NEPAD Regional Conference on Arts Education in Africa: SADC
FOREWORD: CHIEF EXECUTIVE OFFICER OF THE NEPAD AGENCY
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NEPAD Regional Conference on Arts Education in Africa: SADC
FOREWORD: DEPUTY MINISTER OF ARTS & CULTURE, RSA
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NEPAD Regional Conference on Arts Education in Africa: SADC
A NEPAD REGIONAL CONFERENCE
Southern African Development Community (SADC)
ARTS EDUCATION
Theme: “Towards Policies and Practices”
A CONCEPT NOTE
PURPOSE
The purpose of this document is to highlight the importance of arts education, with particular attention to the
African continent.
BACKGROUND
There is widespread recognition of Africa’s potential as an increasing force in global economic, political and
cultural affairs. Similarly, there is widespread recognition that key to unlocking this potential, is education,
capacity building, and developing Africa’s human resources.
The convergence of the Millennium Development Goals (MDG) deadline, the Second African Decade for
Education, the international focus on the cultural dimension of development and the impetus of the 2010 World
Conference on Arts Education provide a unique opportunity for Africans to devise and implement appropriate
policies, strategies and concrete actions to respond to the needs and opportunities of the 21st Century.
In 2006 UNESCO hosted the first World Conference on Arts Education in Lisbon which produced the UNESCO
Road Map for Arts Education, a document that provided strategic guidance for promoting qualitative
development and growth of arts education. The Road Map emphasises the following primary aims of arts
education:
1.
2.
3.
4.
Develop human capabilities
Improve the quality of education
Promote the expression of cultural diversity
The development of materials to support teachers in their teaching
From the above international cultural policy instruments to which many African countries subscribe, as well as
the African policies and plans created by Africans themselves under the auspices of the African Union, the need
for arts education is clear.
AIM
Arts education is perceived as a universal human right for all learners including those often excluded from main
stream education. Articles 22, 26 and 27 of the Universal Declaration of Human Rights encapsulate this right.
Furthermore, research has indicated beyond a shadow of doubt that education in and through the arts
stimulates cognitive development, increases respect and appreciation for cultural diversity, cultivates in each
individual a sense of creativity, initiative, fertile imagination, a capacity for critical reflection and the potential to
play a role in a wider social cohesion project.
OBJECTIVES
a)
Convergence of the need for arts education
Whether the approach is for education to enhance the human rights of children and adults, for education
to promote cultural identity, awareness and diversity, for education to develop critical, innovative and
creative skills applicable in a range of areas, or for education to contribute to the creative industries as
means for economic development, the need for arts education to be integrated into, and given greater
prominence within African education systems designed to prepare citizens for effective participation in the
21st Century, is clear.
b)
Convergence of time frameworks
2015 marks the deadline for the achievement of the Millennium Development Goals that have particular
resonance for Africans. 2015 is also the end of the Second African Decade for Education. Furthermore,
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NEPAD Regional Conference on Arts Education in Africa: SADC
with the first having been held in 2006 and the second in 2010, it is likely that the Third World Conference
on Arts Education will be held in the near future.
Given the goals of the Second African Decade for Education, there is a unique opportunity for Africa to
devise and implement policy recommendations for arts education as an integral component of education
systems that respond to the needs of Africa in the 21st Century.
c)
Towards African arts education policies
While the aim of the conference is to support the development of African arts education policies, it is
recognised that Africa is not homogenous, but rather that there are differences in economic wealth,
infrastructure, human capacity, political will and culture between different regions, countries within regions
and even within countries themselves.
OUTCOMES
1. To ensure that African countries, regions and the continent as a whole have comprehensive arts education
policies and plans in place by the time of the Third World Conference on Arts Education, if not before.
2. Arts Education policies and plans to be developed that speak to, and are appropriate to the varying
conditions of the continent, while nevertheless seeking to address the imperatives of human rights,
innovative skills, cultural identity and diversity as well as the creative economy and development.
3. The development of generic and adaptable frameworks for arts education in Africa.
4. The development of materials to support teachers in their teaching.
The above document references and draws on the following documents and processes:

Universal Declaration of Human Rights

Millennium Development Goals

Second African Decade for Education

Charter for African Cultural Renaissance

AU Charter for African Cultural Renaissance, 2006

SADC Protocol on Culture, Information and Sport, 2001, endorsed in 2006

(AU) African Youth Charter

UNESCO Convention on the protection and promotion of the diversity of cultural expression

UNESCO Conference on arts education in Africa in 2001

First World Conference on Arts Education, Lisbon, Portugal in March 2006

Second World Conference on Arts Education, Seoul, 28 May 2010

DAC White Paper on Arts, Culture and Heritage (1996)

CAPS National Curriculum Statement 2010 – 2014

National Youth Policy 2009 – 2014

The National Skills Development Framework: CATHSSETA and the National Skills Fund Skills Development
Act 37 of 2008 by Department of Labour

Audit report of Community Arts Centres

Arts Education in Africa: Toward Policies and Practices, project framing document (2011-2013)
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NEPAD Regional Conference on Arts Education in Africa: SADC
CONFÉRENCE RÉGIONALE DU NEPAD
Communauté de développement de l’Afrique australe (SADC)
ÉDUCATION ARTISTIQUE
Thème: «Vers des politiques et des pratiques»
NOTE CONCEPTUELLE
BUT
Le présent document vise à mettre l'accent sur l'importance de l'éducation artistique, avec une attention
particulière au continent africain.
CONTEXTE
Il y a une reconnaissance générale du potentiel de l'Afrique comme une force croissante dans les activités
économiques, politiques et culturelles à l'échelle mondiale. De la même façon, on reconnaît de façon générale
que les moyens pour libérer ce potentiel sont l'éducation, le renforcement des capacités et le développement
des ressources humaines en Afrique.
La convergence de l'échéance des objectifs du Millénaire pour le développement (OMD), de la deuxième
Décennie de l'éducation pour l'Afrique, l'importance attachée au niveau international à la dimension culturelle
du développement et l'impulsion de la Conférence mondiale de 2010 sur l'éducation artistique offrent une
occasion unique aux Africains pour concevoir et mettre en œuvre des politiques et stratégies appropriées ainsi
que des actions concrètes pour répondre aux besoins et aux opportunités du XXIème siècle.
En 2006, l'UNESCO a organisé à Lisbonne, la première Conférence mondiale sur l'éducation artistique. Cette
Conférence a élaboré la Feuille de route de l'UNESCO sur l'éducation artistique, un document qui fournissait
l'orientation stratégique pour la promotion du développement qualitatif de l'éducation artistique. Cette Feuille de
route met l'accent sur les principaux objectifs suivants de l'éducation artistique:
a.
b.
c.
d.
Développer les capacités humaines;
Améliorer la qualité de l'enseignement;
Promouvoir la diversité culturelle;
Mettre au point des outils didactiques et pédagogiques pour soutenir les professeurs dans leurs
enseignements;
Au regard des instruments internationaux de politique culturelle ci-dessus auxquels de nombreux pays africains
ont souscrit, ainsi que des politiques et plans africains créés par les Africains eux-mêmes sous les auspices de
de l'Union africaine, la nécessité de l'éducation artistique est évidente.
BUT
L'éducation artistique est perçue comme un droit universel pour tous les apprenants, y compris ceux qui sont
souvent exclus de l'enseignement général. Les article 22, 26 et 27 de la Déclaration universelle des droits de
l’homme affirment ce droit. En outre, des recherches ont indiqué sans l'ombre d'un doute que l'éducation dans
et par les arts stimule le développement cognitif, augmente le respect et la reconnaissance de la diversité
culturelle, cultive en chaque individu le sens de la créativité, l'initiative, l'imagination fertile, la capacité de la
réflexion critique et le potentiel de jouer un rôle dans un projet de cohésion sociale plus vaste.
OBJECTIFS
a.
Convergence de la nécessité de l'éducation artistique
Que l'objectif de l'éducation soit de renforcer les droits des enfants et des adultes, de promouvoir l'identité
culturelle, la sensibilisation et la diversité, de développer les compétences critiques, novatrices et
créatrices applicables dans un éventail de domaines, ou qu'il soit de participer aux industries créatives en
tant que moyen de développement économique, il est nécessaire d'intégrer l'éducation artistique et lui
accorder davantage d'importance dans les systèmes éducatifs africains afin de préparer les citoyens à
une participation effective au XXIème siècle.
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NEPAD Regional Conference on Arts Education in Africa: SADC
b.
Convergence des échéances
2015 marque l'échéance pour la réalisation des objectifs du Millénaire pour le développement qui ont une
importance particulière pour les Africains. Cette année marque également la fin de la deuxième Décennie
de l'éducation pour l'Afrique. En outre, la première conférence ayant eu lieu en 2006 et la seconde en
2010, il est probable que la troisième Conférence mondiale sur l'éducation artistique se tienne dans un
avenir proche.
Compte tenu des objectifs de la deuxième Décennie de l'éducation pour l'Afrique, l'occasion est tout à fait
unique pour l'Afrique de concevoir et à mettre en œuvre des recommandations stratégiques pour
l'éducation artistique comme faisant partie intégrante des systèmes éducatifs qui répondent aux besoins
de l'Afrique au XXIème siècle.
c.
Vers des politiques africaines d'éducation artistique
Bien que l'objectif de la Conférence soit de soutenir l'élaboration de politiques africaines d'éducation
artistique, il est reconnu que l'Afrique n'est pas homogène, mais qu'il y a plutôt des différences au niveau
de la santé économique, des infrastructures, des ressources humaines, de la volonté politique et de la
culture entre les différentes régions, les pays au sein des régions et même dans les pays eux-mêmes.
RÉSULTATS
1.
S'assurer que les pays africains, les régions africaines et le continent africain dans son ensemble,
disposent de politiques et de plans globaux d'éducation artistique au moment de l'organisation de la
troisième Conférence sur l'éducation artistique, voire même avant.
2.
Les politiques et plans de l'éducation artistique devant être élaborés doivent traiter des différentes
situations du continent et y être adaptées , tout en cherchant néanmoins à faire face aux impératifs des
droits humains, des compétences novatrices, de l'identité et de la diversité culturelle ainsi que de
l'économie et du développement créatifs.
3.
L'élaboration de cadres généraux et adaptables pour l'éducation artistique en Afrique.
4.
La mise au point d'outils didactiques et pédagogiques pour soutenir les professeurs dans leurs
enseignements.
Le document ci-dessous fait référence et s'appuie sur les documents et les processus suivants:

La Déclaration universelle des droits de l'homme

Les objectifs du Millénaire pour le développement

La deuxième Décennie de l'éducation pour l'Afrique

La Charte de la renaissance culturelle africaine

La Charte de la renaissance culturelle africaine de l'UA, de 2006

Le Protocole de la SADC sur la culture, l'information et les sports, de 2001, entériné en 2006

La Charte africaine de la Jeunesse (UA)

La Convention de l'Unesco sur la protection et la promotion de la diversité des expressions culturelles

La Conférence de l'UNESCO sur l'éducation artistique en Afrique, (2001)

La première Conférence mondiale sur l'éducation artistique, à Lisbonne (Portugal), en mars 2006

La deuxième Conférence mondiale sur l'éducation artistique, à Séoul, le 28 mai 2010

Le livre blanc du ministère des Arts, de la Culture et du Patrimoine (1996)

La Déclaration du Programme national du CAPS (2010-2014)

La Politique nationale en faveur de la jeunesse (2009-2014)

Le Cadre national pour le développement des compétences: Le CATHSSETA et la Loi N0 37 de 2008, du
ministère du Travail, portant Fonds national pour le développement des compétences

Le rapport de vérification des centres des arts communautaires

L'éducation artistique en Afrique- Vers des politiques et des pratiques, le document-cadre du projet
(2011-2013)
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NEPAD Regional Conference on Arts Education in Africa: SADC
CONFERÊNCIA DA NEPAD
Comunidade para o Desenvolvimento da África Austral (SADC)
EDUCAÇÃO ARTÍSTICA
Tema: “Rumo a Políticas e Práticas”
NOTA DE CONCEITO
OBJECTIVO
O presente documento visa salientar a importância da educação artística, com especial atenção dedicada ao
continente africano.
CONTEXTO
O potencial de África é amplamente reconhecido como uma força cada vez mais crescente no panorama
económico, político e cultural mundial. Também se reconhece que o seu aproveitamento depende da educação,
reforço de capacidades e desenvolvimento dos recursos humanos do continente.
A convergência do prazo dos ODM (Objectivos de Desenvolvimento do Milénio), da Segunda Década Africana
sobre a Educação, foco internacional sobre a dimensão cultural do desenvolvimento e o ímpeto da Conferência
Mundial sobre o Ensino das Artes proporcionam aos africanos uma oportunidade ímpar para conceber e
implementar políticas, estratégias apropriadas e acções concretas que respondam às necessidades e
oportunidades do século XXI.
Em 2006 a UNESCO acolheu a primeira Conferência Mundial sobre Educação Artística em Lisboa, que produziu
o Roteiro da UNESCO para a Educação Artística, um documento que forneceu a orientação estratégica para a
promoção do desenvolvimento e crescimento qualitativos da educação artística. O Roteiro potencia os seguintes
objectivos primários sobre a educação artística.
1.
2.
3.
4.
Desenvolver as capacidades humanas
Melhorar a qualidade da educação
Promover a expressão de diversidade cultural
Criação de materiais de apoio didáctico para professores
A necessidade de educação artística torna-se evidente à luz dos instrumentos de política internacional acima
mencionados, assim como das políticas e planos africanos criados pelos próprios africanos sob os auspícios da
União Africana.
FINALIDADE
A educação artística é reconhecida como um direito universal humano extensivo a todos os formandos incluindo
os que são frequentemente excluídos do ensino regular. Os Artigos 22, 26 e 27 da Declaração Universal dos
Direitos Humanos englobam esse mesmo direito. Além disso, a investigação revelou sem qualquer sombra de
dúvida que o ensino pelas artes estimula o desenvolvimento cognitivo, aumenta o respeito e apreciação pela
diversidade cultural, cultiva em cada pessoa um sentido de criatividade, iniciativa, imaginação fértil, capacidade
de reflexão crítica, assim como o potencial para um desempenho num projecto social de maior coesão.
OBJECTIVOS
a.
Convergência sobre a necessidade de educação artística
A necessidade de integrar a educação artística e de lhe atribuir um maior destaque nos sistemas de
ensino africanos concebidos para preparar os cidadãos para uma participação eficaz no século XXI tornase evidente quer numa perspectiva do ensino que potencie os direitos humanos das crianças e dos
adultos, para que a educação promova a identidade cultural, sensibilização e diversidade para fomentar
competências críticas, inovadoras e criativas em diversas áreas, quer para um ensino que contribua para
as indústrias criativas como veículo para o desenvolvimento económico.
b.
Convergência de quadros temporais
O prazo de 2015 marca o termo para a realização dos Objectivos de Desenvolvimento do Milénio com
particular ressonância para os africanos. O ano de 2015 assinala também o final da Segunda Década
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NEPAD Regional Conference on Arts Education in Africa: SADC
Africana sobre a Educação. Além disso, tendo a Primeira Década se realizada em 2006 e a Segunda em
2010, é provável que a Terceira Conferência Mundial sobre a Educação Artística se realize num futuro
próximo.
Atendendo aos objectivos da Segunda Década Africana, há uma oportunidade singular para a África
elaborar e implementar recomendações sobre políticas para a educação artística, como uma componente
integral dos sistemas de ensino que correspondam às necessidades de África no século XXI.
c.
Rumo a políticas africanas sobre a educação artísticas
Apesar do objective desta conferência visar o apoio ao desenvolvimento de políticas sobre a educação
artística Africana, reconhece-se que a África não é homogénea, existindo antes diferenças na riqueza
económica, capacidade humana e vontade política e na cultura entre as diferentes regiões, diferentes
países entre regiões e até nos próprios países.
RESULTADOS
a. Assegurar que os países, regiões e o continente africanos no seu todo possuam políticas e planos
abrangentes sobre a educação artística na altura, se não mesmo antes, da realização da Terceira
Conferência Mundial sobre a Educação Artística.
b. Políticas e planos sobre a Educação Artística a serem criados e que abordem, e sejam apropriados às
variáveis condições no continente, procurando ao mesmo tempo abordar os imperativos dos direitos
humanos, competências inovadoras, identidade e diversidade cultural, assim como a economia e
desenvolvimento criativos.
c. Criação de quadros genéricos e adaptáveis para a educação artística em África.
d. Criação de materiais didácticos de apoio aos professores.
O documento em apreço referencia e estabelece os seguintes documentos e processos:

Declaração Universal dos Direitos Humanos

Objectivos de Desenvolvimento do Milénio

Segunda Década Africana sobre a Educação

Carta para a Renascença Cultural Africana

Carta da União Africana para a Renascença Cultural de África, 2006

Protocolo da SADC sobre a Cultura, Informação e Desporto, 2001 subscrito em 2006

(AU) Carta da Juventude Africana (UA)

Convenção da UNESCO sobre a protecção e promoção da diversidade da expressão cultural

Conferência da UNESCO sobre a educação artística em África, em 2001

Primeira Conferência Mundial sobre a Educação Artística, Lisboa, Portugal, em Março de 2006

Segunda Conferência Mundial sobre a Educação Artística, Seul, 28 de Maio de 2010

Livro Branco MAC sobre a Arte, Cultura e Património (1996)

Declaração CAPS sobre o Currículo Nacional 2010-14

Política Nacional sobre a Juventude 2009-2014

Quadro Nacional de Desenvolvimento de Competências: CATHSSETA e a Lei Sobre o Fundo Nacional de
Desenvolvimento de Competências, no. 37 de 2008 do Ministério do Trabalho

Relatório de Auditoria dos Centros Comunitários de Artes

A Educação Artística em África: Rumo a Políticas e Práticas, documento de enquadramento (2011-2013)
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NEPAD Regional Conference on Arts Education in Africa: SADC
PROGRAMME
08:00 – 09:00 DAILY – Registration and Music Performances
DAY ONE: WEDNESDAY 11 MARCH 2015
PROGRAMME DIRECTOR: MONICA NEWTON – DEPARTMENT OF ARTS AND CULTURE, DEPUTY DIRECTOR-GENERAL
SESSION
1
TOPIC
WELCOME AND
INTRODUCTIONS
TYPE
Plenary
TIME
09:00 –
09:20
OPENING SESSION
Plenary
09:20 –
10:20
10:20 –
11:00
TEA
2.1
The State of Arts Education
and Advocacy positions
already in place locally,
regionally, continentally
and internationally,
including policies and legal
environments
Plenary
12:0013:15
LUNCH
2.2
The State of Arts Education
and Advocacy positions
already in place locally,
regionally, continentally
and internationally,
including policies and legal
environments
Plenary
What has been covered,
what still needs to be
addressed and Where do we
want to get to by end of Day
3?
13:15 –
14:15
14:1514:45
14:4516:00
TEA
3
11:00 –
11:30
11:3012:00
Breakaways
&
Plenary
16:00 –
16:15
16:1517:30
CONTENT
Welcome and Introductions: Prof Mzobz Mboya, NEPAD
Advisor: Education: Training: Youth
Programme Director : Setting the agenda for the next
three days
 Opening: Dr Ibrahim Assane Mayaki, NEPAD CEO
 Keynote Address: Deputy Minister Rejoice
Mabudafhasi, Department of Arts and Culture,
South Africa
 Remarks: Honourable Minister David
Ngcamphalala, Sports, Culture and Youth
Affairs, Swaziland
 Remarks: Ms Angela Martins, Head of Culture
Division, Department of Social Affairs, African
Union Commission
 Remarks: Ms Prudence Ngwenya, Senior Policy
Officer, Department of Human Resources Science
and Technology, African Union Commission
Regional Presentation: Patrick Mudekereza (Director
of Picha Art Centre)(DRC)
Setting the agenda at conceptual level including
issues and challenges
Keynote Address: Prof. Rubén GaztambideFernández (Arts in Education at the Ontario Institute
for Studies in Education of the University of Toronto)
(Puerto Rico)
SADC Presentations
Developing an understanding of positions that
inform a SADC regional advocacy position
Prof. Stephen Chifunyise (Zimbabwe)
Establishing the state of policy in the region
SADC Presentations
Developing an understanding of positions that
inform a SADC regional advocacy position
Discussions and Presentations: Regional
Three different break-away groups followed
by consolidation of discussions
INVITATION
You are cordially invited to the NEPAD Regional Conference on Arts Education in Africa
Cocktail Function
Wednesday 11 March - 17:30 for 18:00
Turbine Hall, Newtown (Conference Venue)
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DAY TWO: THURSDAY 12 MARCH 2015
PROGRAMME DIRECTOR: YVETTE HARDIE – ASSITEJ SOUTH AFRICA, CEO / ASSITEJ INTERNATIONAL, PRESIDENT
#
4
5.1
TOPIC
RECAPPING AND MAPPING
TYPE
Plenary
INDIGENOUS ARTS PRACTICE
Supporting and maintaining
indigenous arts practice
(both traditional and
contemporary)
Plenary
TEA
5.2
6
INDIGENOUS ARTS PRACTICE
Supporting and maintaining
indigenous arts practice
(both traditional and
contemporary)
CASE STUDIES
Formal, non-formal,
informal practices; Holistic
and inclusive education,
Teacher development,
Artists in Schools, CSI,
Infrastructure, NGOs
Plenary
Plenary
LUNCH
7
8
CASE STUDIES: REGIONAL
TEA
Break
aways
CONSOLIDATION
Plenary
TIME
09:0009:15
09:1509:45
CONTENT/PURPOSE
Programme Director:
Recapping of Day 1, Mapping Day 2
Keynote Address: Ms Emma WolukauWanambwa (Uganda):
Histories of arts education: Decolonising the visual
09:4510:15
Keynote Address: Prof. Lupwishi
Mbuyamba (Mozambique):
Indigenous Arts Practices
10:1510:45
10:4511:45
Session Chairperson: Prof. Ndwamato Mugovhani
(Tshwane University of Technology, South Africa)
Establishing the present status of indigenous arts
practice
11:4512:15
Lalu Mokuku (Shakexperience, South Africa)
Elton Sibanda (Nhimbe Organisation,
Zimbabwe) The Voice of Youth in the Arts
12:1512:45
Ms Nise Malange (BAT Centre, South Africa)
The Voice of Women in the Arts
12:4513:45
13:45 –
15:15
15:15 –
15:45
15:45 –
17:00
Presentations and Discussions: Regional
Programme Director
Consolidation of session discussions
DAY THREE: FRIDAY 13 MARCH
PROGRAMME DIRECTORS: ROSEMARY MANGOPE – NATIONAL ARTS COUNCIL OF SOUTH AFRICA, CEO / YVETTE HARDIE
#
TOPIC
TYPE
TIME
CONTENT/PURPOSE
9
RECAPPING AND MAPPING
Plenary
09:00Recapping Days 1 and 2: Yvette Hardie Mapping
09:15
Day 3: Rosemary Mangope
10
PRESENTATION
Plenary
09:1509:45
Prof Mzobz Mboya – NEPAD: Advisor: Education:
Training: Youth - Presentation: Outcomes of AU
Ministers of Culture meeting: Ethiopia, October 2014
11
RESOURCING
ARTS EDUCATION
TEA
Plenary
Panelists from the public and private sector
12
ESTABLISHING
ADVOCACY GENERIC
FRAMEWORKS
Task Teams
Breakaway
session
s
09:4510:45
10:4511:15
11:15 12:45
LUNCH
13
PLANNING
Future Conferences on
Arts Education
CLOSING SESSION
Plenary
Plenary
12:4513:45
13:4515:00
15:00 –
15:30
~ 10 ~
Facilitators: Yvette Hardie and Joseph Gaylard
Feedback from SADC delegates and recording of key
points working towards a generic framework
document
NEPAD: Prof Mzobz Mboya
Discussions / Task Team to address this process
post- conference
Closing Address: DAC International Relations
PROGRAMME
PREMIER JOUR: MERCREDI 11 MARS 2015
DIRECTEUR DU PROGRAMME: MONICA NEWTON – DIRECTRICE GÉNÉRALE ADJOINTE, DÉPARTMENT DES
ARTS ET DE LA CULTURE
#
SUJET
TYPE
INSCRIPTION
ACCUEIL ET PRÉSENTATIONS:
Plénière
SÉANCE D'OUVERTURE
Plénière
HEURES
08:00 –
09:00
09:00 –
09:20
CONTENU
Inscription et prestations musicales
09:20 –
10:20

Accueil et présentations: Prof Mzobz Mboya, Conseiller
au NEPAD: Éducation: Formation: Jeunesse
Directeur du programme:
Élaboration du programme des trois prochains jours



10:20 –
11:00
Pause-thé
1
SÉANCE 1: PREMIÈRE PARTIE :
L'état de l'éducation artistique et
les positions de plaidoyer déjà en
place au niveau local, régional,
continental et international, y
compris les politiques et
l'environnement juridique
Plénière
12:00 13:15
PAUSE-DÉJEUNER
1
SÉANCE 1: DEUXIÈME PARTIE :
L'état de l'éducation artistique et
les positions de plaidoyer déjà en
place au niveau local, régional,
continental et international, y
compris les politiques et
l'environnement juridique
Plénière
SÉANCE 2 - RÉSUMÉ: Qu'est-ce
qui a été couvert? Que reste-t-il à
aborder et quels sont nos
objectifs d'ici la fin du troisième
jour?
13:15 –
14:15
14:1514:45
14:45 16:00
PAUSE-THÉ
2
11:00 –
11:30
11:30 –
12:00
Sessions
en petits
groupes
et
16:00 –
16:15
16:15 17:30
Allocution d'ouverture : Dr Ibrahim Assane Mayaki,
Secrétaire Exécutif du NEPAD
Discours liminaire: Honorable Rejoice Mabudafhasi,
Vice-ministre des Arts et de la Culture de l'Afrique
du Sud
Allocution : Honorable David Ngcamphalala,
ministre des Sports, de la Culture et de la jeunesse
du Swaziland
Allocution : Mme Angela Martins, Responsable de la
Culture, Département des affaires sociales de la
Commission de l'UA
Présentation régionale: Patrick Mudekereza (RDC)
Élaboration du programme au niveau conceptuel y
compris les problèmes et défis
Discours liminaire:
Prof. Rubén Gaztambide-Fernández (enseignant
d'éducation artistique à l'Institut d'études pédagogiques
de l'Ontario de l'Université de Toronto) Porto-Rico)
Présentations de la SADC:
Développer une compréhension des principes qui
contribuent à l'élaboration du plaidoyer régional de la
SADC
Prof. Stephen Chifunyise (Zimbabwe)
Détermination de l'état de la politique dans la région
Présentations de la SADC:
Développer une compréhension des principes qui
contribuent à l'élaboration du plaidoyer régional de la
SADC
Débats et présentations: Régional
Trois différents petits groupes suivis de la synthèse des
conclusions des débats
Plénière
~ 11 ~
DEUXIÈME JOUR : JEUDI 12 MARS 2015
DIRECTEUR DU PROGRAMME: YVETTE HARDIE – DIRECTRICE GÉNÉRALE, ASSITEJ SOUTH AFRICA, /
PRÉSIDENT ASSITEJ INTERNATIONAL
#
SUJET
TYPE
INSCRIPTION
3
RÉCAPITULATION ET
SCHÉMATISATION
Plénière
SÉANCE 3: PREMIÈRE PARTIE PRATIQUE DES ARTS INDIGNES
Soutien et conservation de la
pratique des arts indigènes
(traditionnels et contemporains)
Plénière
3
SÉANCE 3: DEUXIÈME PARTIE - LA
PRATIQUE DES ARTS INDIGÈNES
Soutien et conservation de la
pratique des arts indigènes
(traditionnels et contemporains)
Plénière
4
SÉANCE 4: PREMIÈRE PARTIE :
ÉTUDES DE CAS
Les pratiques officielles, non
officielles, informelles; l'éducation
holistique et inclusive, le
perfectionnement des
enseignants, les artistes au sein
des écoles, CSI, les
infrastructures, les ONG
Plénière
PAUSE-DÉJEUNER
SÉANCE 4: DEUXIÈME PARTIE
ÉTUDES DE CAS AU NIVEAU
RÉGIONAL
Sessions
en petits
groupes
PAUSE-THÉ
SYNTHÈSE
9:159:45
09:45 10:15
PAUSE-THÉ
4
HEURES
8:00 –
9:00
9:00 9:15
Plénière
10:15 10:45
10:4511:45
CONTENU/BUT
Inscription et prestations musicales
Directeur du programme:
Récapitulation du premier jour, synthèse du deuxième
jour
Discours liminaire: Mme Emma Wolukau-Wanambwa
(Ouganda):
Histoires de l'éducation artistique: La décolonisation
des arts plastiques
Discours liminaire: Prof. Lupwishi Mbuyamba
(Mozambique):
Les pratiques des arts indigènes
Président de séance: Prof. Ndwamato Mugovhani (Af.
du Sud)
Détermination de l'état actuel de la pratique des arts
indigènes
11:45 12:15
Elton Sibanda (Zimbabwe)
La contribution de la jeunesse aux arts
12:15 –
12:45
Mme Nise Malange
La contribution des femmes aux arts
12:4513:45
13:45 –
15:15
15:15 –
15:45
15:45 –
17:00
Présentations et débats au niveau régional
Directeur du programme
Synthèse des débats en séances
TROISIÈME JOUR -VENDREDI 13 MARS
DIRECTEURS DU PROGRAMME: ROSEMARY MANGOPE – DIRECTRICE GÉNÉRALE DU ARTS COUNCIL OF
SOUTH AFRICA (CONSEIL NATIONAL DES ARTS DE L'AFRIQUE DU SUD) / YVETTE HARDIE
#
SUJET
TYPE
INSCRIPTION
6
HEURES
8:00 9:00
9:00 –
9:15
RÉCAPITULATION ET
SCHÉMATISATION
Plénière
PRÉSENTATION
Plénière
9:15 9:45
RESSOURCES DE L'ÉDUCATION
ARTISTIQUE
Plénière
9:45 –
10:45
PAUSE-THÉ
CONTENU/BUT
Inscription et prestations musicales
Directeurs du programme:
Récapitulation du premier jour et synthèse du troisième
jour
Prof Mzobz Mboya – NEPAD: Conseiller: Éducation:
Formation: Jeunesse - Présentation: Conclusions de la
réunion des ministres de la Culture de l'UA: Éthiopie,
octobre 2014
Experts des secteurs public et privé
10:45 -
~ 12 ~
7
MISE EN PLACE DES CADRES
GÉNÉRAUX DU PLAIDOYER Équipes spéciales
Sessions
en petits
groupes
PAUSE-DÉJEUNER
8
PLANIFICATION des prochaines
conférences sur l'éducation
artistique
Plénière
SÉANCE DE CLÔTURE
Plénière
11:15
11:15 12:45
12:4513:45
14:15 15:00
15:00 –
15:30
Facilitateurs: Yvette Hardie et Joseph Gaylard
Compte rendu des délégués de la SADC et consignation
des points clés contribuant à l'élaboration d'un
document-cadre général
NEPAD: Prof Mzobz Mboya
Débats; par la suite, l'équipe spéciale aborde ce
processus post-conférence
Allocution de clôture: Département des Relations
internationales du ministère des Arts et de la Culture
~ 13 ~
PROGRAMA
1°DIA: QUARTA-FEIRA 11 DE MARÇO DE 2015
DIRECTORA DE PROGRAMA: MONICA NEWTON – DIRECTORA-GERAL ADJUNTA, MINISTÉRIO DAS ARTES E CULTURA
#
TÓPICO
TIPO
TIME
CONTEÚDO
REGISTO
08:00 –
Registo e actuações musicais
09:00
BOAS-VINDAS E
Plenária
09:00 –
Boas-Vindas e Apresentações: Prof Mzobz Mboya,
APRESENTAÇÕES
09:20
Conselheiro NEPAD: Educação: Formação: Juventude
Directora de Programa :
Estabelecimento da Agenda de Trabalhos para os
próximos 3 dias
SESSÃO INAUGURAL
Plenária
09:20 –
10:20




10:20 –
11:00
Intervalo
1
SESSÃO 1: PARTE 1
A Situação da Educação
Artística e posições de
Advocacia que existem a nível
local, regional, continental e
internacional, incluindo políticas
e contextos legais
Plenária
12:0013:15
ALMOÇO
1
SESSÃO 1: PARTE 2
A Situação da Educação
Artística e posições de
Advocacia que existem a nível
local, regional, continental e
internacional, incluindo políticas
e contextos legais
Plenária
SESSÃO 2 - SÍNTESE: O que foi
abrangido, o que tem ainda de
ser abordado e Onde queremos
chegar no fim do dia 3?
13:15 –
14:15
14:1514:45
14:4516:00
Intervalo
2
11:00 –
11:30
11:3012:00
Sessões
paralelas
& Plenária
16:00 –
16:15
16:1517:30
Abertura: Dr. Ibrahim Assane Mayaki,
NEPAD CEO
Discurso Principal: S.Exª Vice-Ministra das Artes e
Cultura, áfrica do Sul, Rejoice Mabudafhasi
Observações: S.Exª Ministro do Desporto, Cultura e
Juventude da Suazilândia, David Ngcamphalala
Observações: Ms Ângela Martins, Chefe do Dept da
Cultura, Comissão dos Assuntos Sociais da UA
Apresentação Regional: Patrick Mudekereza (RDC)
Estabelecendo a agenda a nível conceptual incluindo
questões e desafios
Discurso principal:
Prof. Rubén Gaztambide-Fernández (Educação Artística,
Instituto Ontário sobre Estudos sobre a Educação,
Universidade de Toronto) Puerto Rico
Apresentações da SADC:
Criando um entendimento de posições que informem
sobre a posição de advocacia regional da SADC
Prof. Stephen Chifunyise (Zimbabwe)
Estabelecendo políticas na região
Apresentações da SADC:
Criando um entendimento de posições que informem
sobre a posição de advocacia regional da SADC
Discussões e Apresentações: Regional
Três grupos em sessões paralelas seguidos de debates
de consolidação
2°DIA: QUINTA-FEIRA 12 DE MARÇO DE 2015
DIRECTORA DE PROGRAMA: YVETTE HARDIE – CEO, ASSITEJ SOUTH AFRICA / PRESIDENTE, ASSITEJ INTERNATIONAL
#
TÓPICO
TIPO
TIME
CONTEÚDO/OBJECTIVO
REGISTO
08:00 –
Registo e actuações musicais
09:00
RECAPITULAÇÃO E MAPEAMENTO Plenária
09:00Directora de Programa:
09:15
Recapitulação do Dia 1, Mapeamento do Dia 2
3 SESSÃO 3: PARTE 1 – PRATICA DA Plenária
09:15Discurso Principal: Ms Emma Wolukau-Wanambwa
~ 14 ~
4
4
ARTE INDÍGENA
Apoiando e mantendo a prática
das artes indígenas (tradicionais e
contemporâneas)
09:45
Intervalo
10:1510:45
11:4512:15
A Voz da Juventude nas Artes: Elton Sibanda
(Zimbabwe)
12:1512:45
Ms Nise Malange
A Voz das Mulheres nas Artes
09:4510:15
SESSÃO 4: PARTE 1:
estudos de caso
Práticas formais, não-formais e
informais: educação holística e
inclusive; Desenvolvimento de
professores, Artistas nas Escola,
CSI,Infraestruturas, ONGs
ALMOÇO
Plenária
SESSÃO 4: PARTE 2
ESTUDOS DE CASOS / REGIONAIS
Intervalo
Paralela
s
CONSOLIDAÇÃO
Plenária
12:4513:45
13:45 –
15:15
15:15 –
15:45
15:45 –
17:00
(Uganda):
Histórias sobre a educação artística: Descolonizando o
visual
Discurso Principal: Prof. Lupwishi Mbuyamba
(Moçambique):
Práticas de Artes Indígenas
Apresentações e Debates: Regional
Directora de Programa
Consolidação dos Debates nas Sessões
3°DIA: SEXTA-FEIRA 13 DE MARÇO
DIRECTORA DE PROGRAMA: ROSEMARY MANGOPE – CONSELHO NACIONAL DAS ARTES DA AFRICA DO SUL,
CEO / YVETTE HARDIE
#
TÓPICO
TIPO
RECAPITULAÇÃO E MAPEAMENTO
Plenária
APRESENTAÇÃO
Plenária
SUPRIMENTO DA EDUCAÇÃO
ARTÍSTICA
Plenária
REGISTO
6
Intervalo
7
ESTABELECENDO QUADROS
GENÉRICOS DE ADVOCACIA
Grupos de Trabalho
Sessões
paralela
s
ALMOÇO
8
PLANEANDO futuras
Conferências sobre a Educação
Artística
Plenária
SESSÃO DE ENCERRAMENTO
Plenária
TIME
08:0009:00
09:0009:15
09:1509:45
CONTEÚDO/OBJECTIVO
Registo e actuações musicais
09:4510:45
Painel do sector público e provado
10:4511:15
11:15 12:45
12:4513:45
13:4515:00
15:00 –
15:30
Directoras dos Programas:
Recapitulação do Dia 1 e 2, Mapeamento do Dia 3
Prof Mzobz Mboya – NEPAD: Conselheiro: Educação:
Formação: Juventude - Apresentação: Resultados da
reunião dos Ministros da Cultura da UA: Etiópia,
Outubro de 2014
Moderadores: Yvette Hardie e Joseph Gaylard
Feedback dos delegados da SADC e registo dos
principais pontos destinados a um documento de
quadro genérico
NEPAD: Prof Mzobz Mboya
Debates; seguem-se depois os grupos de trabalho para
o processo pós-conferencia.
Discurso de Encerramento: Departamento de Relações
Internacionais do Ministério da Arte e Cultura
~ 15 ~
PROGRAMME DIRECTORS
BIOGRAPHIES
MONICA NEWTON
Monica Newton was appointed Deputy Director-General: Arts and Culture Promotion and Development in
February 2013. Her portfolio includes culture and creative industries development and the National Language
Service. She has worked with national, provincial and local government and related government agencies since
1997, first as a full-time employee and later as a consultant in her own business.
Prior to this, she was the CEO of the National Art Council, a statutory body reporting to the Department of Arts
and Culture, established to support and develop the arts in South Africa. As CEO of the organisation she fulfilled
the role of accounting officer and took responsibility for the corporate governance, finances and performance of
the organisation.
Ms Newton holds a Bachelor of Arts degree in Industrial Sociology, Bachelor of Arts Honours in Industrial
Sociology, a Masters in Industrial Sociology from the University of the Witwatersrand and a certificate in Guest
House Management from the University of Cape Town.
YVETTE HARDIE
Yvette Hardie is a theatre director, producer, and educator active in the world of theatre and performance, with a
focus on children and youth. She initiated the launch of ASSITEJ SA (the national centre of the International
Association of Theatre for Children and Young People) in 2007, and leads the organisation as Director. She is
currently serving her second term as President of the international ASSITEJ, a network operating in close to 100
countries. In these capacities, she creates opportunities for artistic exchange, mentorship, skills development
and cross-cultural collaboration across the world, while working to invigorate the South African theatrical
landscape with work of the highest quality and widest accessibility. Under her leadership, ASSITEJ SA has won
the bid for the 19th ASSITEJ World Congress and Performing Arts Festival to be held in Cape Town in 2017, the
first time this prestigious mega-event will be held on African soil in the 50 year history of ASSITEJ. She has
written and spoken extensively on issues relating to arts for young audiences, arts education and arts for
reconciliation and conflict resolution around the globe.
She produced the award-winning Colonnades Theatre Lab production, Truth in Translation, seen by more than
55 000 people worldwide. For her own company, FreeVoice Productions, she is currently producing national and
international tours of Sindiwe Magona’s Mother to Mother. As director, projects include Suzanne Lebeau’s The
Ogreling, which has toured South Africa, Zimbabwe, Rwanda and Cameroon, and Mike van Graan’s Is it because
I’m Jack? She is valued for her work in Arts Education, having written national curricula and textbooks for both
Dramatic and Creative Arts, and having been involved in teacher training over a period of some 15 years. Yvette
also runs workshops in a variety of aspects related to theatre, including a focus on voice and speech, and is a
certified teacher of the Lessac technique. She has an MA in Theatre Practice from Tshwane University of
Technology.
ROSEMARY MANGOPE
Rosemary Mangope was appointed CEO of the National Arts Council of South Africa in 2013 following an
impressive career in the arts arena. In 2009, Mangope was appointed Acting Deputy Director General at the
Department of Arts and Culture and, prior to that, was founder and Chief Director of the Arts, Social Development
and Youth Division of the Department. During her tenure to date, the NAC has further broadened its international
remit, driving the Canadian Stage: Spotlight South Africa programme, which will see more than 40 South African
artists performing and presenting a range of work in Toronto in April 2015.
Ms Mangope has recently been appointed to the board of The International Federation of Arts Councils and
Culture Agencies (IFACCA), the respected global network of arts councils and cultural agencies around the world.
IFACCA was founded in 2001 to improve the capacity and effectiveness of government arts funding agencies
and to benefit society through networking, advocacy and research. Its vision is a world in which the arts are
valued in themselves and for their contribution to strengthening communities and enriching lives.
~ 16 ~
SPEAKERS
BIOGRAPHIES AND ABSTRACTS
PATRICK MUDEKEREZA
DEMOCRATIC REPUBLIC OF CONGO
DIRECTOR OF PICHA ART CENTRE
BIOGRAPHY
Patrick Mudekereza is a writer and cultural operator born in Lubumbashi in 1983. He initiated several art
projects, including with the collective Vicanos Club, concomitantly studying Industrial Chemistry at the
Polytechnic faculty of the University of Lubumbashi. He then worked as a director and visual arts programmer at
the French Cultural Centre in Lubumbashi, and editor of the cultural magazine Nzenze. He is currently director of
Picha art center and co-initiator of RencontresPicha, Biennial of Lubumbashi. He is member of ARTerial Network
and sits on the board of International Biennial Association.
ABSTRACT
Art, as an expression of sensitivity can produce diverse mode of sharing, exchange of knowledge and
empowerment. I am addressing my personal experience of learning on the job, alternative education and
integrating formal institutions. I want to emphasise each time limitations and complementary of each mode. The
sinuous course of the majority of players in the world of art in the DRC and the region might suggest that the
format is not defined. And maybe he wins not be, in an environment where the formal framework of thinking is
still facing the west (the majority of PhD are done outside the country, mainly in Belgium, the former colonial
power).
The role of the one who travels, and in the Lingala words "who saw Mikili" (that is to say, who has seen the world
from above), is to recreate horizontality and returning to learn / unlearn with others in a difficult rereading
challenge of its environment and reconnection with local dynamics and rewriting together. Art, as a process of
production and dissemination is already an education process which needs to question that horizontality,
perhaps more than other areas of production thought.
This need to create an alternative model to education is certainly not the preserve of our region as shown by the
Dutch project "School of missing studies" created by the duo Bik Van der Pol. My personal experience of "missing
studies" started with the collective Vicanos Club, and continued with the art centerand Biennale Picha, where the
role of organizing a mediation toward an audience is added to the creative one.
I will finally talk about networking initiatives as knowledge sharing tools. The example of the project initiated with
Visual Arts Network of South Africa named the PANIC (Pan African Network of Independent Contemporanity)
which is a platform for critical exchange between independent art centers on the continent. This project is part of
a larger network, Arts collaboratory, which brings together initiatives in Africa, South Asia and Latin America,
gathered for their commitment to social innovation through artistic creation. One of its knowledge sharing
project, named Schoolaboratory Arts, is a reflection on an educational model without hierarchy.
~ 17 ~
RUBÉN A. GAZTAMBIDE-FERNÁNDEZ
PUERTO RICO
Arts in Education at the Ontario Institute for Studies in Education of the University of
Toronto
BIOGRAPHY
Professor Rubén A. Gaztambide-Fernández is a cultural sociologist and a curriculum theorist with a particular
focus on schools, processes of identification, and symbolic boundaries. He obtained his doctorate in education
from Harvard University’s Graduate School of Education in 2006, and is currently an Associate Professor at the
Ontario Institute for Studies in Education of the University of Toronto. Gaztambide-Fernández’s articles have
been published in education journals like the Harvard Educational Review, The Review of Education, Pedagogy,
and Cultural Studies, and the Review of Educational Research, and he is Editor-in-Chief of the journal Curriculum
Inquiry. His book, The Best of the Best: Becoming Elite at an American Boarding School, published by Harvard
University Press in 2009, is based on a two-year ethnographic study of the lives of students at an elite boarding
school in the United States and examines how students internalize elite status and justify their privilege. He is
also co-editor with Adam Howard of Educating Elites: Class Privilege and Educational Advantage, published by
Rowman & Littlefield in 2010. His current research focuses on the experiences of students attending specialized
arts program in public high schools in cities across Canada and the United States. He is also the Youth
Solidarities Across Boundaries, a participatory action research project with Latin@ immigrants and Indigenous
youth in the city of Toronto. His theoretical work focuses on the relationship between creativity, decolonization,
and solidarity. He is particularly interested in the pedagogical and creative possibilities that arise from the social
and cultural dynamics of urban centers. His is currently working on two book projects a co-edited collection titled
The Arts as White Property, and an authored book titled Decolonizing Solidarity: Power, Difference, Pedagogy.
ABSTRACT
In this talk Gaztambide-Fernández will argue that the central problem of extant arguments for the arts in
education lies in the implicit and uncritical embrace of what he has called the “rhetoric of effects.” After
illustrating and explaining this rhetoric, he will lay out three central problems that the embrace of this rhetoric
produces: the problem of proof; the problem of equivocation; and the problem of (neo)colonization through
economization. He will propose an alternative “rhetoric of cultural production” as a way to envision more robust
and politically assertive approaches to the arts in education, re-envisioned through the concept of cultural
production. A move toward this way of understanding practices and processes of symbolic creativity is critical for
imagining new roadmaps and new futures for communities – particularly communities and groups that
experience political marginalization and economic exploitation.
STEPHEN CHIFUNYISE
ZIMBABWE
Zimbabwe Academy of Arts Education for Development
BIOGRAPHY
Professor Stephen Chifunyise is former Secretary for Education Sport and Culture in the Government of
Zimbabwe (1995-2000) and the Principal of the Zimbabwe Academy of Arts Education for Development. He is a
performing arts educator, storyteller and playwright who has published three volumes of plays and two
collections of stories. Since 1973, he has written 65 plays which have all been performed by different theatre
companies in Zambia and Zimbabwe. In the last nine years, he has facilitated workshops on the implementation
of the UNESCO 2003 Convention on the Safeguarding of the Intangible Cultural Heritage and the 2005
Convention on the Protection and Promotion of the Diversity of Cultural Expressions in Botswana, Lesotho,
Malawi, Namibia, Zambia and Zimbabwe. He is a holder of Bachelor of Arts in Education (University of Zambia)
and Master of Arts in Theatre Arts (University of California at Los Angeles). And currently chairs the Zimbabwe
~ 18 ~
Writers Union, The Zimbabwe National Intangible Cultural Heritage Committee and the Specialized Standing
Committee on Culture of the Zimbabwe National Commission for UNESCO.
ABSTRACT
This paper addresses the challenges present in developing viable school-based arts education programmes in
the countries of Southern Africa where I have, in the last nine years, facilitated workshops on the implementation
of the UNESCO 2003 Convention on the Safeguarding of Intangible Cultural Heritage (Botswana, Lesotho,
Malawi, Namibia, Zambia and Malawi).These challenges seem to stem from the absence of clear arts education
policies and systems of harmonizing /mobilizing the available human and material resources for designing,
developing and implementing viable arts education despite the generally accepted importance of arts education.
There seems to be a reluctance on the part of many SADC countries to articulate comprehensive national arts
education policies. This might be identified as one of the most prominent features of the state of arts education
in these countries-something that might be common in most African countries.
EMMA WOLUKAU-WANAMBWA
UGANDA
Nnaggenda International Academy of Art & Design, Namulanda, Uganda
Institute for Art Education, Zurich University of the Arts, Swaziland
BIOGRAPHY
Emma Wolukau-Wanambwa is an artist and researcher. She studied Literature at Cambridge University and Art
at the Slade School of Fine Art, University College London. She was a Fine Art Researcher at the Jan van Eyck
Academy and is currently a researcher and doctoral candidate at the Institute for Art Education at the University
of the Arts in Zurich. She has recently been appointed Director of Research at the Nagenda International
Academy of Art & Design in Namulanda, Uganda.
Emma’s artistic work encompasses installation, sound, video, photography, printmaking, writing and drawing.
Recent and upcoming exhibitions include: Feedback: Art, Africa and the Eighties (Hood Museum of Art,
Dartmouth, US), Uganda in Black and White (Contemporary Image Collective, Cairo, EG), Artificial Facts
(Kunsthaus Dresden, Dresden, DE), Giving Contours to Shadows (Savvy Contemporary/Neuer Berliner
Kunstverein, Berlin, DE).
Emma is currently researching the impact of colonialism on ways of thinking, seeing and remembering. Her work
in this area explores processes of subject formation, the role of representational practices, and art education’s
colonial hangovers. Aspects of this research are being developed under the aegis of ‘Another Roadmap’
(http://another.zhdk.ch) - an international network of scholars and educators working to develop just and
nuanced alternatives to the UNESCO Roadmap for Art Education.
www.wolukau-wanambwa.net
ABSTRACT
“How to keep the children’s work really African”: Art Education as Subject Formation in colonial East Africa
This paper offers a critical re-evaluation of the educational and aesthetic theories of Margaret Trowell (19031989) who founded the Makerere School of Art in the Uganda Protectorate in the 1930s. Trowell’s was first
“professional” art school in Anglophone East Africa to be based on the European model, and until comparatively
recently, was one of a mere handful of institutions on the continent where an indigenous African could undergo
formal training in “fine art”.
Analysis of Trowell’s arguments for introducing the visual arts into the “indigenous curriculum” and of accounts
of her teaching practice reveal that, despite her extensive and sophisticated knowledge of the cultures of East
Africa, and despite her emancipatory intentions, the vision that underpinned her approach to visual art education
was of the extension of colonial governmentality into the aesthetic realm.
~ 19 ~
The imperative, in Trowell’s words, to “keep the children’s work really African” may partly have been borne of her
love and respect for indigenous East African cultures, but it was also motivated by her desire to instilin her
African students an idea of their culture as static, primitive, and naturally subordinate to a wholly distinct and
superior European culture.
This paper argues that Margaret Trowell’s work offers a stark reminder that even the most laudatory
assessments of so-called “native” or “indigenous” cultures are sometimes underpinned by ideological agendas
that oppress and divide. It demonstrates the need for constant vigilance regarding the mindsets that educational
policies - be it deliberately or inadvertently - seek to reproduce.
LUPWISHI MBUYAMBA
MOZAMBIQUE
ABSTRACT
EDUCATION IN SOUTHERN AFRICA AND INDIGENOUS ARTS PRACTICES
The invitation to attend this significant conference was accompanied by a request to address participants on the
topic of indigenous arts practices. I immediately expressed my acceptance referring to the initial objective of the
origin of the arts education project, UNESCO, considering the so called indigenous, traditional, local arts
expression as the normal and the natural framework of the task. Indeed, this approach was reflected in the
conception of the agenda, the running of the deliberations and in the outcomes of the regional conference in
Africa held on this same soil 14 years ago.
OBJECTIVES
A rapid reminder of the respective meetings organized at the regional and at the international levels on the topic
of arts education will be an occasion to refresh the methods, recall the commitments via recommendations and
resolutions and have an eye on the progresses made in this direction here and there in the region in some
countries of the Southern African region in particular. The final objective being of contributing where possible to
consolidate the common strategy earmarked by the cultural renaissance and the Global Agenda in building a
new future of Africa.
MZOBZ MBOYA
SOUTH AFRICA
Advisor: Education: Training: Youth – New Partnership for Africa’s Development (NEPAD)
Coordinating Agency (NPCA)
BIOGRAPHY
Professor Mzobz Mboya is the Advisor for Education and Training at the New Partnership for Africa’s
Development Planning and Coordinating Agency (NPCA) in Midrand, South Africa. He completed his B.A., U.E.D.,
B.ED. at the University of Fort Hare, Alice, South Africa. He received his M.ED. and Ph.D. at the University of
Washington, Seattle, United States of America.
He started his career as an assistant teacher at Lovedale College of Education in Alice, South Africa. He then
became Vice-Principal at Jabavu Senior Secondary School and was later appointed principal of Siyabonga Senior
Secondary School in Alice. He was a Part-time lecturer at Fort Hare University in Alice. He became a Special
Assistant to the Principal and Vice-Chancellor as well as senior lecturer in the School of Education at the
University of Cape Town. He took up a position as acting Campus Director at Vista University in Bloemfontein
and later became Campus Principal at Vista University in Mamelodi.
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Prof. Mboya has published extensively in International Journals of Psychology and Education. He was a member
of the following Professional Associations: International Association of Cross–Cultural Psychology, Psychological
Society of South Africa, The International Society for the Study of Behavioural Development, and The
International Association of Applied Psychology. He has a history of involvement in community based
development projects and programmes. He was appointed Professor Extraordinarius in the College of Human
Sciences at the University of South Africa (UNISA).
At NEPAD his responsibility is to co-ordinate the NPCA education and training priority areas ranging from early
childhood care and education to tertiary and higher education; the second responsibility is to help facilitate the
implementation of the NPCA education and training projects through the African Union (AU) recognised Regional
Economic Communities (REC’s). He is also responsible for co-ordinating the NPCA Youth Programme.
ABSTRACT
A Report on the 1st Ordinary Session of the African Union Specialized Technical Committee on Youth, Culture and
Sport, held in Addis Ababa, Ethiopia (27 October to 1 November 2014). The following areas were presented with
implications to Arts Education in Africa:
 The Charter for African Cultural Renaissance
 The Status of Establishment of the Great Museum of Algiers
 The establishment of the Cultural Capitals of Africa
 The Report of the African Academy of Languages
 The Report of the Centre for Linguistic and Historical Studies by aural tradition
 The Report of the Observatory on Cultural Policies in Africa
 The Report of the African World Heritage Fund
 Presentation on All Africa Music Awards
 Presentation on advancing Arts and Culture sectors
 The Report on the Common African Position Agenda 2063
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PANELISTS
BIOGRAPHIES
NDWAMATO MUGOVHANI
SOUTH AFRICA
Tshwane University of Technology (TuT)
Professor Ndwamato George Mugovhani holds a Doctorate in Musicology and is Head of the Performing Arts
Department at Tshwane University of Technology in South Africa. Professor Mugovhani has published in
accredited journals on Indigenous Knowledge Systems, African choral music, Oral history and arts and culture
topics. A professional singer and esteemed choir director, he is a member of the NEPAD Conference Think Tank
Committee.
MADIMABE MAPAYA
SOUTH AFRICA
Tshwane University of Technology (TuT)
Dr. Madimabe Mapaya holds a PhD in African Studies and specialises in mmino wa setšo (Indigenous African
music). He is a founding member of the Indigenous Music and Oral History Project housed at the University of
Venda. He is currently a research fellow at Tshwane University of Technology. Apart from his university duties,
Mapaya is a performing musician with several albums to his name. He is Managing Director of the Limpopo
instalment of the highly successful Artist in School Project. He is the author of book Music of Bahananwa and a
scientific editor of the ‘Cultures of Limpopo’ publication in which he authored a chapter on dipela tša harepa. He
publishes most of his work in peer reviewed journals; and has guest-edited several journals todate. He has been
involved in the writing of the country’s music part of the curriculum from the days of the National Curriculum
Statement (NCS) to Curriculum Assessment Policy Statement (CAPS).
REGIS CHIRESHE
ZIMBABWE
Great Zimbabwe University
A full Professor (Educational Psychology and Special Needs Education): BSc Hons Psychology (UZ), MSc
Educational Psychology (UZ), FETC & FETD (Masyingo Poly), DED: Psychology of Education (UNISA), a Registered
Psychologist in Zimbabwe.
Prof Chireshe has been a lecturer, Senior Lecturer and Associate Professor at Great Zimbabwe University, a
visiting professor at Kyambogo University in Uganda, Head of Department, Deputy Dean and Dean in the Faculty
of Education Great Zimbabwe University. He has also worked as a Research Champion in the Faculty of
Education at Walter Sisulu University in South Africa and as a Professor in the College of Education at UNISA
responsible for life orientation. Currently, Prof Chireshe is a Professor in the Faculty of Education, Department of
Special Needs Education at Great Zimbabwe University.
Prof Chireshe has published several articles in referred journals, co-published a book and book chapter and
served on editorial boards of international journals. He is an external examiner/ assessor for a number of African
Universities and has successfully supervised Bachelor’s, Master’s and Doctoral students' theses. Prof Chireshe’s
research interests include Guidance and Counseling, HIV and AIDS, Inclusive Education/Special Needs
Education.
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SIPHO MBATHA
SOUTH AFRICA
Tshwane University of Technology (TuT)
Sipho Mbatha received both his B-Tech and M-Tech in Fashion Design with distinction from Tshwane University
of Technology (TUT). He is currently working as a Jnr Lecturer at Walter Sisulu University (RSA) in the Fashion
Department.
Mbatha previously held a Programme Coordinator position in the Fashion Department at WSU for a year. He then
occupied a Head of Department position for two years in the same department. As a novice researcher, He has
presented four papers in international conferences, has one publication confirmed and one paper currently
under peer view. His research niche area includes Porters Diamond Model, competitive advantage in the clothing
industry, South African trade policies related to clothing industry, Fashion in Higher Education of South Africa and
Research activities within the South African Fashion Departments.
MEKI NZEWI
SOUTH AFRICA
University of Pretoria
Professor Meki Nzewi: African musical arts and science theorist, composer, music-dramatist, performer and
creative writer, ‘mother’ drummer –oral and literacy. Professor of African Music, University of Pretoria & Director,
Centre for Indigenous Instrumental Music and Dance Practices of Africa (CIIMDA), Research, Education &
Performance for SADC based in Pretoria.
Prof Nzewi is devoted to practical and research studies and explications of the underlying philosophy, principles,
soft science and creative theory informing African indigenous musical arts conceptualizations, creative
aspirations and logic as well as performance practices. Dedication to investigating and discerning contemporary
documentation, analyses, interpretation, advancement, theoretical and creative continuum of African musical
arts heritage has resulted in:
 Scholarly books, philosophical essays, research monographs, compositions, novels and journal articles,
narrative scholarship style that explicate indigenous African creative philosophy, logic, intentions and
grammar, and their contemporaneous viability in education and practice
 Designing, writing and producing literary musical arts works -operas, musicals, music/dance drama & TV
series/serials - deriving from indigenous knowledge models
 Re-orientation projects on creativity, education, research and public action performances
JANET WATTS
SOUTH AFRICA
Rand Merchant Bank
Janet Watts currently manages Rand Merchant Bank’s CSI portfolio through Tshikululu Social Investments,
where she also co-ordinates the Creative Arts and Environment funding programmes. From 2011 to 2014 she
was the Business Manager of Artist Proof Studio, a visual arts education institution, gallery and professional
printmaking studio situated in Newtown, Johannesburg.
She qualified as a high school teacher in 1988, having completed a degree majoring in English, Psychology and
Philosophy. After teaching for a while, she worked in the field of environmental NGO projects before furthering
her interest in arts education. She completed the “Write an Opera” courses at the Royal Opera House, Covent
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Garden, London, and spent many years facilitating the development of multi disciplinary arts education
methodologies with South African teachers and arts practitioners as Project Manager of Creative Voices,
Johannesburg.
She has also participated in the editing and reviewing of literary works in fields of both fiction and non-fiction
writing, and has a great love of reading, research and wakeboarding. She was a co-founder of Assitej South
Africa in 2007, and remains a member of their board.
SELLO GALANE
SOUTH AFRICA
Department of Basic Education
Dr Sello Galane has a PhD in Musicology from the University of Pretoria. He is a music composer, arranger and
producer, and an Arts Education Chief Specialist. He taught literary arts at school, college of education and at
university with keen interest both on the redress agenda for creating parity of discourse between Western and
Indigenous African performing arts education. Dr Galane is currently employed by the Department of Basic
Education as a Chief (Arts) Education Specialist from 2001 to 2015. He served as an external examiner for third
year Music students at University of Pretoria, and external supervisor for MA studies at the Tshwane University of
Technology.
He has performed in many international arts programmes in different parts of the world and has served both in
the NEPAD and UNESCO Arts Education committees and programmes. Dr Sello Galane also served as a member
of the Board of the National Arts Council of South Africa. He is a published poet, a music publisher through KAM
Records, and an editor of the book on the History of South African Music - Beyond Memory. He is also a recipient
of many awards.
Galane has written music for a number of well-known musicians and was appointed the musical director for an
international musical ‘Mother of Rain’ which premiered IN South Africa and Birmingham. He has contributed
significantly through the development of Kiba music of South Africa (MA – cum laude) and the Analysis of Dr
Phillip Tabane’s Malombo music (DMus).
His international experience includes performing, researching and directing music in Senegal, North Sea,
Washington DC, Lesotho, South Africa France Namibia, Swaziland and Korea and attended Ethnomusicology
workshops in Zimbabwe, just to mention but a few.
LILLI KOBLER
GERMANY
Goethe-Institut South Africa
Lilli Kobler was born in 1982 in Siegburg, Germany. After growing up in Bonn, Berlin, Cairo, New Delhi and Tel
Aviv, she completed her master degree in cultural anthropology, Arabic and psychology at the Free University of
Berlin. Work experiences in human rights and development agencies as well as intercultural project
management led her to start working at the Goethe-Institut in Cairo in 2007. Between 2010 and2014 she was
director of the Goethe-Institut in Khartoum, Sudan and since 01.07.2014 coordinates projects in the area of
education, culture and development at the Goethe-Institut South Africa in Johannesburg.
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Acknowledgments
Members of the NEPAD Regional Conference on Arts Education in Africa
Think Tank Committee
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Chairperson: Prof. Mzobz Mboya, Advisor: Education: Training: Youth, New Partnership for Africa’s
Development (NEPAD) Planning and Coordinating Agency (NPCA)
Mr. Ruphus Matibe, Director, International Relations, Department of Arts and Culture (DAC)
Ms. Zodwa Mpanza, Deputy Director, International Relations, Department of Arts and Culture (DAC)
Mr. Phil Manana, Arts Subjects, Department of Basic Education (DBE)
Ms Vivienne Carelse, Deputy Director-General, Department of Basic Education (DBE)
Mrs. Rosemary Mangope, Chief Executive Officer, National Arts Council (NAC)
Prof. David Andrew, Head, Division of Fine Arts, University of the Witwatersrand, Johannesburg
Prof. George Mugovhani, Head, Performing Arts in the Arts Faculty, Tshwane University of Technology
(TUT)
Mr. Salomane Edward, UNESCO: SA NATCOM
Mr. Tshepiso Maloka, Department of International Relations and Cooperation (DIRCO)
Ms. Lilli Kobler, Head: Culture and Development, Goethe-Institut
Ms. Rosie Katz, Project Manager in the CEO’s Office, National Arts Council (NAC)
Mrs. Andriëtte Ferreira, Personal Assistant to Prof. Mboya, New Partnership for Africa’s Development
(NEPAD) Planning and Coordinating Agency (NPCA)
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