Research is one of our key competencies. One area we are well-versed in is researching colonial stories in Africa. This is not only because of the Germans’ occupation of African countries, but also because their presence in Africa has left lasting marks that continue to remind the colonized of the impact of colonialism.
Few African countries were colonized by Germans compared to other colonial powers like the British. Tanzania (known as Tanganyika at the time) was one of the few colonies Germany had before losing some of them after the end of World War One (WWI) in November 1918. Other German colonies in Africa included Togo, Ruanda-Urundi, Cameroon, and Namibia.
The Goethe-Institut Africa initiated research on German colonial heritage from a cultural perspective in 2017, with implementation beginning in 2018. The objective of the study was to produce a comprehensive survey of artistic productions from 2008-2018 that dealt with reflections on the German colonial past, issues of decolonization, and the treatment of colonial heritage.
Given the study’s focus on various former German colonies in Africa, a standardized questionnaire was utilized to collect data that would be suitable for the diverse range of participants. Interviews were conducted with individuals involved in production or cultural activities, with some respondents completing questionnaires via email followed by in-depth discussions on the content. Additional information was obtained through internet searches and emails to potential respondents. One-on-one interviews were also carried out with individuals knowledgeable about German history in Tanzania and Africa. The study contributed to a publication titled “Germany’s Colonial Heritage in Africa: An Artistic and Cultural Perspective.”
Five key issues emerged from the research. Firstly, German institutions funded the majority of cultural productions. Secondly, many productions were collaborations with German artists or institutions. Thirdly, Tanzanian productions often overlooked the use of social media for publicity and audience outreach. Fourthly, there were fewer recorded productions in Tanzania compared to other German colonies in Africa. Lastly, audience reach for many productions was limited. The discussion in this article is divided into five major parts: the theoretical framework for data analysis, genres, and synopses of cultural productions, themes related to German colonialism, locations, performances, audience reach, and media reviews, and a conclusion.
Tourism Innovation Hub (TIHUB) Moshi - Tanzania