By: Kleopas Nghikefelwa
In 2008, upon obtaining my Higher Diploma in Visual Arts from the University of Namibia, I committed myself to the development of art and cultural activities in Namibia.
A cultural exchange program in Berlin, Germany, in 2009, further fueled my passion for art and culture after witnessing the profound value placed on it in the Western world.
Upon my return to Namibia, I joined the Desert Research Foundation’s Livelihood Project for San people, aiming to promote San People’s Art and cultural activities in the Okongo community.
Subsequently, I served as a Curator officer at Eenhana Shrine National Heritage Site from 2009 to 2014 under the National Heritage Council of Namibia.
A pivotal moment occurred when I received a call from the office of the Permanent Secretary, the former Minister of Youth and Sport, Art and Culture, Kazenambo Kazenambo.
Recognising my potential, I was appointed as a board of trustees member of the National Art Gallery of Namibia from 2011 to 2013.
As they say, a fish outgrows its pond. Seeking broader horizons, I moved to Windhoek and have since been working as a museum technician at the Office of the Vice President/Ministry of Defence and Veteran Affairs, documenting Namibia’s Liberation Struggle Heritage.
In 2021, my dream to pursue further studies led me to resign from my full-time job and enrol in a B.A. in history and Art at the University of Namibia.
Now back home in the northern part of Namibia, I’m actively involved in cultural research and projects promoting Namibia’s art, heritage, cultural tourism, and Museum development.
However, my struggle to preserve, promote, and share Namibia’s art and culture has brought to light challenges beyond my control.
One major hurdle is the inadequate investment made by public, private, and cultural institutions to promote Namibia’s arts and cultural heritage, particularly in rural areas, where enriched communities predominantly reside.
Thus, there’s an urgent need to decentralise resources for art and cultural development from Windhoek city to all corners of Namibia.
Mere placement of cultural and art officers across the country without adequate facilities, tools, and budget impedes our efforts to promote art and cultural activities in rural areas.
Insufficient funding and investment for cultural activities in Namibian villages and rural communities is a genuine concern.
Socially, art and cultural activities can contribute to the social wellness and well-being of people in rural areas, where the absence of National Art Galleries, Theatres, Museums, Libraries, and cultural centres poses a challenge.
Cultural events, such as traditional weddings and festivals, have the potential to promote cultural tourism in Namibia’s rural areas and create employment opportunities for our youth. However, according to Arlana Shikongo’s article dated 10 May 2021, “the lack of recognition of Namibia’s cultural and heritage resources is among the major obstacles to rural development in the country.”
Despite these challenges, there’s hope for the future of Namibia’s art and cultural industries, receiving good technical support at the international and national levels.
Recognising the importance of culture in sustainable development, UNESCO Windhoek has applauded Namibia’s efforts, acknowledging culture as a powerful contributor to economic development, social stability, and environmental protection.
The recent focus on art and culture by the African Union, with its 2021 theme “Arts, Culture and Heritage: Levers for Building The Africa We Want,” is a positive step.
However, a critical issue remains the absence of art and culture as non-promotional subjects in Namibia’s educational school curriculum.
This oversight hampers the motivation and inspiration of Namibian youth desiring to pursue a career in Art and Culture at the university level.
This column does not necessarily reflect the opinion of the editorial board or The Villager and its owners.
