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“We fight Rhodes because he means so much for oppression, injustice, & moral degradation to South Africa - but if he passed away tomorrow there still remains the terrible fact that something in our society has formed the matrix which has fed, nourished and built up such a man.”
Western films set in Africa are not African films. They make no attempt to represent authentic African stories, are created primarily for Western audiences and in the worst of ways, exploit Africa. Africans can do very little to prevent or alter these films because the economic capital they bring to the region is greater than there being no film at all.
The Proteas were a nice cricket rainbow family until the Young, Gifted and Black Lungi Ngidi, asked Cricket South Africa to take a positive stance towards the Black Lives Matter Movement, like the rest of the world.
An advertisement finds expression and interrupts, as I roll my eyes at the nerve of capitalism. I mean how dare it interrupt this artistically spiritual process, bestowed on me by time and destiny? As if talking to me directly Omagugu Makhathini's sultry sound echoes in the background — "yinde lendlela esihambayo" — in Nduduzo's Yehlisani Umoya.
Then one day he picked up a camera and discovered a medium to express himself. He likes capturing what he believes is beautiful and that is one of the most important parts of his work.
Lack of self-concept is part and parcel of the disorientation of the Afrikan Consciousness. This is exemplified in, for instance, directionless libidinal argumentation that debates who is Black? Who is an African? Whether Indians are Black etc. If you do not know who you are you will often project this type of self-second guessing.
The Art world was shook at the news of Mamela Nyamza’s dismissal as the Artistic Director at the State Theatre in Pretoria - many were left asking questions. We understand racism, sexism, classism, ageism and all ism's because the actions exist as presuppositions of a deep culture of institutionalization. For too long artists have been made to believe that the success and value of their work is reliant on institutions - relegating themselves as the wardens and gatekeepers. By virtue, deciding for the artist whom its audience will be, while creating an illusion of autonomy.
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