!RTIST 0ROOF 3TUDIO *OHANNESBURG 3OUTH !FRICA
.EW 6OICES IN *OHANNESBURG
-ELODY ANDOR #ACOPHONY
$ARNISA !MANTE &
0ROLOGUE 7ELCOME
&ROM THE SIDE OF THE PETITE WINDOWS PLACED OVER THE WINGS THE
LANDSCAPE OF THE COUNTRY LYING BELOW WAS NOT ONLY VISIBLE BUT
ALSO QUITE EXQUISITE COMPLETELY mAT BROWN LAND WITH SPURTS OF
GREEN AND DUST 4HEN FROM THE HORIZON THE CITY CAME INTO
VIEW AND SKYSCRAPERS BEGAN TO EMERGE )T IS A CITY BUILT UPON
THE BACKS OF MINERS AND REVOLUTIONIZED OVER THE PAST YEARS
BY A DEMOCRATIC FERVORˆAND EXTREME DESIRE FOR CHANGE FROM
ITS FORMER REGIME TOWARDS BETTERMENT )N A SENSE IT IS A CITY
THAT REPRESENTS THE GRADUAL CREATION OF A PLACE WHERE THE SLOGAN
hPROUD TO BE 3OUTH !FRICANv DOES NOT SEEM BOTH PREPOSTEROUS
AND HYPOCRITICAL RATHER IT LOOKS TOWARDS THE PROSPECT OF PROGRESS
AND OPPORTUNITY ! VOICE FROM THE INTERCOM ABOVE ANNOUNCED IN
%NGLISH !FRIKAANS AND 3ESTHO h7ELCOME 7ELKOM ,EBOGEGA TO
*OHANNESBURGv
,OOKING AT MY REmECTION IN THE AIRPLANE WINDOW ) COULD
NOT HELP BUT THINK ABOUT WHAT LAY BEFORE ME 4HERE ) WAS A
BLACK WOMAN YEARS OLD FROM "ROOKLYN TRAVELING TO 3OUTH
!FRICAˆA PLACE THAT MY ANCESTORS ARE hSAID TO HAIL FROMvˆTO
WORK IN A LOCAL ORGANIZATION AIMED AT BLACK EMPOWERMENT FOR
NINE WEEKS ) WAS GOING TO !RTIST 0ROOF 3TUDIO !03 TO WORK
WITH NOT ONLY WELLKNOWN 3OUTH !FRICAN ARTIST +IM "ERMAN
BUT ALSO WITH 3TOMPIE 3ELIBE ANOTHER ARTIST AND COEXISTENCE
PRACTITIONER "UT THE STAKES WERE HIGH
4HERE WERE NO PROTECTIVE WALLS OF "RANDEIS 5NIVERSITY AND
NO REASSURING TALKS FROM FRIENDS AND PROFESSORS ) WAS LANDING
IN !FRICA TRULY ALONE AND INDEPENDENT FOR THE lRST TIME WITH
A CLEANANONYMOUS SLATE .O ONE KNEW OF MY PAST AND MY
INVOLVEMENT IN THE "RANDEIS "LACK 3TUDENT /RGANIZATION
3TUDENT 5NION OR EVEN THE %THICS #ENTER 4HERE WERE NO
CROWNING ACHIEVEMENTS BEARING MY NAME ) COULD ONLY BE
IDENTIlED BY THE IMAGES THAT ) PORTRAYED BY THE COLOR OF MY SKIN
AND BY MY RELATIONSHIPS WITH OTHERSˆJUST AS $ARNISA !MANTE
3TEPPING OFF THE PLANE IN *OHANNESBURG THE ENTIRE AIRPORT
WAS ABUZZ WITH TRAVELERS MILLING ABOUT "LACK HANDS COULD BE
4HE !RT OF #OEXISTENCE%THICS AND #OEXISTENCE 3TUDENT &ELLOWS
SEEN WITH DIFFERENT COLORED PASSPORTS OF RED GREEN AND YELLOW
BUT NONE OF THOSE BLACK HANDS HELD A BLUE PASSPORT EMBOSSED
WITH GOLD EAGLES NONE BUT MINE )T SUDDENLY SEEMED AS IF ALL THE
MILLING HAD STOPPED PEOPLE WHO HAD PREVIOUSLY BEEN DRAGGING
ALONG SUITCASES AND CHILDREN WERE LOOKING IN MY DIRECTION
WONDERING WHY ) A BLACK WOMAN HAD A 53 PASSPORT !
PASSPORT OF A COUNTRY OF OPPORTUNITY A COUNTRY THAT THEY BELIEVED
HELD ALL OF THE ANSWERS ANSWERS THAT A 3OUTH !FRICAN PASSPORT
COULD NOT PROVIDE .EEDLESS TO SAY IT MADE ME UNCOMFORTABLE )
DIDNT KNOW HOW TO RESPOND 5NABLE TO MEET THEIR QUESTIONING
EYES ) SIMPLY PICKED UP MY OWN LUGGAGE AND HEADED TOWARDS
CUSTOMS AND THE OUTER DOORS OF THE *OHANNESBURG )NTERNATIONAL
!IRPORT
) *OHANNESBURG ) ,IVE ON THE /THER 3IDE OF )NJUSTICE
h9OU KNOW $ARNISA LIFE IS ABOUT A JOURNEY !ND SOMETIMES
YOU NEVER KNOW WHERE THAT JOURNEY IS GOING TO TAKE YOU AND
WHY SOME ROADS TAKE PEOPLE ONE WAY AND YOU ANOTHER "UT YOU
ALWAYS HAVE TO QUESTION ITxv
3TOMPIE 3ELIBE
h'ANDHI 3QUARE .EXT 3TOP 'ANDHI 3QUAREv COULD BE HEARD FROM
THE MAN SITTING IN THE DRIVERS SEAT (E WORE NO UNIFORM THE
DISTINCTION BETWEEN HIM AND THE OTHER PASSENGERS WAS MADE ONLY
BY HIS TIGHT GRIP ON THE LEVER OF THE DOOR )TS A lRM GRASP THAT
CLEARLY STATES THAT HES A CUT ABOVE THE REST (E MAKES THE CHOICES
AND NO ONE CAN TAKE THAT RIGHT FROM HIM (E CAN CHOOSE WHEN
AND WHEN NOT TO ANNOUNCE THE STOPS AND WHEN TO OPEN THE DOOR
THAT CONTINUALLY CREAKS AND SOMETIMES HAS TO BE CLOSED MANUALLY
BY STANDING ON THE CONCAVE BOTTOM STEP )TS A DOUBLEDECKER
PLASTERED WITH ADVERTS ON THE SIDE PROCLAIMING THAT YOURE ONLY
HALF HUMAN IF YOU RAPE A WOMAN AS WELL AS SELLING 9EBO 'OGO
CELL PHONES AND 'RANDPA MEDICINES FOR HEADACHES "UT THOSE
FACTORS GO UNNOTICED BY MANY 4HIS IS A MANDATORY RIDE TO AND
FROM WORK NOT ONE OF OBSERVATIONS 4HE BUS WHIPS TO THE RIGHT
EVERYONE LEANS AND ) STUMBLE INTO MY SEAT
)TS A WINDY SCENIC TOUR FROM THE LARGE HOUSES GREEN
LANDSCAPES AND "-7S OF 0ARKTOWN .ORTH ;A SUBURB OF *OBURG=
TO THE TALL CEMENT BUILDINGS AND MINITAXIS OF DOWNTOWN
'AUTENG ;THE FORMER NAME OF *OBURG= -Y VEHICLE OF CHOICE
IS A BUS AND AT TIMES IT ALMOST SEEMS AS IF THE RIDE IS JUST AS
TUMULTUOUS AS THE SWIRLING DUST CLOUDS THAT SURROUND THE
TOWNSHIP OF 3OWETO ON THE OUTER RIM OF THE CITY ) AM SWEPT
UP BY A BUS THAT DESCENDS UPON THE CORNER OF RD AND TH IN
0ARKTOWN WHERE ) AM STAYING LIKE DUST SETTLING ON CHILDRENS
FACES WHILE AT PLAY 4HE BUS SWERVES TO THE LEFT AND COMES TO
AN ABRUPT HALT h4HIS IS THE LAST STOPv THE DRIVER SAYS 4HE LOUD
CREAK SIGNIlES THAT THE DOORS ARE OPEN 3TEPPING DOWN )M
IMMEDIATELY BUM RUSHED BY A SCORE OF PEOPLE WITH BRIEFCASES
LINENS BASKETS AND #OLGATE TOOTHPASTE *OHANNESBURG 4HE DOORS
CLOSE QUICKLY BEHIND ME AND THE BUS PULLS OFF A PHANTOM THAT
DISAPPEARS AS QUICKLY AS DISSIPATING DUST
4HE SPACE LEFT BY THE BUS IS QUICKLY lLLED BY DOZENS OF BLACK
FACES THAT GIVE ME CUSTOMARY GLANCES BUT NOTHING MORE &OR THE
MOMENT ) AM JUST ONE OF THEM A BLACK WOMAN IN *OBURG TRYING
TO AVOID THE WINTRY GUSTS OF WIND NOTHING MORE AND NOTHING
LESS ) TIE MY SCARF TIGHTER ACROSS MY FACE WHILE MORE PEOPLE
GLANCE IN MY DIRECTION 4HEY DO NOT QUESTION ME BECAUSE THE
CONFUSED LOOK ON MY FACE AND THE FEELINGS OF BEING UPROOTED ARE
FELT BY SCORES OF PEOPLE WALKING AMONGST ME )M LOST AND DONT
KNOW IN WHICH DIRECTION TO BEGIN THIS QUEST WHERE TO WALK AND
TO WHOM TO SPEAK MY FEELINGS ARE SIMILAR TO THEIR OWN 4HEYVE
ALL GONE THROUGH PERIODS WERE THEYVE FELT DISPLACED AND ALONE
WITH NOWHERE TO TURN -AYBE THE BUS AND THE DUST CLOUDS WERE
PARTNERS IN CRIME BOTH DISAPPEARING QUICKLY AND OFFERING NO
HELP /NE WAS JUST WELL CAMOUmAGED IN A DIRTY CRACKED EXTERIOR
ONLY lVE 2AND FOR THE RIDE OF A LIFETIME
h7ELL ) WAS BORN IN THIS PLACE CALLED 2OOITGAMTIESFONTEIN
BUT ) DIDNT GROW UP THERE .OW ) LIVE IN 3OWETO 7E WERE
FORCEFULLY REMOVED FROM THAT PLACE TO A NEW PLACE IN THE
NORTHWEST PROVINCE BECAUSE THAT PLACE WAS FERTILE AND WE HAD
TO MAKE PLACE FOR THE !FRIKANER FARMERS ) REMEMBER SOLDIERS
CARRYING BIG GUNS AND ) STILL REMEMBER THE HOUSE WE HAD
)T WAS A BIG HOUSE AND AFTER WE WERE DISPLACED WE MOVED
TO A SHACK HOUSE #AN YOU IMAGINE GOING FROM A ROOM
HOUSE TO A SHACK )M FROM A BIG FAMILY AND WE ARE AT
HOME SIX BROTHERS AND FOURS SISTERS %VEN NOW ) SOMETIMES
DONT HAVE ENOUGH TO PAY lVE 2AND FOR THE BUS ) TAKE THE
MINITAXIS ) KNOW THAT THEY ARE REALLY CROWDED AND A LOT OF
TIMES THE DRIVERS DONT HAVE LICENSES BUT ) DONT HAVE A CHOICE
9OU SQUEEZE YOURSELF THROUGH THE DOORS BECAUSE YOU HAVE TO
)VE NEVER EVEN LEFT FROM 'ANDHI 3QUARE IT DOESNT GO IN MY
DIRECTIONv
n0AUL -OLETE
-INITAXIS WHIZ BY AGAIN AS ) BEGIN WALKING THROUGH THE
CIRCULARSHAPED SQUARE THE ONCEWHITE COLOR OF THE TAXIS NOW
UNRECOGNIZABLE ,EGS AND HANDS ARE PRESSED UP AGAINST THE
WINDOW BUT THEIR OWNERS CANNOT BE SEEN (OWEVER THE TAXI IS
HEADING IN THE DIRECTION THAT ) NEED TO WALK THREE BLOCKS DOWN
0RITCHARD AND SEVEN UP 0RESIDENT 3TREET 'LANCING UP lRST AT THE
SIGN FOR 0RITCHARD 3TREET THE WALK SEEMS INVITING ENOUGH !LONG
THE WAY ) PASS NUMEROUS MUSIC
STORES PLAYING +WATO MUSIC AN
4HERE WERE NO PROTECTIVE
INTERESTING MIX OF TRADITIONAL
MUSIC AND RAP IN :ULU 3ESTHO
WALLS OF "RANDEIS
AND %NGLISH (EADS ARE BOBBING
IN THE STREET AND CHILDREN IN
5NIVERSITY AND NO
THEIR SCHOOL CLOTHESˆBLUE RED
AND GREEN PLAIDSˆARE RUNNING
REASSURING TALKS FROM
BEHIND MINI TAXIS AND WAVING
TWO lNGERS IN THE AIR IN A WAY
FRIENDS AND PROFESSORS
MAKING AN ABSURDLOOKING PEACE
GESTURE 4HE BUSES ARE NEVER AN
) WAS LANDING IN
OPTION ONLY THE TAXI RANK
!FRICA TRULY ALONE AND
(OWEVER THE GESTURE
HAS ABSOLUTELY NOTHING TO DO
INDEPENDENT FOR THE
WITH PEACE SIGNS OR THE HIPPIE
MOVEMENT OF THE S )T
FIRST TIME WITH A CLEAN
INSTEAD SIMPLY DENOTES THE
DIRECTION OF TRAVEL /NE lNGER
ANONYMOUS SLATE
FOR 3OWETO AND TWO FOR THE CITY
-Y lNGERS ARE LYING AT MY SIDE
NOT ONLY DO ) NOT KNOW THE
SIGNS BUT ) MYSELF AM NOT GOING ANYWHERE ! FUNERAL PARLOR
TO THE RIGHT HALTS MY MOVEMENT 4HERES A KNEELING STONE lGURE
IN THE WINDOW LYING AGAINST COLD MARBLE 4HE WORDS ABOVE THE
HEADSTONE EXCLAIM THAT THIS PARTICULAR STORE HAS THE CHEAPEST RATES
IN THE NEIGHBORHOOD )N FACT IT PROVES TO BE ONE OF MANY PARLORS
ALONG THE ROUTE 4HE HEADS AROUND ME ARE STILL BOBBING AS IF YEARS UNDER APARTHEID HAS LEFT PEOPLE UNFAZED
4HE WALK ALWAYS SEEMS TO BE QUICK EVEN THOUGH IT TAKES MINUTES 4HE ORDER OF OBJECTS ON THE STREET IS COMPELLING 4HE
)NTERNATIONAL #ENTER FOR %THICS *USTICE AND 0UBLIC ,IFE *OBURG PUBLIC LIBRARY ACROSS THE STREET FROM 3TANDARD !UTOBANK
HUMAN EXCREMENT ALONGSIDE THE BUILDING AND THEN AN IMMENSE
GLISTENING lGURE IN THE HORIZON 3UDDENLY ) SEE THAT THERE IS GLASS
EVERYWHERE BUT MY FEET KEEP MOVING LIKE NOTHING HAS CHANGED
MIMICKING THE MOVEMENT OF OTHERS AROUND ME 4HE PANES
ARE REmECTING EVERYTHING WITHIN THE NEAREST ONE BLOCK RADIUS
INCLUDING THE NEWLY lNISHED .ELSON -ANDELA "RIDGE )TS THE
3TOCK %XCHANGE THE CROWNING ACHIEVEMENT OF PROGRESS A WAVE OF
THE FUTURE FOR THE NEW 3OUTH !FRICA 4HERES EXCREMENT ALONGSIDE
THIS BUILDING AS WELL ) CONTINUE WALKING
(OWEVER THE LANDSCAPE HAS CHANGED YET AGAIN (ERE THERE
ARE CULTURAL FACTORIES DANCE THEATRE AND IN THE DISTANCE THE
BUS FACTORY OWNED BY "EAUTIFUL 4HINGS THE HOME OF !03 4HIS
IS THE STUDIO WHERE )VE BEEN ASSIGNED ) TAKE A MOMENT TO
WHISPER TO MYSELF ABOUT THE IMAGE UPON ME A LARGE PARKING
LOT WITH OVERHANGING SHUTTERS OF ALUMINUM AND GREENERY !N
INNER UTOPIA OF LOCAL ART WORKS WITH HUGE !03 SIGNS NEXT TO
AN ADVERT PROCLAIMING "EAUTIFUL 4HINGS A TRUE DECLARATION OF
THE ACHIEVEMENT 4HE STUDIO IS LOCATED IN THE BACK OF THE "US
&ACTORY CONTRIBUTING TO THE EXISTING ARTY AMBIENCE CREATED BY
"EAUTIFUL 4HINGSˆTHE SHOWCASE CRAFTS FROM ALL OVER 3OUTH !FRICA
7ALKING INTO THE STUDIO ) AM OVERCOME BY THE ABSURDITY
OF THE COLORS THAT SOMEHOW SEEM TO BE IN SYNC AND WORK WITH
EACH OTHER REDS ORANGES AND GRAYS 3UCH A WARM SURROUNDING TO
ENCOMPASS THE TRUE MEANING OF A PLACE THAT NOT ONLY HOUSES BLACK
YOUTH IN ORDER TO ENSURE THEM EQUAL OPPORTUNITIES BUT WAS ALSO
BUILT OUT OF THE ASHES OF THE POST APARTHEID REGIME )T IS A SPACE
THAT HOUSES MORE THAN ARTISTS A PLACE THAT IS AS WELCOMING AS
IT IS BEAUTIFUL
4HE HEADS AROUND ME BEGIN TO TURN -Y VOICE WASNT
LOW ENOUGH 7HEN ) OPEN MY MOUTH THOUGH ) AM A BLACK
WOMAN IN A PREDOMINANTLY BLACK AREA ALL OF THE HEADS TURN
0EOPLE BECOME PERPLEXED ) LOOKED LIKE THEM YET MY VOICE WAS
DIFFERENT 4HE EYES OF THOSE AROUND ME LIKE THOSE IN THE AIRPORT
ARE QUESTIONING AND WONDERING WHAT EXACTLY )M DOING IN THEIR
PART OF TOWN AND WHY )M NOT ON THE SAME ROUTE AS MANY OF THE
OTHER hTOURISTSv (OW COULD ) EXPLAIN THAT ) WAS A STUDENT FROM
"RANDEIS 5NIVERSITY DOING COEXISTENCE WORK ON AN INTERNSHIP
7HY DID ) OF ALL PEOPLE HAVE THE CHOICE TO DETERMINE A DIFFERENT
PATH FOR MYSELF /N ONE HAND ) WAS AN OUTSIDER 9ET THEY
STILL ACCEPTED ME WITH OPEN ARMS !CCORDING TO THEM A BLACK
WOMAN ALWAYS HAD A PLACE IN THEIR OPEN ARMS AN IDEA THAT ) WILL
EXPLORE LATER 4HEY DID NOT CARE ABOUT WHAT UNIVERSITY ) WENT
TO BUT RATHER CHOSE TO VIEW ME AS AN INSIDER GIVING ME ACCESS
TO CULTURAL PRACTICES OTHERWISE DENIED TO hTOURISTSv ) WAS AT
!03 AND REGARDLESS OF BEING AN OUTSIDER ) WAS MADE PRIVY TO ITS
SURROUNDING ITS BEAUTIFUL INTERIOR AND ITS ORANGE COLORED WALLS
4HE STUDIO OCCUPANTS TURN AROUND ON THEIR STOOLS WITH THEIR
APRONS SLIGHTLY LAGGING BY A FEW SECONDS ) HAD ENTERED THE STUDIO
DURING LUNCH 4HEY CONTINUE EATING FAT CAKES WITH LIVER 3IPHO A
SECONDYEAR STUDENT OFFERS ME SOME OF HIS
h4AKE THE FAT CAKE LIKE THIS FOLD IT LIKE A BUN AND PLACE THE
LIVER IN THE MIDDLEv HE SAYS
4HE !RT OF #OEXISTENCE%THICS AND #OEXISTENCE 3TUDENT &ELLOWS
) AM WELCOMED 3OME LIKE 4HEMBEKKA A YEAROLD
STUDENT WERE EVEN SMILING AT MY !MERICAN ACCENT !S THE
REST TURNED AWAY FROM ME TO FINISH THEIR FOOD ) HEAR PEOPLE
BEHIND ME SAYING h3WABONAv (ELLO AND 7ELCOME 4HEY ARE
4HULANI .ELSON AND 3IPHO ;WHO HAD OFFERED FOOD EARLIER=
ALL YOUNG BLACK ARTISTS WHO WERE ONLY TWO OR THREE YEARS OLDER
THAN MY YEARS 4HEY TOLD ME HOW THEYD COME TO THE
STUDIO AND INTEGRATED ME INTO THE WORLD THAT IS !03
h) WAS TIRED OF STAYING AT HOME ) WENT TO TOWN AND ) DID
SOME JOB INTERVIEWS AND WHEN ) GOT THERE THE QUEUE WAS TOO
LONG AND THEN ) STARTED WALKING AROUND TOWN AND LOOKING
AROUND !ND THEN ) FOUND THIS PLACE !03 AND ) ASKED THEM
WHAT THEY DID AND THEY TOLD ME ABOUT IT AND ) WAS SO EXCITED
4HEY TOLD ME WHEN TO COME BACK FOR MY INTERVIEWS AND THEN
LATER ) GOT ACCEPTED AND NOW )M HERE ) WAS ACCEPTED FOR MY
ART
4O ME ART IS A FORM OF EXPRESSION NOT ONLY CAN YOU
EXPRESS YOURSELF BUT YOU CAN HEAL YOURSELF AS WELL ! LOT OF US
NEED SOME HEALING "Y HEALING YOURSELF YOURE ALSO HEALING THE
NEXT PERSON THAT SEES YOUR ARTWORK ) SEE ART AS A POWERFUL WAY
OF EXPRESSION AND AS A WAY THAT CAN CHANGE MANS PERCEPTION
AND MANS BELIEF AND THINGS LIKE THAT )T CAN STILL SERVE THAT
PURPOSE EVEN NOW ) SEE ART AS BEING A LITTLE BIT CLOSER TO BEING
'OD 9OURE BECOMING A CREATOR AND ART TO ME IS THAT YOURE
GIVEN THE RESPONSIBILITY TO BE A CREATOR AND A LIMITED 'ODv
4HULANI
) WAS NOT ALONE ANYMOREx
)) !RTIST 0ROOF 3TUDIO )N$EPTH "REAKING !WAY FROM
!PARTHEID
h4HINGS ARE NOT ALWAYS THE WAY THEY SEEM THERE IS
SOMETHING ALWAYS UNDER THE SURFACE )T WAS KIND OF LIKE THAT
DURING APARTHEID 0EOPLE WOULD BE SO AFRAID TO ASK QUESTIONS
BECAUSE THEY KNEW THAT ASKING QUESTIONS WOULD BRING HARM
UPON THEM 4HE PEOPLE IN THE GENERATION BEFORE ME COULDNT
TALK ABOUT WHAT WAS REALLY BOTHERING THEM BECAUSE IF THEY
DID THEY MIGHT NOT MAKE IT TO THE NEXT DAY 9OU COULD BE
ARRESTED IN THE MIDDLE OF THE NIGHT 4O THEM WORRYING ABOUT
SUCH NONSENSE WOULD ONLY LEAD TO TROUBLE !ND BY NONSENSE )
MEAN ASKING QUESTIONS AND WANTING LEGIT ANSWERS -ANY OF US
HAVE STOPPED QUESTIONING BUT IT DOESNT MEAN THAT WE ARENT
SEARCHING FOR ANSWERSxv
n 3TOMPIE 3ELIBE
4HE GREATEST IMPACTS ON A COMMUNITY ARE OFTEN THOSE THAT
SPAWN FROM HISTORY 3OMETIMES IT IS HARD TO DISCERN WHAT ASPECTS
WILL HAVE THE MOST EFFECT ON A COMMUNITY !T TIMES IT IS THE
BACKLASH TO OPPRESSION AND OTHER TIMES IT IS THE SHEER DESIRE FOR
CHANGE THAT ACTS AS A CATALYST FOR THE GREATEST STIRRINGS WITHIN A
GROUP OF INDIVIDUALS !03 EXISTS AS A CONGLOMERATION OF BOTH OF
THESE IDEALS
&OUNDED IN BY +IM "ERMAN AND .HLANHLA 8ABA
!03 IS A COMMUNITY BASED PRINTMAKING STUDIO THAT IS LOCATED
IN THE .EWTOWN #ULTURAL 0RECINCT OF *OHANNESBURG !03 OFFERS
AN INTENSIVE TRAINING PROGRAM IN PRINTMAKING AND ORGANIZES
MEETINGS AND EXCHANGES BETWEEN ITS ARTISTS AND INTERNATIONAL
PRINTMAKERS )T IS ALSO INVOLVED IN ARTRELATED POVERTY RELIEF
AND !)$3 AWARENESS PROJECTS THROUGHOUT 3OUTH !FRICAS NINE
PROVINCES (OWEVER WHILE !03 STRIVES TO EMPOWER ITS ARTISTS
THROUGH PRINTMAKING IT ALSO PROVIDES AN OPPORTUNITY FOR ARTISTS
TO TAKE CONTROL OF THEIR OWN CAREERS !03 COORDINATES VARIOUS
JOB CREATION PROGRAMS FOR YOUNG ARTISTS INVOLVING PROFESSIONAL
INTERNSHIPS OR CONTRACT COMMISSIONS FOR SILKSCREEN CARDS HAND
MADE PAPER GRAPHIC DESIGN AND OTHER PRODUCTS
)T IS THIS DEVOTION TO JOB CREATION AND BLACK EMPOWERMENT
THAT HAS RESULTED IN !03 EMERGING AS A COMMUNITY INSTITUTION
BUILT UPON ANTIAPARTHEID SENTIMENTS &OUNDED THREE YEARS BEFORE
THE END OF APARTHEID BOTH "ERMAN AND 8ABA FELT THAT IT WAS
IMPORTANT FOR A PLACE TO EXIST WHERE RACE WAS NOT A FACTOR BUT
RATHER WHERE ARTISTIC TALENT SURPASSED ALL IDEAS OF RACISM !S MANY
EXPLAINED TO ME THROUGHOUT THE INTERNSHIP ART HAS NO RACE
h7HEN YOU TALK ABOUT EMPOWERMENT ) REALIZE THAT FOR
A HUMAN TO BE EMPOWERED THEY NEED TO BE SUPPORTED !03
PROVIDES THAT 'ROWING UP ) HAD SUPPORT AS A CHILD BUT ) FELT
LIKE ) DIDNT HAVE ENOUGH SUPPORT FOR THE REALLY IMPORTANT
THINGS IN MY LIFE 4HE ART THAT YOU CAN CREATE BRINGS PEACE
TO YOUR INNER SOUL !RT BRINGS QUESTIONS ABOUT HOW TO DEAL
WITH ISSUES LIKE RACISM 3OME OF US DIDNT KNOW WHY THINGS
HAPPENED LIKE DISCRIMINATION BUT IT WASNT SOMETHING THAT )
AIMED TO ENTERTAIN )T WAS SOMETHING THAT WAS OFTEN EVOKED
IN THE SPACE BECAUSE IT IS SOMETHING THAT IS NEVER DISCUSSED
)T OPENS UP THE POSSIBILITIES OF WHO YOU ARE AND WHERE YOURE
COMING FROM 7E COULD QUESTION OUR FAMILIES AND OUR PAST
THROUGH ART AT !03v
3TOMPIE 3ELIBE
7ITH THE HELP OF WORKSHOPS RUN BY 3TOMPIE 3ELIBE AND THE
CONTINUAL CREATION OF ART BY STUDENTS THE STUDIO OVER THE PAST YEARS HAS COMBATED THE IDEOLOGY OF AN OPPRESSIVE REGIME )T IS
ABSURD NOT TO CONSIDER THAT !PARTHEID WHICH REMAINED IN PLACE
FOR OVER THREE DECADES HAS NOT ONLY SUCCEEDED IN TARNISHING THE
HISTORY OF RACE RELATIONS IN THE COUNTRY BUT HAS ALSO SUCCEEDED IN
STIGMATIZING ITS BLACK PEOPLES 4HE !PARTHEID ERA WAS FOCUSED ON
LOCKING BLACK 3OUTH !FRICANS INTO SOCIETAL hNORMSv SILENCING THEM
AND FOSTERING THE IDEA THAT BLACK PROGRESS WAS NOT TRUE PROGRESS
)N A SENSE !PARTHEID EMBEDDED THE IDEA THAT WHITE WAS
RIGHT AND ANYTHING BLACK NEEDED TO BE SEGREGATED FOR THE GREATER
PROTECTION OF THE WHITE MINORITY )TS ULTIMATELY THIS IDEA THAT
!03 CHALLENGES ON A CONTINUAL BASIS BY RUNNING 0APER 0RAYER
CAMPAIGNS FOR !)$3 AWARENESS ENGAGING IN COMMUNITY ART
PROJECTS AND SELLING STUDENTS WORKS WITHIN THE STUDIOS .HLANHLA
8ABA GALLERY IN THE STUDIO !LL OF THIS IS DONE TO EMBODY THE
IMAGE OF THE NEW 3OUTH !FRICAN A PERSON THAT IS NOT FOCUSED
ON RACISM AND DISCRIMINATION BUT RATHER TRIES TO OVERCOME
DISCRIMINATION BY LOOKING TOWARD THE FUTURE AND DEMOCRACY
3TUDENTS ARE GIVEN THE OPPORTUNITY AND RESPONSIBILITY TO TAKE PART
IN ALL PHASES OF THEIR EXHIBITIONS INCLUDING DESIGN INSTALLATION
AND PRICING
!03 ALSO BUILDS UPON THE POSITIVE MOVEMENT TOWARDS SOCIAL
CHANGE THAT DEVELOPED AMONG ACTIVISTS UNDER APARTHEID 4HE
USE OF VISUAL ARTS PRESENTS A FORUM FOR MEMBERS OF THE STUDIO
TO WORK SIDE BY SIDE WITH FORMER ENEMIES ;SOME GROUPS FROM
THEIR OWN TOWNSHIPS= IN EXERCISING THEIR CREATIVITY AND TALENTS
2ATHER THAN CONSTANTLY FOCUSING ON THE NEGATIVE ARTISTS COME TO
THE STUDIO AND ENGAGE IN A VARIETY OF ART TECHNIQUES !03 OFFERS
OPPORTUNITIES AND TUITION FOR A RANGE OF PRINTMAKING TECHNIQUES
INCLUDING ETCHING SILKSCREEN RELIEF PRINTING PHOTOGRAPHIC
PROCESSES PAPERMAKING AND LITHOGRAPHY 4HESE VARIOUS TOOLS
PROVIDE WAYS FOR ARTISTS TO BREAK OUT OF CONVENTIONAL ROLES AND
BRING SOMETHING BACK TO THEIR COMMUNITIES 4HIS CYCLICAL PROCESS
OF LEARNING AND TEACHING IS VITAL TO THE !03 COMMUNITY .OT ONLY
DOES IT ALLOW OLDER ARTISTS TO INmUENCE YOUNGER ARTISTS BUT IT ALSO
ALLOWS ARTISTS TO TAKE WHAT THEYVE LEARNED ABOUT EMPOWERMENT
AND RACISM AND BRING IT TO THEIR COMMUNITIES OUTSIDE OF THE
STUDIO IN THE TOWNSHIPS TO HELP BREAK DOWN THE TENSIONS THAT STILL
EXIST
h) DEAL WITH SOCIAL ISSUES IN MY PRINTS AND THINGS THAT
WE FACE EVERYDAY LIKE ABUSE AND FATHERHOOD THINGS THAT OUR
NEIGHBORS ARE GOSSIPING ABOUT AND THE HEADLINE NEWS THAT
YOU READ EVERYDAY )T IS ABOUT THAT AND THINGS THAT ) HAVE
EXPERIENCED AND THE PROBLEMS THAT ) AM FACING EVERYDAY !ND
SOME OF THE PROBLEMS IN FACT ARE THINGS ) CANT SOLVE )M NOT
TRYING TO SOLVE EVERYTHING BUT )M JUST ACCEPTING SOME OF THE
THINGS THAT WE CANNOT SOLVE .OT TO SAY IF ) DIE TODAY )LL BE
A HAPPY MAN BECAUSE ) STILL HAVE TO EXPRESS MORE 4HERE ARE
STILL A LOT OF COLORS THAT ) HAVE TO PUT THERE IN MY PRINT 4HEN )
CAN DIE KNOWING THAT ) CAN SHARE WITH THE WHOLE WORLD OR MY
COUNTRY WHAT ) NEEDED TO SAY IT WOULD BE SOMETHING ELSE FOR
THE NEXT GENERATION 3O ) HAVE TO TRY EVERY DAY TO CLEAN UP ALL
THE MESS AND TO OPEN NEW DOORS FOR THE NEXT UPCOMING ARTISTS
AND ) KNOW THAT )M NOT GOING TO STRAYv
.ELSON -AKAMO
%VERY DAY THE YOUNG ARTISTS LIKE .ELSON COME FROM AROUND
THE TOWNSHIPS SOME AS FAR AS TWO HOURS IN ORDER TO PARTAKE
IN THE PRINTMAKING PROCESS .ELSON WHO IS A SECOND YEAR
STUDENT CREATES PRINTS THAT NOT ONLY DEPICT FAMILY SCENES BUT
ALSO ULTIMATELY EVOKE HIS FAMILY AND ANCESTORS 4HE IMAGES THAT
HE CREATES AS HE STATES ARE THERE TO SET AN EXAMPLE FOR THE NEXT
ARTIST THAT IS COMING AFTER HIM 7HILE HE DOES MANY PRINTS IN
THE STUDIO HE ALSO DOES MANY DRAWINGS %ACH SCENE IS A PLEA TO
THOSE YOUNG BLACK MEN THAT ARE hSUCCUMBINGv TO TEMPTATIONS
THAT CAUSE ()6 AND CAN LEAD TO DEATH (IS CONTRIBUTION TO THE
COMMUNITY IS SIMPLY A PLEA TO REMAIN SAFE AND FOR MEN TO BE
GOOD FATHERS TO THEIR CHILDREN
(OWEVER THE STUDIO REPRESENTS SO MUCH MORE THAN
LITHOGRAMS PRINTS AND WOODCUTTINGS !S .ELSON AND OTHERS
SUGGEST IT SERVES MORE AS A FAMILIAL UNIT )T FOSTERS AN ATMOSPHERE
FOR ARTISTS LIKE 3IPHO AND 4HULANI TO CREATE WITHOUT THE FEAR OF
)NTERNATIONAL #ENTER FOR %THICS *USTICE AND 0UBLIC ,IFE RETALIATION FROM ANYONE 4HIS IS ONE PREDOMINATE REASON WHY
!03 SINCE ITS BEGINNING IN THE EARLY S HAS BEEN A SYMBOL
OF FAMILY SUPPORT AND MOST IMPORTANTLY A REPRESENTATIVE OF THE
NEW 3OUTH !FRICA %VERYONE HAS AN EQUAL OPPORTUNITY TO ACHIEVE
HIS OR HER GOALS !03 SIMPLY PROVIDES THE MEDIUM ART
4HROUGH LINOLEUM CUTS LINELS WHICH INVOLVES CUTTING AN
IMAGE INTO LINOLEUM AND THEN INKING IT AS WELL AS WOODCUTTING
BLACK MEN AND WOMEN ARE IN A SENSE hREVOICINGv THEMSELVES
"ECAUSE AT SOME POINT SOMEONE HAS TO TALK SOMEONE HAS TO SPEAK
ABOUT THE INJUSTICES SO THAT THE NEXT GENERATION WILL NOT BE HELD
UNDER THE SAME TIGHT CONSTRAINTS 3OMEONE HAS TO DO A WOODCUT
THAT CAN IMPACT THE COMMUNITY AND SPREAD THE IDEA THAT CHANGE
IS POSSIBLE
3OME OF THE WORKS THAT HAVE HAD THE LARGEST IMPACT ON
THE COMMUNITY ARE THE COLLAGES THAT WERE CREATED AFTER A lRE
THAT STRUCK !03 IN OF -ARCH 4HEY REPRESENT THE TRUE
RECONCILIATION OF A COMMUNITY %VERYONE CAME TOGETHER IN ORDER
TO REESTABLISH BONDS THAT HAD BEEN BROKEN BY THE lRE AND ALSO
RALLIED TOGETHER TO ENSURE THAT !03 WOULD STAND IN THE FUTURE
;WHICH WILL BE DISCUSSED MORE IN DEPTH IN CHAPTER = "ECAUSE FOR
THESE ARTISTS !03 IS NOT JUST A STUDIO IT IS A FUTURE
h4HE SUPPORT THAT )VE GOTTEN FROM FRIENDS FAMILY AND
TEACHERS BUILDS ME EVERY DAY AND IT TEACHES ME TO WAKE UP
3O EVERY DAY TO ME IS A CHALLENGE BECAUSE ) DONT KNOW WHAT
IS GOING TO HAPPEN ) DONT KNOW WHAT )M GOING TO DO BUT BY
THE END OF THE DAY ) CAN TELL YOU WHAT HAPPENED IN THAT DAY
BUT THATS AS FAR AS IT GOES !ND THAT IS MY WORK NOW 4HERE
WILL BE A TIME WHEN )LL BE BATTLING WITH A CANVAS AND HAVING
TO EXPRESS WHAT ) DID THE WHOLE DAY IN COLORS PENCILS AND
CHARCOAL UNTIL ) HAVE TO STOP !ND IT IS ONLY THEN THAT ) CAN GO
TO BED "UT TODAY ) CAN SEE THAT ) AM BUSY POLISHING MY FUTURE
AND IT ISNT SHINY YET BUT ITS ABOUT TO SHINEv
3IPHO
4HOUGH MANY OF THESE ISSUES MAY SEEM LARGE AND
CONVOLUTED IT IS IMPORTANT TO UNDERSTAND THEM TO SEE THE TRUE
BENElTS THAT !RTIST 0ROOF REPRESENTS 4HROUGH WORKSHOPS HELD
WITH 3TOMPIE 3ELIBE LIKE 5BUNTUˆWHICH IS A 3OUTH !FRICAN
CONCEPT OF FAMILY AND HUMILITYˆMEN AND WOMEN ARE GIVEN AN
OPPORTUNITY TO SPEAK ABOUT
WHAT THEY FEEL AND HOW THINGS
HAVE AFFECTED THEM 4HEY ARE
4HEY ARE BEING GIVEN
BEING GIVEN AGENCY THROUGH
AGENCY THROUGH THEIR
THEIR VOICES AND IT IS ULTIMATELY
THE VOICES OF THE ARTIST THAT HAVE
VOICES AND IT IS
BUILT THE FOUNDATION FOR THE
STUDIO
ULTIMATELY THE VOICES OF
4HEIR VOICES PERMEATE
THROUGHOUT !03S ORANGE AND
THE ARTIST THAT HAVE BUILT
RED WALLS AND CAN BE FOUND IN
ALL OF THE STUDENTS WORK -ANY
THE FOUNDATION FOR THE
WITHIN THE SPACE OF THE STUDIO
ARE HAPPY TO SHARE THEIR STORIES
STUDIO
4HE !RT OF #OEXISTENCE%THICS AND #OEXISTENCE 3TUDENT &ELLOWS
AND ARE EAGER TO MOVE BEYOND THE PARAMETERS THAT HAVE BEEN
SET BY SOCIETY !03 CONTINUES TO FOSTER THIS DESIRE EVERY DAY AND
EACH DAY IT HELPS IN THE STRUGGLE OF BREAKING THE REALM OF SILENCE
AND BRINGING INTERNAL ISSUES TO THE FOREFRONT USING THE ARTISTS
WORKS &OR !03 THE USE OF VOICES IN ITS WORK IS KEY
h"EFORE ) STARTED DOING THIS FELLOWSHIP ) WASNT AWARE
THAT ) WAS IN THE PROCESS OF DEALING WITH RECONCILING WITH WHAT
YOU HAVE AND THE ENVIRONMENT THAT YOURE STAYING (ONESTLY )
NEVER SAW MYSELF AS SOMEONE WHO COULD INSPIRE AND TRANSFORM
THINGS BUT ) REALIZED THAT WHEN YOU HAVE PASSION FAITH AND
HOPE YOURE ALWAYS WORKING ON WHAT YOU BELIEVE 9OU CAN BE
ABLE TO LEARN TO BELIEVE TO HAVE FAITH AND HOPE THAT SOMETHING
WILL WORK OUTv
3TOMPIE 3ELIBE
(OWEVER MANY PROBLEMS EXIST TODAY AS RESIDUAL EFFECTS OF
THE APARTHEID REGIME THAT !03 HAS NOT BEEN ABLE TO COMPLETELY
COMBAT &OR INSTANCE MANY COMMUNITIES AND PEOPLES
CONTINUE TO LIVE THEIR LIVES LIKE MARIONETTES WITH THEIR STRINGS
BEING PULLED BY OUTWARD SOCIETAL FORCES !PARTHEID HAS LEFT AN
UNDENIABLE MARK ON THE PEOPLE AND PARTICULARLY ON ITS YOUTH
AND THEIR FAMILIES 0EOPLE ARE AFRAID TO CONFRONT THEIR FAMILIES
WITH RELEVANT AND CURRENT ISSUES AND THERE IS EVEN A STIGMA
SURROUNDING BEING A MALE ARTIST ! PERFECT EXAMPLE OF THIS CAN
BE SEEN IN MANY OF THE YOUTH WHO LIKE 3IPHO ARE DISCOURAGED
BY THEIR COMMUNITIES FROM ASKING QUESTIONS AND VOICING THEIR
CONCERNS
h) THINK THAT MY FAMILY DOESNT CARE WHAT ) DO THEY
ONLY CARE ABOUT WHEN ) ARRIVE HOME LATE OR DONT COME HOME
AT ALL )M MALE ARTIST AND THEY DONT EVEN UNDERSTAND WHAT
PRINTMAKING IS (OW CAN ) EXPLAIN INKING AND PRINTING
PRESSES TO PEOPLE WHO DONT REALLY KNOW HOW TO READ 4HEY
DONT QUESTION ANYTHING ELSE 7EVE BEEN HURT TOO MUCH BY
APARTHEID 9OU JUST BEGIN TO IGNORE THINGS AND THEN IT DOESNT
HURT ANYMORE )VE INHERITED THE SAME THING FROM MY PARENTS
AND WHAT MY FAMILY DID .OW ) DONT CARE ANYMORE ) DONT
FEEL PAIN ANYMORE ) JUST DONT TALK ABOUT IT AROUND THEMv
3IPHO -ZEDKANDABA
)NSTEAD OF OUTWARDLY VOICING THEIR PROTESTS MUCH OF THE
ANGER THAT EXISTS IS LEFT TO BREW JUST UNDER THE SURFACE 7HILE
!03 HAS HELPED IN COMBATING THIS ISSUE MANY BLACK YOUTHS STILL
FEEL THAT THEY HAVE BEEN SILENCED AND THAT THEY DO NOT POSSESS
THE POWER TO STAND UP AND PROTEST WHAT THEY FEEL IS UNJUST AS
INDIVIDUALS 4HEY INSTEAD CHOOSE TO LOOK TOWARD POWERFUL LEADERS
LIKE .ELSON -ANDELA TO VICARIOUSLY LIVE OUT THEIR STRUGGLES AND
TO SOLVE THEIR CONmICTS 4HIS METHOD UNFORTUNATELY HAS NOT BEEN
AS EFFECTIVE AS MANY OF THE ARTISTS WOULD HAVE HOPED -EN AND
WOMEN ARE BOTH ENCOURAGED TO KNOW THEIR PASTS SO THAT THEY
MIGHT NOT REPEAT THE SAME MISTAKES AND CALAMITY IN THE FUTURE A
CONCEPT THAT IS NOT SO FAR OFF FROM 53 CULTURE
(OWEVER ONE MUST ALSO lRST REALIZE THAT SILENCE PLAYS A
LARGE ROLE IN 3OUTH !FRICAN CULTURE 4HE MEN WHEN PRESENTED
WITH DIFlCULT SITUATIONS MUST HIDE THEIR TEARS AN EMOTIONAL
SILENCING 7HEN A WOMAN IS ABUSED SHE MUST REMAIN SILENT FOR
FEAR OF BEING HURT AGAIN )N AN EFFORT TO COUNTER THESE FEELINGS
!03 HAS SET UP A COMFORTABLE ATMOSPHERE THAT PROVIDES A
FORUM FOR THESE ISSUES TO BE DISCUSSED NOT ONLY THROUGH ART BUT
THROUGH WORKSHOPS SUCH AS -EN AS 0ARTNER WHICH DEALS WITH
THE STIGMA SURROUNDING BEING A MALE ARTIST AS WELL AS 0APER
0RAYERS WHICH ARE WORKSHOPS THAT PROMOTE ()6 PREVENTION
!03 STRIVES TO RECONCILE COMMUNITIES AND TO BRING THEM
TOGETHER BUT SOMETIMES THE COEXISTENCE RHETORIC IS SIMPLY NOT
APPLICABLE
$IANE &RANCIS HAS SAID THAT THE USE OF ART NOT ONLY CREATES
POSITIVE PERSONAL RELATIONSHIPS BUT CAN ALSO CONTRIBUTE TO THE
CONSTRUCTIVE HANDLING OF CONmICT (OWEVER WHILE POSITIVE
RELATIONSHIPS HAVE SPRUNG UP IN THE STUDIO THE RESULT HAS NOT
BEEN AN EXPLICIT HEALING AMONG BLACK AND WHITE COMMUNITIES
BUT RATHER AN INCREASED SENTIMENT OF UNITY AMONG THE BLACK
POPULATION OF THE STUDIO 7HILE ARTISTS COME TOGETHER EVERY
DAY THERE IS A STRIKING DISPROPORTION OF BLACK AND WHITE ARTISTS
!CTUALLY DURING MY STAY AT !03 THERE WAS ONLY ONE WHITE ARTIST
WHO WAS A THIRD AND lNALYEAR STUDENT 4HE ONLY OTHER WHITE
INDIVIDUALS COMING INTO THE STUDIO ARE THOSE THAT WORK THERE AS
STAFF AND PEOPLE THAT COME INTO THE STUDIO WISHING TO PURCHASE
ART FROM THE STUDENTS
!S A RESULT OF THIS RACIAL DISTRIBUTION +IM "ERMAN
PROMOTES THE COMPLETE CONTROL OF ARTISTS OF THEIR WORK ASIDE
FROM CLASS ASSIGNMENTS %ACH ARTIST IS IN CONTROL OF HOW HIS OR
HER WORK IS DISPLAYED THE PRICE RANGE AND THE LOCATION OF THEIR
WORK WITHIN THE .HLANHLA 8ABA GALLERY 0OTENTIAL CUSTOMERS
ENTER THE STUDIO AND ARE GREETED BY #ARA 7ALTERS THE STUDIO
MANAGER OR -ARJORIE -ALEKA A THIRDYEAR STUDENT WHO IS ALSO
IN CHARGE OF SALES /NCE THE DECISION HAS BEEN MADE ON WHICH
PICTURE WILL BE BOUGHT THE ARTIST IS CONTACTED AND WILL OFTEN
TIMES HAVE DISCUSSIONS WITH THE PATRON ABOUT THE MEANING OF
THE WORK
7HILE EXHIBITING MANY ELEMENTS OF COEXISTENCE SUCH AS
THE USE OF VISUAL ARTS TO BRING PEOPLE WITHIN THE STUDIO TOGETHER
AND PROVIDING A MEANS TO hBREAK THE SILENCEv !03 IS ONE OF A
FEW INSTITUTIONS THAT ARE BEING USED IN THE NEW 3OUTH !FRICA TO
ASSUAGE !PARTHEID SENTIMENTS !03 ALONG WITH OTHER PROGRAMS
IS LOCATED WITHIN THE NEW CULTURAL DISTRICT OF DOWNTOWN *OBURG
.EWTOWN 3INCE THE 4RUTH AND 2ECONCILIATION #OMMISSION
42# WHICH PROMOTED THE USE OF VOICES AFTER THE FALL OF
APARTHEID INSTITUTIONS HAVE SPRUNG UP IN ORDER TO PROMOTE THIS
GOAL
)N FACT BEFORE THE CREATION OF !03 -ARKET 4HEATER AND
THE DANCE FACTORY ;WHICH HOUSES MANY CULTURAL SHOWS= MANY
WHITE BUSINESSMEN AND PATRONS WERE AFRAID TO TRAVEL BEYOND THE
3TANDARD "ANK 4HERE WAS A FEAR THAT TO TRAVEL BEYOND THAT POINT
WOULD INCREASE THE RISK OF BEING MUGGED 3O IN THAT RESPECT !03
AND THE OTHER ARTS PROGRAMS HAVE BEEN SUCCESSFUL IN BRINGING
BLACK AND WHITE PEOPLE TOGETHER .OW IT IS NOT UNCOMMON TO
SEE WHITE FOREIGNERS AND NATIVES WALKING ALONG 0RESIDENT 3TREET
TO THE "EAUTIFUL 4HINGS "US &ACTORY OR ACROSS THE STREET THE
3OUTH !FRICAN -USEUM WITHOUT CONSTANTLY QUESTIONING THE BLACK
INDIVIDUALS AROUND THEM
7HILE SUCH EFFORTS HAVE BEEN MADE BEYOND THE STUDIOS
WALL !03 IS STILL SUSCEPTIBLE TO OUTSIDE ELEMENTS THAT CANNOT
BE CONTROLLED BY WORKSHOPS AND ART 4HESE ELEMENTS THREATEN
TO DESTROY ITS QUEST FOR GIVING VOICE AND EMPOWERMENT THIS
IS A PROBLEM THAT COEXISTENCE PRACTITIONERS COULD NOT lX !03
WAS THREATENED BY AN ELEMENT THAT HAD NOTHING TO DO WITH
APARTHEID AND COULD NOT BE CURED THROUGH 5BUNTU WORKSHOPS
WITH 3TOMPIE 3ELIBEA lRE 4HE lRE HAD EVERYTHING DO WITH
TESTING THE !RTIST 0ROOF COMMUNITYS TRUE STRENGTH AND UNITY
))) /UT OF THE !SHES A #OMMUNITY IS 2EBUILT 4HE
(EALING "EGINS
h4HE STUDIO IS A SHELL )TS HARDER ON THE OUTSIDE AND MORE
FRAGILE ON THE INSIDEv
3IPHO
)N THE EARLY MORNING OF -ARCH +IM "ERMAN WOKE
UP TO AN ALARMING TELEPHONE CALL THAT HELD DOUBLE HEARTACHE FOR
HER AND .HLANHLAS BELOVED STUDIO $URING THE NIGHT A lRE HAD
STRUCK .OT ONLY HAD IT BURNED DOWN THE STUDIO BUT IT HAD ALSO
CLAIMED THE LIFE OF .HLANHLA 8ABA HER FRIEND COHORT AND CO
FOUNDER "UT THAT WAS NOT THE WORST PART OF THE NEWS
!LL OF THE ARTWORK OF OVER ARTISTS WHICH HAD TAKEN YEARS TO MAKE AND TO DISPLAY WAS GONE /NLY FRAGMENTS OF WHAT
HAD BEEN WERE LEFT BURNT LINELS AND PRINTING PRESSES 4HE ARTISTS
HAD TO COME TOGETHER 4HE INSTITUTION THAT THEY HAD REFERRED TO AS
THEIR HOME FOR SO LONG WAS GONE AND THE ONLY THING THAT COULD
BE DONE WAS TO TAKE EACH FRAGMENT AND PLACE THEM TOGETHER IN A
COLLAGE TO COMMEMORATE .HLANHLAS WORK AND LIFE
3EVERAL COLLAGES OF ALL OF THE REMAINING WORK HAD TO BE
MADE IN ORDER TO SHOW THAT THEIR STUDIO WAS NOT LOST FOREVER
4HE RESULT WAS A SERIES OF COLLAGES WITHIN THE STUDIO AND A
MURAL AT THE ENTRANCE OF THE STUDIO AND IMAGES CREATED FROM
PRINTS BY 8ABA ON THE INTERIOR DOORS %VEN THE SECURITY FENCING
ON THE STAIRCASE AND ABOVE THE WALLS OF THE STUDIO IS FASHIONED
FROM COLLAGES ;EACH NAMED #ONmICT .EGOTIATION AND 0EACE=
OF THE BURNT REMAINS FOUND IN THE ORIGINAL STUDIO 4HE PROCESS
OF MAKING ART AND ART THERAPY WAS INSTRUMENTAL IN THE HEALING
OF THE INNER !03 COMMUNITY AND OF THE TENSIONS THAT EXISTED
AS A RESULT OF THE lRE AMONGST GROUPS IN THE STUDIO AND MOST
IMPORTANTLY IN REESTABLISHING THE ROLE OF !03 IN THE COMMUNITY
AT LARGE
h) NEVER RECOVERED UNTIL ) MADE A PRINT ) HAD TO DEAL
WITH THE lRE THE BEST WAY ) COULD AND THE ONLY WAY ) COULD
WAS TO COME UP WITH AN ART PIECE THAT WOULD TAKE AWAY
MY RAGE ) HAD TO COME TO PEACE ABOUT THE WHOLE SITUATION
AND ) DEDICATED THE PIECE TO HIM .HLANHLA )T WAS ABOUT
THE JOURNEY FROM THE BEGINNING WHEN ) lRST CAME HERE THE
JOURNEY ) TOOK EVERY DAY THE JOURNEY FROM WHEN ) WAS BORN TO
)NTERNATIONAL #ENTER FOR %THICS *USTICE AND 0UBLIC ,IFE NOW THE lNANCIAL STRUGGLES ) WENT THROUGH AND IT WAS ABOUT
EVERYTHING HE TAUGHT MEv
4REVOR
4HE CREATION OF THE COLLAGES SIGNIlED WHAT AN IMPORTANT
ROLE !03 PLAYED AND STILL PLAYS IN THE COMMUNITY 4HE COLLAGES
ENCOURAGED STUDENTS TO KEEP WORKING AND WENT ON PUBLIC
DISPLAY FOR THE SURROUNDING COMMUNITY TO SEE 0EOPLE FROM THE
LARGER COMMUNITY WERE ABLE TO SEE THE RESILIENCE OF THE STUDIO
AND ULTIMATELY SEE THAT IT WOULD NOT GIVE UP ON ITS GOALS AND
ASPIRATIONS
h7E MADE A COLLAGE OUT OF BURNT PRINTS AND IT WAS
INTERESTING )T WAS REGENERATION AND A REPRODUCTION OF WHAT
WAS BURNT INTO SOMETHING NEW )T WAS LIKE REBUILDING THE
STUDIO AND IT PLAYED A BIG ROLE IN OUR LIVES 4HEN WE STARTED
WORKING TOGETHER AND IT MEANT THERE IS ALWAYS SOMEONE FOR
YOU AND THAT WE ARE HERE FOR SOMEONE AND THERE IS SOMEONE
THERE TO SUPPORT ME !ND THATS HOW ) FELT ) WOULD DEPEND ON
PEOPLE FOR SECURITY AND THOUGHTS AND QUITE A LOT OF STUFF !ND
THATS WHEN THE COLLABORATION OCCURRED BECAUSE WE WERE ALL IN
ONE CRISIS AND THE ONLY WAY TO REBUILD THE STUDIO WAS TO WORK
TOGETHERv
4REVOR
.OT ONLY DID THE COLLAGES BRING ARTISTS TOGETHER BUT THEY
ALSO PRODUCED A LONG TERM UNEXPECTED EFFECT 4HE EXPERIENCES
LED TO INCREASED FEELINGS OF A FAMILYLIKE ATMOSPHERE AND THE
BANDING TOGETHER OF ARTISTS TO PROTECT THEIR hHOMEv )T WAS THIS
SENTIMENT THAT ) VIEWED WHEN ) ENTERED THE WALLS OF !03 )T GAVE
ME THE CHANCE TO SEE THE EFFECTS OF THE HEALING PROCESS UP CLOSE
7HEN YOU ENTER THE STUDIO THE lRST THINGS THAT YOU NOTICE ARE
THE COLLAGES THAT GRACE THE WALLS %ACH ONE REPRESENTS A MEMORY
AND A PIECE OF ART THAT WAS CREATED BY PRESENT DAY AND FORMER
MEMBERS OF THE STUDIO 5P CLOSE YOU CAN SEE EACH PIECE WAS
PLACED TOGETHER 3OME OF THE PIECES OF THE COLLAGE ARE BLACK WITH
TAR AND OTHERS SEEM UNSCATHED BY THE mAMES THAT OVERCAME THE
STUDIO
7ALKING INTO THE STUDIO WAS AN INCREDIBLY MOVING
EXPERIENCE FOR ME EVERY DAY %ACH COLLAGE IS CRAFTED SO WELL
YOU CANT HELP BUT APPRECIATE IT %ACH ONE PORTRAYS TOGETHERNESS
AND SIMPLY REITERATES WHAT CAN HAPPEN WHEN COEXISTENCE WORK
IS EFFECTIVE %VERYONE CAME TOGETHER FOR ONE CAUSE BESIDES THE
HARDSHIPS THAT WERE HAPPENING IN THE STUDIO IN ORDER TO RECONCILE
AS A GROUP AND ) FOUND THAT INCREDIBLY POWERFUL
4HROUGHOUT MY SUMMER AT !03 ) WAS ABLE TO WITNESS AND
OBSERVE MANY INSTANCES OF THE COMMUNITY COMING TOGETHER !FTER
SUCH A DEVASTATING EVENT THE SOLIDARITY OF THE COMMUNITY WAS
AMAZING (OWEVER ALL OF THIS HEALING DID NOT JUST COME ABOUT
FROM THE CREATION OF THE COLLAGES BUT ALSO GREW OUT OF MANY ART
THERAPY WORKSHOPS 4HE MAIN GOAL OF THESE WORKSHOPS IS TO GIVE
THE ARTISTS AN OPPORTUNITY TO EXPRESS THEIR PAIN AND THEIR SORROW
THROUGH ARTWORK 4HIS HOWEVER WOULD NOT BE THE lRST TIME THAT
) WOULD BE ABLE TO GLIMPSE INTO THE INNER WORKINGS OF 3OUTH
!FRICAN HISTORY AND THE STUDIO
4HE !RT OF #OEXISTENCE%THICS AND #OEXISTENCE 3TUDENT &ELLOWS
.OT ONLY WAS ) WORKING AT !03 BUT ) ALSO TRAVELED THE
COUNTRYSIDE VISITING 0HUMANI 0APER SITES 0HUMANI 0APER ALSO
FOUNDED BY +IM "ERMAN IS A POVERTY RELIEF PROGRAM AIMED AT
INCREASING THE ECONOMIC PROSPERITY OF OVER WOMEN IN THE
NINE PROVINCES OF 3OUTH !FRICA -ANY OF THOSE INSTANCES THAT
OCCURRED DURING MY SUMMER HAPPENED OUTSIDE OF THE STUDIO
IN TRIPS TO THE TOWNSHIPS PARTICULARLY IN 7INTERVELT
)6 !N /UTSIDERS 0ERSPECTIVE
,OADING OURSELVES INTO THE VAN THE DOORS SHUT BEHIND US WITHOUT
A SOUND FROM THE PASSENGERS OR THE USUALLY SQUEAKY DOORS 4HIS
WAS A MOMENT OF AWE ! MINIBUS WHICH USUALLY SQUEEZES IN PEOPLE WAS A LITTLE LESS THAN HALFFULL WITH ONLY NINE PASSENGERS
ABOARD 4HE TAXI STILL MAINTAINING ITS WHITE FACTORY COLOR HAD NOT
YET BEEN CAKED WITH THE DUST THAT GENERALLY ACCOMPANIES MOST
MINI TAXIS IN *OBURG )T WAS A CLEAR INDICATION THAT OUR OBJECT OF
THE DAY WAS NEITHER TO VENTURE WITHIN THE INNER RING OF *OBURG
NOR TO PROVIDE ASSURING IMAGES FOR PEOPLE FAMILIAR WITH THE TURF
)NSTEAD WE WERE GOING BEYOND THE REACHES OF THE CITY IN THE
COMPANY OF WHITE !MERICANS A DOCUMENTARY CREW WHOSE MAIN
OBJECTIVE WAS TO CAPTURE THE ESSENCE OF 0HUMANI 0APER AND THE
WORKERS AT ITS SITE IN 7INTERVELT 4HE TAXI HAD TO BE PERFECT IN
ORDER TO SYMBOLIZE THE CHANGES THAT HAD OCCURRED IN THE CITY SINCE
THE END OF APARTHEID IN 4HE 3TOCK %XCHANGES SHINY SURFACE
GLIMMERED FROM THE RIGHT SIDExSTRAINED RACE RELATIONS WERE hA
THING OF THE PASTv
0ULLING AWAY FROM THE STUDIO ) GLANCED TO MY LEFT AT
+GAGELO A WOMAN WHO WORKED AT !03 IN AN EMBROIDERY PROJECT
CALLED )KAGENG 3HE HAD BEEN WORKING IN THE STUDIO FOR THE PAST
YEARS (ER EXPRESSION WAS SIMILAR TO MY OWN A SENSE OF SLIGHT
BEWILDERMENT WITH THE CHANGE OF THE SCENERY !T EVERY INSTANT
SHE COULDNT HELP BUT MENTION TO ME THAT EVERY YEAR HER hLITTLEv
TOWN OF 'AUTENG CHANGED
h%VERYTHING LOOKS DIFFERENT EACH TIME ) SEE ITv SHE SAID
h3OME PLACES LOOK SO BETTER MUCH BETTER EACH TIME ) SEE THEM
"UT THE BAD PLACES THEY JUST GET MORE BAD ) WISH YOU COULD
HAVE SEEN IT lVE YEARS AGO ) CAN EVEN DESCRIBE WHAT IT WAS
THEN %VERYTHING WAS TORN DOWN AND DIRTY AND IT WAS JUST SO
DIFFERENT ) THINK A LOT OF THESE CHANGES COME WITH PROGRESS
9OU KNOW WE GOT THE 7ORLD #UP IN v
7E WERE LEAVING THE USUAL NOISINESS AND HECTIC NATURE OF THE
BUS FACTORY TO GO TO A PROJECT IN 7INTERVELT THAT WAS SPECIlCALLY
DESIGNED FOR WOMEN WHO HAD EITHER BEEN ABUSED OR WERE ()6
POSITIVE )T WAS AN ALL TOO FAMILIAR PROBLEM THAT +GAGELO DIDNT
FAIL TO MENTION TO ME IN A WHISPER DURING OUR RIDE FROM
*OBURG THROUGH 0RETORIA AND 3HOSUNGUWE THE TOWN BORDERING
7INTERVELT )N THIS REGION ONLY AN HOUR FROM THE CITY ONE COULD
SEE SHANTY HOMES FALLING OVER 3OMETIMES THEY HAD NEITHER DOORS
NOR ROOFS !S +GAGELO LEANED OVER ME SHE MENTIONED ONCE AGAIN
IN A HUSHED VOICE
h4HERE IS NO SUPPORT FOR US OUT HEREv
!S WE DROVE BY IN OUR SHINY WHITE MINITAXI HEADS ON THE
STREET IN ALL THREE REGIONS TURNED #HILDREN RAN ALONGSIDE THE
CARS SCREAMING HELLO TO ALL THE WHITE FACES IN THE VAN IGNORING
THE BLACKS IN THE BACK 4HE WHITE HANDS IN RETURN REACHED OUT
THE WINDOWS WAVING HELLO IN RETURN "UT BEHIND THE CHILDREN
BLACK ADULTS STOOD IN THE BACKGROUND UNWAVERING IN THEIR STANCE
STARING AT THE NEW WHITE MINITAXI WITH SIX WHITE OCCUPANTS AND
THREE BLACK ONES 4HE KIDS KEPT RUNNING TOWARDS THE CAR 4HE
ADULTS SIMPLY TURNED AROUND BECKONING THEIR CHILDREN TO FOLLOW
THEM 7E KEPT MOVING TOWARD 7INTERVELT +GAGELO TURNED TO ME
AGAIN UNABLE TO CONTAIN HER FEELINGS
h9OU KNOW $ARNISA ) LOVE COMING TO 7INTERVELT
3INCE THE LAST TIME WE WERE HERE TWO WEEKS AGO ) HAVE BEEN
DREAMING OF ALL THOSE BEAUTIFUL BAGS THAT ) SAW SITTING ON THE
TABLE AT THE %MBROIDERY 0ROJECT $O YOU REMEMBER THOSE BAGS
FROM LAST TIME ) ASKED MY HUSBAND FOR TWO WEEKS TO SAVE UP
SOME MONEY FOR ME TO BUY THAT BAG )T HAS TAKEN ME SO LONG TO
lNALLY HAVE MONEY OF MY OWN AND NOW ) CAN BUY A BAG AND
)M GOING TO DO JUST THATv
7ED ARRIVED $UST SWIRLED EVERYWHERE AROUND THE
7INTERVELT SCHOOLMISSION THAT HELD BOTH THE 0HUMANI 0APER AND
EMBROIDERY PROJECTS 4HE SCHOOL WAS COMPOSED OF AN OLD BRICK
CHURCH AND SEVEN RECTANGULAR BLOCKS ATTACHED TO EACH OTHER IN
A ZIGZAG PATTERN &OR THE PAST MINUTES BEFORE ARRIVING AT THE
SCHOOLMISSION WE HAD NOT SEE ANY PAVED ROAD JUST A VAST DESERT
LIKE REGION WITH CHILDREN WALKING ALONGSIDE THE PATTED DOWN
DIRT WITH NO SHOES AND COLORFUL PLAID SCHOOL UNIFORMS AND LUNCH
PAILS $UST WAS BLOWING EVERYWHERE AND ) COULDNT HELP BUT BE
REMINDED OF MY lRST TIME IN 'AUTENG 4HE CHILDRENS FACES WERE
COVERED WITH DIRT
7E GOT OUT OF THE CAR AND WALKED TO THE EMBROIDERY
PROJECT IN ONE OF THE SEVEN RECTANGULAR BUILDINGS !S SOON AS
WE OPENED THE DOOR THE lRST THINGS THAT COULD BE SEEN WERE
TABLES UPON TABLES OF EMBROIDERED BAGS TABLECLOTHS PILLOWCASES
AND APRONS +GAGELO GREETED ALL OF THE WOMEN IN THE ROOM WITH
h$UMELASv AND BEGAN THE ACTIVITIES FOR THE DAY WHICH INCLUDED
DEBRIElNG THE WOMEN ON THE PRESENCE OF THE VIDEO CAMERAS
!FTER THAT THE ACTIVITIES SIMPLY BEGAN 4HE DOCUMENTARY CREW
WALKED INTO THE ROOM DURING A WORKSHOP WITH THEIR EQUIPMENT
AND ALL EYES QUICKLY DIVERTED FROM +GAGELO AND MYSELF TO AN
ALLWHITE CREW 4HEIR WALKING WAS FOLLOWED BY MORE STARES
0EOPLE GREETED +GAGELO AND MYSELF WITH $UMELAS IN 3ESTHO AS
IS CUSTOM WHEN NEW PEOPLE WALK INTO THE ROOM AND THE CREW
WITH h(ELLOv
!S THE DAY WORE ON +GAGELO MOVED CLOSER AND CLOSER TOWARD
THE BAGS ON THE TABLE TO HER LEFT &OR THE PAST TWO WEEKS SINCE OUR
LAST VISIT TO 7INTERVELT +GAGELO HAD BEEN DESCRIBING TO ME HOW
BADLY SHE WANTED AN EMBROIDERED BAG )T WAS AT THAT POINT THAT
) DECIDED THAT ) WOULD GET A BAG FOR +GAGELO AS A LATE BIRTHDAY
PRESENT AND AS A SIGN OF MY EXTREME GRATITUDE FOR hSHOWING ME
THE ROPESv AROUND *OBURG +GAGELO COULDNT CONTAIN HERSELF ANY
LONGER 3HE BEGAN PICKING UP EACH BAG ALMOST AS IF IT HELD OUNCES
OF GOLD AND DIAMONDS CAREFULLY PLACING ONE ATOP THE OTHER
4HE BAG THAT EVENTUALLY STRUCK HER FANCY WAS BLACK AND
DOTTED WITH PICTURES OF GOLDEN GIRAFFES AND ELEPHANTS )T WAS QUITE
EXQUISITE 7HEN SHE PICKED UP THAT BAG SHE SEEMED LIKE THE
HAPPIEST PERSON ON %ARTH AS SHE PROCLAIMED
h)TS EXACTLY WHAT ) WANTED ) HAVE NEVER SEEN A BAG MORE
BEAUTIFUL THAN THIS ONEv
)T WAS ONE OF THOSE MOMENTS WHERE IT IS HARD FOR SOMEONE
TO COMPLETELY DESCRIBE WHAT IT IS THAT THEY WANT BUT WHEN THEY
lNALLY lND IT THERES NO QUESTION NO SHADOW OF A DOUBT THAT
THEYVE FOUND WHAT THEY WERE LOOKING FOR 4HAT WAS THE LOOK THAT
+GAGELO HAD ON HER FACE AND IT REMAINED THERE FOR THE REST OF THE
AFTERNOON (ER FACE WAS LOCKED IN AN ETERNAL SMILE
7HILE OTHER PEOPLE WERE LOOKING AT BAGS +GAGELO GENTLY
PLACED HER BAG ASIDE TO ENSURE THAT IT REMAINED WITHIN HER REACH
AND TO ENSURE THAT IT WOULDNT GET OUT OF HER SIGHT AND BE TAKEN
AWAY 3HE HANDED THE BAG OVER TO ME ASKING ME TO PAY FOR HER
AND TOLD ME THAT SHE WOULD PAY ME BACK THE NEXT MORNING
AS SOON AS SHE SAW ME ) KNEW THAT SHE WAS TRUSTWORTHY AND
DIDNT DOUBT FOR A SECOND THAT MY MONEY WOULD BE RETURNED
(OWEVER ) HAD NO INTENTIONS OF ASKING FOR IT BACK BUT ) HADNT
LET HER KNOW THAT AS OF YET ) PAID FOR THE BAG AND THE lLM CREW
CONTINUED SHOOTING
7HEN SHOOTING WAS lNISHED ONE OF THE CREWMEMBERS WHOM
) WILL CALL -ARTHA WALKED TO THE SIDE OF THE ROOM CONTAINING THE
EMBROIDERED BAGS AND EXPRESSED THAT SHE WANTED A BAG AS WELL
+GAGELO HEARD THIS AND WALKED OVER TO THE TABLE 7HILE +GAGELO
DID NOT MENTION THAT SHE WAS NERVOUS ABOUT SOMEONE TAKING
HER BAG THE LOOK WAS WRITTEN ALL OVER HER FACE 3HE KEPT GLANCING
BETWEEN -ARTHA AND HER BAG ON THE ADJACENT TABLE
-ARTHA CONTINUED SEARCHING UNTIL SHE SPOTTED hTHE PERFECT
BAGv (ER PERFECT BAG WAS A BLACK HANDBAG DOTTED WITH GOLDEN
GIRAFFES AND ELEPHANTS +GAGELOS BAG -ARTHA BEGAN WALKING OVER
TO +GAGELOS BAG ) CANNOT BEGIN TO DESCRIBE THE DISAPPOINTMENT
AND ANGER THAT WAS BUILDING UP INSIDE ME 4HE BAG HAD BEEN
PURCHASED ALREADY -ARTHA HAD BEEN DESCRIBING ALL DAY HOW HER
HOME WAS lLLED WITH ITEMS FROM THIS PARTICULAR PROJECT 3HE
MENTIONED HOW HER THREEMONTHOLD TWINS SLEPT WITH 7INTERVELT
EMBROIDERED PILLOWS EVERY NIGHT AND HOW SHE CARRIED THEIR
EMBROIDERED HANDBAGS WHENEVER POSSIBLE 3HE WAS INSISTENT UPON
ADDING ONE MORE TO THE COLLECTION
4HE WHOLE SCENE PLAYED OUT IN SLOW MOTION AS ) WATCHED
HER WALKING TOWARD THAT BAG #OUPLED SIMULTANEOUSLY WITH THAT
SLOW MOTION WALKING WERE +GAGELOS EYES WATCHING HER AS WELL
-ARTHA REACHED FOR THE BAG AND SIMPLY HELP IT UP WITH GLEE
AND EXCLAIMED
h(ERE IT IS )VE FOUND IT /KAY )M GOING TO TAKE THIS ONE
NOW ) CANNOT BELIEVE IT WAS JUST SITTING HERE LIKE THISv
#AN YOU HEAR THE SCALES CREAKING ) THOUGHT RACE RELATIONS
WERE hA THING OF THE PASTv -ARTHA DIDNT QUESTION TO WHOM
THE BAG BELONGED BUT SIMPLY MADE THE ASSUMPTION THAT IT WAS
HERS TO ACQUIRE ) WATCHED AND WAITED 4HE HARDEST PART OF THIS
ENCOUNTER WAS TO AVOID INSERTING MYSELF INTO THIS SITUATION "Y
)NTERNATIONAL #ENTER FOR %THICS *USTICE AND 0UBLIC ,IFE THROWING MYSELF INTO THAT ENCOUNTER IT WOULD HAVE BEEN SIMPLY
EXPRESSING THE COMMON !MERICAN NEED TO BECOME INVOLVED
AND TO HELP OTHERS hEMPOWER THEMSELVESv )TS A NEED TO TAKE
PITY UPON THOSE WHOM WEVE DEEMED LESS FORTUNATE )N A SENSE
WE MUST COME TO THEIR AID LIKE A GLOBALIZED 2OBIN (OOD WHO
HAS EXPANDED HIS REACH BEYOND .OTTINGHAM &OREST 4HIS WAS
+GAGELOS MOMENT AND ) WANTED TO SEE WHAT WOULD HAPPEN
(ERE WAS A WOMAN WHO GREW UP UNDER THE APARTHEID ERA
BUT WAS AS STRONG A WOMAN AS THEY COME 3HE TURNED TO -ARTHA
AND SIMPLY SAID
h7ELL THATS MY BAG BUT IF YOU WANT IT YOU CAN HAVE IT )
DIDNT REALLY WANT IT THAT MUCH SO TAKE ITv
-Y MOUTH WAS ABSOLUTELY AGAPE 3HE DIDNT WANT IT THAT
MUCH 7ITHOUT EVEN QUESTIONING THAT HURT LOOK ON +GAGELOS
FACE -ARTHA TURNED AROUND AND ASKED WHOM SHE WOULD HAVE TO
PAY
) COULDNT WAIT ANYMORE ) HAD TO INTERVENE )F THERE WAS NOT
GOING TO BE JUSTICE ) HAD TO AT LEAST MAKE SURE SHE PAID ME THE
MONEY FOR THE BAG ) COULDNT UNDO THE SITUATION THAT ) HAD JUST
SEEN BUT ) WAS GOING TO MAKE SURE THAT SHE PAID ME MY MONEY
BACK &OR +GAGELO IT WAS NO PROBLEM BECAUSE THE GESTURE HAD
BEEN SINCERE BUT FOR -ARTHA ) COULDNT LET HER PAY TWICE FOR A BAG
THAT WAS ALREADY OWNED 3HE HAD TO PAY ME BACK BUT OF COURSE IT
DIDNT CHANGE THE CIRCUMSTANCES ) lGURED THAT BY TELLING HER THAT
) HAD PAID FOR THE BAG SHE WOULD REALIZE THE MISTAKE THAT SHE HAD
MADE 4HE BAG DID HAVE AN OWNER AND WAS NOT SIMPLY DWELLING
ON A CORNER TABLE AS A RESULT OF MISPLACEMENT 3HE DID UNDERSTAND
EVENTUALLY BUT THAT DIDNT STOP HER FROM ADDING ANOTHER CULTURAL
PIECE TO HER GROWING COLLECTION
7HEN ) TURNED TOWARD +GAGELO TO SEE WHAT HER REACTION
WAS TO THE SITUATION SHE HAD ALREADY PLACED A SMILE UPON HER
FACE 3HED DONE WHAT SO MANY OF THE ARTISTS AT THE STUDIO DO
SHED HID HER PAIN FROM ANYONE TO SEE 4HOUGH IT MIGHT HAVE
BEEN DECEIVING TO THOSE AROUND US WHO HAD NOT WITNESSED THE
INTERACTION ) KNEW SHE WAS UPSET ABOUT LETTING THAT BAG GO
3HE HAD MASKED HER DISCOMFORT 3HE WAS LOOKING DOWN AT ALL
THE OTHER BAGS AT THAT TABLE AND ) ASKED HER IF SHE WANTED TO GET
ANOTHER BAG 3HE JUST LOOKED UP AT ME AND SAID
h.O THAT WAS THE ONLY ONE ) WANTED AND ) DONT SEE
ANYTHING ELSE ) LIKE ) GAVE IT TO HER BECAUSE SHE REALLY WANTED
IT 9OU KNOW ITS NOT POLITE TO BE RUDE TO WHITE PEOPLE LIKE THAT
!ND PLUS SHES A FOREIGNER AND THE 7ORLD #UP IS IN HOW
WOULD THAT LOOKv
4HE SCALES HAD COMPLETELY FALLEN OFF THEIR COUNTERBALANCE
2EmECTING BACK ON THAT SITUATION ) REALIZED THAT THERE
WERE A LOT OF INTERESTING POWER DYNAMICS COMING INTO PLAY IN
THAT SESSION ) BEGAN WONDER WHY ) WANTED ALMOST NEEDED TO
PURCHASE THE BAG FOR +GAGELO AND WHY -ARTHA NEVER QUESTIONED
THE OWNERSHIP OF THE ITEM ) THINK AT THE TIME WE WERE ACTING
ON DIFFERENT PARTS OF THE SAME CONCEPT ) DO NOT BLAME -ARTHA
FOR TAKING THE BAG NOR DO ) WANT TO EXPRESS PITY FOR +GAGELO
BECAUSE THAT IS NOT MY POINT -Y POINT IS TO THINK ABOUT THE
4HE !RT OF #OEXISTENCE%THICS AND #OEXISTENCE 3TUDENT &ELLOWS
TWO DIFFERENT VIEWS TAKEN BY THE !MERICANS IN THE ROOM !T THAT
TIME WE BOTH HAD AN AGENDA WHETHER IT WAS KNOWN OR NOT )N
FACT WE BOTH HAD THE SAME AGENDA WHICH WAS TO PURCHASE A BAG
SHE FOR HERSELF AND ME FOR BOTH +GAGELO AND MYSELF "UT OF ALL
THE PEOPLE IN THE ROOM TO GET UPSET IT SEEMED ALMOST ARROGANT
AND SELFRIGHTEOUS FOR IT TO BE ME (OWEVER IT TOOK ME TWO
MONTHS TO REALIZE THAT )F +GAGELO LET -ARTHA HAVE THE BAG THEN
IT WAS NO PLACE FOR ME TO BE ANGRY BUT STILL TO THIS DAY IT ANGERS
ME ) THINK WE HAVE TO SERIOUSLY CONSIDER THE EFFECTS OF THE YEARS
THAT STUDYING hTHIRDWORLDv COUNTRIES AND DEVELOPING NATIONS
IS HAVING ON OUR PSYCHES 7HILE ) THINK THAT AID IS IMPORTANT
AND ) AM NOT CONDEMNING IT ) THINK IT IS IMPORTANT TO CONSIDER
THIS IDEA OF MAKING DRASTIC CHANGES TO A COMMUNITY OR A PERSON
THAT DOESNT NECESSARILY ASK FOR HELP 4HOUGH ) MUST MAKE A
DISTINCTION BETWEEN STANDING UP FOR JUSTICE AND OFFERING HELP
)N THAT SITUATION ) BELIEVE THAT ) WAS OFFERING HELP BUT IT WAS TO
NO AVAIL 4HE ASSUMPTION THAT SOMEONE NEEDS YOUR ASSISTANCE OR
HELP IS ALMOST AS ARROGANT AS THROWING A COIN INTO A MANS CUP OF
COFFEE BECAUSE YOUVE MADE THE ASSUMPTION THAT HES A BEGGAR
)M WORKING ON THE FACT THAT HERE AS A BLACK !MERICAN WOMAN )
AM ON THE OTHER SIDE OF INJUSTICE
4HIS WAS NOT THE ONLY INSTANCE WHERE ) FELT LIKE ) WAS IN AN
AWKWARD SITUATION "EING A BLACK !MERICAN WOMAN IN 3OUTH
!FRICA WAS DElNITELY AN EXPERIENCE THAT ) CAN NEVER FORGET 4HERE
WERE MANY INSTANCES WHERE ) BECAME THE CENTER OF ATTENTION NOT
BECAUSE OF THE THINGS THAT ) WAS CONTRIBUTING TO CONVERSATION
BUT RATHER BECAUSE OF THE SOUND OF MY VOICE 0EOPLE WERE SIMPLY
INTRIGUED )T WAS HARD FOR MANY OF THEM TO UNDERSTAND THAT )
WAS A BLACK WOMAN FROM THE 3TATES THAT HAD NO FAMILIAL TIES TO
3OUTH !FRICA OR A NAME THAT hMEANT NOTHINGv -ANY BLACK 3OUTH
!FRICANS POSSESS NAMES THAT HOLD SIGNIlCANCE AND ARE REmECTIONS
OF THEIR ANCESTRY &OR INSTANCE 3IPHOS NAME MEANS hGIFT OF 'ODv
)T WAS NOT UNCOMMON FOR ME TO BE QUESTIONED ON A CONTINUAL
BASIS
h(OW CAN YOU $ARNISA HAVE A NAME THAT IS SO
BEAUTIFUL THAT MEANS ABSOLUTELY NOTHING $O YOU NOT KNOW
WHERE YOU COME FROM OR WHO YOUR PEOPLE AREv
)T WAS A DIFlCULT POSITION FOR ME !LL OF MY LIFE )VE GROWN
UP IN A FAMILY THAT STRESSES THE IMPORTANCE OF KNOWING WHO YOU
ARE AND IDENTIFYING WITH THE BLACK COMMUNITY FOR SOLIDARITY
AND STRENGTH "UT THE ROLES IN !FRICA WERE DIFFERENT ) HAD NO
TRIBE WITH WHICH TO IDENTIFY OR ANY CULTURALLY SIGNIlCANT NAME
(OW COULD ) TELL THEM THAT MY NAME THAT WAS SO BEAUTIFUL WAS
SIMPLY A CONGLOMERATION OF $ARLENE AND ,ISA SOMETHING THAT
MY GRANDMOTHER CREATED AS A MIDDLE NAME FOR MY MOTHER )T
DIDNT MEAN ANYTHING EXCEPT FOR THE SIGNIlCANCE THAT ) GAVE IT
-Y NAME REPRESENTED EVERYTHING THAT ) HAD BEEN THROUGH THE
TRIALS AND TRIBULATIONS OF ONE INDIVIDUAL FROM "ROOKLYN .9
AND NOT "ROOKLYN 0RETORIA WHERE MANY OF THEM ASSUMED ) WAS
FROM
h(OW CAN YOU BE FROM "ROOKLYN YOU DONT SOUND LIKE
YOURE FROM 0% ;THE ABBREVIATION FOR 0RETORIA=v
) HAD TO TELL THEM
4HE RESULT WAS A RENAMING PROCESS -BALI ONE OF THE
STUDENTS AT THE STUDIO MENTIONED THAT MY NAME SOUNDED LIKE THE
8HOSA NAME 8OLISWE &ROM THAT MOMENT ON MANY PEOPLE BEGAN
TO CALL ME 8OLISWE AND EVERYTHING ELSE RETURNED TO NORMAL .O
ONE CONTINUED TO QUESTION MY ANCESTRY BECAUSE THEYD IN A SENSE
CREATED A HISTORY FOR ME BY GIVING ME A NEW 3OUTH !FRICA NAME
4HE NAME 8OLISWE MEANT hFORGIVENESSv ) WAS LEFT SPEECHLESS
)T WAS A TRUE HONOR TO BE RENAMED BUT ) STILL FELT THAT THE NAME
8OLISWE DID NOT REPRESENT WHO ) AM /NLY THE NAME $ARNISA
COULD DO THAT ) DID NOT GO TO !FRICA TO DISCOVER WHO ) WAS
OR MY OWN IDENTITY YET ONE CANT HELP BUT QUESTION YEARS OF
SLAVERY AND THE TRUE STATUS OF BLACK !MERICANS IN THE STATES 4HE
BLACK COMMUNITY HAS GONE ADRIFT 4HERE IS NOT ONE FACTOR THAT
CAN LINK US TOGETHER EXCEPT FOR HIPHOP MUSIC WHICH IS NOT A
TRUE INDICATOR OF A PEOPLE (IP(OP IS NOT SPECIlC TO THE BLACK
COMMUNITY BUT IS QUITE FAR REACHING )N 3OUTH !FRICA EVERYONES
NAME CAN TELL A HISTORY 3IPHO -ZEDKANDABA 8HOSA .ELSON
-AKAMO 3ESTHO 4HULANI -BASA 3ESTHO THE lRST AND LAST
NAMES ALONE WERE INDICATORS OF TRIBES LANGUAGE AND PEOPLE !LL
YOU HAD TO DO WAS WRITE YOUR NAME DOWN AND PEOPLE COULD BEGIN
TO TELL YOU YEARS OF HISTORY ) COULDNT DO THAT
,ATER IT WAS SOON hDISCOVEREDv THAT MY OWN NAME
$ARNISA WAS AN ACTUAL WORD IN ONE OF THE OFlCIAL LANGUAGES
OF 3OUTH !FRICA )T MEANT (URRY 5P !FTER THAT WAS DISCOVERED
EVERYONE EXCEPT FOR -BALI STOPPED CALLING ME 8OLISWE $ARNISA
WAS NOW SUFlCIENT -Y WHOLE NAME IN TRANSLATION MEANT (URRY
5P ,OVER ;$ARNISA !MANTE= 4HE BEAUTIFUL NAME NOW HELD
SIGNIlCANCE %VERYONE BECAME CONVINCED THAT MY ANCESTORS
MIGHT HAVE COME FROM 3OUTH !FRICA AND THEY BECAME EVEN
MORE WELCOMING
%VERY DAY ) RECEIVED LESSONS IN 3ESTHO IN ORDER TO LEARN HOW
TO PROPERLY PRONOUNCE WORDS /FTEN TIMES WHITE 3OUTH !FRICANS
WOULD COME IN AND TRY TO SPEAK TO THE ARTISTS IN :ULU OR 3ESTHO
3OMETIMES WHEN ) THOUGHT NO ONE WAS WITHIN HEARING RANGE )
WOULD REPEAT AFTER SOME OF THE WHITE NATIVES TO LEARN MORE WORDS
AND VOCABULARY 4HERE WAS ALWAYS SOMEONE FROM THE STUDIO WHO
HEARD ME
h.O $ARNISA YOU DONT SAY IT LIKE THAT 4HEY ARE
PRONOUNCING IT WRONG BUT WE ARENT GOING TO TELL THEM THAT
4HEYRE WHITE IT JUST WOULD NOT BE RIGHT "UT YOU YOU ARE ONE
OF US 9OU HAVE TO LEARN HOW TO SAY IT CORRECTLY BECAUSE YOU
MIGHT OFFEND SOMEONE !ND YOURE 3OUTH !FRICAN NOW AND
YOU DElNITELY DONT WANT TO INSULT YOUR ELDERSv
(OWEVER WITH MY hNEW STATUSv CAME A DUAL OBLIGATION /N
ONE HAND ) WAS A NEWLY INCORPORATED 3OUTH !FRICAN WHO WAS
ACCEPTED BY THE COMMUNITY WITHIN THE STUDIO BUT ON THE OTHER
HAND ) WAS STILL !MERICAN ) COULD NEVER NOR DID ) WANT TO MASK
WHO ) AM -Y !MERICAN CITIZENSHIP IS A PART OF ME REGARDLESS
OF MY NAME MEANING h(URRY 5Pv IN 3HANGAN )T WAS SOMETHING
THAT COULDNT ESCAPE ME %VERY TIME ) WALKED INTO A SHOP AND SAID
ANYTHING PEOPLE WOULD TURN AROUND AND IMMEDIATELY BEGIN TO
ASK QUESTIONS
!S AN !MERICAN PEOPLE BELIEVED THAT ) HAD THE WEALTH TO
SUSTAIN THEM AND THE POWER TO CARRY THEIR VOICES AND THEIR STORIES
BEYOND THE 3OUTH !FRICAN BORDERS AND ACROSS THE !TLANTIC 7HILE
) COULD NOT EXPLAIN THAT AS A STUDENT ) DID NOT HAVE THE INCOME TO
SUPPORT THEM ) HAVE TRIED TO LIVE TO THE hOBLIGATIONv OF CARRYING
THEIR VOICES AND THEIR STORIES
6 #ONTEMPLATIVES 4HOUGHTS ,OOKING TOWARD THE
&UTURE
4HROUGHOUT MY SUMMER AT !03 ) CAME ACROSS MANY INSTANCES
WHERE ) WAS ABLE TO WITNESS COEXISTENCE WORK UP CLOSE "Y
SPENDING TIME IN !RTIST 0ROOF 3TUDIO AS WELL AS OUTSIDE OF ITS
ORANGE COLORED WALLS IN THE TOWNSHIPS ) WAS ABLE TO SEE THAT
APARTHEID HAS LEFT AN UNDENIABLE MARK ON THE BLACK COMMUNITIES
OF 3OUTH !FRICA !RTIST 0ROOF UNDER THE SUPERVISION OF +IM
"ERMAN IS DOING AN AMAZING JOB AT COMBATING THE IDEAS OF BLACK
INFERIORITY BY PROMOTING EMPOWERMENT AND AGENCY "UT THERE IS
STILL A LONG WAY TO GO
)NVISIBLE AND VISIBLE STRUCTURES EXIST THAT SEPARATE BLACK
AND WHITE COMMUNITIES 2EGARDLESS OF HOW MANY ART THERAPY
WORKSHOPS ARE PERFORMED THE FACT THAT SO MUCH SEGREGATION STILL
EXISTS IS GOING TO TAKE YEARS TO BE RID OF )T HAS BEEN SAID h3OUTH
!FRICA IS STILL TOO TRAUMATIZED TO REALLY LOOK AT ITS PAST YOU ARE STILL
TRYING TO lGURE OUT WHETHER YOU HAVE SURVIVED IT AND WHETHER
YOU ARE GOING TO MAKE ITv !ND ) BELIEVE THAT THIS STATEMENT IS
NOT ONLY VALID BUT HIGHLIGHTS ONE OF THE OBSTACLES THAT GROUPS
IN 3OUTH !FRICA HAVE TO OVERCOME 4HEY MUST OVERCOME THEIR
VIOLENT AND SEGREGATIONIST HISTORY UNDER APARTHEID TO LOOK TOWARD
THE FUTURE AND TO BECOME THE COUNTRY WHERE hPROUD TO BE 3OUTH
!FRICANv DOES NOT SEEM BOTH PREPOSTEROUS AND HYPOCRITICAL BUT
RATHER LOOKS TOWARD THE PROSPECT OF PROGRESS AND OPPORTUNITY
(OWEVER 3OUTH !FRICA CANNOT BE A TRUE REPRESENTATION OF
DEMOCRACY WITHOUT THE VOICES OF ITS POPULATION PLAYING A LARGE ROLE
-ANY VOICES STILL EXIST WITHIN THE SOCIETY VOICES WITHIN THE STUDIO
WITHIN THE COMMUNITY AT LARGE AND EVEN WITHIN THIS PAPER )N THE
STUDIO INDIVIDUALS TRY TO GET THEIR VOICES ACROSS BUT THAT GOAL IS NOT
ALWAYS SUCCESSFUL )N ORDER TO ACHIEVE THIS MANY BLACKS HAVE GIVEN
OTHERS LIKE ME THE OPPORTUNITY TO EXPRESS THEIR VOICES FOR THEM
7HILE !03 HAS WORKSHOPS THAT SUCCEED IN BRINGING VOICE TO
THE ARTISTS THERE ARE STILL THINGS THAT CANNOT BE EXPRESSED THROUGH
PRINTS OR INKS )NSTEAD ARTISTS ENGAGE IN CONVERSATIONS WITH OTHERS
IN HOPES THAT THEIR STORIES WILL BE HEARD 4HEY HOPE THAT THEIR
STORIES AND VOICES WILL BE TAKEN BEYOND THE PARAMETERS OF THE
STUDIO AND PUT INTO TEXT BY ENGAGING IN ORAL HISTORIES )T IS ALSO
IMPORTANT TO NOTE THAT THE EXISTENCE OF ONE ORGANIZATION CANNOT
ERADICATE YEARS OF SILENCING AND OPPRESSION ! CYCLE HAS TO EXIST
.UMEROUS ORGANIZATIONS MUST CREATE INDIVIDUALS THAT ARE WILLING
TO EXPRESS HOW THEY FEEL AND THEN BE ABLE TO BRING THIS IDEA BACK
TO THEIR COMMUNITIES
4HIS REVOICING PROCESS BEGINS WITH STRESSING THE IDEA THAT
EVERYONES OPINION IS IMPORTANT REGARDLESS OF COLOR OR RACE
+IM "ERMAN WHO IS WHITE HAS TRIED FOR YEARS TO STRESS THIS
IMPORTANCE AS WELL "UT SHE HOWEVER HAS TO WALK A lNE LINE
)NTERNATIONAL #ENTER FOR %THICS *USTICE AND 0UBLIC ,IFE "ECAUSE OF HER STATUS AS WHITE WOMAN "ERMAN HAS TO BE CERTAIN
THAT WHEN CRITICISM LIKE DISCUSSING ASSIGNMENTS OR THE LAYOUT
OF A STUDENT PROJECT IS GIVEN IT IS DONE FOR THE ADVANTAGE OF THE
STUDENTS 2ACISM SENTIMENTS OF BLACK VS WHITE STILL RUN DEEP AND
THE VOICE OF A WHITE WOMAN STILL REMAINS AN INCREDIBLY INmUENTIAL
ONE
4HROUGHOUT THE SUMMER ) LEARNED MOST IMPORTANTLY THAT
MY VOICE ALSO PLAYS A KEY ROLE !S A BLACK !MERICAN IN 3OUTH
!FRICA THERE ARE CERTAIN OBLIGATIONS THAT ARE EXPECTED OF YOU
EITHER TO PROVIDE HELP FOR PEOPLE OR TO BRING IDEAS OVERSEAS
(OWEVER YOU CANNOT MAKE PROMISES THAT YOU CANT FULlLL ) HAVE
TRIED THROUGHOUT THIS WORK TO GIVE VOICE TO INDIVIDUALS WHO HAVE
REMAINED SILENT FOR SO LONG 4HERE ARE SIMPLY THINGS AS STATED
EARLIER THAT CANNOT BE SAID THROUGH PRINTS OR WOODCUTS 4HEY
HAVE TO BE TRANSMITTED TO ANOTHER PERSON TO UNDERSTAND THEIR
IMPORTANCE AND FOR THE HEALING PROCESS TO TRULY BEGIN
"IBLIOGRAPHY
!LLARA 0AMELA #OEXISTENCE #ONTEMPORARY 0RODUCTION IN 3OUTH
!FRICA 7ALTHAM "RANDEIS 5NIVERSITY 0RESS "ECKER #AROL 3URPASSING THE 3PECTACLE 'LOBAL 4RANSFORMATIONS
AND THE #HANGING 0OLITICS OF !RT ,ANHAM 2OWMAN AND
,ITTLElELD #OOMBES !NNIE % (ISTORY AFTER !PARTHEID 6ISUAL #ULTURE AND
0UBLIC -EMORY IN A $EMOCRATIC 3OUTH !FRICA $URHAM $UKE
5NIVERSITY 0RESS &RANCIS $IANE 0EOPLE 0EACE AND 0OWER #ONmICT 4RANSFORMATION
IN !CTION ,ONDON 0LUTO 0RESS 'ERDES 0AUL ,IBERATED 6OICES #ONTEMPORARY !RT &ROM 3OUTH
!FRICA .EW 9ORK 4HE -USEUM FOR !FRICAN !RT 0RESS +IDDER 4RACY -OUNTAINS "EYOND -OUNTAINS 4HE 1UEST OF 0AUL
&ARMER .EW 9ORK #ITY 2ANDOM (OUSE 0RESS +ROG !NTJIE #OUNTRY OF -Y 3KULL 'UILT 3ORROW AND THE ,IMITS
OF &ORGIVENESS 53! 4HREE 2IVERS 0UBLISHING #OMPANY ,AWRENCE,IGHTFOOT 4HE !RT AND 3CIENCE OF 0ORTRAITURE #!
*OSSEY"ASS 0RINTERS
-ANDELA .ELSON ,ONG 7ALK TO &REEDOM 4HE !UTOBIOGRAPHY OF
.ELSON -ANDELA 53! ,ITTLE "ROWN AND #OMPANY
0UBLISHERS -INOW #HAYES )MAGINE #OEXISTENCE 2ESTORING (UMANITY !FTER
6IOLENT %THNIC #ONmICT -ASSACHUSETTS *OSSEY"ASS
0UBLICATIONS .OTES
-INOW #HAYES )MAGINE #OEXISTENCE 2ESTORING (UMANITY
!FTER 6IOLENT %THNIC #ONmICT -ASSACHUSETTS *OSSEY"ASS
0UBLICATIONS &RANCIS $IANE 0EOPLE 0EACE AND 0OWER #ONmICT 4RANSFORMATION
IN !CTION ,ONDON 0LUTO 0RESS 4HE !RT OF #OEXISTENCE%THICS AND #OEXISTENCE 3TUDENT &ELLOWS