How Tanzania’s premier photography festival explores themes of diversity, urban transformation, and the power of visual storytelling, offering a unique perspective on the evolving cultural landscape.
Posta Photo Walk. Courtesy of Dar Foto Festival. © Andrew S. Munuwa
Since its inception, the Dar Foto Festival has established itself as Tanzania’s leading photography event, celebrating visual storytelling that captures the complexities of contemporary life. In its latest edition, the festival continues to evolve, drawing photographers and audiences from across Africa and beyond. This year’s theme, “Coexistence,” profoundly explores how individuals, communities, and the environment intersect in an increasingly interconnected world.
Curated by founder and creative director Andrew S. Munuwa, the 2025 edition brings together artists from Tanzania, Kenya, Sudan, and the Democratic Republic of Congo. Their works reflect themes of cultural diversity, urban migration, and the delicate balance between human expansion and nature. Munuwa shares insights into the inspiration behind this year’s theme, the festival’s growing global presence, and his vision for shaping the future of African photography.
ART AFRICA: What inspired the theme of “Coexistence” for the 2025 edition of the Dar Foto Festival, and how do you hope audiences will engage with it?
Andrew S. Munuwa: The theme of diversity is intricately woven into the cultural fabric of Tanzania, a nation historically shaped by its strategic coastal location, which has enabled extensive migration over centuries. This movement, driven by access to trade routes and the region’s abundance of food and fresh water, has fostered a rich and diverse cultural landscape. My understanding of diversity was cultivated from a young age, particularly during my childhood at military barracks in the Mbeya Region, where my father was stationed. This environment exposed me to a vibrant mix of ethnic groups, providing me with a profound and formative experience. I recall the evenings when my mother, along with other women from our tribe, would form social groups, singing in their native tongue and participating in various communal activities. These gatherings were inclusive, sometimes inviting individuals from other tribes and creating a space for joy and collaboration. This early exposure to cultural diversity was further reinforced during my school years, where I interacted with classmates from various backgrounds, including white, mixed, Indian, and Arab.
Opening Ceremony. Courtesy of Dar Foto Festival. © Marcus Davie
Despite our differences, there was a prevailing sense of peaceful coexistence, a testament to the broader social harmony that has characterised my lived experience in Tanzania. Alongside this human diversity, my teenage years in the suburbs (North of Dar es Salaam) allowed me to observe the evolving relationship between urbanisation and nature. I witnessed firsthand the complexities of growth, particularly the transformation of areas like the Pande Game Reserve, which is gradually occupied for residential purposes. The city’s expansion presents new opportunities and environmental challenges, offering me a unique perspective on social progress, nature, and sustainability. This experience, marked by human and environmental change, has profoundly shaped my artistic practice, influencing my ongoing exploration of the complex interplay between culture, identity, and the natural world.
Dar Foto Festival has grown significantly over the years. What challenges and successes have you encountered in shaping it into Tanzania’s premier photography event?
The journey has been both challenging and rewarding. One of the primary challenges I’ve encountered is assembling a reliable team of like-minded individuals who share the same vision. Team members may inevitably bring different perspectives and ideas in any collaborative endeavour. While this diversity of thought can be an opportunity for growth, it is crucial to prioritise the community and ensure that the collective vision aligns to foster a supportive environment for creative expression. I firmly believe that progress is made when we work toward a common purpose, especially within the creative sector. The Tanzanian creative scene, in particular, presents a unique set of challenges. The landscape is often monopolised, with gatekeepers controlling access to opportunities and resources. This structure can be disheartening and even discouraging, particularly for emerging artists. However, these obstacles fuel my determination to build a sustainable infrastructure to support Tanzania’s next generation of photographers.
Opening Ceremony. Courtesy of Dar Foto Festival. © Marcus Davie
Currently, access to resources remains limited, hindering the creative community’s growth. I envision creating an ecosystem where photographers can access the tools, mentorship, and platforms they need to thrive. Despite these challenges, our successes with the festival demonstrate the potential for change. By providing a space where photographers can connect, learn, and showcase their work, the Dar Foto Festival is slowly but surely contributing to developing a more inclusive and accessible creative industry in Tanzania. Ultimately, I aim to continue breaking down barriers and establishing pathways that empower future photographers, allowing them to navigate a landscape fraught with limitations.
The festival highlights human coexistence and our relationship with nature and urban spaces. How do you see photography as a tool for fostering dialogue on these issues?
A single photograph can initiate a conversation; its visual impact can provoke thought, elicit emotion, and raise awareness about critical issues. By presenting these images within the public sphere, we provide an opportunity for diverse audiences to engage with the work, which, in turn, facilitates discussions that can influence societal attitudes and policies. The ultimate aim of creative work is to ignite conversations. Still, it is equally important for stakeholders—policymakers, activists, and community leaders—to continue to fuel that dialogue and drive change. Photography, however, does not exist in a vacuum. It is inherently interdisciplinary, engaging with sociology, environmental studies, urban planning, and politics. Photographers must collaborate with professionals from these diverse sectors to foster meaningful dialogue. By coming together, we create a collective platform through which the issues at the heart of the work can be explored, understood, and acted upon. In this sense, photography becomes not just a visual medium but a catalyst for broader societal engagement and transformation. Through this interdisciplinary collaboration, we can ensure that the conversation continues beyond the gallery or exhibition space, ultimately contributing to lasting change in how we perceive and address the intersection of nature, urbanisation, and human coexistence.
Masani Photo Walk. Courtesy of Dar Foto Festival. © Natalia Msungu
Tanzania’s history of unity through Ujamaa and the philosophy of Ubuntu are deeply rooted in the theme of coexistence. How do you see these ideas reflected in the works of this year’s artists?
The concepts of Ujamaa and Ubuntu, deeply embedded in Tanzania’s history, resonate strongly within the theme of coexistence, which is reflected powerfully in the works of this year’s artists. Take, for example, the photography of Natalia Msungu, whose portrayal of the different colonial zones in Dar es Salaam speaks volumes about the enduring legacy of unity in the face of division. Her work highlights the layers of history that have shaped the city, where there is a zone for Europeans and Asians. Lastly, for Africans, yet beneath these layers, Mwalimu Nyerere’s ideologies of Ujamaa and Ubuntu prevail. These philosophies continue to bind people together, transcending the divisions created by colonialism. Despite the complexities of the past, Msungu’s work captures how Tanzanians, in line with Nyerere’s vision, continue to coexist with respect for one another. Nyerere’s efforts to eliminate tribalism and establish Kiswahili as a unifying language play a significant role in this ongoing unity. Msungu’s work reflects this harmonious blend of cultural diversity and social cohesion.
On the other hand, Sabi’s work brings a global context to the theme of coexistence, offering a diasporic perspective that deepens the conversation. Sabi’s photographs explore how Ujamaa and Ubuntu’s ideals extend beyond Tanzania, offering insight into how people from different backgrounds navigate their identities and relationships within a globalised world. Her work bridges local and global experiences, highlighting the universal relevance of unity, mutual respect, and shared humanity. Through their distinct approaches, both artists demonstrate how the themes of unity, respect, and coexistence—fundamental to the philosophies of Ujamaa and Ubuntu—are central to Tanzania’s identity and resonate globally in the contemporary context.
Exhibition at Humboldt Museum. Courtesy of Dar Foto Festival. © Humboldt forum
Last year, the festival was showcased at the Humboldt Museum in Berlin. What impact did this international exposure have, and how do you envision Dar Foto Festival expanding globally?
The Dar Foto Festival has consistently attracted an international audience from the beginning. I vividly recall the first edition, where we hosted visitors from Nairobi and many submissions from Mali, Egypt and more. This early exposure to a global community began the festival’s broader impact. Showing work on the international stage, such as at the Humboldt Museum in Berlin, has proven transformative for the artists involved. The exposure has opened doors for them, with some of their work being sold and reinvested into their practice. A standout example is Natalia Msungu, who initially presented her work using photographs taken on her iPhone. Today, she is showcasing her art with academic references, a significant leap that reflects the profound growth catalysed by international visibility. For me, this progress exemplifies the true power of exposure and the potential it holds for Tanzanian photographers. This year, we also published Marcus Davie’s photo zine, a personal milestone for me, as I have mentored Marcus since he was about 12 years old. His growth and the recognition of his work reinforce the importance of nurturing local talent and creating platforms for them to thrive. Looking forward, I envision the Dar Foto Festival continuing to expand through collaborations and exchange programs.
I want the festival to serve as an open gateway. This accessible platform brings photography resources to Tanzania and allows local creatives to explore new dimensions of their work. By fostering partnerships with international institutions and artists, we can create opportunities for our local community to connect with global creative networks. We are already planning for the festival’s next edition, aiming to feature even more individuals and institutions and ensure that the resources and opportunities needed to elevate the local scene are readily available. Our goal is to offer Tanzanian photographers the tools and exposure they need to expand their creative horizons on the global stage.
Exhibition at Humboldt Museum. Courtesy of Dar Foto Festival. © Humboldt forum
What are your long-term aspirations for the Dar Foto Festival, and how do you see it evolving to further support African photographers and visual storytellers?
My long-term aspirations for the Dar Foto Festival are to create a sustainable and empowering ecosystem for African photographers and visual storytellers. One of my key goals is to establish a dedicated gallery space. In this physical hub, people can learn about photography, showcase their work, engage in discussions, and participate in workshops. Currently, the lack of our own space limits the scope of our activities, as we are forced to rent venues for each event. Having a permanent gallery would provide a foundation for year-round programming and create a consistent presence for the festival in the community.
Beyond the gallery, I envision the Dar Foto Festival as a catalyst for long-term support for local and African artists working in photography. This includes creating opportunities for growth and development through scholarships, residencies, and funding initiatives that benefit emerging and established photographers. These programs allow artists to deepen their practice, explore new creative territories, and gain access to resources that are often inaccessible in our region. By providing this kind of support, we can ensure that the next generation of African photographers has the tools and platforms needed to thrive globally. Ultimately, my vision is for the Dar Foto Festival to become a cornerstone of Africa’s creative landscape—fostering collaboration, nurturing talent, and helping to shape the future of visual storytelling on the continent. Through these long-term initiatives, we can contribute to a more robust and sustainable African photography ecosystem, ensuring that African photographers have the recognition and opportunities they deserve.
For more information, please visit the Dar Foto festival.
