Static ideas of culture

Life-size dolls depict village scenes. Ethnic groups from various countries are presented with no overarching context; a harvest festival here, an initiation ritual there. Visitors are not told how these particular people make a living, how they interact with neighbours, nature and the environment or how they related to the colonial power in the past. The catalogue-style presentation of exotic groups does not convey any clear understanding of the roots of contemporary Africa. The museum’s idea of culture is as static as its statues.

This museum is a missed opportunity. Just a little more effort might turn it into a real attraction. During the week, it could draw school classes and provide a vivid background for lessons in general knowledge or history. Yes, it would cost money to shore the place up so it could play such an educational role. But if the will was there, the funds could certainly be found. The sums required are not vast – and apparently Senegal can afford to set up a colossal sculpture, towering high on a hill over Dakar (picture).

If this was an isolated case, it would not matter much. Sadly, things are not much different in many developing countries. Governments tend to understand “culture” as an opportunity to show off. Museums inherited from colonial masters are kept going without much love or attention. Heads of state and government tend to promote second-rate artists who praise these very leaders to the heavens. The fact that entire nations have no positive sense of identity – even after decades of independence – is conveniently blamed on borders arbitrarily drawn by the colonial powers.

Free artistic exchange along with public attention, however, would serve the purpose of meaningful nation building, especially if supported by schools, broadcasters and museums. As with private sector promotion, policymakers’ main task is to create a suitable environment. They cannot, and should not dictate results.

No doubt, art is often uncomfortable. Artists are not only vain and ambitious; they also highlight shortcomings and problems. But if they hit the nerve of their time, they often win international acclaim – and become ambassadors for their country. The fear that they will bring shame to the nation is groundless. Günter Grass, nobel laureate and author of The Tin Drum, did a lot for Germany’s international reputation precisely because he does not shy from the dark aspects of German history.Hans Dembowski