There has been extensive research into the negative impact limited literacy can have on impoverished communities. For example, the World Bank estimates that 95% of illiterate people live in developing countries. This reflects limited education and employment opportunities within these areas. Currently, there are approximately 773 million illiterate adults globally. In sub-Saharan Africa alone, more than one in three adults lack the literacy skills to read. In this region, 22% of children of primary school age do not go to school.
However, in modern society, new forms of literacy are emerging. Digital literacy has been a wide focus, as technology is becoming more and more beneficial for employment opportunities. Yet, impoverished communities in sub-Saharan Africa struggle to engage with this form of literacy. In 2021, 82% of students in this region did not have access to the internet. This digital divide has remained an obstacle for poorer African communities, as it continues to limit their employability in the digital age.
More Accessible Forms of Literacy
These barriers have paved the way for more accessible forms of literacy, such as art literacy. Looking at more creative outlets as literacy skills is a relatively underreported field of study, one that Peggy Albers appears as a pioneer. In her 1997 work “Art as Literacy,” Albers discusses how utilizing art literacy allows children to develop a better understanding of the world around them. Using art developed their empathy, curiosity and ability to express themselves.
In an interview with The Borgen Project, Albers noted how engaging with art provides individuals with a wider education. She noted:
“For example, as a clay artist, I must have knowledge about how to manipulate clay in a variety of ways to make an art object. If I want to make a cup, I must know which clay body I wish to use to make this cup, what type of cup I wish to make, and how I want the cup to function. I must study different types of cups. I also must know how to throw on a wheel (or will I hand-build the cup?), how to shape the form and how to finish the form.”
Looking at art literacy in Africa, many programs and NGOs have developed that use art to tackle poverty. These projects provide children and adults from disadvantaged backgrounds with a new form of literacy that can aid in employment opportunities.
Whilst in discussion with Albers, she highlighted how technological developments have led to people overlooking art in education and literacy studies. Moreover, Albers notes how people can shy away from the power of art as ‘people often are naïve in thinking that artists are born and not made.’ Thus NGOs using art literacy in Africa are revolutionising education in poverty.
African Artists’ Foundation (AAF)
The African Artists’ Foundation (AAF) represents the importance of art literacy in Africa. Based in Nigeria, the non-profit focuses on promoting local African artists and advocating for social change in the country.
Since 2007, the AAF has been supporting the livelihoods of Nigerian artists. The program offers health care, a pension scheme and scholarships to these underrepresented artists. The success of this NGO reflects the positive impact art literacy in Africa can have.
For example, the AAF hosts a range of events to further support Nigerian artists. These include the LagosPhoto Festival and the National Art Competition.
The LagosPhoto Festival 2023 edition marks the 14th annual show. Photographers have the opportunity for their work to be viewed by a range of experts such as gallerists, publishers and educators. Many of these individuals are from National Geographic. This kind of exposure provides art literacy in Africa with a wider importance, as such events could launch an individual’s career.
The AAF’s National Art Competition is an example of art literacy in Africa providing global opportunities. Any winners are able to have their work shown throughout Europe! For example, in 2016, Godwin Uzoji won the National Art Competition and received 2 million Naira (more than $2,560).
The theme was “Shifting Boundaries” and Uzoji submitted a sculpture of a tent made from coconut shells. The work reflects difficulties with “homelessness, despair and hope” that internally displaced persons face. This moving sentiment shows that art literacy in Africa not only provides work opportunities but can be a compelling form of advocacy for underrepresented voices.
Representing the Underrepresented
Peggy Albers highlights the importance of representing underrepresented voices in art as “people are born in history; their lives are steeped with different ways of knowing.” In one example, Albers discussed an artist who works with a community of women in South Africa doing beading! Albers noted:
“These women born in poverty use their knowledge of tradition, patterns and knowledge of beads to earn a living. They weave the most intricate patterns born out of tradition of their tribes, while also integrating patterns that address current social issues. Not only are these women able to earn a living through their art, but their voices, marginalized in other spaces, are respected and heard through their art.”
Artists for Africa
The AAF mainly works with adults to support their professional careers. However, art literacy in Africa is just as important for children. Artists For Africa (A4A)is a non-profit from South Carolina that encourages art literacy in Kenya.
In 2012 the NGO’s director Cooper Rust volunteered in Kenya as a dance instructor. Rust was struck by what she saw in Kibera, Kenya and was inspired to develop Artists For Africa. Since 2012, A4A has supported art literacy in Africa, particularly Kenya, in many ways.
A4A provides art education initiatives to children, having more than 1,000 students each year. The classes include dance, music, creative writing, visual media and performing arts. In addition, A4A has a Boarding House for scholarship students. This housing includes travel to classes for the students to make art literacy in Africa more accessible.
The A4A is a prime example of the importance of art literacy in Africa, as the organization has some prominent success stories. For example, Joel Kioko was a scholarship recipient from A4A. In 2017, Kioko was the first Kenyan to receive a full scholarship to the English National Ballet School, A4A reported on its website.
The Positive Impact
“As humans, we are continual makers and shapers of symbols and, hence, meaning […] The arts do just that—they encourage us to see situations differently and, most importantly, develop our sense of design which is very much a part of many types of jobs,” Albers stated.
These are just a few examples of the positive impact art literacy in Africa can have. Using creative outlets such as dance and visual media has provided opportunities for people in sub-Saharan Africa. Success stories reflect a wider movement of art literacy in Africa tackling poverty.
As such, Albers hopes art literacy will continue to develop in education. Albers summarises these benefits:
“Unlike what is emphasized in schools, we have moved beyond a linguistic expression. We speak in emojis, gifs, photos, sound and movement, with written language less emphasized. Hopefully, learning will move away from having to know specific facts, largely because this learning is testable, and encourages learning that engages learners in design and production is more dynamic, aesthetic and imaginative.”
Bewritings 
Leave a comment