Creating Spaces. Non-Formal Art/s Education and Vocational Training for Artists in Africa between Cultural Policies and Cultural Funding

Table of Contents

006 Preface

012 Acknowledgments

016 Authors’ Note

020 Introduction

028 Chapter 1 Discursive Locating

Framing the Field of Art/s Education and Vocational Artistic Training and Professionalization

088 Chapter 2 Prior to Entry

A Critical Attunement to Field Research

118 Chapter 3 Fragmentary Depictions

Shaping the Field of Non-Formal Artistic Education/Training and Professionalization

206 Chapter 4 Formative Effects

Non-Formal Vocational Artistic Training and Professionalization within the Context of Western Cultural Funding

228 Chapter 5 Bigger than the Tick Box

Defining Interdisciplinary Art/s Education to Funders in South Africa by Rangoato Hlasane and Malose Malahlela Keleketla! Library

266 Chapter 6 The Challenges of Interstitiality

Reconsidering Cultural and Funding Policies for the Non-Formal Artistic/Cultural Field

288 Bibliography

300 Contact Zones Nairobi

302 Imprint

Research Objectives and Core Themes

This study aims to provide a critical overview of non-formal, non-certified artist training facilities in Africa to serve as a foundation for developing informed funding recommendations and more sustainable, context-specific cooperative models between Western institutions and local partners.

• The interstitial nature of non-formal art/s education and its complex relationship with "developmental" cultural policies.
• The formative influence and structural constraints imposed by Western-dominated funding landscapes on African creative scenes.
• Methodological approaches to identifying and supporting innovative, context-specific training strategies beyond formal Western institutional frameworks.
• The lived realities and "interstitial" work practices of cultural actors in diverse African urban settings (e.g., Johannesburg, Addis Ababa, Kisangani).
• The necessity of shifting from product-oriented metrics to process-oriented support for long-term artistic capacity building.

Excerpt from the Book

Summary of Chapters

Chapter 1 Discursive Locating: Analyzes the theoretical and policy frameworks that define art/s education, highlighting how these often reflect Eurocentric biases and marginalize non-formal, locally specific training structures.

Chapter 2 Prior to Entry: Reflects on the methodological challenges of conducting field research in post-colonial contexts, acknowledging the inherent power imbalances between Western researchers and local actors.

Chapter 3 Fragmentary Depictions: Examines the practical infrastructure, financing, and training models of four case study organizations in South Africa, Senegal, DR Congo, and Ethiopia.

Chapter 4 Formative Effects: Discusses the systemic impact of Western-dominated funding policies, arguing that current project-based models fail to support the long-term, process-oriented nature of non-formal artistic work.

Chapter 5 Bigger than the Tick Box: Features a guest contribution by Keleketla! Library that challenges traditional funding metrics by showcasing their interdisciplinary, community-rooted work in Johannesburg.

Chapter 6 The Challenges of Interstitiality: Synthesizes the study’s findings to propose new policy directions that prioritize dialogue, sustainability, and the de-hierarchization of funding structures.

Keywords

Art/s Education, Non-Formal Training, Vocational Artistic Training, Cultural Policy, Western Funding, Post-Colonialism, Interstitiality, Cultural Mediation, Creative Industries, Knowledge Production, African Contexts, Participatory Research, Cultural Sustainability, Capacity Building, Relational Geographies

Frequently Asked Questions

What is the fundamental focus of this research?

The work focuses on the landscape of non-formal, non-certified art/s education and vocational training for artists in Africa, analyzing how these sectors operate between local realities and international funding policies.

What are the primary themes discussed?

The book covers discursive framing, structural infrastructure, the limitations of Western funding models, and the role of cultural organizations in fostering social and civic engagement.

What is the core objective of the publication?

The primary goal is to critically analyze the existing structures of artistic training and to propose more sustainable, context-sensitive funding criteria that move beyond rigid, product-oriented categories.

Which research methodology is employed?

The study utilizes a critical, reflexive approach including discursive analysis of policy documents and media, supplemented by qualitative case studies based on extensive field research and interviews with actors in four countries.

What is the significance of the "interstitial" field?

The term refers to the space between formal and informal education, where cultural actors often operate without institutional support, and which this study seeks to make visible and actionable for policymakers.

Which key terms characterize the study?

Keywords like "interstitiality," "post-colonial," "cultural policy," and "vocational artistic training" are central to understanding the book's critical framework.

How does the book address the impact of Western funding on local organizations?

It argues that Western funding models often impose rigid requirements—like attendance registers or short-term project cycles—that force local organizations to adopt "marketable" structures at the expense of long-term process and community-specific needs.

What unique perspective does the Keleketla! Library chapter offer?

Chapter 5 provides an "insider" view from local practitioners who have had to constantly negotiate and redefine their program's identity to survive within a funding climate that struggles to categorize interdisciplinary, process-led work.