Culture on Display or Culture in Decay?

We are reminded by Marcus Garvey: “A people without the knowledge of their past history, origin and culture is like a tree without roots.”Every year, university campuses across Namibia explode with colour, celebrations and pride in diverse identities.These four-to-seven day events are commonly known as cultural festivals, aimed at celebrating, and showcasing the diversity of Namibian culture.

The intention behind these events, as well as the effort and investment, is commendable.However, the festivals turn into modern entertainment supplemented by commercial activities, with only one or two days dedicated to intentional celebrations of culture – traditional food and goods, for example, are nowhere to be seen.As a result, what was meant to be a meaningful celebration of identity and unity begins to resemble something else – a modern costume party draped in borrowed pride.



Behind this glamour lies a question for introspection: Are we truly honouring and intentionally preserving our culture, or are we merely performing it?THEORY VS PRACTICEAs a passionate observer of, and sometimes participant in these events, as well as an advocate for cultural preservation, I’ve watched the promise of festivals slowly unravel.They are meant to promote cultural appreciation, foster learning about Namibia’s many diverse ethnic groups and create a space where students from all backgrounds can connect through shared experiences.These festivals should aim to instil pride in our heritage and contribute to national unity within the academic community.

Namibia’s colonial past, including apartheid divisions, and ongoing ethnic tensions make cultural understanding and mutual respect critical to our national healing and reconciliation.In theory, cultural festivals at our universities are good initiatives to bridge these divisions and empower youth with a more profound connection to their roots and understanding of various Namibian cultures and traditions.In reality, they are often reduced to cultural performances and entertainment events where culture is displayed rather than explained.

Some events become dancing competitions without substance where traditional dances are presented without context, and traditional attire is donned without accompanying stories of origin or meaning.The performances, though vibrant, are frequently disconnected from the cultural knowledge they are meant to represent. This trend may not be universal, but I have observed it at many tertiary institutions.

AUTHENTICITYIn addition, the atmosphere at these festivals is often characterised by an abundance of alcohol, loud modern music and casual socialising, overshadowing the tone the events were meant to carry.As soon as they end, so does the conversation about cultural preservation and celebration at such institutions.There is rarely any follow-up: No workshops, no dialogue circles, no integration of what was performed into broader learning or campus life.

The festival becomes an event celebrated in isolation, with no sustained effort to deepen cultural literacy throughout the year.Also concerning is the absence of authentic storytelling and meaningful intergenerational dialogue.Elders, academic cultural experts and traditional leaders – those who hold the keys to Namibia’s oral history and indigenous knowledge systems – are often absent.

This leads to a disconnect.They should be actively involved as mentors and guides.This is not a call to cancel cultural festivals but rather to reimagine them as meaningful celebrations; to reclaim their soul and shift from performance to purpose, from costume and commercial to consciousness.

If universities are serious about turning these festivals into tools for unity and growth, as well as pride in one’s own culture, they must start by rethinking their approach.There should be structured opportunities for students to learn about pre-colonial histories and indigenous governance systems, languages and values that continue to shape Namibian identity.Representation must be inclusive and deliberate.

All tribes should have equal opportunities to participate, especially those often marginalised, overlooked and misunderstood.Instead of limiting celebrations of culture to a single day or weekend, universities should consider developing a full cultural week.Events could feature exhibitions, film screenings, discussion panels, cooking demonstrations, storytelling sessions and even workshops on intangible cultural heritage.

Moreover, culture should feature in activities throughout the year – through traditional language clubs, art workshops and oral history projects to embed heritage into the everyday experience of students.I challenge the student leadership to champion this and make our culture something that is lived and not just performed on command.INHERITANCE AND IDENTITYAs someone committed to cultural preservation and youth empowerment, and a participant in these festivals, I have seen both the promise and the pitfalls.

To the institutions, student representatives and festival organisers who wish to make events more purposeful, impactful and educational: reach out to cultural preservation advocates.It is time we move beyond celebrating culture for show, and begin to shape a culture that teaches, connects and heals.Namibia’s future doesn’t only depend on economic growth or political stability, it also depends on how well we as a nation understand and value who we are.

Culture is not a costume. It is our inheritance, our identity and our collective soul.As the African proverb reminds us, “until the lion tells his side of the story, the tale of the hunter will always glorify the hunter”.

Eustasius Mushongo is a cultural preservation advocate and founder of the Kavango Heritage Foundation, committed to promoting indigenous knowledge and connecting youth with their heritage.The post Culture on Display or Culture in Decay? appeared first on The Namibian..