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

 

The workshops will resume in July, upcoming dates are:

Friday, 12 July, 15-17h at Wits Writing Centre seminar room.

Friday, 2 August, 15-17h 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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