Kenrick — A Conversation with Kenrick Mark Coleman Features Yasser Musa
The Kenrick Mark Coleman Foundation
Kenrick — A Conversation with Kenrick Mark Coleman Features Yasser Musa
1. Tell us a little about yourself.
I am a visual artist and teacher. I love playing ping-pong and drinking 4–6 cups of green tea a day. Every day, I rise around 3am, to email, read, and organize my day — lessons, art projects, collaborations, publications and to just think.
2. You are the Founder/Owner of the Image Factory. What do you believe is important in this your role?
“To expand the space of the arts and culture and push to see how we as Belizeans can use expression and creativity as an instrument of our development. To provoke action and artistic encounters as a concept of negotiation with the society.”
3. Tell us more about the Image Factory (Little History). Why did you establish this business? What types of products/services are available? What types of clients do you have? What’s the best part of working with your clients? The most demanding?
We started in June 1995. It is a not-for-profit art institution dedicated to the promotion, documentation and exhibition of contemporary art projects in Belize. The most demanding issue at 2014 is to figure out the relevance of the “physical” space in the era of a growing electronic social space. Being in Belize City and part of the incredible space of violence, we find ourselves bunkered down in a state of anxiety. So our challenge is to remain focused on our social responsibility to use art as a source of creative action.
4. Tell us more about your exhibitions and crafts/arts shows. Can you list the major ones? What impact does it have on the general audience who visit? Do you involve young people/old people?
Since 1995, we’ve organized over 400 art actions including exhibitions, publications, multi-media productions (video, audio, web etc.), performances, installations and cultural encounters. In terms of category, our work focuses on contemporary visual art, poetry, book and printed matter production, social, anthropological, archaeological and historical exhibits. The people that visit the Factory are varied from youth to the elderly, it depends on the event. Over the past twenty years, I would say we’ve had a major amount of YOUTH centered shows and productions since I teach at the high school level so my bias is on the youth.
5. What are the challenges of the Image Factory? Opportunities?
Other than violence and the electronic revolution, a huge obstacle is $$$. Money is a problem all over since it restricts the plans and aspirations of the artists. We are still open because artists come from a position of struggle and they see the Factory as a space of liberation in a society that has little value for expression.
6. Since its establishment, how is the Image Factory transforming the development of art in Belize? What are the key factors as it relates to helping people to bring out their authenticity and creativity?
This is a difficult question because although we are soon to be 20 years in this culture and art process, I feel we are still young, still evolving. There is so much to do in Belize as it relates to education and culture. However, at our core we believe in artists and their work. We value their integrity and their aspirations, so I think our attitude towards the human expression is our greatest asset. We place high value on creativity, and I think the artists that we encounter and collaborate with feel this vibe and they in turn reciprocate and present amazing projects.
7. There are many Belizeans with great potential in the field of art/craft/poetry/entertainment/et al. However, there are many barriers to development including financing, markets, and perhaps, just the will of doing so. As the Past President of the National Institute of Culture and History, and current Owner of the Image Factory, how do you believe our Belizeans should fight these debacles and begin to make their dreams a reality?
I can’t think in terms of being a past president of NICH because when I was there, I felt like an artist trapped in an office. So, I brought a biased approach to my work. However, now I am on the outside looking on, I see how oppressive and disrespectful the institution can be toward the artist, the poet, the musician, the writer, and the thinker. If we are to move forward we need to focus on five key areas:
a. A Culture Bill of Rights
b. Arts and Technology integration in schools
c. The teaching of African and Maya history in schools
d. A Museum of Natural History
e. Establishment of a Culture Fund to provide micro-financing for artistic and cultural projects based on merit and disconnected from political interference
8. What’s your vision for the Image Factory? When’s your next big show? Do you believe that the Government plays a vital role in helping young artists? Why?
The vision I have for the Factory is the same one I have for my students. For them to seek knowledge and skills full with passion and curiosity and to work toward a balance in their lives where they can collaborate with others to find solutions to the myriad of problems in our society. I think the Government has a key role to play as it relates to art and culture. If we are serious then we must put art and culture on the front burner where we can use the tools of expression as elements of change.
9. Why should Belizeans visit the Image Factory? How can they contact? What message do you have for aspiring artists?
To experience the power of art and to appreciate the relevance of it in our lives. I encourage anyone to visit our web www.imagefactorybelize.com or my own site www.yassermusa.com for more information. You can also check out our history sitewww.belizehistorysjc.com
10. What three words do you have to say to young Belizeans?
Read, think, love.
PHOTO: Yasser Musa in front of his Grandfather’s home in Al Bireh, Palestine, taken a couple weeks ago.
