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  • Observations On The State of The Contemporary Visual Arts in South Africa Red1

    Transféré par

    Mihail Eryvan
    82 vues6 pages
    Thami Mnyele Text from the Johannesburg Art Gallery exhibition catalogue, Thami Mnyele and Medu Art Ensemble Retrospective, Jacana Media 2009

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    Observations on the State of the Contemporary Visual Arts in South Africa Red1

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    Thami Mnyele Text from the Johannesburg Art Gallery exhibition catalogue, Thami Mnyele and Medu Art Ensemble Retrospective, Jacana Media 2009

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    82 vues6 pages

    Observations On The State of The Contemporary Visual Arts in South Africa Red1

    Transféré par

    Mihail Eryvan
    Thami Mnyele Text from the Johannesburg Art Gallery exhibition catalogue, Thami Mnyele and Medu Art Ensemble Retrospective, Jacana Media 2009

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 6
    ze | OBSERVATIONS ON THE STATE OF THE CONTEMPORARY VISUAL ARTS IN SOUTH AFRICA ‘TWAMI MNYELE (Unpublished essay by Thami Mnyete, courtesy of Med Art Ensemble} nd itt daring on my par to make public my impressions and therefore suggestions in regard to the state ofthe graphic rts in my country, South Arica. find it daring because the role carries wit it the rik of implicating me as spokesman. On the other hand find it dangerous that I should sit back and watch while crucial decisions are made over my work and my destiny. Fallure to partake in the deliberations [some of which are velLintentioned implies ignorance of those fundamental isues which affect our lives 25 people. This paper is far from being representative; nevertheless, with complete honesty think certain things need to beso Itis my contention thatthe strfe and struggle that manifests itself in the arts subject to, and inked with, the broad socio- poltical struggle at home, an indced in the world intemationaly What it means is that whatever artistic indulgence we engage ourselves in must not be blind to the river of life within ‘nd around us, that social stream from wihich art feeds and is nourished: the community, | had dropped out of schoo! with chronic feeings of failure. spent my days searching for employment in the surrounding industrial complex that bordered my township. Tis financial source of income would secure mein the meantime for my dream of becoming good ats, | thought. Whenever | looked around ‘me fr those among ou artists who were famous and said to be successful their situation shocked me and would tend to confuse me. Here the atists seemed most popular nly in white suburban cies they dd not seem to have any material means, house or decent home, and they seemed to have found pleasure in heavy drinking, Of the most popular artists inthe community ‘were the musicians of the Marabi idiom. They composed songs out almost everything and everybody around them, and the ‘songs were imbued with warm emetionaliyrcsm which always sustained the people with a range of feelings, of joy. pity, love anger, and even violence. The people loved braZakes Nkosi and braNtemis bands, but seemed toate them intensely sometimes, ‘When I grew up {had heard stores that musicians were made to play one favourite sang right throughout the night tothe next ‘morning, at kife pint. But no, think thatthe musicians were ‘the most loved artss by the people. They performed in both ‘wedding ceremonies as well asin those dark processions of death ‘Any day whenever | st around withthe aists, conversation centred around the unfairness and the exploitation ofthe artists by the at galleries recording companies publishing houses, and how biased ar crits and the editors wre towards the artist works In ‘the ight ofthese issues, we orgaised ourselves into an arts group and called ourselves Mibloti Black Theatre This was in 1971 Minloti was composed of writers, musicians, intellectuals church people, et, Our main thestial piece was based on the ‘thoughts of Malcolm X It wasn this play where I hed myse on stage. Suddenly | was experiencing a surge of internal satisfaction, In this theatre piece | had one ofthe longest roles, wherein | had to recite the longest passages from Malcolm's ‘Message to the Grassroots he play jerked us with something that ft ike self-confidence {or shall | say aggressiveness] and venom on our tongues. We perused through the lteratue ofthe Blak American struggle of| the sates, we consumed George Jackson's Blod in my Bye, Soul ‘on Ice by Eldridge Cleaver, Angela Davis's If they Come inthe Morning; we discussed the Back to Arica Movement of Marcus Carvey and the many ‘lack brothers and soul sisters, and of course the Back Panthers. Minloti started having problems ... some members of the ‘community who were our supporters showed signs of uncooper- tiveness, ike not allowing their kids to attend our performances, The parents would send thet child to Soweto on the day of the play. Soon the problem came into the open the people had had visits fom the Special Branch police and were afraid. With aggressive pride and venom on our tongues Mihot) stuck together against these developments, in the name of Black Brotherhood and Black At, It was at the height of these feelings of revenge that 2 creping atmosphere of doubt (ust tiredness”) embraced a tiny section of Minlot, What was this all about? .. One scholarly friend among us. had been reading 2 lot about what he tld us was the liberation struggle in Guinea Bissau and Angole He told us the war had actualy started in neighbouring Mozambique as ‘welll But what had this to do with out Milot then, one eut him short. First: according to Anmilear Cabral the people of the Portuguese colonies and indeed of the occupied territories are suffering under a political system which aims to exploit the territories of food, minerals, land, ete. The wealth is then destined for the belles of those who uphold the system and those of their fiends inthe Western European countries, (Was this the introduction toa new play, we thought?) But our friend continued: This system, taten in the context of our country, takes the form of racial prejudice. At this point he stopped and asked, weren't some backs ardent supporters and upholders of the doctine of this system? Who denies us rehearsal space in Thabisong and in Alexandra Secondary School? Who runs the Bantustans? And alas, whois fighting the PAIGC,Felimo andthe MPLA? - certainly not the whiteman. ‘An atmosphere of confusion, of doubt overcame our speech and raging argument, with mast of us trying to convince him and ourselves that every single whiteman is fundamentally 2 murderer. | developed a conflict deep witin: was! teling myself that those white musicians who, collectively, produced such great music with Dellar Brand, were murderers? The music was 50 go0d that almost every single house in Alex ad the record Was implying that Bram Fischer was rotting in prison and that was of no consequence? That it was less hurtful to be slapped across the face bya black policeman than a white one? it was better to’be mauled by a local ion that a foreign one? Within these developments, Miloti had to contend with anather problem. Under that notorious Group Arcas Act, Alex was to be acoloureds-only are, therefore a process of removals was on the way. Already one friend's family was leaving for Soweto, another one had already started staying in Eldorado Park with his brother. But generally it became dificult to catch 2 gathering of the complete membership of Minot Within the conflicts of the day, was the artist's need for ‘echnical stils and intellectual education? A section of the younger generation was dissatisfied with the conditions of the people, and that of the older artists generally, but we had Aifficuty of articulation. Having vowed to improve our ‘techniques and knowledge in art, we spent time individually siting those among the white ats who were as sympathetic 25 to impart their sil These trips to and from the white suburbs were always followed ty an exhibition of one's paint ing ate in the English newspaper anda month’ improvement of telotions in my mother’s house The desperate need fo a source ‘of financial income resulted in a near stampede in putting up art cahiitions by the artists ‘A few years earlier one painter had come from Worcester in ‘the Cape Province and had come for TB treatment in Barag- wanath Hospital. During his process of recovery in hospital this pictures in a city art gallery, afew pictures sold, an encour ‘man had shown signs of great artistic prospects and was, ‘immediately spotted by fiend who settled him in his house inthe White area of Joburg... due to the problems he had in relation} to the Influx contol system, the artist was threatened with arrest for being anilegal person in Johannesburg, 35 well 2s being an {dle Bantu (i.e. unemployed), There he spent al or most of his days Jn the house painting, sculpting, painting and sculpting with passion. He always Kstened tothe troubled music of John Coltrane and Munkunku, and over this painful state of his predicament he smeared his canvases with the lives of the under-privileged The artworks showed a man who had a lot to say: in the pictures you would see all the movements and confleting situations of slum life: a church made out of 2 few corrugated iron sheets... preacher preaching while holding mad woman's hhand on the one hand and the Bible on the other, whereas right 1m top ofthe shoulders ofthe priest himself, a youth is eating ‘rapes from the tre with 2 fork and rife; hungry child-bearing women; men with dropping shoulders; ualy buses without window panes; skeletal dogs and those aggresive township rats Jin dark avenues, When | grew up | found that the newspapers always cated an article on Dumile. His work sold 2 lot. Most rt galleries would impress it upon any African painter ‘that he shoul paint ‘many township scenes’ and of cause there ‘grew a large unorgenised movement of township atsts who painted what came tobe termed township art! The art galleries In Johannesburg became the outposts of African township art to ‘their mother art galleries in Paris London and New York, What noe 23. | meen: aM wate vz ou | was fundamentally an anguished out-pouring of revolt against against such a system, by an artist who suffered so much, was betrayed. It was reduced to sentimental caricature of 2 primitive community of people, who were satisfied with ‘their ‘way of life The picture ofa few lads with hunched backs playing penny whistles and that of them eating watermelons were made Into prints and were printed in thousands each, forsale Dumie did not stay to help resolve the situation of the arts in South Arica; and with pain and frustration in his heart he left such i for London, never to return home. When one popula art galery in Jotburg grew to lke my work, the director advised me,".. work hard, donot let people disturb you . you see, Dumile wasa good artist but he messed things up for himself by associating with the politicians: Again, it was not long when one famous African sculptor from Springs told me with conceen that Dumile "had his ‘work hung in the office ofthe ANC, how dare an artist do that Unike the writers, the artists were 2 curiosity in the community, nd what they painted seemed less destined for the immediate community. It lacked immediacy of communication ‘The artists always had contempt for one another. Whenever you visit one he tells you the other ane copies his style; that the other Is a politician more than an artist; that those in that township seldom buy beer or cigarettes; that he wants to go ‘overseas one day and to hell with South Aftcs, Through the help ofa good friend I secured a financial grant from Anglo American Corporation that enabled me to study art in the ELC Art fand Craft} Centre in Rorke's Drift. Tere | worked in more techniques: lino cutting, etching, sculpture, tapestry, sraphic design and studied history of art. But I came to realise ‘that this schoo! was far from what ! wished to develop into: 2 good artist. Much time was spent under a deserted atmosphere of religion where only technique was the core of at discussion and learning, Rorke’s Drift was something like @ humanitarian institution where the under-privileged people would be encouraged into developing those skis and techniques which would enable them to be self-supportve. Art and handicrafts were the aval to-us on those very bases. [it offered small paying jobs to ‘many peasants from neighbouring vilages.n ths small way the institution contributed to elevating the scourge of malnutrition from the staring Zululand community. eskils Rorke's Drift was helpful and important ua ‘But | had to terminate my studies in order to secute my fais tight to stayin Alexandra. Asa bread winner had tobe there and ‘employed. At ths point again | had become immersed in student polities, trying to understand my role as an artist in the struggle. The role of an artist i the processes of political struggle seemed fan obscure area for the student movement to wast time in. It ‘would sound unnecessarily farfetched to raise the question of art to students whose preoccupations were graduation ceremonies, the whiteman and his colleagues. That evening ‘when a gums’ was Being organised in the Wentworth campus | took along walk to the Durban station and started on a lonely Journey back home to Alexandra township, Johannesburg. Everything had seemed too abstract for me, was to hard to absorb and believe, let alone agree with | wanted to be a good artist, | told myself, and that meant that | needed tobe sled and articulate with my work | hated the general notion that artists fundamentally ar lawless men and women who wasted away their ives drunk and entertaining sensible people. The other image was that of the artist 25 a priest. But ali all, the South African artist was sid to lack soca o potical awareness. Hence the artists were always at loggerheads with ore another, ‘unorganised and ultimately reactionary. So the best way of acquiring sills was through ing myself out 435 layout designer. Again a fiend offered me employment 35. ‘Mstrator, layout artist and jack of all trades. With these com- ‘munity oriented sk thought would beable to carry out work when issues arse and whenever my community demands it, e9, posters, banners, pamphlets illustrations for newsletters, and of ‘course | wouldstilreate my fine art for posterity. This way then my activites would ot be alien to my community, was convinced. While working for SACHED Trust| had the means to buy and ead books as well as records. The elements of abstraction, distortion, mystiication, et. became the centre of a thorough analysis, and all the way, my criteria were the realty of the ‘stustion, and the immedlate community. Again | asked myse| ‘iy had MDALI never completely come off the round after so ‘many years of militant articles in the newspapers? What is 2 {9004 arts in relation to a freedom fighter? For seven years | had worked at SACHED and now, with 3 creeping feeling of wasting away, | had grown bitter. | had the financial soure of income, so what! What had this to do with boeing 2 committed artist? | had spent seven years making iagrams and pasting up pages for school textbooks. Here in SSACHED I had managed to pick up most of the sil | needed hich would enable me to be of service back home: to be of Service is to integrate. The musicians of the fites had not integrated into the community, they were the community ist The community produced songs about the sudden ban of the -Atican brew bythe government, and the community performed, ata child baptismal ceremony, andthe... Funeral of a deceased member. Wouldn't it be good if | designed posters for these activities, painted banners, made posteards, Christmas card, and taught these skils to those who needed them? Who in my community noted my pretty litle ilustrations in the academic lectures? Certainly none but a small number of sophisticated students who studied in SACHED with the hope that some contact would be made fora scholarship to Britain or Ameria, All these had nothing to do with my ambition to become an articulate artist. But alas, | had become so attached to many people in SACHED, so much that I fought back tears that afternoon when I bid them farewel leis my contention that any understanding ofthe development. of at (or underdevelopment) in my country cannot be divorced from the effects of the European Church, School and Stat. The cucation system is unfair and rather too verbalised, too theoretical, and does not bridge the gap between intellectual and practical labour Hence there seems to be no hope thatthe ‘education can deal even with the fundamentals of production; its through a polytechnic system of self-reliance that the ‘general impotence in this education can be overcome, Only then could we entich our personalities and grow into discerning and creative men and women wi vill naturally espect and value practial work. Its perhops under a favourable political climate that the artist will see the need for organisation, research, learning and community involvement and development. But how does the conflict of the South African artist characterise itself in an actual work of art? In mast cases the images are acutely abstracted; the subject matter (content) is lost to the mystical; distortion plagues the visual and the artwork sags under a heavy vel of mystery. the work has lost that essential quality of communication; the immediacy of communication with the masses the artist claims to address himself to. The lai is usually in the exibition catalogue, in the tiles ofthe pictures or onthe posters The other truth about these elements is that they are fr from being neutral in terms ofthe politcal options ofthe community. They reflect a serious conflict and the state ofthe artist himself about those social, political and economic interests which exst at that moment. Some artist ae not conscious about the actual content of their creations, whereas the others are fully aware politically but are not convinced The art galeries are not only the monopoly outposts and shrines ofthe Arican ar, but they even determine what form and content the art should take. By mere promotion of the completely abstract, mystic and the less concerned politically, they have become an extended arm of the cruel government ‘there. This doesnot exclude the expert on African art, the critic ‘who isues out criticism from an alien position. The amount of complex terminology employed on ‘mystic’ painting (in the English newspaper) leaves the average reader completely intimidated, while the related artist withdraws back into false self-importance. To him it means money, fame and travel. But fame, money and travel at what cost? ‘On the other hand the work ofa socially committed artist is ‘treated with traditional coldness. In this case the large part of| the critique dwells on how the artist is less of an artist and his work mere clichés, Whats subtle in this piece of comments the

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