also examine how the concentration of creative content on large online platforms is impacting the distribution of cultural products and expressions. (7 June, 10 am—1 pm, Room II)

Strengthening cultural entrepreneurship: The International Fund for Cultural Diversity (IFCD) will discuss investments in vocational training andbring together beneficiaries of UNESCO’s IFCD from Brazil, Cambodia, Colombia and Senegal. The Fund, which aims to address the gap between developed and developing countries in the creative economy, has provided more than 10,000 artists and cultural professionals with new skills in project management, business and career development to date. (6 June, 10 am—1 pm, Room II)

Rethinking the status of the artist will explore ways to enhance the professional, social and economic conditions of artists through policies concerning training, social security, employment, income, taxation, mobility and freedom of expression. (6 June, 2—5 pm, Room II)

During the meeting, participants will also examine an Open Roadmap designed to strengthen the Parties’ capacities to promote the diversity of cultural expressions in the digital age, as well as other innovative policy practices. Priorities in line with the UN’s 2030 Agenda for Sustainable Development will be set for the next two years, with particular attention to gender equality, fundamental freedoms, quality education, economic growth, decent jobs, and equality between countries.

The 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions provides a framework for the design of policies and measures that support the emergence of dynamic cultural and creative industries around the world. The 146 Parties (145 States and the European Union) that have ratified the Convention meet at UNESCO every two years to examine its impact and determine future action. Twelve new Members will be elected to the Convention’s Intergovernmental Committee during the session.

Culture

Zoos Are Consumers Of Elephants Not Conservers

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In Defense of Animals has released its respected annual list of the Ten Worst Zoos For Elephants for 2016, exposing the shocking hidden suffering of elephants in zoos in North America. The list reveals captivity-related deaths, abuse with weapons, grossly inadequate conditions, families ripped apart, elephants torn from Africa and shipped to US zoos, elephants forced to wash cars, and even elephants found playing with a car battery.

 1-oklahoma-city-zoo_chai-on-hoist_credit-public-record-via

“2016 was a shocking year for zoo elephant suffering”, said In Defense of Animals President, Dr. Marilyn Kroplick. “In our zoos, elephants’ rights are violated, they are stripped of their dignity, and submitted to disgusting abuses. We owe it to elephants to stop exploiting them. It is time to shut down archaic and barbaric zoo exhibits, and retire elephants to sanctuaries where they can live in peace.”

 

Zoos all over the US and one zoo in Canada appear on the worst list, with Oklahoma City Zoo shamed as the #1 Worst Zoo. Tragic captive elephant Chai was found dead outside the Oklahoma elephant exhibit on a very cold January morning in 2016, at just 37 years old. She had lost 1,000 pounds since she was shipped in from Woodland Park Zoo in Seattle. Gut-wrenching footage reveals Chai in a severely emaciated and weak state, being hoisted on a crane after she was unable to stand up. After her death, Chai was found to have been suffering from a bacterial infection and untreated pus-filled abscesses, marking a gross failing of the zoo to provide basic animal care.

 

Chai’s only friend Bamboo survives her, and has since had two inches of her tail bitten off by another frustrated elephant in their prison-like pen. Bamboo has been kept in either in solitary confinement with the aggressive female, or in the occasional company of a young male; none of these circumstances constitute even reasonable social companionship. Yet Oklahoma Zoo callously describes this sad elephant inmate as doing “great”.

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Chai and Bamboo are not the only victims of Oklahoma Zoo’s mismanagement. Baby elephant Malee died at in late 2015 at the age of just four. She was likely killed by the same herpes virus the zoo knew Chai and Bamboo had been exposed to.

 

All these tragedies may have been avoided by sending Chai and Bamboo to a sanctuary home that offered to accept the pair when Woodland Park Zoo shut down its elephant exhibit in 2014.

 

Shockingly, Oklahoma City Zoo is among half of all the captive facilities shamed on the Ten Worst Zoos List that are accredited by the Association of Zoos and Aquariums, showing how little AZA certification stands for. In 2016, the Association’s own study found social aspects of elephant lives to be of paramount importance to their wellbeing, yet 20% of AZA accredited zoos with elephant exhibits have only two elephants. Some AZA certified zoos are even keeping highly social elephants in isolation, such as the Bronx Zoo, where Happy the female elephant is tragically separated from two other females.

 

Zoos are consumers, not conservers, of elephants. Captive elephants are dying faster than they can reproduce, leading zoos to steal young elephants from the wild, which destroys the elephant societies zoos claim to be conserving. Behind the scenes, zoos in the US and Canada are condemning Earth’s largest land mammals to lifetimes of deprivation, disease, despair, and early death. It is time to end our shameful exploitation of elephants in American zoos.

 

10 WORST ZOOS:

1. Oklahoma City Zoo, Oklahoma

2. Natural Bridge Zoo, Rockbridge County, Virginia

3. Honolulu Zoo, Hawaii

4. Edmonton Valley Zoo, Alberta, Canada

5. Oregon Zoo, Portland, Oregon

6. Buffalo Zoo, Buffalo, New York

7. Wildlife Safari, Winston, Oregon

8. Pittsburgh Zoo, Pennsylvania

9. Milwaukee County Zoo, Milwaukee, Wisconsin

10. Fort Worth Zoo, Fort Worth, Texas

 

HALL OF SHAME

Buttonwood Park Zoo, New Bedford, Massachusetts

DISHONORABLE MENTION

Bronx Zoo, Bronx, New York

For the Silo, Toni Frohoff, Ph.D.  For more information, please visit http://www.idausa.org/tenworstzoos2016

In Defense of Animals is an international animal protection organization with over 250,000 supporters and a 30-year history of fighting for animals, people and the environment through education, campaigns and hands on rescue facilities in India, Africa, and rural Mississippi.

 

IN DEFENSE OF ANIMALS • 3010 KERNER BLVD. • SAN RAFAEL, CA 94901 • 415-448-0048  Please mention thesilo.ca when calling.