Documenting Living Heritage : 12 Photographers in Kenya

Published in 2011 by the United Nations Educational, Scientific and Cultural Organization7, place de Fontenoy

75352 Paris 07 SPFrance

Catalogue design by James Muriuki

Front cover photo: Angela Muteshi preparing lunch©UNESCO/Bernice Macharia

Back cover photo: Edna Khamati leaving for work followed by her son and nephew©UNESCO/Danson Siminyu

Printed in France

© UNESCOAll rights reserved

Documenting Living Heritage : 12 Photographers in KenyaOkokoHenry

AlanBernice

PaulJames

DennisIsaackMoses

DansonSammyCharles

AshikoyeBittokGovenarMachariaMuneneMuriukiOkeyoOmoroOtienoSiminyuSitumaWaithiru

On 15 November 2010, I had the honour as Director-General ofUNESCO to open the fifth session of the Intergovernmental Committee forthe Safeguarding of the Intangible Cultural Heritage in Nairobi. This wasthe first meeting of the Intergovernmental Committee in Africa. On thesame day, I was pleased to inaugurate the exhibition entitled DocumentingLiving Heritage – 12 Photographers in Kenya. Thanks to this catalogue, thesecompelling works may now be appreciated by a worldwide audience.

These are striking photographs. Striking, first, by their beauty. Theycapture a sense of simplicity and joy that speaks to us all.

They are striking also in the messages they convey. These imagesdocument practices, knowledge and skills related to aspects of theintangible heritage of Kenyans living in Nairobi and Kakamega. This isintangible heritage in action -- through the rituals of daily life, throughsocial practices, through the preparation of meals. Distinct and singular inevery detail, these photographs are universal in significance. They remindus of the importance of safeguarding humanity’s intangible culturalheritage. This is the objective of UNESCO’s Convention for the Safeguardingof the Intangible Cultural Heritage.

No culture stands alone. Our intangible cultural expressions, ourtraditions and practices find meaning in their relation to those of other

peoples. The power of these photographs lies here also – in their abilityto remind us of everything that we share. Culture is a force for dialogue,exchange and understanding between peoples.

Culture is also a force for development. It provides the prism throughwhich we understand the world and the tools by which we shape ourenvironment. Sustainable development can only be achieved if culturalcontexts are taken into account.

I wish to express my sincere gratitude to the Japanese Governmentfor its longstanding contribution to the Organization’s work, particularlyin the framework of UNESCO/Japan Funds-in-Trust for the Safeguardingof Intangible Cultural Heritage. Japan’s continued support is especiallyappreciated in light of the economic and environmental crises that haverecently affected the country. I wish to thank also the Ministry of Statefor National Heritage and Culture of Kenya for its leadership and support.My final words are those of congratulations to the twelve talentedphotographers, who have shared with us their unique vision of Kenya’sliving heritage.

Irina Bokova,Director-General, UNESCO

Foreword

Mnamo tarehe 15 Novemba mwaka wa 2010, nilikuwa na heshima kama Mkurugenzi Mkuu wa Shirika la Elimu, Sayansi na Utamaduni la Umoja wa Mataifa (UNESCO) kufungua kikao cha tano cha kamati shirikishi za serikali ya Kuhifadhi Turathi na Utamaduni Hisivu jijini Nairobi.Huu ulikuwa ni mkutano wa kwanza wa kamati shirikishi za serikali barani Afrika. Siku hiyo hiyo, nilifurahi kuzindua rasmi wonyesho yenye kichwa Documenting Living Heritage-12 Photographers in Kenya( Uhifadhi wa Turathi hai-Wapiga picha 12 nchini Kenya. Shukran kwa mkusanyiko huu, kazi hizi za kuvutia sana sasa zinaweza kutambuliwa vema na hadhira kote ulimwenguni.

Hizi ni picha za kuvutia. Zinavutia, mwanzo, kwa jinsi zilivyo maridadi. Zinaleta ile athari ya ukawaida na furaha ambayo inatuzungumzia sote.

Pia zinavutia kutokana na ujumbe unaotolewa. Picha hizi zinaonyesha desturi, welewa na ujuzi zinazohusiana na vipengele vya turathi hisivu za Wakenya wanaoishi Nairobi na Kakamega. Hii ni turathi hisivu katika hali halisi—kupitia matambiko ya maisha kila siku, kupitia mazoea ya kijamii, kupitia utayarishaji wa chakula. Zikiwa na sifa bainishi na pia teule, picha hizi zina ubia kwa umuhimu wao. Zinatukumbusha umuhimu wa kuhifadhi turathi na utamaduni hisivu za walimwengu. Hii ndiyo madhumuni ya Shirika la Elimu, Sayansi na Utamaduni la Umoja wa Mataifa (UNESCO) ya Mapatano ya Kuhifadhi Turathi na Utamaduni Hisivu.

Hakuna utamaduni unaojitenga wenyewe. Maonyesho ya turathi na utamaduni hisivu zetu, itikadi na desturi zetu kunapata maana yake pale zinapolinganishwa na za watu wengine. Utamaduni ni nguzo katika mawasiliano, na pia katika ubadilishanaji na uelewano miongoni mwa watu.

Utamaduni pia ni nguzo ya maendeleo. Ni kioo ambacho tunakitumia katika kuelewa ulimwengu na zile ala tunazozitumia kuyafinyanga mazingira yetu. Maendeleo himili yanaweza yakafikiwa iwapo maswala ya kitamaduni yatazingatiwa.

Ningependa kutoa shukran zangu za dhati kwa serikali ya Ujapani kwa mchango wake wa muda mrefu kwa shirika hili, hususan katika kielelezo cha UNESCO/Hazina-kwenye-amana ya Ujapani ya Kuhifadhi Turathi na Utamaduni Hisivu(UNESCO/Japan Funds-in-Trust for the Safeguarding of Intangible Cultural Heritage. Kwendelea kwa ufadhili wa Ujapani hakika kunatambuliwa hasa ikiangaliwa namna ambavyo taifa hili limekumbwa na majanga hivi karibuni. Pia, ningependa kutoa shukrani kwa Wizara ya Turathi na Utamaduni wa Kitaifa kwa uongozi na ufadhili wake. Mwisho kabisa ni kuwapa hongera wapiga picha kumi na wawili, ambao wametulisha sisi maono yao kuhusu turathi za Kenya zenye uhai.

Irina BokovaMkurugenzi Mkuu, UNESCO

Dibaji

In studies of intangible cultural heritage today the uses ofphotography, both historically and methodologically, pose questionsthat are crucial to the field and to the understanding of the process ofdocumentation. Photography has typically been utilized as a transparentrecord of the reality it represents, but the role of the medium insafeguarding intangible cultural heritage has not been fully considered.

The Convention for the Safeguarding of the Intangible CulturalHeritage, which was adopted in 2003 and entered into force in 2006, aimsat safeguarding intangible heritage expressions such as oral traditions,performing arts, rituals, social practices, festive events, knowledge aboutnature, and traditional craftsmanship. ‘Safeguarding’ is defined in Article2.3 of the 2003 Convention as ‘’measures aimed at ensuring the viabilityof the intangible cultural heritage.” A number of safeguarding measures,including ‘documentation’ are mentioned in the same Article. Photographscan help to ensure viability if they document “living heritage” in a mannerthat highlights its vitality and the evolving process through whichtraditional practices and expressions are enacted.

“Photographic documentation of Intangible Heritage in Kenya,”October 15-31, 2010, was organized to strengthen the capacity ofprofessional photographers by exploring different approaches todocumenting intangible cultural heritage. By doing so it is hoped thatthese photographers will continue to contribute to raising awareness –through photography – about the importance of the 2003 Convention.

As project facilitator, I worked with Fumiko Ohinata, UNESCOProgram Specialist for Culture in Nairobi, and together we selected JamesMuriuki to serve as my collaborator. With James’ assistance, we thenchose ten photographers to participate in the workshop from a group

of fourteen applicants. The first phase of the project combined in classlectures and discussion with on-site fieldwork and photography, andprovided an opportunity to utilize a training manual I had developedfor this purpose. The content of the workshop addressed issues such asphotographic techniques and approaches for documenting the livingelements of intangible heritage in various field conditions, protocols forphotographing community members (including free, prior and informedconsent from photo subjects), caption writing, and considerations relatedto archiving photographic materials.

James and I met daily to review the lesson plans for the workshop andto finalize preparations for on-site photography training in Nairobi. Overall,the workshop in Nairobi prepared the participating photographers fortheir fieldwork in Western Kenya. The teamwork approach introduced inthe Nairobi workshop provided a highly effective template for their effortsin Kakamega and enabled the participants to maximize their capacity fordocumentation through photography, interviews, and on-site research.

In the end, the photographs produced by the workshop participantsspeak for themselves and engender a forum for further study and dialogueabout the documentation of intangible cultural heritage. Moreover, thiscatalogue raises new questions about the ways in which photographsattain meaning and impact the people who are featured in them. Theaesthetic qualities of these photographs may be as important as theircontent not only to cultural specialists, but also to the individuals andcommunities who are the focus of study. Striking a balance between thephotograph as art and as artifact may be necessary to ensure the viabilityof the living heritage that is documented.

Alan GovenarDocumentary Arts

www.documentaryarts.org

Preface

Katika masomo yanayohusu turathi na utamaduni hisivu hivi leo, upigaji picha, kihistoria na kimethodolojia, yapo maswala ambayo ni muhimu katika nyanja hii na katika kule kuelewa njia za uhifadhi. Upigaji picha umetumika kama mkakati wa uwazi kuonyesha uhalisia unaowakilishwa.Hata hivyo, nafasi ya picha katika kuchangia uhifadhi wa turathi na utamaduni hisivu haijapewa umuhimu unaostahili.

Mapatano ya Kuhifadhi Turathi na Utamaduni Hisivu, ambayo yalikubaliwa mnamo mwaka wa 2003 na kuweza kwanza kutumika mwaka wa 2006, yanadhamiria kuhifadhi maonyesho ya turathi na utamaduni hisivu zetu kama vile desturi simulizi, sanaa za maonyesho, matambiko, desturi za kijamii, sherehe, elimu asili, na ufundistadi. ‘Kuhifadhi’ kunafafanuliwa kwenye kifungu cha 2.3 cha Mapatano ya mwaka wa 2003 kama “ hatua zinazodhamiriwa kuhakikisha kujitosheleza kwa turathi na utamaduni hisivu.” Ipo mikakati kadha, ikiwemo ‘uhifadhi’ inatajwa katika hicho kifungu. Picha zinaweza kuchangia katika utoshelezaji huu ikiwa zitahifadhi “turathi hai” kwa njia ambayo inaangaza nguvu zake na mkondo wa mabadiliko ambapo desturi za kijamii na maonyesho yanaigizwa.

“Uhifadhi kwa Picha wa Turathi na Utamaduni Hisivu nchini Kenya,” Oktoba 15-31, 2010, ulitayarishwa kuimarisha uwezo wa wapiga picha weledi kwa kuangalia mikakati mbalimbali ya kuhifadhi turathi na utamaduni hisivu. Kwa kufanya hivyo, kunatarajiwa kuwa wapiga picha hawa wataendelea kuchangia katika kuhamasisha-kupitia upigaji picha-kuhusu umuhimu wa Mapatano wa 2003.

Kama mrahihishaji wa mradi, nilifanya kazi na Fumiko Ohinata, Mtaalam wa Mpango wa Utamaduni wa Shirika la Elimu, Sayansi na Utamaduni la Umoja wa Mataifa (UNESCO) jijini Nairobi, na kwa pamoja tulimteua James Muriuki kutumika kama mshiriki wangu. Kwa msaada

wa James, tuliwateua wapiga picha kumi kushiriki kwenye warsha hii miongoni mwa kundi la wapiga picha kumi na wanne. Awamu ya kwanza ya mradi huu ilihusisha mihadhara darasani na majadiliano ikiwemo kazi za nyanjani na upigaji picha, na hii ilitoa nafasi ya kutumia kielezo cha kutoa mafunzo nilichokitayarisha kwa shughuli hii. Yaliyomo katika warsha hii yalishughulikia maswala kama vile mitindo ya upigaji picha na mikakati ya kuhifadhi elementi hai ya turathi hisivu katika hali mbalimbali nyanjani, itifaki ya kuwapiga picha wanajamii( ikiwemo ruhusa huria, taarifa ya mapema na kuwajuza wanaopigwa picha), maelezo mafupi chini ya picha, na mambo ya kuzingatiwa katika kuhifadhi nyaraka za picha.

Mimi na James tulikutana kila siku kudurusu mpango wa masomo kwenye warsha na kumaliza matayarisho ya mafunzo ya upigaji picha nyanjani jijini Nairobi.Kwa jumla, warsha ya Nairobi ilitayarisha wapiga picha husika kwa kazi yao ya nyanjani magharibi mwa Kenya. Mkakati wa kufanya kazi kwa pamoja uliovumbuliwa kwenye warsha ya Nairobi ulitoa ilhamu kubwa kwa juhudi zao huko Kakamega na kuwawezesha washiriki kutumia uwezo wao wa kuhifadhi kupitia upiga picha, mahojiano, na utafiti wa nyanjani.

Mwishoni, picha zilizotolewa na washiriki kwenye warsha zinazungumza yenyewe na kutoa nafasi ya kufanya uchunguzi zaidi na mawasiliano kuhusu uhifadhi wa turathi na utamaduni hisivu. Isitoshe, mkusanyiko huu unaibua maswali mapya kuhusu namna ambavyo picha zinahifadhi maana yazo na taathira zake kwa watu ambao wanahusishwa humo. Viwango vya ubora wa picha hizi vinaweza vile vile kuwa na umuhimu sawa na yaliyomo sio tu kwa wataalamu wa utamaduni, bali pia watu binafsi na jamii inayohusika. Kuweka usawa kati ya picha kama sanaa na kitu ghushi kunaweza kuwa muhimu kuhakikisha utoshelezaji wa turathi hai ambayo inahifadhiwa.

Alan GovenarDocumentary Arts

www.documentaryarts.org

Ikisiri

Workshop class lecture and discussion in Nairobi Participants at the end of the first workshop

In July 2010, I had a rousing discussion with a colleague about recording community practices. This was born by the notion that there’s a generation of people in our communities that is passing away with knowledge that is not engraved in any medium for the next generation. She called them the “burning libraries.” We racked our brains on how to collect and preserve the contents on these libraries. It is still a pending activity.

A week later, I received a call from Fumiko Ohinata at the UNESCO offices in Nairobi, and she introduced this project and the timely possibilities to focus on intangible cultural heritage. I accepted her offer and looked forward to meeting the international photography specialist, Dr. Alan Govenar, who was coming to work on the project with me in Nairobi.

As the project got underway in Nairobi, a community was starting to develop among the people involved, including the ten professional photographers coming from different backgrounds. For me, a person then working with contemporary art in a gallery/museum, this was a chance to strongly introduce photography to primarily civil servants whose approach was certainly quite different from mine.

Alan led a five-day workshop with my assistance, which included a fieldwork among clay artisans that I had known for some time and weavers both along Ngong Road. After Alan’s return to the United States, I led the team of ten photographers and a cultural offcer, Augustus Odubo, to the Kakamega area of Western Kenya to document the traditional foodways of the Isukha community. For the next week, we were in touch with living heritage as it was passed on from day-to-day.

The Khayega community in Kakamega was very welcoming, and I was incredibly moved by their hospitality and pride in their heritage. All of us, by now our own small community, were engaged in an enriching process both as photographers and collectors of cultural information. The photographers divided into three groups, while Augustus and I intermingled among them. The four main families we documented over the course of their daily lives from dawn to nightfall had been identified with the help of the area director of culture and the local Shihuli Primary School.

Back In Nairobi, in consultation with Alan, I guided the photographers through the process of editing the more than ten thousand images we had made. We then identified the potential photos for inclusion in the exhibition mounted during the 5th session of the Inter-governmental Committee for the Safeguarding of the Intangible Cultural Heritage in Nairobi. The post-field documentation workshop became the basis for my curating, with Alan’s assistance, the exhibition Documenting Living Heritage: 12 photographers in Kenya .

Throughout this process, I kept in close contact with Alan and discussed the various phases of the project as they developed. Our collaboration, combined with the logistical support provided by Fumiko Ohinata, was invaluable to me and to our team of photographers. Through our interactions in Nairobi and Kakamega, we learned much about the enduring importance of documentation. The fact that so many people can identify with photography purposes it as a strong medium for helping to sustain living heritage.

James Muriuki

Introduction

Mnamo Julai mwaka wa 2010, nilikuwa na mazungumzo kabambe na mwenzangu mmoja kuhusu kurekodi desturi za wanajamii. Hii ilitokana na dhana kuwa kipo kizazi cha watu miongoni mwa jamii zetu kinachotoweka pamoja na maarifa ambayo haijawekwa kwenye kumbukumbu yoyote kwa kizazi kijacho. Aliwaita “Maktaba zinazoteketea.” Tulipiga msasa bongo zetu kujua jinsi ya kukusanya na kuhifadhi yaliyomo kwenye maktaba hizi. Jambo hili halijatekelezwa.

Wiki moja baadaye, nilipokea simu kutoka kwa Fumiko Ohinata katika ofisi za Shirika la Elimu, Sayansi na Utamaduni la Umoja wa Mataifa (UNESCO) jijini Nairobi, na akataja mradi huu na uwezekano wa kuangazia turathi na utamaduni hisivu. Niliitikia wito wake na nikasubiri kwa hamu kukutana na mtaalamu mpiga picha wa kimataifa, Dkt. Alan Govenar, ambaye alikuja kufanya kazi name kwenye mradi huu jijini Nairobi.

Mradi ulipong’oa nanga jijini Nairobi, jamii moja ilikuwa inaibuka miongoni mwa wahusika, wakiwemo wapiga picha weledi kumi wenye usuli mbalimbali. Kwangu mimi, mtu ambaye awali alikuwa akifanya kazi kwenye nyumba ya sanaa/makavazi, hii ilikuwa ni fursa ya kuanzisha ipasavyo kwa upigaji picha miongoni mwa wafanyakazi wa umma ambao mbinu zao zilikuwa tofauti na zangu.

Alan aliongoza warsha ya siku tano kwa msaada wangu, ambayo ilihusisha kazi za nyanjani miongoni mwa wafinyanzi ambao niliwafahamu kwa kipindi fulani na pia wafumaji wote hao katika barabara ya Ngong. Baada ya Alan kurudi Marekani, nililiongoza kundi la wapiga picha kumi na afisa wa utamaduni, Augustus Odubo, hadi eneo la Kakamenga huko magharibi mwa Kenya kwa minajili ya kuhifadhi njia mbalimbali za kitamaduni za mapishi ya jamii ya Waisukha. Kwa wiki moja ifuatayo, tulikabiliana ana kwa ana na turathi hai kwa jinsi ambavyo ilipitishwa siku moja hadi nyingine.

Jamii ya Khayega kule Kakamega ilitukaribisha kwa ukunjufu, na nilivutiwa mno kwa mwaliko wao na fahari ya turathi yao. Sisi sote, kwa sasa jamii moja ndogo, tulihusishwa kwa njia ya kupata manufaa kama wapiga picha na wakusanyaji wa habari kuhusu utamaduni. Wapiga picha waliwekwa katika makundi matatu, huku mimi na Augustus tukijiingiza miongoni mwao. Familia nne kuu ambazo tulirekodi na kuhifadhi maisha yao ya kila siku kwanzia macheo hadi magharibi zilitambuliwa kwa usaidizi wa mkurugenzi wa utamaduni wa eneo hilo na pia shule ya msingi ya Shihuli.

Jijini Nairobi, kwa kushauriana na Alan, tuliwaongoza wapiga picha mapitio ya kuhariri zaidi ya picha elfu kumi tulizopiga. Kisha tukateua picha bora za kutumika kwenye wonyesho wakati wa kikao cha tano cha kamati shirikishi za serikali ya Kuhifadhi Turathi na Utamaduni Hisivu jijini Nairobi.Warsha iliyofanyika baada ya shughuli nyanjani ilikuwa ndiyo msingi wa kuangalia, kwa usaidizi wa Alan, wonyesho Documenting Living Heritage-12 Photographers in Kenya (Uhifadhi wa Turathi hai-Wapiga picha 12 nchini Kenya.

Kwa muda wote wa kazi hii, nilishauriana kwa karibu na Alan na kujadili awamu mbalimbali ya mradi huu ilipokuwa unakuwa. Ushirikiano wetu, pamoja na usaidizi wa utaratibu wa ugavi na usafirishaji wa watu na vitu uliotolewa na Fumiko Ohinata, ulinifaa sana na kundi letu la wapiga picha. Kila mahali tulipoenda Nairobi na Kakamega, tulijifunza mengi kuhusu umuhimu wa uhifadhi. Hali halisi kuwa watu wengi sana wanajihusisha na picha inaifanya kuwa chombo muhimu sana katika kuhimili turathi hai.

James Muriuki

Utangulizi

10Photographers in Khayega Photographers meet the province director of culture and people from the community

Photographs by

Front cover : Bernice MachariaBack Cover : Danson SiminyuPage 9 : Isaack Omoro, Fumiko OhinataPage 10 : James Muriuki, Okoko Ashikoye

Plates

Breakfast and other morning activitiesThe Family of Grace Awori Muteshi, her husband Gabriel Muteshi Mwabali

Forty-three year old Grace Awori Muteshi starts preparing breakfastat 6:20 AM with the help of her husband Gabriel Muteshi Mwabaliand their daughter Angela. Gabriel milks the family cow and harvestsarrow roots from their farm for breakfast, which is also served withfreshly roasted sesame seeds and ground nuts, and side dishes ofyams and avocado. While Grace makes breakfast, the family cleansthe previous night’s dishes and feeds leftovers to the chickens.

Kifungua kinywa na shughuli za asubuhiFamilia ya Grace Awori Muteshi, mumewe Gabriel Muteshi Mwabali

Grace Awori Muteshi anaanza kutayarisha kifungua kinywa saa kumi na mbili na dakika ishirini za asubuhi akisaidiwa na mumewe Gabriel Muteshi na binti yao Angela. Gabriel anamkamua ng’ombe maziwa na kuvuna nduma kutoka shamba lao kwa minajili ya kifungua kinywa, ambayo pia inapakuliwa pamoja na mbegu zilizochomwa za ufuta na njungu, na mapochopocho ya viazi vikuu na parachichi. Huku Grace akitayarisha kifungua kinywa, wengine wanaosha vyombo vilivyotumika usiku uliopita na kuwapa kuku makombo.

Photographs by (left to right)

Page 15 - 16 : Isaack OmoroPage 17 : Isaack Omoro, Okoko AshikoyePage 18 : Okoko Ashikoye, James MuriukiPage 19 : Bernice MachariaPage 20 : Isaack Omoro, Bernice MachariaPage 21 : Okoko Ashikoye, James MuriukiPage 22 : James Muriuki

Sharon at Shihuli Primary SchoolSt. Charles Shihuli Primary School

Margaret Nandwa prepares breakfast for her fourteen year-olddaughter Sharon before her cousin joins her for a walk to Shihuliprimary school. At school, teachers guide the students in agriculturalactivities during the morning study break. The students managethe growing of different foods, including sweet potatoes, traditionalvegetables, cassava, and beans, some of which they bring home fortheir families.

Sharon akiwa Shule ya Msingi ya ShihuliShule ya Msingi ya St. Charles Shihuli

Margaret Nandwa anamtayarishia kifungua kinywa bintiye Sharon mwenye umri wa miaka kumi na minne kabla ya binamu yake kuungana naye kupiga miguu hadi shule ya msingi ya Shihuli.Shuleni, walimu wanawaongoza wanafunzi katika shughuli za kilimo wakati wa mapumziko ya chai.Wanafunzi wanawezeshwa kupanda aina mbalimbali za chakula kikiwemo viazi vitamu, mboga za kienyeji, mhogo, na maharagwe, baadhi yavyo wakibeba nyumbani kwa familia zao.

Photographs by (left to right)

Page 25 - 27: Isaack OmoroPage 28 : Bernice MachariaPage 29 : Isaack Omoro, Bernice MachariaPage 30 : Bernice Macharia, Isaack OmoroPage 31 : Bernice MachariaPage 32: Isaack Omoro, Bernice Macharia

Vegetable Collection & Lunch Preparation

The Family of Plantina Musebe and her husband Andrea Khamati

Lunch preparations begin in mid-morning with the women going toget vegetables (including nderema, pumpkin leaves and sebebe) fromthe family farm. In their cooking, they flavor the vegetables usingonions and tomatoes. For the main meal, they serve mapwoni andugali (corn meal) to the mzee Khamati under a shade tree outside,while the rest of the family eats in the house. Later, Plantina goes tothe market to buy other food supplies.

Uchunaji mboga na utayarishaji wa chakula cha mchana

Familia ya Plantina Musebe na mumewe Andrea Khamati

Utayarishaji wa chakula cha mchana unaanza majira ya saa tano huku wanawake wakielekea kuvuna mboga( ikiwemo nderema, majani ya boga na sebebe) kutoka shamba la familia. Katika upishi wao wa mboga, wanaongeza ladha kwa kutumia vitungu na nyanya. Kwa chakula kikuu, wanamwandalia mzee Khamati mapwoni kwa ugali chini ya kivuli cha mti nje, huku wanafamilia wengine wakila ndani ya nyumba.Baadaye, Plantina anaenda sokoni kununua vyakula vingine.

Photographs by

Page 35 - 39 : Danson SiminyuPage 40 - 41 : Dennis Okeyo

Vegetable Collection & Lunch PreparationThe Family of Grace Awori Muteshi and her husband Gabriel

Muteshi Mwabali

Angela makes four trips to the water spring downhill from her home.For lunch, her mother Grace prepares pumpkin leaves and emirooas mixed vegetables, tenderized with omushelekha and flavouredwith fried onions and tomatoes. Angela then cooks ugali (corn meal),obusuma in the local dialect, as the main dish. Lunch is served outsideon a bench under the shade of bougainvillea. While they are eating,a woman comes by selling ripe bananas.

Uchunaji mboga na utayarishaji wa chakula cha mchana

Familia ya Grace Awori Muteshi na mumewe GabrielMuteshi Mwabali

Angela anafunga safari nne kuteka maji kutoka chemchemi kilichoko chini kilimani kutoka kwao nyumbani. Kwa chakula cha mchana, mamake Grace anatayarisha majani ya boga na emiroo kama mboga changanya, ikitiwa ulaini kwa kutumia omushelekha na kuongezwa utamu kwa vitungu na nyanya iliyokarangwa. Angela kisha anapika ugali, ambayo inaitwa obusuma kwa lahaja ya hapa, kama chakula kikuu.Chakula cha mchana kinaliwa nje katika ubao wa kukalia chini ya kivuli cha buganivilia. Huku wakila, mwanamke mmoja anakuja kuwauzia ndizi bivu.

Photographs by (left to right)

Page 45 : Okoko AshikoyePage 46 : Bernice MachariaPage 47 : Okoko AshikoyePage 48 - 53: Bernice Macharia

Celebration

The Family of Teresia Munika Lusambili and her husband Isaac Francis Muhanji Lusambili

Twenty-four year-old Millicent Muhele, a teacher at Madira Girls’ High School, gets ready for her graduation from Masinde Muliro University. As part of the celebration, her parents prepare food for a party to be held at their homestead and at a friend’s residence in Kakamega after she receives her graduation certificate. Ingokho (chicken) is a main dish for the celebration, and the preparations begin at 10 PM, the night before the graduation ceremony. It is served with ugali, chapati, rice, an assortment of vegetables, and soda. As an appreciation to their guests, the parents give away packaged groundnuts and mandazi.

Sherehe

Familia ya Teresia Munika Lusambili na mumewe Isaac Francis Muhanji Lusambili

Millicent Muhele wa umri wa miaka ishirini na minne, mwalimu katika shule ya upili ya wasichana ya Madira, anajitayarisha kwa mahafali katika chuo kikuu cha Masinde Muliro. Kama sehemu ya sherehe, wazazi wake wanatayarisha chakula kwa karamu itakayoandaliwa nyumbani kwao na pia katika makazi ya rafikiye mmoja huko Kakamega baada ya kukabidhiwa hati yake ya kufuzu. Ingokho (kuku) ndicho chakula kikuu kwa sherehe hii, na matayarisho yanaanza saa nne usiku, usiku wa kuamkia siku ya hafla ya mahafali. Inaandaliwa pamoja na ugali, chapati, wali, mboga anuwai, na soda. Kama kutoa shukrani zao kwa wageni, wazazi wanawapa njugu zilizofungwa vizuri na mandazi.

Photographs by (left to right)

Page 57 : Moses OtienoPage 58 - 61 : Paul MunenePage 62 : Henry BittokPage 63 : Sammy Situma, Paul MunenePage 64 : Sammy Situma, Paul MunenePage 65 : Paul Munene

Handmade crafts in the city

The Ngando area, along Ngong Road, Nairobi

In the Ngando area along Ngong Road, two groups of artisans co-exist among a network of small businesses that sell handmade crafts to tourists and people from Nairobi. Many of these businesses were started with micro-loans and have helped to alleviate the conditions of poverty among the families that live nearby in makeshift housing.

Ibrahim Mbugua has been making pots for the last 30 years and is the group leader of the Clay Artisans Self Help Group. Using a craft that is closely related to the indigenous practice of making earthenware, he works with his team of seventeen young adults to produce pots and planters that are sold to small vendors, hotels and local residents.

Sanaa za mkono jijini

Eneo la Ngando, lililoko barabara ya Ngong, jijini Nairobi

Katika eneo la Ngando lililoko barabara ya Ngong, makundi mawili ya mafundi wanakaa kiubavuubavu miongoni mwa msururo wa biashara ndogo ndogo ambazo zinauza sanaa za mkono kwa watalii na watu kutoka Nairobi. Nyingi za biashara hizi zilianzishwa kwa mikopo midogo midogo na zimesaidia katika kupunguza hali za ufukara miongoni mwa familia zinazoishi karibu hapo kwenye madongoporomoka.

Ibrahim Mbugua amekuwa akifinyanga vyungu kwa miaka thelathini iliyopita na ndiye kiongozi wa kundi la kujitegemea la Clay Artisans. Akitumia mbinu inayoshahibiana na ujuzi wa kitamaduni wa ufinyanzi, anafanya kazi na jopo lake la watu kumi na saba wa makamo kufinyanga vyungu na visanduku vya kupanda maua ambavyo anaviuza kwa wachuuzi wadogo, hoteli na wakazi wa hapo.

Photographs by (left to right)

Page 69 - 70 : Alan GovenarPage 71 : Alan Govenar, Paul MunenePage 72 : James MuriukiPage 73 : Danson SiminyuPage 74 : Danson Siminyu, Alan GovenarPage 75 : Danson SiminyuPage 76 : Bernice Macharia, Paul MunenePage 77 : Paul MunenePage 78 - 80 : James MuriukiPage 81 : Danson Siminyu, James MuriukiPage 82 : James Muriuki, Alan GovenarPage 83 : Alan Govenar, James MuriukiPage 84 : James MuriukiPage 85 : Moses Otieno, Alan GovenarPage 86 - 87: Alan Govenar

Handmade crafts in the cityThe Ngando area, along Ngong Road, Nairobi

George Nyajowi, a third-generation weaver, established the group Interweave Crafts with a mission to market his skills and to help people in his community. Working together with mostly women, who are paid the same wages as men in different levels of his organization, he processes and dyes wool to produce high quality rugs, mats and other household accessories.

Sanaa za mkono jijiniEneo la Ngando, lililoko barabara ya Ngong, jijini Nairobi

George Nyajowi, mfumaji wa kizazi cha tatu, alianzisha kundi la Interweave Crafts kwa lengo la kutangaza kipaji chake na kuwasaidia watu kutoka jamii yake. Akifanya kazi hususan pamoja na wanawake, ambao wanapewa malipo sawia na wanaume katika kundi lake,anatayarisha na kutia rangi kwenye sufu kutoa mazulia madogo manene ya hali ya juu, majamvi na vifuasi vingine vya nyumba.

Photographs by (left to right)

Page 91 : Henry BittokPage 92 - 94 : Alan GovenarPage 95 : James Muriuki, Alan GovenarPage 96 - 98 : Alan GovenarPage 99 : Henry Bittok

AcknowledgementsThe digital exhibition of photography, which is the basis of this catalogue, is an outcome of a capacity-building workshop that UNESCO conducted in Kenya in October 2010. The workshop was one of the numerous projects funded by the Japanese Government within the framework of UNESCO/Japan Funds-in-Trust for the Safeguarding of Intangible Cultural Heritage. Established in 1993, this Fund has spearheaded support for UNESCO’s action in favor of intangible heritage by fnancing direct safeguarding action plan projects, assisting in the preparation of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage leading up to its adoption worldwide, and more recently contributing to the Intangible Heritage Section’s global strategy to strengthen capacities of different stakeholders to safeguard intangible cultural heritage at the national level. To date, the UNESCO/Japan Funds-in-Trust to the Intangible Cultural Heritage Program has provided more than 15 million US dollars.

Many institutions and people have contributed to this project. We express our gratitude to the Ministry of State for National Heritage and Culture of Kenya, Department of Culture and the National Museums of Kenya, but also to our international partner Biodiversity International. Special thanks to Western Provincial Administration, the Shihuli primary school, the families of Andrea and Plantina Khamati, Grace Muteshi, Francis and Teresia Lusambili, and Margaret Nandwa in Kakamega, who welcomed the photographers to their homes, as well as to the crafts organizations in Nairobi - the Clay Artisan Self Help Group and Interweave Crafts. We are grateful to the photographers (some of whom represent the Permanent Presidential Music Commission of Kenya, the Trust for African Rock Art, Nation Media Group), and to Alan Govenar and James Muriuki, who together facilitated the workshop and curated the exhibition.

Photo creditsFront cover, p. 19, 20 (right), 28, 29 (right), 30 (left), 31, 32 (right), 46, 48-53, 76 (left) ©UNESCO / Bernice MachariaBack cover, p. 35-39, 73, 74 (left), 75, 81 (left) ©UNESCO / Danson Siminyup. 9 ©UNESCO / Fumiko Ohinatap. 10 (left), 18, 21, 22, 72, 78-80, 82 (left), 83 (right), 84, 95 (left) ©UNESCO / James Muriukip. 10 (right), 17 (right), 45, 47 ©UNESCO / Okoko Ashikoyep. 15-16, 17 (left), 20 (left), 25-27, 29 (left), 30 (right), 32 (left) ©UNESCO / Isaac Omorop. 40-41 ©UNESCO / Dennis Okeyop. 57, 85 (left) ©UNESCO/Moses Otienop. 58-61, 63 (right), 64 (right), 65, 71 (right), 76 (right), 77 ©UNESCO / Paul Munenep. 62, 91, 99 ©UNESCO / Henry Bittokp. 63 (left), 64 (left) ©UNESCO / Sammy Situmap. 69-70, 71 (left), 74 (right), 82 (right), 83 (left), 85 (right), 86-87, 92-94, 95 (right), 96-98 ©UNESCO / Alan Govenar

ShukraniMaonyesho ya picha kidijitali, ambayo ndiyo msingi wa mkusanyiko huu wa picha, ni zao la warsha ya utoaji mafunzo ambayo Shirika la Elimu, Sayansi na Utamaduni la Umoja wa Mataifa (UNESCO) lilifanya nchini Kenya mnamo Oktoba 2010. Warsha hii ilikuwa mojawapo ya miradi kadha ambayo inafadhiliwa na serikali ya Ujapani katika kielelezo cha UNESCO/Hazina-kwenye-amana ya Ujapani ya Kuhifadhi Turathi na Utamaduni Hisivu(UNESCO/Japan Funds-in-Trust for the Safeguarding of Intangible Cultural Heritage. Ilibuniwa mnamo mwaka wa 1993, na hazina hii imesaidia azimio la UNESCO katika turathi hisivu kwa kutoa msaada wa moja kwa moja katika kuhifadhi miradi ya mipango ya kutekelezwa, kusaidia katika kutayarisha Mapatano ya Kuhifadhi Turathi na Utamaduni Hisivu, ambayo yalikubaliwa kote ulimwenguni mnamo mwaka wa 2003, na hivi karibuni kuchangia katika idara ya mkakati wa Ulimwengu wa kuhifadhi turathi na utamaduni hisivu katika kiwango cha taifa. Kufikia sasa,UNESCO/Hazina-kwenye-amana ya Ujapani wa mradi wa Kuhifadhi Turathi na Utamaduni Hisivu(UNESCO/Japan Funds-in-Trust for the Safeguarding of Intangible Cultural Heritage Program) imetoa zaidi ya dola milioni 15.

Taasisi nyingi na watu wengi wamechangia mradi huu. Tunatoa shukrani zetu kwa Wizara ya Turathi na Utamaduni wa Kitaifa ya Kenya, Idara ya Utamaduni na Makavazi ya Kitaifa ya Kenya, na pia mwenzi wetu wa kimataifa Biodiversity International. Shukran maalum kwa Utawala wa Mkoa wa Magharibi, Shule ya msingi ya Shihuli, familia ya Andrea na Plantina Khamati, Grace Muteshi, Francis na Teresia Lusambili, na Margaret Nandwa wa Kakamega, ambao waliwakaribisha wapiga picha majumbani mwao, na vile vile makundi ya ufundi wa sanaa—kundi la kujitegemea cha Clay Artisan na lile la Interweave Crafts. Tunatoa shukrani zetu kwa wapiga picha (baadhi yao wakiwakilisha Tume ya Kudumu ya Muziki ya Rais, Kenya, The Trust for African Rock Art, Nation Media Group, na kwa Alan Govenar na James Muriuki, ambao kwa pamoja walirahihisha warsha na kuangalia wonyesho.

Utambuzi wa wapiga pichaJalada la mbele , uk. 19, 20 (kulia), 28, 29 (kulia), 30 (kushoto), 31, 32 (kulia), 46, 48-53, 76 (kushoto) ©UNESCO / Bernice MachariaJalada la nyuma, uk. 35-39, 73, 74 (kushoto), 75, 81 (kushoto) ©UNESCO / Danson Siminyuuk. 9 ©UNESCO / Fumiko Ohinatauk. 10 (kushoto), 18, 21, 22, 72, 78-80, 82 (kushoto), 83 (kulia), 84, 95 (kushoto) ©UNESCO / James Muriukiuk. 10 (kulia), 17 (kulia), 45, 47 ©UNESCO / Okoko Ashikoyeuk. 15-16, 17 (kushoto), 20 (kushoto), 25-27, 29 (kushoto), 30 (kulia), 32 (kushoto) ©UNESCO / Isaac Omorouk. 40-41 ©UNESCO / Dennis Okeyouk. 57, 85 (kushoto) ©UNESCO/Moses Otienouk. 58-61, 63 (kulia), 64 (kulia), 65, 71 (kulia), 76 (kulia), 77 ©UNESCO / Paul Muneneuk. 62, 91, 99 ©UNESCO / Henry Bittokuk. 63 (kushoto), 64 (kushoto) ©UNESCO / Sammy Situmauk. 69-70, 71 (kushoto), 74 (kulia), 82 (kulia), 83 (kushoto), 85 (kulia), 86-87, 92-94, 95 (kulia), 96-98 ©UNESCO / Alan Govenar