Wikipedia Workshops

Art on our Mind received a Wikimedia Foundation Rapid Grant from July 2019 to June 2020, which will help facilitate our meetings. We aim to broaden the number of Wikipedia entries presenting women-of-colour artists from different fields of creative and cultural production.

The workshops will train skills for beginners, so everyone is welcome. Each workshop will be facilitated by experienced Wikipedia editors or representatives of Wikimedia South Africa. For those who are interested and can’t join the meetings, or are inter- ested to participate online, online tutorials will be made available.

The workshops will enable participants to create and upload new articles or to expand on existing entries. Please bring your laptop and identify an artist or group whose entry you want to create or expand (individually or in group work). We will work online, editing and creating entries in your sandbox. 

The workshops will draw from research generated by the Art on our Mind research project and participants work together creating and expanding Wikipedia entries on artists and creatives. We make use of a Wikimedia platform to coordinate our work:

More information about the workshops here: AOOM Wikipedia Workshops

Wikimedia Strategy 2030

More than 20 participants came to engage in discussions during the Wikipedia Salon with Wikimedia ZA director Bobby Shabangu on Friday, 2 August, with two focus areas of the Wikipedia 2030 strategy on the table which have been chosen by Wikimedia South Africa: Capacity Building and Diversity. Results of this discussion will be presented soon.

From the invite: Many people use Wikipedia as their first point of reference for their school research projects and general update on daily subject topics. The Wikimedia Foundation which runs Wikipedia would like to find out from you through a workshops which will be held in Johannesburg and Cape Town, how can they improve Wikipedia’s user interaction and how can they support content contribution so that it represent the diverse people who reads it, it’s a movement strategy which they aim to reach by year 2030 where Wikimedia content represents everyone who consumes and contributes to it.
This will not be edit workshops but Salon Strategy where participants will discuss and take a short survey afterwards. So, we would like to invite you to take part in this Salon Strategy Survey.
Over the next months Wikipedians around the world will be getting together to be part of this survey, so any ideas you have are very important to us.
Come through! Even if you want to listen to how the conversation is going.

Upcoming workshop dates

Wiki edit-a-thon
Friday, 23 August 2019, 3-5pm at Wits Writing Centre seminar room

African Feminisms (Afems ) Wikipedia panel discussion
Saturday 7 September 2019, 4-6pm at Wits Graduate School
Find out more about African Feminisms (Afems) or register here.

Oral histories workshop:
Friday, 20 September 2019, 3-5pm at Wits Writing Centre seminar room

Wiki edit-a-thon
Friday 11 October 2019, 3-5pm at Wits Writing Centre seminar room

Please email Fouad Asfour for more information.

Poster: Senzeni Marasela Creative Dialogue

An Art on our Mind CREATIVE DIALOGUE with Senzeni Marasela.
26 April  |  16.30h  |  2018
Seminar Room  |  School of Fine Arts  |   Somerset Street
Grahamstown, South Africa

An Art on our Mind Creative Dialogue with Senzeni Marasela.

INTERVIEWS/FEATURES: Reshma Chhiba

Publications and interviews featuring Reshma Chhiba

Screaming, walk-in vagina at a former women’s prison
AFP news agency, 30 August 2013
A walk-in vagina has been installed at Johannesburg’s old women’s jail, to celebrate women’s month. Visitors are invited to enter the art work to a soundtrack of screaming and laughter, which represents the Hindu Goddess Kali.

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WORKS: Reshma Chhiba – Writing

Texts by Reshma Chhiba

Chhiba, R. (2017) The two talking yonis : the use of Hindu iconography in conversations of race, identity, politics and womanhood within contemporary South African art. Nidan : International Journal for Indian Studies, Volume 2 Number 2, pp. 44 – 60
This article looks at the use of Hindu iconography within South African visual art practice and its relation to race, identity, politics and womanhood in the work of Reshma Chhiba. It draws primarily on work from the 2013 exhibition entitled The Two Talking Yonis: Reshma Chhiba in conversation with Nontobeko Ntombela, and discusses Chhiba’s use of the image of the goddess Kali, the concept of yoni, the use of Bharatanatyam and understandings of feminine energy in relation to womanhood. It also threads a narrative of Chhiba’s ancestry through a poetic description of her grandmother’s journey from India to South Africa, and the embodiment of Kali as a form of defiance not only in her work, but also in her grandmother.
https://journals.co.za/content/journal/10520/EJC-c195dbc56

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WORKS: Reshma Chhiba – Performance

Bharatanatyam Choreography and Performance by/with Reshma Chhiba

ShrEe – I am more than just my body – Gandhi Hall, Lenasia, Johannesburg (Poster)

 

SHrEe: I am more than just my body
8 October 2017, Gandhi Hall, Lenasia, Johannesburg

SHrEe, the latest production by Sarvavidya Natyaalaya (SVN) is an unravelling nnd narrative thread of current social issues faced by women in contemporary South Africa. With the sub-theme of I am more than just my body, SHrEe takes its audience back to the time of the Mahabharata and the infamous moment of the disrobing of Draupadi. Threading into this narrative it moves to the present moment, and uses spoken word and contemporary dance movement to retell stories of violence and violation against women. The production slowly unpacks the various emotional stages that women, who have experienced some form of violation or abuse, go through. SHrEe aims to reveal the primal force within these women, the goddess in various stages of being, in various stages of womanhood. From the ferocious rage of the violated woman (Kali), to collective teaching, learning and fighting, where words and voice are weapons (Saraswati), to the ironies of how society treats women, whether married or widowed (Lakshmi) and finally it moves to the claiming back of space, of goddess/woman in a state of equilibrium, who is neither less nor greater than her male counterpart (Ardhanareswara).
ShrEe gives space to female voices who claim their emotional, physical and spiritual power back. “In a country where femicide and rape culture are so rife that it has become a norm, this production aims to bring these narratives and discussions into the public domain through the use of dance” (Chhiba, 2017). Abuse and violation should never be acceptable, therefore I am more than just my body speaks to many variations of abuse but also allows for empowered voices to be heard.”
From www.sarvavidya.co.za

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