Kuntanshi yamikalile (The Future): speculative nonconformity in the works of Zambian visual artists
- Authors: Mulenga, Andrew Mukuka
- Date: 2021
- Subjects: Future in art , Africa -- In art , Art, Zambian , Art, African , Artists -- Zambia , Nyandoro, Gareth
- Language: English
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/172203 , vital:42175 , 10.21504/10962/172203
- Description: In recent years, select African visual artists practising on the continent as well as in its diaspora have increasingly been attracted to themes that explore, portray or grapple with Africa’s future. Along with this increasing popularity of the ‘future’ or indeed ‘African futuristic’ themes by visual artists, such themes have also attracted academic consideration among various scholars, resulting primarily in topics described as ‘African Futurism’ or Afrofuturism. These are topics that may be used to disrupt what some scholars – across disciplines and in various contexts – have highlighted as the persistent presumptive notions that portray Africa as a hinterland (Hassan 1999; Sefa Dei, Hall and Goldin Rosenberg 2000; Simbao 2007; Soyinka-Airewele and Edozie 2010; Moyo 2013; Keita, L. 2014; Green 2014; Serpell 2016). This study makes an effort to critique certain aspects of ‘African Art History’ with regard to the representation of Africa, and raises the following question: How can an analysis of artistic portrayals of ‘the future’ portrayed in the works of select contemporary Zambian artists be used to critique the positioning of Africa as ‘backward’, an occurrence at the intersection of a dualistic framing of tradition versus modern. Furthermore, how can this be used to break down this dichotomy in order to challenge lingering perceptions of African belatedness? The study analyses ways in which this belatedness is challenged by the juxtaposition of traditional, contemporary and futuristic elements by discussing a series of topics and debates associated to African cultures and technology that may be deemed disconnected from the contemporary lived experiences of Africans based on the continent. The study acknowledges that there is no singular ‘African Art History’ that one can talk of and there have been various shifts in how it has been perceived. I argue that while currently the African art history that is written in the West does not simplistically position Africa as backward as it may have done in the past, there appear to be moments of a hangover of this perception (Lamp 1999:4). What started out as a largely Western scholarly discourse of African art history occurred in about the 1950s and the journal African Arts started in the 1960s. Even before contemporary African art became a big thing in the 1990s for the largely US- and Europe-based discourses there were many discussions in the US about how the ‘old’ art history tended to freeze time and that this was not appropriate (Drewal 1991 et al). In order to advance the discourse on contemporary African visual arts I present critical analyses of the select works of Zambian artists to develop interpretations of the broader uses of the aforementioned themes. The evidence that supports the core argument of this research is embedded in the images discussed throughout this dissertation. The artists featured in the study span several decades including artists who were active from the 1960s to the 1980s, such as Henry Tayali and Akwila Simpasa, as well as artists who have been practising since the 1980s, such as Chishimba Chansa and William Miko and those that are more current and have been producing work from the early 1990s and 2000s, such as Zenzele Chulu, Milumbe Haimbe, Stary Mwaba, Isaac Kalambata and Roy Jethro Phiri.
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Post-apartheid nostalgia and the future of the black visual archive
- Authors: Nsele, Zamansele Nsikakazi Busisiwe
- Date: 2020
- Subjects: Nostalgia in art , Memory in art , Africa -- In art , Africans in art , Fanon, Frantz, 1925-1961. Peau noire, masques blancs. English , South Africa -- In art , Black people in art
- Language: English
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/167177 , vital:41444
- Description: The implications of nostalgia often strike a discordant note in post-apartheid discourse and this has opened up critical possibilities for research scholarship. For instance, Jacob Dlamini’s memoir Native Nostalgia entered the discursive fray in 2009, and it was subsequently followed by Derek Hook’s psychoanalytical approach in (Post) apartheid Conditions: Psychoanalysis and Social Formation in 2014. Notably, there is not yet a sustained and intensive research focus that has been conducted on post-apartheid forms of nostalgia within the discipline of art history and visual culture. I present this dissertation as a response to this gap. This thesis identifies mainly two competing nostalgias in post-apartheid South Africa. Through the analysis of selected artwork and media imagery, this dissertation critiques the connections of these nostalgias to the representation of the black figure in post-apartheid visual culture and the implications thereof. I argue that nostalgias for an apartheid-colonial-imperialist past operate through erasure and in the sanitisation of memory and as a result they render suffering indiscernible or in a sadomasochistic way consumes suffering as enjoyable. This thesis simultaneously critiques art work and visual representation that responds to South Africa’s nostalgia for the future: a restorative nostalgia that has emerged in the form of “rainbow nationalism”. This is a form of nostalgia that is underpinned by a dogged commitment to triumphalism and as a result erases the ongoing scenes of abjection. I use nostalgia and Afropessimism as analytical frameworks to argue that both real and visual representational forces work in tandem to restrain the future and this, I suggest is fulfilled by the transference of the black body from one state of unfreedom to next, resonating with a cyclical pattern. Frantz Fanon’s (1967) Black Skin White Mask forms the conceptual bedrock of my study, particularly his visual layout of “negrophobogenesis” and colonial temporality, which he describes as a “hellish cycle” or as an “infernal cycle” wherein the past overwhelms the present and ideas of the future.
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