yebo! report

8/3/2019 Yebo! Report

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Yebo Art GalleryAnnual Review

2011

Composed by

Jaap Koster

Khulekani Msweli


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Contents

Introduction ........................................................................................................................ 4

Directors ............................................................................................................................. 5

Aims and Method of this Report ....................................................................................... 5

Facilities and Services at Yebo Art Gallery ...................................................................... 6

Social Responsibility .......................................................................................................... 7

Overview of Exhibitions .................................................................................................... 9

Exhibitions Review ............................................................................................................ 11

Artists .................................................................................................................................. 12

Artist Questionnaire ........................................................................................................... 13

Local Actors ........................................................................................................................ 17

Organisations Questionnaire ............................................................................................. 18

Challenges ........................................................................................................................... 23

Achievements ...................................................................................................................... 24

Current Situation and Way Forward ................................................................................ 25


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Yebo Art GalleryAnnual Review


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Introduction

Yebo art gallery was founded in January 2011 by Peter, Dane and Aleta Armstrong. The

gallery is located in Ezulwini, one of Swaziland's prime commercial and tourism hotspots. It

boasts two shopping centres, casinos, a nature reserve, hotels, lodges and many restaurants.

Ezulwini is currently experiencing a boom in construction which is changing the tourismlandscape as more businesses are relocating to the valley. Historically, the valley has been at

the centre of political and cultural activity, housing the parliament, national museum and

King's memorial. The valley also hosts the annual Reed Dance and Incwala ceremonies,

attracting visitors interested in the traditions of Swazi Culture.

It was a strategic decision therefore to locate Yebo in Ezulwini. The art gallery would (i)

profit from tourists staying in the area or passing through, (ii) be able to engage in

partnerships with the hospitality and crafts industry in the region and (iii) benefit from a

diverse and potentially open-minded audience. The valley's aforementioned international

allure could, moreover, allow the gallery to improve Swaziland's art credentials abroad.

Although Yebo art gallery is at bottom a commercial project, its mandate is very much in line

with that of public institutions involved in the arts. At the heart of its mission lies the desire to

grow and promote contemporary art in Swaziland, a sector which has received little or no

attention from local actors. Business, government and NGOs favour the crafts industry,

which produces familiar and therefore readily saleable objects. Yebo, on the other hand, was

born of a desire to separate art from crafts by providing it with the requisite means of

presentation.

As the first fully operative contemporary art gallery in Swaziland, Yebo had to create amarket from scratch. That meant it had to educate not only the public but the artists

themselves. Various initiatives were launched, including (but not limited to) a residency

program, art workshops and a small but comprehensive reference library. The artists involved

in these programs have full access to Yebo's facilities and expertise. They are perpetually

coached on topics ranging from technique and choice of subject matter to the commercial

aspects of art production.

Yebo art gallery is acutely aware of the responsibility it carries as a pioneer in Swaziland's

nascent art sector. To the extent that art can be regarded as a public good, a gallery fulfils a

public function. This holds true especially if, in a given region, access to contemporary art isrestricted. In this respect Yebo assumes the role of a museum. It documents, catalogues and

displays the output of some of Swaziland's most promising artists. It also curates themed

exhibitions which appeal to a wide audience. In short, Yebo fulfils a beacon role: it leads by

example, hoping to motivate potential actors and make Swazi art into a success story.


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Directors

Peter Armstrong is a Swazi with vast experience in the art world. He studied fine art in South

Africa and the UK, after which he worked for six years at Mantenga Craft running the

screen-printing department. In 1985 he and Aleta set up a successful screen-printing and

design company, Armstrong Artworks, which employed over 30 people. Pete is also a sculptorand has created numerous commissioned pieces. He worked for several years as an art teacher

at the Waterford Kamhlaba international school.

Aleta Armstrong was born in Finland, grew up in Tanzania, Swaziland, Botswana and

Denmark and moved to Swaziland with her family in 1984. She created a successful range of

designs under the name African Fantasy and set up two unique and successful shops in

Swaziland in 1990. She also worked for four years as a journalist with local and South African

media houses. In 2000 she and Pete set up Guava Art College, a free art school that assisted

unemployed Swazis in art training and marketing. Aleta was project manager of Indlu

Finlandia Design and Training centre for 3 years. She then worked as a freelance consultantand designer.

Dane Armstrong was born and raised in Swaziland, returning home in 2009 after having

studied and worked abroad for eight years, completing two degrees in business and economics

in Finland and Holland. He works on the general operations and design of Yebo as well as the

marketing and communications aspects, such as the website and other media. He is a keen

artist, focusing on photography and mixed media, and will be working as the facilitator of the

ArtReach program that Yebo will be initiating in 2012.

Aims and method of this Report

This report is the first of what is to become an annual review of (i) Yebo's activities and (ii)

the industry in which is operates.

The report first and foremost serves as a document of Yebo's development. However, as Yebo

occupies a unique position in the industry's landscape, it inevitably touches on and explores

issues that are relevant to all actors operating in the Swazi art industry. Moreover, it is Yebo's

explicit goal to improve and develop the arts and the way in which it is managed. It is

impossible therefore to separate the two aims of this report.

As it is Yebo's objective to grow and promote contemporary art in Swaziland, it is important

to measure the extent to which this is actually achieved. The writers, in conjunction with

Yebo's directors, have decided that the most adequate way to obtain this information is

through interviews and questionnaires. In an effort to identify the strengths and weaknesses

of Yebo's approach to art development, feedback was solicited from artists that regularly

exhibit work at the gallery as well as other actors in the industry (namely Alliance Franaise,


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Swaziland National Council of Arts & Culture, UNESCO, U.S. Embassy, Arterial Network,

Limkokwing University). The results of these questionnaires can be found in the sections on

Artists and Local actors at the end of the report.

Finally, it must be noted that the views and opinions put forward in this report cannot be

separated from the views of Yebo's directors. As such, this review does not strive to present across section of the Swazi art industry. Rather the writers together with Yebo's directors have

identified a number of points that, they think, merit the attention of those interested in

developing the Swazi art sector. There is of course much more to be said about problems of

infrastructure and arts management as they present themselves to actors on a daily basis. Also

when it comes to suggestions about improvements this report is far from comprehensive.

However, the method of sourcing information from local artists and actors through interviews

and questionnaires has proved fruitful. Those interested in the opinions of local actors are

encouraged to consult the sections on Artists and Local Actors at the end of the report.

Facilities and Services at Yebo Art Gallery

It has become clear to Yebo's directors that many of the up-and-coming artists are lacking in

skills. The government does not have the necessary funds to subsidise skills training, which

means the responsibility to initiate, develop and finance skills programs falls to private

enterprises. The facilities set up by Yebo have, however, been underused. NGOs and other

stakeholders have neglected to invest in art education through Yebo and so provide a much

needed impulse into the industry. To give but one example, there are no local artisans capable

of designing and screen-printing cloth; all screen-printed cloth is imported from neighbouringcountries. It would be easy to fill this gap as training facilities are readily available.

There is also a big gap in the handicraft sector in terms of Swazi designers. Training should be

offered to local artisans who show talent rather than import designs from abroad. Yebo has

expertise in identifying talent and assisting with grass roots training projects but, again, the

availability of this service has been overlooked by local actors.

The following is an overview of the facilities and services made available by Yebo art gallery

over the past ten months.

A large screen-printing room. Screen-printing is taught by qualified artist and teacherPeter Armstrong. All screen-printing techniques are covered. Tailor-made courses are

available as well.

An etching press which is used by artists. A pottery space and pottery lessons are available, covering a variety of pottery

techniques. This service has turned out to be popular with children and adults alike.


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Lessons are taught by Peter Armstrong.

Drawing lessons and model painting taught by Aleta Armstrong. Mosaic classes, teaching groups and individuals how to effectively and cheaply mosaic

large spaces or small items using broken tiles and other recycled materials. Taught byDane Armstrong.

Two large exhibition rooms: one for themed exhibitions, the other for the permanentcollection. The rooms are exceptionally rented out to individual artists for solo shows

or collaborative projects.

An art reference library is available for artists to use for inspiration and research. Thisfacility has been an important resource for many Swazi artists. It also fills a gap in

public service provision as most libraries in Swaziland hold a limited number of art

books.

An art shop carrying general art materials and tools, a selection of locally producedhandicrafts as well as products made and designed by Yebo, including screen-printed

cloth, T-shirts and ceramics. The Yebo art shop also supplies organisations and schools

with bulk orders and specials discounts are given to local artists.

A website which displays and catalogues the gallery's activities. The website makes it possible to purchase art works online and provides detailed information about

exhibiting artists, upcoming events and news items. Yebo has also teamed up with

FedEx who ship work for clients, door to door. The website will eventually operate as

a portal for the arts in Swaziland, with information about artists, photos, catalogues,events and relevant reports.

Social Responsibility

In February Yebo Art Gallery initiated a social responsibility program (SRP) meant to

promote art production through mentorship and training. The program included free training

and use of Yebo facilities for six Swazi artists. The main idea was to create an environment

conducive to artistic creation. It was therefore decided to keep the program open-ended rather

than give it a definite structure. Artists worked on projects independently but were

encouraged to experiment with materials and try new ideas. Tools of all kinds were available

for use and access to the workspace was granted freely. Because the SRP took place on the

Yebo premises, artists could easily engage each other in discussion. They also had the

opportunity to meet customers and receive commissioned work as a result. This project

worked successfully for 5 months.


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Unfortunately the program then began to implode. Artists' incapacity to pay for transport

made it impossible for them to make a regular appearance. Moreover, the financial crisis in

Swaziland started to escalate and affect the arts. The directors also detected a general sense of

defeatism when sales did not take off immediately; artists did not seem to understand how

much ground work needed to be covered and that instant success is rare. The reason for the

failure of the program is therefore twofold. Lack of funds on the one hand; and an idealised

understanding of what it is to be an artist on the other.

Lack of money ultimately affects creativity as well. For example, it is possible that an artist is

unable to carry through a project because he or she cannot afford the required materials. To

counteract this Yebo has sometimes stepped in to pay for the work in advance. In such cases

the work was thus commissioned by the gallery and subsequently put on display. This is a

service exceptionally made available to artists who are known to Yebo's directors.

Yebo also assists up and coming artists with advice on pricing and marketing as well as the

administrative aspects of their profession, including pricing and contract mechanisms. Yebo'sdirectors want artists to understand the value of their work so they will not be short-changed.

Some artists have previously sold work cheaply to galleries and were not in charge of the final

purchasing price. At Yebo artists decide on the price themselves.

Besides the SRP Yebo Art Gallery allocates space to up and coming artists in their monthly

art shows in an effort to reduce existing barriers to entry into the Swazi art market. This

provides up-and-coming artists with an outlet and opportunity to reach a wide audience.

Naturally, artists are not expected to pay upfront fees to exhibit their work. In case something

sells, a commission of 32 percent is withheld on the purchasing price.


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Overview of Exhibitions

Yebo Art Gallery has hosted seven exhibitions until now.

1. 26 February 2 April: The Year of the RabbitFor its first show Yebo wanted to involve as many artists, mediums and themes as

possible in order to hit the ground running. The theme Year of the Rabbit was

chosen because the exhibition coincided with the commencement of the Chinese Year

of the Rabbit, which was also, coincidentally, Yebos logo.

The show featured Paintings, Sculptures, Drawings, Pottery & Photographs by the

following local artists:

2.

9 April 7 May: main room: I believe...

Side room: Interior decorating by Sean & Philippa Knight

The theme I Believe was chosen to inspire artists to come up with reflective pieces

based on ideas that are inherently strong within them. These took the form of portraits,

religious paintings, abstract expressionism, and much more.

3. 14 May 19 June: Creative Freedom of Expression! - Organised in collaborationwith the Bushfire Festival and Swaziland Design Week

The theme of Yebo's third exhibition was situated at the intersection between arts and

politics. It was intended to get people to think about the importance of freedom of

expression to artists but also to the nation as a whole. On a more general level,

participating artists were encouraged to express themselves more freely and explore

new ideas, themes and materials. As part of the collaboration with House on Fire,

Yebo participated at the Handcraft Fashion Show at Bushfire and had its own stall

during the festival.


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4. 25 June 23 July: Indzaba Yetfu Our Story -in collaboration with PEPFARFor this exhibition Yebo teamed up with the U.S. Presidents Emergency Plan for

AIDS Relief (one of the biggest NGOs in the world) to exhibit the work of 22 local

artists. PEPFAR/Swaziland works with more than 30 partner organisations across the

Kingdom to prevent new infections, mitigate the effect of the epidemic, and providecare and treatment for those infected with HIV/AIDS. The goal of the Indzaba Yetfu

show was to explore new ways to increase HIV/AIDS awareness in Swaziland.

Partner organisations met with local artists and inspired them to contribute in the fight

against AIDS. The result was an impressive body of work which included painting,

pottery, drawing, sewing, sculpture, photography and glasswork. Each piece presented

the artists unique vision of how HIV/AIDS is affecting the country and the work that

needs to be done to improve the situation. It was an emotional exhibition that moved

and upset many.

5. 30 July 28 August: Affordable Art- interim exhibitionThe purpose of this exhibition was to get a wider audience to purchase art. Artists,

hobbyists and crafters alike were invited to contribute work. Participation was not

restricted by a theme or a medium. Rather the exhibition was structured around a

price limit. As such it was an ideal opportunity for those who enjoy being creative but

are not necessarily professional artists to gain exposure, perhaps for the first time. This

show, it turned out, was the least popular and generated the least sales.

6. 3 September 17 September: Aster AF-RU-KA- solo exhibitionThis exhibition held a series of colourful embroideries, which explored Swazi culturethrough the lens of astromythology. The pieces were set against the backdrop of the

Swazi nature calendar and were designed by local artist Sue Dowding. Three rural

Swazi women Phindile Gwebu, Ellen Dlamini and Bonsile Mdzebele executed the

work. The series celebrated the knowledge accreted over the centuries by ancient

African peoples. Sue Dowding is also involved in a wider cultural conservation project

that aims to revive interest in African culture, star lore and mythology. The majority of

the work was sold, as it was a very popular exhibition.

7. 22 September 22 October: Swaziland Now!The last exhibition in the original Yebo space explored themes of identity, politics and

economics from a local perspective. Yebo wanted to provide a platform for artists to

say what they think about Swaziland's present situation, which could but did not have

to be politically accented. The overall goal of the exhibition was therefore to capture

the spirit of the times, to show what Swaziland is about today and how it might change

in the future. The show was so popular that Yebo's directors have decided to make it

into an annual event.


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Exhibitions Review

The overall turnout for the shows has been good. Yebo attracts visitors from all walks of life,

some of whom have never set foot in a gallery before. This is in part due to the themes, which

have relevance beyond the immediate art community. Yebo's location in the centre of

Ezulwini is also conducive to high visitor numbers. Ezulwini is a popular tourist destinationand many people pass through it. Finally, Yebo owes many of its visitors to the quality of past

shows. The gallery has quickly built a name for itself by the variety and number of exhibitions

it has hosted.

Sales have been steady but lagging for the more politically engaged shows. The same can be

said of the avant-garde art pieces: they attract much attention but are rarely purchased. Some

artists work has maintained a certain consistency of sales; others have sold nothing. A poor

sales record doesnotkeep an artist from exhibiting his work. The sole criterion here is quality.

Yebo does, however, inform artists about patterns of sales. There are themes, colours and

styles that are more likely to generate sales than others. Artists can use this information totheir advantage should they wish to do so.

In February of this year Yebo's directors had the pleasure of making the acquaintance of

Franscesco Ippolito, a Danish curator hired to set up a Copenhagen exhibition about Swazi

and Zimbabwean art. Apparently the Danish Trade Union Council for International

Development Co-operation (LO-FTF) with the support of various development agencies

(DANIDA and DCCD) organise this event annually, each time exhibiting art works from an

economically less developed region of choice. Previous exhibitions had showed work from

Nepal, India, Bangladesh, Ghana, Uganda, Kenya, Tanzania, Nicaragua, Guatemala and the

Philippines. Mr Ippolito visited Yebo, saw various artists work and selected three SouthAfrican artists to exhibit at the Copenhagen show. These are excellent artists who are based in

Swaziland but Yebo felt strongly that the selection ignored artists of Swazi birth and that the

Copenhagen exhibition could not therefore reflect the diversity inherent in the Swazi art

scene. Repeated attempts on Yebo's part to retrieve information about the exhibition in

Denmark have proved fruitless.

One problem Yebo has encountered is a lack of professionalism on the part of some of the

Swazi print and television media. Most of the exhibitions have received media coverage but

more often than not their content was misrepresented. It has also occurred that Yebo

provided media with specific information which was subsequently misreported. Clearly what isat issue here is a lack of understanding of contemporary art. Journalists, like most ordinary

people, do not have the conceptual tools to analyse a work of art. The consequent lack of

interest translates into sloppy reporting.

It must be noted, however, that one journalist in particular, Howard Mavuso from The

Observer, has made great effort to attend every show, asking questions and showing a general

interest in Yebo's activities.


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Yebo hopes that media houses will one day allocate as much space and resources to covering

art, theatre and literature as they do to covering local and international celebrities.

ArtistsYebo Art Gallery has attracted artists from Swaziland, South Africa and Mozambique, all of

whom have taken part in exhibitions hosted by Yebo. To date approximately fifty artists have

exhibited at Yebo shows. The level of experience of individual artists varies considerably and

Yebo displays work by formally qualified artists as well as those who are self-taught. Such

diversity makes for an interesting collection of work on display during the exhibitions.

Yebo has recently begun to collect the biographies of its most prominent artists, those who

produce work consistently and exhibit on a regular basis. The biographies will be uploaded to

the website in due time. The purpose of the biographies is to situate the artist's work, to

reveal, where possible, the connections between the artist's life and creative issue. By

providing context in this way, Yebo promotes artists and makes the art it exhibits more

accessible. It also responds to a demand from buyers to have more information about the art

they purchase.

With regard to consistency, creativity and quality of work, much could obviously be

improved. Many of the exhibiting artists are not familiar with contemporary art and therefore

lack the necessary reference points. The library by itself is not a sufficient resource.

Nevertheless, Yebo's directors are convinced the Swazi art scene must develop organically

and should not be forced in any particular direction (the direction of European contemporary

art, say). On the other hand, to acquaint local artists with the work of other African artists

seems a worthwhile pursuit. In this context Yebo's artists were lucky to benefit from a

meeting with Maurice Mbiyake organised by Alliance Franaise. Yebo does not, however,

have the finances to organise such events by itself. Of course it would be of great benefit to

the Swazi art sector if local artists could go on regular trips to South Africa to promote cross-

border cooperation.


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Artist Questionnaire

What follows is a questionnaire completed by four artists who exhibit regularly at the Yebo

gallery. Their answers are reproduced integrally. The questionnaire was collected in October

of 2011.

Key:

CD Celimpilo Dlamini, Male, Swazi

VS Vumelani Sibeko, Male, Swazi/South African

RB Ray Berman, Male, South African, Swazi resident

NN Nonhlanhla 'Sunshine' Nxumalo, Female, Swazi

1.How many years have you been practicing as an artist?

CD I have been painting since I left high school in 2001 but I think I have been doing it

seriously for about a year.

VS Six years.

RB Most of my life, about 60 year.

NN I have been practicing as an artist since 2006.

2.Have you had any formal art training? If so, where?

CD Im not sure if IGCSE counts as formal training, but I did that at Waterford

Kamhlaba.

VS Yes I did at Vaal University of technology.

RB Yes, graphic arts diploma at Witwatersrand Technicon College; Academy of La Grand

Chaumiere in Paris; Arts Academy Salzburg; Pratt Institute New York.

NN I have not studied at school. I can say painting is a gift from God because it is not

anyone who can do it. We're all gifted in different ways. I only befriended an artist

who taught me how to mix colours and paint. Within three months of practicing I

could paint something nice which people would love and buy. Lucky Mlotsa is the

artist who helped me out and I realised my talent.

3.If any, what's your signature style and why have you chosen that particular style?

CD I like to use bold, visible strokes and vivid colors because I think it makes my pictures

lively and can contribute to the overall feel of a composition. Also I find that it gives

me more freedom to interpret a subject however I wish, rather that trying to replicate

it on a canvas.


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VS My signature style is the use of rags or clothes on canvass and the use of corrugated

Iron as a surface to paint on or sticking clothes on. I try not to influence the shape of

the metal but work with it. I chose this style because it best represents me and what I

am about. I come from a poor background so I found my self surrounded by squatter

camps and we were all living on the edge of life. I started to see these images on the

peoples houses and came to a point where I was sure this represents me.

RB Has changed quite a lot over the years, at the moment working in an abstract

expressionist manner, following my inner vision (voices of my ancestors).

NN Mostly, I do landscapes, Swazi landscapes. I am always inspired by the environment,

culture and lifestyles. Most of my paintings have got people because wherever I go

there are people.

4. Where have you exhibited?

CD At Yebo I took a landscape to Indingilizi in 2010, but Im not sure if anyone actuallysaw it. I took the same picture to Yebo later along with a few others and I like to say

that that was the first time I exhibited.

VS In 2011: IDC (Industrial Development Corporation); The Drill Hall: Open studio;

Documentary (Jhb. Trolley Workers) Tsetse African Art Gallery in Belgium;

Kospotong Restaurant, Newtown, Jhb.; Arts alive, Alternative space (program), Title:

Idubukele; Currently working on a show called (JHB Trolley workers) for JAG

(Johannesburg Art Gallery), 14 February 2012.

RB Various group shows in Swaziland in earlier years. Solo show Sydney Australia 2008.Solo show Guava Gallery Swaziland 2009. Group shows Yebo Gallery 2011.

NN So far I have only exhibited in Swaziland. I always attend exhibitions, especially when

I have work ready at the time of that particular exhibition. I have been to exhibitions

at House on Fire, Indingilizi Art Gallery (1st exhibition), Royal Swazi Sun Hotel,

Guava Gallery, Cafe Lingo (Xerox) and Yebo Art Gallery.

5. What role does Yebo Art Gallery play in your life, now?

CD As much as I think I have always wanted to pursue art as a career, I have never felt as

confident in that possibility as I have since Yebo opened. The regular shows, exposurethrough the net and the community of artists that are open to sharing ideas, advice and

even encouragement is, I think, exactly what has been missing in Swaziland.

VS Yebo is giving me a chance to show my work in Swaziland and I get to network with

artist from all over not just Swaziland.

RB A great opportunity to show my work and meet other artists. A source of


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encouragement and support for all of us artists.

NN Yebo has been a yebo, positive to every artist, I guess. Really, this is where I've felt

acknowledged as an artist. I am pleased to say I have grown a little bit, as an artist,

through Yebo There [at Yebo] I would attend meetings with different kinds of artists,

share some ideas and knowledge. That really broadened my mind as an artist. I sold[my artworks] on two exhibitions. Selling is important to me because the work has to

move on.

6. What difficulties do you face as an artist working or exhibiting in Swaziland, if any?

CD I think the greatest challenge has been resolved with the opening of Yebo The lack of

opportunities to exhibit ones work has been the major problem until now. Other

difficulties, like the rather high price of quality art materials and the fact that it is not

really possible to live on ones art alone in Swaziland things like that, I think are to

be taken as part of the choice one makes when deciding to venture into the arts.

VS Visual Arts are not respected in Swaziland and even in South Africa.

RB The usual: difficulty of earning enough to continue working in my given fields.

NN Here we go. Art is my passion. I like being creative. There is nothing I love doing more

than paint. As it is my job as well it should put food on my table and pay my bills. I

have not been to these heights with my art. I am one of those artists who do not have

money. I support my skill as it's something I've got to do everyday. It is indeed difficult

to be an artists in Swaziland, it's like we are invisible to the majority population. In

exhibitions it is always the same old faces from past exhibitions. It's like artists whoare recognized are musicians not the ones of my league. There's nothing special that's

being done for us. I think we should be able to have exhibitions, where everyone can

attend, even His Majesty the King [Mswati III of Swaziland] should be there to

support us, get to know how much talent there is in our country. But I am happy

because I was able to support my baby [through selling my art works] from 2006 till

this day.

7. What type of support do you receive from the Swazi government? If none, what support

can the government offer to artists?

CD None (that I am aware of). I have come to expect that the government is not likely to

put art high on its priority list, despite all the talk that is going around. I have also

noticed that the people that are doing all the talking dont seem to have a genuine

interest in the advancement of art in the country, or even an acceptable level of

knowledge on the subject. The slow progress (if any) in the copyright bill is evidence

enough that no one is really paying attention to the arts. But the bottom line is that

they are paid to occupy those offices. The least I expect is for them to listen to and


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assist the people that come to them with ideas, because none seem to be coming from

their side. I have never thought government should be an investor in the industry,

but rather a facilitator. Just as they provide factories and tax holidays to investors

who spend their monies outside the country anyway and leave their employees not

much better off, they should facilitate the easy operation of establishments that

actually empower the Swazi people.

VS Artists need spaces to work from; we need support from the government in funding

our programmers and even attending our exhibitions.

RB None. General lack of interest and understanding of the vast human resources

inherent in Swaziland's artists.

NN I have not yet received any support from our government. It's only the Prime Minister

[Dr. Sibusiso Barnabas Dlamini, of Swaziland] who purchased one of my artworks. It

was a gift for the president of Malawi. May I mention that I was honored? It felt good

for so many reasons. I think the government should assist artists by introducing art at

grassroots. Art should be introduced in schools, especially public ones where there are

disadvantaged people. That means there should also be institutions where one can

study art. I'm sure, if I learnt art at school, I would be at a higher level by now. I

attended a school where art was never a subject. I would also be recognized because

everyone would be aware that there is ART. Yeah, I think our government should

assist by introducing art to schools and have the same institutions.

8. What can be done to improve contemporary art in Swaziland?

CD I am really not sure. I think the idea of a formal post-high-school-course is not evenworth dreaming about at this point, but I think I learnt a lot from my high school days,

so maybe introducing art in public schools could work, if teachers can be found. It is a

pity that Yebo has to relocate to smaller premises as I have heard that will affect the

classes that they have been offering. I think such classes, offered anywhere, by

professionals, are the easiest and most practical way to improve the quality of work

that is being produced.

VS Inviting more artists from outside and collaborating with Swazi Artists and encourage

more of waste art or mixed medium.

RB Beginning with art education in schools (almost non-existent), greater support of

artists by government purchasing local work for display in Embassies, offices etc.,

creation of scholarships for young gifted artists to study.

NN The strategy that Yebo has is the way to go. It's just that it has to spread to other parts

of the country. It seems, like art exhibitions happen mostly between Mbabane and

Manzini. It is very right to have meetings, as artists, and exhibitions. That's when I feel


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like I am growing and motivated. We should learn to appreciate and complement one

another as artists. There should be more galleries in our country. At the moment we

have four, which I know of. Manzini [Swaziland] is a big city, busiest as well, but

there's no gallery or art material shop. When somebody is from Piggs Peak [Town in

Swaziland] or Nhlangano [Town in Swaziland] they have to travel to Mbabane

[Swaziland's capital city] or Ezulwini [Town in Swaziland], to buy art material. It is

very difficult in Swaziland. Now that the economy has collapsed, it is even worse.

9. What should Yebo focus on in the next year?

CD I think they should keep doing what they have been doing. The monthly shows, in

particular, are a good idea in my opinion. Dane [Armstrong] (Yebo Art Gallery co-

director) was telling me some time ago about a documentary he watched about an

American artist that interested him. I have seen a few such shows, myself, and I think

screenings of such (if possible) or even talks along those lines could help open locals

eyes and minds to what is going on in the wider art community.

VS Not sure there, for now.

RB Keep on trucking! Find broader markets, hammer all donor organizations and

government departments to be aware and support local artists.

NN I don't really know because they have done a lot and given a chance to every artist.

People don't have money. I, for one, would love to take art lessons, which Yebo

provides, but I don't have the money required. We need more exhibitions with themes

that are motivational. Yebo should also allow us to exhibit our paintings with them for

a longer time. A painting can be sold two years after being painted. We need a placewhere we can put up our paintings for as long as possible. If I take a painting home,

who is going to see it? It needs to be at the gallery.

Local Actors

Yebo Art Gallery believes that local actors (especially the Swazi government) should focus on

developing the art sector rather than organise national arts awards like the annual Tihlabani

Awards. As yet the output of the industry as a whole is too small to have highly mediatisedaward runs. It is clear that a properly functioning art market would benefit artists more than

any award show could. It is therefore advisable to relocate funding to training and generating

market opportunities.

As of May Swaziland counts a new educational institution, Limkokwing University, which

offers various arts-related courses to students. Yebo has visited the university and staff

connected with the art department have attended Yebo's exhibitions. Students are seen


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purchasing art materials from the Yebo shop. It will be exciting to see the effect the new

university will have on the local art scene when students graduate. Yebo hopes graduates will

get involved in collaborative projects.

Lastly, government schools do not teach art, which greatly undermines public interest in the

arts. A curriculum should thus be introduced. Yebo did have meetings with variousdepartments on this subject but has been given little feedback. It is unclear when the

government are planning to introduce art into public schools. Teachers will need training

before they start giving art lessons and hopefully Yebo will be asked to assist in this.

What is currently of great concern is the financial crisis in Swaziland. Students and teachers

are protesting as allowances, salaries and scholarships are cut. This will have a serious impact

on the growth of the art sector.

Organisations Questionnaire

What follows is a questionnaire completed by six actors in the Swazi art industry. The

answers of the respondents are reproduced integrally. The questionnaire was collected in

October of 2011.

Key:

AF Laurence Amigues, director of Alliance Franaise du Swaziland

SNCAC Stanley Dlamini, CEO at Swaziland National Council of Arts & Culture

UNESCO Phumzile Hlophe, Culture & Information Program Officer at SwazilandNational Commission for UNESCO

US Molly Sanchez Crowe, Public Affairs Officer at U.S. Embassy

Arterial Maswati Dludlu, chairman of Arterial Network Swaziland

Limkokwing Mr Abel Parks Toteng, lecturer at Limkokwing University

1.Briefly, what measures are being taken and implemented by your

organization towards improving the contemporary art scene in Swaziland?

AF We have invited interesting artist from other countries. Any time we do host an

artist, we try to give the opportunity to local artists to meet our guest.

SNCAC Capacitating artists with innovative skills to compete in the market.

Strengthening associations, to meet needs of their membership. Education and

development, in art, as well as advocating for legislations to protect the creative

industries.

UNESCO Culture, which can't be divorced with arts, is one of the disciplines of

UNESCO. Therefore UNESCO supports arts both technically and financially.


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In the case of the art scene in Swaziland, nothing has been done by the

national commission.

US In partnership with Yebo the U.S. Embassy through PEPFAR supported an

exhibition to tell the story of the fight against HIV/AIDS in Swaziland.

Through the Public Affairs Section, the U.S. Embassy worked closely with the

Swaziland National Council of Arts and Culture to host an Arts Management

trainer to support the business side of the arts.

We are open to other ideas and welcome suggestions from Yebo and others.

Arterial We are organizing the arts sector to speak with one strong voice in positioning

the creative sector properly in Swaziland.

Limkokwing We have a module that we teach students in our institution which is called

Creative and Innovation Studies. This subject prepares them to be able to comeup with highly creative and original ideas. We also encourage them to always

carry out research online so to be on par with what is happening in other parts

of the world more especially in the area of contemporary Art and Design.

2.In your opinion, what is the current situation of the arts sector in Swaziland?

AF I am may be not the better person to answer this question: I have just been here

for 3 years now. But in 3 years' time I already noticed some interesting

improvement, even though I think the local fine art scene is still very isolated.

SNCAC We are still at development stages. There are glimpses of a global demand forSwazi art but government is not prioritizing our potential exportable product.

There are less funding opportunities for development of this industry. There is

also a gap in diversity of products in the market. People [Artist/Artisans] tend

to do [produce] the same things [products].

UNESCO I think fine arts scene in Swaziland is still at its grassroots level. There are a lot

of artists but they are not properly organized. Most of them work

independently. Also, there is no clear budget for this category from the relevant

ministry thus it will take time for it to develop.

US Our impression is that the fine arts scene is yet to be fully developed. It seems

that it is struggling to find a market within the country. However, there are

talented artists here that could benefit from more support and improved

marketing.

Because the arts are not incorporated into Swazi schools, children are not

exposed to art at an early age and do not learn to express themselves creatively


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through the arts. This may be one limiting factor in terms of the Swazi fine arts

scene.

Arterial There is a lot of work being done at all levels but the efforts are not coordinated

properly at national level for networking purposes. There is too much

individualism.

Limkokwing I do not see anything much happening in the art scene, but Yebo gallery is

doing a good job. The growth of arts need the involvement of all stakeholders.

The government need to realise that artists can also play a part in building the

economy of the country.

3.Do you think artists in Swaziland are free to express themselves?

AF I saw some really controversial pieces at Yebo Gallery for example. People

could have been arrested for less than that in other countries. I think artists are

free, but of course, there must be a lot of self-censorship.

SNCAC Yes. Artists are very much free to express themselves. However, the policy is

there to safeguard people from trespassing into other people's rights. The policy

also levels the ground for creativity.

UNESCO They are free to express themselves because they have a ministry which they

fall under and they also have an association known as Swaziland Arterial

Network where they network as artists. They also produce a monthly

newsletter known as 'Liyenaba Arts News' where they communicate whatever

they feel like, to the members and the nation at large.

US The Swazi Constitution guarantees the right to freedom of expression, and it is

the responsibility of all Swazi citizens to hold the government accountable for

upholding the rights contained in the constitution. Each year, the U.S.

Department of State issues a Human Rights Report on Swaziland, as it does for

countries around the world. In the 2010 report, it was noted that there were no

government restrictions on cultural events.

We welcome input from the arts community if artists have experienced

government restriction on cultural events.

The text of the 2010 report can be found on our Embassy website:

http://swaziland.usembassy.gov/

Arterial Yes, they are free because I have never heard that an artist has been accused

for expressing himself/herself creatively. Though I know there is a lot of self-

censorship, but that is a cultural problem that as a Swazi you dont just speak

anyhow.


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4.In the year ahead, what is the role of the artist in our society?

AF Major! Essential!

SNCAC We want to mainstream arts and culture in [public] school's curriculum. We

want to enact legislations to protect artists' works of art (Intellectual PropertyRights Law). We want to create our own audiences for our products and create

a global demand for our products.

UNESCO If the artists' association can be reinforced, they can contribute immensely to

sustainable development through education by providing the practical

experience. Artists can also boost the economy through tourism where tourists

can flock to the country to see the exhibits as well as buy the products.

US This is question that is better posed to the artists of Swaziland. What I can say

is that in the United States, artists often use their art to comment on social

issues, current events, etc. Art can be a powerful tool.

Arterial To educate, inform, entertain, and shape the future destiny of the country,

whilst earning a living.

Limkokwing The world is facing financial rise so I think Swazi artist must be pro-active and

organise themselves. This will enable them to come up with artworks which

address current issues. The role played by artists would be to document,

educate as well as contribute in developing the economy.

5. What role should our government play in the arts sector?

AF A role of support, giving the artist places for exhibition, but also places to train

themselves and to produce. And a government has to organize the adequate

legislation to support and protect artists.

SNCAC Create an enabling environment for arts development, thus enacting

Intellectual Property Rights Laws. Create an Arts and Culture Fund, just like

the Youth Fund. Support and establish Arts academies. Increase budget for

SNCAC. Empower people not exploitation, especially rural women and

children, in art.

UNESCO Provide a budget.

US This is a question that is best determined by the people and the government of

Swaziland.

Arterial To create an enabling environment for artists to develop to their fullest

potential and make sure they contribute to the economy.


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Limkokwing Firstly the government need trained artist to act as advisors. Artists need to

form organisations which can then advice the government. Artists need to stand

up for their own rights. A country as small as Swaziland needs to explore the

outside market, which can consume most of the artworks produced here. The

government can play a vital role in marketing locally produced artworks, which

can then generate income for both the country and artists themselves.

6.Have you been to Yebo Art Gallery? If not, why? If yes, what exhibition(s) did

you see? What did you think of them?

AF Of course!

SNCAC Yes. Several times. Exhibitions by different artists. The exhibitions are good

save for systematic segmentation of audiences as well as the previous location.

In a country where there is no gallery, Yebo provides the platform. It is slowly

but surely getting popular.UNESCO No.

US I visited several shows, including the Creative Freedom of Expression, Indzaba

Yetfu and Swaziland Now! shows. I thought they were each thought-

provoking and definitely worth visiting to get a different perspective on

Swaziland.

Arterial Yes, I have been to the show on HIV and AIDS and I am happy with the work

done by Yebo.

Limkokwing Yes, I have been to Yebo several times. The quality of artworks were of a very

high standard, just that artists need to think outside the box [more] most of the

time.

7.Do you think Yebo Art Gallery is doing something new and relevant?

AF Definitely yes. The fact to bring artists to work together, for example.

SNCAC Yes. It's the only gallery (national) which provides yearly seasonal exhibitions.

It is promoting the development, economy and appreciation of art in the

country. It is providing a "new" profession in art, in the land/country. Itprovides a tourists' consumption alternative.

UNESCO By going through its website, I think its doing interesting things.

US I do. Yebo is offering a space for a range of artists to show their work and to

express themselves through their art. Freedom of expression is a critical part of

any democracy so finding spaces for free expression is essential.


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Arterial Yebo is doing something new and relevant because her programme is diverse.

They train and provide space for artists to showcase their works.

Limkokwing Yes I think Yebo is doing the right thing, but the government need to also assist

both artists and this kind of galleries so that they can be able to market

Swaziland art and crafts to other parts of the world. It is very important thatthe gallery should always liaise with universities such as Limkokwing which

will be producing the future generation of artists and designers.

8. What should Yebo Art Gallery focus on in the next year?

AF Not too sure.

SNCAC I like its training approach, since it empowers people and fills the academies

gap. I will appreciate more cultural art displays, like the Cultural Calendar

exhibitions [exhibited at Yebo Art Gallery, Titled: Aster Afruka, by artist Sue].

UNESCO It should market itself vigorously through other media channels so that people

get to know it. Not all people have access to the internet.

US I would like to see Yebo support artistic development of young people. I know

from speaking with Aleta [Armstrong] that this is something that Yebo is

interested in. I look forward to seeing how Yebo continues to develop.

Arterial A marketing drive at international level and also collaborate with arts

associations to make the place more lively and attractive to appeal to all people.

Limkokwing In addition to exhibitions, Yebo should try to bring artists, designers, arteducators, etc. together for discussions and workshops as this can help them

map a way forward on how the sector an be improved.

Challenges

Yebo Art Gallery has faced and is facing numerous challenges. Some of them relate to the

general difficulties of doing business in Swaziland. These issues are continuously raised and

reported by business organisations. The critical socio-economic crisis in Swaziland adds to the

difficulties Yebo and artists face. Some of these are noted in the artists' interviews.

Yebo will persist, despite the numerous challenges, in helping and developing the art sector in

Swaziland, working together with any organisation that shares its vision.


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Achievements

Yebo has set up and kept afloat Swaziland's first contemporary art gallery. The benefits this

has brought to the community are impossible to quantify. If, however, the art sector serves as

an indicator of a country's level of development, Yebo has single-handedly lifted Swaziland to

a higher plane.

Over the past ten months Yebo has organised seven different and unique exhibitions

successfully and without precedent. The exhibitions were well-attended and commercially

viable. As such Yebo has proved that the art sector provides workable opportunities and that

the art profession does not necessarily commit one to destitution.

Yebo has laid a foundation for art education and provided facilities for beginning (as well as

experienced) artists to exploit. It has, moreover, provided many of these facilities free of

charge. The shop and reference library are now the starting point of many an artist's journey

while the Armstrong's expertise in drawing, painting, screen-printing, pottery and ceramicssupplies the technical reference point Swazi artists so badly need.

With the residency program Yebo has charted new territory in art education. Yebo's focus on

long rather than short-term skills development is sure to benefit not only the artists but the

community as a whole.

Yebo has also actively documented artists' work. Prior to this, work was sold and no records

existed of what had been created. The website features all exhibitions and works online and

one can easily browse past events. It also features the artists' biographies, which is a great tool

for marketing skills and increasing artists' exposure.

Yebo intends to write or commission a report about its activities and the Swazi art sector in

general every year. To date no attempt at documenting the progress of Swazi art has been

made.

Yebo has also brought together the art community in Swaziland. Professional and up-and-

coming artists from a variety of backgrounds, cultures and ages have worked together. Artists

from neighbouring countries have also visited or exhibited, thus widening the network. The

Yebo project is still in an early stage but a foundation has been laid for its further

development.


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Current Situation and Way Forward

Yebo Art Gallery relocated to Guava Gallery in Mantenga area, Ezulwini at the beginning of

November 2011. This was due to the high noise levels from its neighbour which disturbed

customers, artists and expansion plans. Also a construction site at the top of the road and lack

of signage made it difficult for visitors to locate Yebo.

Yebo is now split in three parts. The shop and art gallery is located in one large 90m2 room at

Guava Gallery. Guava Gallery is a well established jewellery shop which carries a locally

designed and fabricated jewellery range. The gallery boasts a beautifully situated

restaurant/caf with a view over Mlilwane nature reserve. Yebo continues to host art shows

and sell art supplies through its shop. The shop also sells small gifts designed and made by

local artisans, along with the Yebo range of cloth, ceramics etc. Aleta Armstrong will manage

this area.

The screen-printing/sculpture/pottery/etching/press department has relocated to a nearbyfactory space and is currently being set up. Peter Armstrong will manage this area.

The artists workspace has been discontinued for the time being, though funding will be

sought to develop this again in the near future. Artists Yebo previously supported through the

SRP continue to exhibit but now work from home. The art library is located at the gallery

veranda.

Yebo Art Gallery continues with themed shows until the end of January. By the end of the

year a six-month exhibition calendar will be finalised. The gallery will extend its outdoor

space and build an artists' veranda where artists are welcome to partake of a hot beverage,

meet fellow artists, read and discuss their work.

The workshop area will resume classes and training from December and will continue

designing and producing cloth and ceramics for the Yebo shop.

Yebo is currently working on a project outline and proposal to begin an Art & Creativity

Outreach Program for youth groups in Swaziland for the coming year. By providing a

platform for expression and learning through creativity and the arts, the project aims to

address the growing issues faced by youth in Swaziland, and to initiate a sustained, pragmatic

and simple way of introducing various concepts and methods of creativity and artistic

mediums. Fifty percent of the Swazi population is under the age of 24. High unemployment,alarming AIDS statistics, a financial crisis and social unrest are but a few of the disquieting

problems Swaziland faces. The youth need to be heard and one of the best mediums for this is

through the arts. For the majority it will be a creative outlet, for the few who show potential to

become artists Yebo will assist them in this endeavour.

Yebo also feels it is important to take the exhibitions themselves from the cities to neglected

urban and rural areas. Most people do not have money for transport to visit an art gallery. So


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art galleries should go to them instead so that they are inspired and educated about the arts.

This should not only be a resource available in select urban environments.

Project proposals are currently being written and there has been a positive response so far

from many organisations to these initiatives.

In the new year Yebo will organise quarterly get-togethers for local artists. Other artists from

neighbouring countries will be invited to do talks and share ideas. Art-related movie nights

will also be organised.

..

Yebo welcomes any feedback to this report.

yebo! report

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