Thinking Through, Talking Back: Creative Theorisation as Sites of Praxis-Theory
Art on our Mind panel discussion with Dr Sharlene Khan, Prof Pumla Dineo Gqola, Dr Yvette Abrahams, Prof Neelika Jayawardane and Dr Betty Govinden held as part of the the Colloquium ‘Six Mountains on her back’ (Re)reading African Feminisms at Rhodes University, 21-22 July 2017
An excerpt of the panel discussion was published by Dr Sharlene Khan in Agenda – Empowering women for gender equity 32:3, 2018 entitled: “Thinking Through, Talking Back: Creative Theorisation as Sites of Praxis-Theory” – A creative dialogue between Sharlene Khan, Pumla Dineo Gqola, Yvette Abrahams, Neelika Jayawardane and Betty Govinden. [pdf]
Art on our Mind creative dialogue: Curating as World-Making
Sharlene Khan in conversation with curators Nkule Mabaso, Nomusa Makhubu, Same Mdluli, Nontobeko Ntombela, Zodwa Tutani on the possibilities and challenges in visual arts curation in South Africa (panelists’ biographies below). The discssuion took place in context of Afems 2018 conference ‘The Mute Always Speak’: (Re) imagining and re-imaging feminist futures on 28 September 2018.
VIDEO: Curating as World-Making panel discussion
AUDIO: Curating as World-Making panel discussion
TRANSCRIPT: Curating as World-Making panel discussion
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.
Lallitha Jawahirilal (b. 1955, Ladysmith) is a South African visual artist, who enrolled at the Camberwell School of Arts and Crafts in London in 1984 and graduated with a BA Degree in in 1987. She continued to study at the Royal College of Art London where she graduated with an MA degree in 1989. She collaborated with South African exile writers, musicians, sculptors, painters and photographers in the UK and engaged in fundraising efforts for to support the anti-apartheid movement, and participated in group exhibitions, including the ‘Artists Against Apartheid’ exhibition in the Upper Street Gallery. She held solo exhibitions at the Africa Centre in Stockholm, Gallery 21 in Johannesburg and the Galerie Trapez in Berlin. In 1990, she was awarded a residency by the Delfina Studios Trust in London and won the Discerning Eye Award in 1991, and the Pollack Krasner Award in 1992.
Her work deals with space as a deeply embedded construct in one’s psyche during exile. Jawahirilal fled apartheid South Africa in the 1980s and went into self-imposed exile in London where she then took up her art studies, continuously engaged her contradictory feelings to her home country (and especially her home town of Ladysmith) which wavers between deep loving emotion, on-going conflict and in some senses, a feeling of spiritual entanglement with her place of birth. Using her own poetry, mixed media (painting and collage), Jawahirilal’s Oh South Africa(1980, 2011) series reflects her longing for her home during her time away in London, but also since 2004 when she took up permanent residence in India.
Bachelor of Arts, First Class Honours at the Camberwell School of Arts and Crafts, London (1987); Master Degree in Painting at the Royal College of Art, London (1989); Fine Art Lecturer at the University of Durban-Westville, South Africa (1994-2000)
Selected Solo Exhibitions
2002 Greatmore Studios, Cape Town 2001 Monash University Faculty Gallery, Australia 1999 Curwen Gallery, London 1996 New Academy Gallery, London 1994 New Academy Gallery, London 1991 Galerie Trapez, Berlin 1990 Gallery 21, Johannesburg 1990 198 Gallery, London 1985 Africa Centre, Stockholm
Selected Group Exhibitions
2007 ‘Confluence’, Kalakriti Art Gallery, Hyderabad 2007 16th Anniversary Art Salon, Bangalore 2006 ‘Art Camp’, Renaissance Art Centre, Mumbai 2005 River Arts & Music Festival, Ladysmith, South Africa 2004 ‘Decade Of Democracy’, South African National Gallery, Cape Town 2003 ‘Journeys’, Ernest G. Welsh School of Art and Design, Atlanta 2001 ‘Jabulisa, The Art of KwaZulu Natal’, Durban Art Gallery, South Africa 2000 African Art Centre, Durban, South Africa 1999 Nico Malan Theatre, Cape Town 1998 ‘Kunst aus Südafrika’, Gallerie Seippel, Stuttgart, Germany 1998 Newcastle Museum, United Kingdom 1997 Trienalle, Lalit Kala Academy, New Delhi 1996 ‘Conjures’, First Gallery, Johannesburg 1991 ‘Discerning Eye’,The Mall Galleries, London 1991 Barcelona International Biennale, Spain 1990 Contemporary Art Society, Art Market, Smith Gallery, London 1990 ‘Broadgate’, Whitechapel Art Gallery, London 1989 ‘Art London/89’, London 1987-8 Third International Bienniale Print Exhibition, Taipei Fine Arts Museum, Taiwan
1994 Elizabeth Foundation Award, United States of America 1992 Pollock Krasner Award, United States of America 1991 Discerning Eye Award, Mall Galleries, London 1989-90 African Education Trust Award, London
Lebohang Kganye is an artist living and working in Johannesburg. Kganye received her introduction to photography at the Market Photo Workshop in 2009 and completed the Advanced Photography Programme in 2011. She also completed her Fine Arts studies at the University of Johannesburg in 2016 and forms a new generation of contemporary South African photographers.
Although primarily a photographer, Kganye’s photography often incorporates her interest in sculpture and performance. Over the past seven years she has participated in photography masterclasses and group exhibitions locally and internationally. Kganye was the recipient of the Tierney Fellowship Award in 2012, leading to her exhibition Ke Lefa Laka. She created an animation from the series, which was launched on Mandela Day 2014 in Scotland, entitled Pied Piper’s Voyage. Kganye was then selected as the Featured Artist for the 17th Business and Arts South Africa Awards in 2014. She was also awarded the Jury Prize at the Bamako Encounters Biennale of African Photography in 2015 and the recipient of the CAP Prize 2016 in Basel. Kganye recently received the coveted award for the Sasol New Signatures Competition 2017, leading to a solo show in 2018. Kganye’s work forms part of several private and public collections, most notably the Carnegie Museum of Art in Pennsylvania and the Walther Collection in Ulm.
Mamela Nyamza was born and bred in Gugulethu township, near Cape Town in South Africa. From a tender age of 8 years whilst learning Ballet at the Zama Dance School in Gugulethu, Ms Nyamza, knew from the onset that, her love of body movement will eventually bring both prejudice and prestige to her career as a dance-theatre performing artist. Consistently ridiculed by her childhood peers for her athletic built toned body, to the ultimate rebuke and rejection of her natural body structure by her classical Ballet Teachers at tertiary level, Ms Nyamza inevitably was drawn to the politics of the body.
FORMALLY TRAINED AND QUALIFIED IN DANCE GENRE In the midst of adversity, Ms Nyamza boldly proceeded to graduate from the Tshwane University of Technology with a National Diploma in Ballet in 1994. After acquiring her Diploma in Ballet, Ms Nyamza was awarded a working contract at the State Theatre, in Pretoria. It is during this tenure that Ms Nyamza started to think of radically deconstructing the normative expectations of who qualifies to be a classical Ballerina. In this process, she duly won an audition in 1999 for a prestigious scholarship to study further at the Alvin Ailey International School for Dance in New York, Unites States of America.
CHARTING WAY IN VISIONARY CHOREOGRAPHY The extra experience Ms Nyamza got from the Alvin Ailey School of Dance, soon landed her lead dance roles in many high acclaimed International Musicals such as the Lion King, African Footprint, We Will Rock You. These quality stints as lead dancer, also exposed Ms Nyamza to other forms of dance, such as pantsula and hip-hop dance, providing her with distinct expertise in contemporary dance. Ms Nyamza’s distinction and vast experience in the genre of dance, promptly propelled to revive her initial quest to deconstruct all that is there to norm and expectations of the dance genre.
DANCING THEATRICS FOR JUSTICE IN THE ART Vast accumulated experience in the field of dance became a solid foundation for Ms Nyamza’s distinction in creation, choreography and directing extra-ordinary fresh innovative works. By 2007, Ms Nyamza was already ahead of peers, and she was decisively awarded the Standard Bank National Young Artist for the Dance in 2011, due to her refreshingly innovative choreography and performance in the art of dance. Ms Nyamza’s highly acclaimed “HATCHED”, created in 2008, was her first work to kick-start her art programme of unapologetically demystifying, deconstructing and trampling on the norms and standards of the dance/classics.
VISIONARY ARTIST Ms Nyamza’s immense contribution to dance-theatre and choreography, is now fast becoming legendary in the art of dance-theatre. Her various works since “HATCHED” (against patriarchy), including “THE MEAL” (against elitist ballet), “19-BORN 76-REBELS” (against youth discrimination and poverty), “LAST ATTITUDE” (against gender inequality in the dance), “I STAND CORRECTED” (against homophobia and hate crimes), “WENA MAMELA” (against gate keeping in the arts), “DE- APART-HATE” (against inhumanity and violence in society), and “PHUMA-LANGA” (against cultural domination), are all work-pieces that deal with important political and societal issues of today’s South Africa. Other major works of Nyamza include: “KUTHENI”, “ISIGQALA”, “SHIFT”, and “UMENDI”.
All these works have indeed propelled Ms Nyamza to embody and manifest the words of the Philosopher Allen Kaprow who said: “The line between art and life should be kept as fluid, and perhaps indistinct, as possible”.
In many strokes of genius, Ms Nyamza has put herself in for activism for equity in the arts. Her strong belief that artists have the power to change the world the better, prompted Ms Nyamza to lead a four-women march against an exclusive elitist Theatre Awards Ceremony on 18th March 2017 in Cape Town.
Ms Nyamza’s quest to address the current state of arts in South Africa, which is still exclusive, elitist and fretted with acute patronage, has led her to create a trilogy of works: DE-APART-HATE; PHUMA-LANGA; and ROCK-TO-THE-CORE. With these works, Nyamza has indeed mastered the art of visionary and raw freshness in the field of DANCE. All these three works brilliantly raise pertinent issues of race; tolerance; identity; gate-keeping; equality; and equity audience development in the arts environment. Ms Nyamza’s newest work, BLACK PRIVILEGE, epitomises this trilogy in distinct and focused work of law and spirituality.
Ms Nyamza’s ultimate goal is to propel DANCE into the ultimate theatric and genre of the performance art that conveys body politics on all social issues, and not to just entertain.
Indeed, Ms Nyamza’s fierce critics allege that she is a “non-dancing conceptual” dancer. In her own words, Ms Nyamza counters: “one cannot separate concept from creation and choreography – they all must go hand-in-hand to yield to a complete performing artist”.
NUMEROUS ACCOLADES AND HONOURS
The accolades that Ms Nyamza has received over the years are indeed indicative that the Art Fraternity recognizes her immense contribution to the arts.
Ms Nyamza has just successfully finished her three-year tenure as one of the Advisory Panelist in DANCE for the South African National Arts Council (NAC).
Apart from receiving numerous nominations for awards, such as being nominated for the 2016 and 2017 BroadwayWorld South African Awards for Best Choreography in DE-APART-HATE and ROCK-TO-THE-CORE, Ms Nyamza received the following awards and achievements:
Featured Artist of the Grahamstown Standard Bank National Arts Festival 2018, a first of its kind for the Dance Art Genre. This accolade is definitely one of the highest honor that can be bestowed to any South African artist, for the immense contribution done in the art field of the dance-theatre.
Dance Umbrella Award for Outstanding Performance by a Female Dancer in Contemporary Style for “THE DYING SWAN” in 2000.
Standard Bank Young Artist for the DANCE in 2010
Standard Bank Ovation Award for “THE MEAL” in 2012
University of Cape Town Institute of Creative Arts Fellowship Award in 2012
6. OPRAH WINFREY Women of the Year Award in 2013
IMBOKODO Award for DANCE in 2016
Identified by the DAILY REVIEW of Australia as one of the 30 International Artists to track in 2018, that are positively changing the world. “They are out there contributing toward peace, making work in conflict zones, growing understanding and awareness, facing misrepresentation, and organising for social change”: Shawn Lent, January 19, 2018 in http://www.dailyreview.com.au
Ms Nyamza has also travelled extensively, continuously being invited to National and International Arts Festivals, such as the Dance Umbrella, Infecting the City, and Standard Bank Fringe Festivals in South Africa, and many other International Festivals including in Congo, Germany, Mali, Belgium, Senegal, Slovenia, Singapore, and Canada.
Ms Nyamza’s work is currently being studied at various national and international universities, an indication that she is a versatile creator, choreographer and performing artist, who continues to provide relevance to both academia and the practice of arts.
Ms Nyamza’s ultimate vision is to create and direct more work that would reach the most remote areas of South Africa to unearth young, raw talent in the art of Dance in particular and performance arts in general. Ms Nyamza has already started with grass-roots work by providing mentorship workshop sessions.
Natasha was born in South Africa and has spent the last sixteen years living and working between New York and Cape Town. An expert in contemporary African and African American art, she has curated a number of exhibitions in collaboration with artists, curators, collectors, galleries, museums, and foundations internationally. She recently co-curated two exhibitions, “Perilous Bodies,” and “Radical Love,” at the distinguished Ford Foundation Center for Social Justice to inaugurate their new art gallery in New York (2019). Her past experience includes curating exhibitions at the Goodman Gallery (South Africa), convening public programs in global art history at the Clark Art Institute, and launching an international video art festival (both Massachusetts, USA). Natasha is one of the co-founders of two collaborative curatorial platforms, ASSEMBLY ROOM (New York) and THE UNDERLINE SHOW (Johannesburg).
Nontobeko Ntombela is a curator based in Johannesburg. She currently works at the Wits School of Arts developing the postgraduate programs in curatorial and exhibition practices. She previously worked as the curator of the contemporary collection at the Johannesburg Art Gallery (2010–12) and the Durban Institute of Technology Art Gallery (2006–10). Her curatorial projects include Solo at Cape Town Art Fair (2018); A Fragile Archive at Johannesburg Art Gallery (2012); MTN New Contemporaries (2010) for which she was guest curator; Layers at the Goodman Gallery project space, Johannesburg (2010); Modern Fabrics at the Bag Factory, Johannesburg (2008); From Here to There at the Association of Visual Arts (AVA), Cape Town (2007), as part of the CAPE 07 fringe. Ntombela has participated in international programs including the Bilateral Exchange Project between Germany and South Africa (2007); Close Connections (Africa Reflected) Curator’s Workshop in Amsterdam (2009); Break the Silence Scotland (2002–3).