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[fambaneni]

Where have I been? (Part 1)

I admire constant bloggers, those who religiously post what they are doing and continue to be in the loop with their followers. Unfortunately, I am not that kind. I first experience then share. I find that this gives me time to reflect and process my development as a creative and hone the craft of curating.

That said, I apologise for being quiet, but I have been trying to navigate my way and also stay true to the reasons why I started this journey and chose curating. If you recall my early posts, curating is both a personal and professional pursuit. Personally, as one who naturally enjoys the arts it is a love affair and an extension of my passions. Professionally I believe that some cultural and artistic endeavours, especially those aimed at highlighting inequalities and teaching others, actually do make a difference. Like many of you, I am conscious of current affairs and different injustices worldwide. However, knowing and actually doing something about it is no easy task. I am not politically inclined and cannot envision myself vocalising issues from a political stance and so I use art and curating as a way to engage socially and culturally to issues that affect our lives. I believe that social action is also a form of political stance in its own way – hence I found curating as an avenue to do just that through my own way of looking at historical narratives and their impact presently.

Tracing back to the beginnings of my journey, I started with an internship at arc Gallery which in a way transpired into a job post. As an intern, I had a few ideas for exhibitions but due to the operating mechanism of the gallery, we lacked a space to do the projects we intended to. Therefore, I was on the hunt for some venues. This took us longer than we expected, nonetheless I stayed true to the project and continued with one main exhibition idea which I felt encompassed my aims to; link history and culture, explore ideas of African and Black art, and my own educational pursuit to engage in African history as a curatorial practice. This idea involved working with the Zimbabwean-based artist, Tafadzwa Gwetai. His artistic practice and inquiry where parallel to my views, and so I approached him to produce work that highlights my aims as a curator, yet simultaneously maintaining his usual signature and aims as an artist. Since we had no venue, our timeline and plan to exhibit changed. While Gwetai created the artwork, I took time out to read works by Black and African scholars on history, African art, and literature. This learning was for my personal growth which at the time I did not realise would play a great role in the actual curating process of our exhibition.

Fast forward to February 2019, arc Gallery acquired a space in Tottenham, and this is when I continued as a curator and events programmer. From February to July, we hosted some exciting exhibitions and events at the space. We connected with the locals and had a great time sharing our objective as a gallery. In April/May we finally received Gwetai’s artwork and were looking forward to hosting it in October of the same year. Unfortunately, due to issues beyond our control we had to leave the site and where back to the drawing board with that particular exhibit.

For this post, I plan to share some images of our opening night in February, which will be later followed by a mix of other events in the following posts, then I will get back to the exhibition with Gwetai. This project has broadly developed into its own agenda and I am glad that we never gave up!

 Our Opening launch promotional flyer 

 Youth Band - Coordinated by multi-instrumentalist Roella Orolo

A shot of part of our opening crowd 

To read more about the Launch night and see more footage. Visit; http://arcgallerylondon.com/news-releases/ and follow @arcgalleryldn on instagram.

[fambaneni]

Storytelling through her eyes

As the first post since my 2 years hiatus, I wanted to cover a story that resonates my current personal position of self- liberation and growth creatively. Since embarking on curating and deeply engaging with the art sector, I discovered that some elements of the industry go against my temperament. Despite this, I am driven and will continue to walk my own path.

For this reason, I am excited to share the story of the South African film maker Ntombozuko “Twiggy” Matiwana, who is making her own mark through film. She has won awards for her first short “The Bicycle Man” 2016  the Silver Poulain and the European Union’s Africa, Caribbean, Pacific Prize in Burkina Faso March 2017, alongside notable film makers/directors; Alan Gomis and Ousmane William Mbeya. Her film has also been to several festivals including Cannes. Matiwana has worked on popular South African TV soaps (The Queen, Scandal and Skeem Saam). She is also well known for her poignant documentaries that highlight critical social issues within South Africa and beyond. With features in magazines such as Elle SA, she is a woman to watch!

Twiggy on the set of “The Queen” which airs on Mzansi Magic

G.T: Hi Twiggy, firstly, I would like to thank you for agreeing to this talk/interview.

I admire your strength to go for what you want. I read in an article that you left your hometown Joza in Grahamstown with only R20, resigned from a marketing course you were doing at the time and a career in Journalism to pursue film and tell stories that are often neglected. Firstly “See, Speak and Hear no Evil” 2013, on violence against women and “Waterless Flower” 2014, on the troubles of access to water and basic sanitation for some communities. These seem to be part of your first works as a film student, yet they have already received accolades.

Can you please tell me about your journey into film making, your favourite films/directors, and why?

T.M: Thank you for the invite Gaynor. Well, when I left home I had an agreement with my family to be back after a month. I told them that I will just go test the waters in Johannesburg. That month turned into 15 years. I can’t believe it’s been that long, what a journey!

Twiggy’s awards for “ The Bicycle Man” film 2016

T.M: My calling has always been to tell stories. From a very young age, I was that child that went to bed late, I was always glued to the television screen. At the end of each film I would carefully read the end credits - intrigued to see who wrote and directed the piece. I was more into Asian cinema, “Days of Being Wild”, “In the Mood for Love” by Kar-Wai Wong, and John Woo’s films like “Face Off”. The list is endless!  

Why…Well I think Wong is poetic, he’s often fascinated by the smallest details, for example, “In the Mood for Love”, there is a scene where you see smoke swirling towards the ceiling or a reflection shimmering in a puddle – he prefers his drama to be understated. Wong’s multi-narrative, non-linear story-lines delight in jumping around restlessly. He knows how to make you laugh too. As for John Woo’s film, “Face Off”, I think it’s a compelling classic compared to other violent Hollywood crime films. This one you can always watch. Woo admits that his gun-play was influence and inspiration from Martin Scorsese. Thinking about this it’s sad that growing up I was never introduced to female filmmakers.

Twiggy with one of her favourite directors/film makers Abderrahmane Sissako

G.T: You aim to educate via questioning/challenging stereotypes through your films. Do you maintain your philosophy on sets that you work or have worked on as an assistant director, such as “The Queen” and “Scandal”? If so, how?

T.M: Television is different ball game. To be honest with you, I have never been part of story development in all the soaps I’ve worked on, I mainly do the casting.

G.T: Can you please share some of your highlights while on these sets, especially “The Queen”, what is it like working for Ferguson Films?

T.M: The Fergusons!! Love them. I think they are the most reliable black owned production company to date. They have given me so many opportunities. I oversee casting and scout new talent. For them to give me that responsibility shows great trust. They also know that I am a passionate film maker, so they give me time off to work on my own projects. Shona and Connie are very supportive of talent and enabling others to excel.

One of my key highlights with the Fergusons is directing a few episodes of The Queen Season 1 and having all episodes approved for broadcast.

On the set of “ Defiant Bonga”

G.T: I have been noticing posts on your Instagram, “Defiant Bonga”, what is the film about, how did you get involved?

T.M: This year South Africa hosted the BRICS Film Festival, each country that forms BRICS (Brazil, Russia, India, China and South Africa) had to produce a short film paying tribute to the life and legacy of Nelson Mandela. I was fortunate enough to be chosen to direct the South African short which is, “Defiant Bonga”.

The film is about a strained relationship between father and son. This is put to test when the ‘rebellious’ teenager sneaks off in the middle of the night and is brought back home by the police. However, a person’s perspective of a Johannesburg night can conflict with the actual revelations of the day, much to the relief of a concerned father. That’s all that I can say for now, you will have to  see it yourself.

G.T: You directed the web series “Bold Girls” which explores the life and tribulations of 4 women by Nonocreations, a female owned production company. What was it like working on the series/set?

T.M: “Bold Girls” was an exciting project to make. Nono and I wrote the pilot episode and I called in favours from production design to cinematography. Martha Sibanyoni my art director and Philani Brown my DOP (Director of Photography) and I all made sure everything was on point. Everyone was excited about the series and we all made it work. My lovely wife, Sindiswa helped in the wardrobe department. In total, 90% of the crew were women, we all took charge, and helped shape the story. It was fun to be part of. I am happy and proud to have been able to create such interesting lives for those women characters.

On the set of “Bold Girls”

G.T:  What are you currently working on, any writing or full-length film residencies in the pipeline?

T.M: I’m working on my first feature script. Writing can be tormenting sometimes but am learning to be patient with it.

As for residencies, I have been applying but there’s been no luck. Going away from the noise for a while would be great, a peaceful and tranquil place would help.

G.T: I hope you will get a residency soon. Nonetheless, in terms of film making you are doing well, however, are there any obstacles that you continue to face, especially as a woman film maker? If so, how do you overcome them?

T.M: As we all know the film industry is male dominated, so if you come in as a young female director it’s even scarier. I however, always make sure that even if I’m terrified I walk tall. For me to be bold am also always prepared.Preparation is important, it gives you confidence and the crew will see that you know what you are doing.

Finance!!! Finance!!! Finance! Our Industry needs to trust women more. Trust Women! Give funding to Women! Regardless of this issue, I tell myself that my turn will come. I also have space saved up for disappointments, so when they happen I go back to the drawing board and I work even harder. I don’t let obstacles get in the way.

Twiggy in Ouagadugou, Burkina Faso

G.T: In 2017 during the FESPACO festival where you won your awards, you had a video interview where you advised the EU to try and reach those from rural areas and disadvantaged backgrounds with unique stories to tell. As part of the Youth Film Makers Project working together with emerging film makers, what are your thoughts on how the EU can achieve this? If you were to be an ambassador for the EU, how would you go about ensuring this?

T.M: If I were to be an ambassador for EU, firstly, I would help shape the state of education in our country and allow our children to learn with no fear. Secondly, I would help build independent cinemas around where I come from. You know, I can’t believe that Grahamstown does not have a single cinema to this day! That just breaks my heart.

Pushing for film making, I would make sure that aspiring film makers have accessibility to opportunities from a young age and get to learn everything they can about film. I would teach them about Ousmane Sembéne, the father of African cinema; Med Hondo, Djibril Diop Mambéty and Abderrahmane Sissako, Jamil X.T Qhubeka, Ramadan Suleman just to name a few.

G.T: To close, what advice can you give to future film makers both male and female?

T.M: Baby You are all you’ve got. Live to learn that the sky is the limit. You can be anything you want if you set your mind to it. Trust yourself enough AND STAY IN YOUR LANE. Never compare yourself to anyone.

G.T: Well, thank you, what a beautiful close! This actually takes me to my favorite picture of you, at the top of a mountain which you pushed yourself to climb. Its a lesson to continue defeating our fears and shine.......

“......Condolences to Fear and to Insecurities, you will never win with me......"

[fambaneni]

Just "Being" - with Homeboy Sandman

It has taken me a really long time to post in the inspirations category, this is not to say that previous posts had no inspiring roots, in fact, I believe inspiration is a constant. Everyday life has that effect if we are mindful of our environment. However, this post is different, or rather the artist is different. When you think of Hip Hop or Rap today the first image that come to mind is gold chains, fast cars, and maybe a posse of women. There is a need to maintain a luxurious lifestyle - overspending and overindulgence which makes Hip Hop debase. I am not quite sure when this transpired. One could argue that Hip Hop has always been about image; Adidas/high top trainers, Kangol hats, break-dancing and graffiti logos which pretty much set your street cred and nickname. In 1994, on his "Resurrection" album, Common had a track entitled " I used to Love her " - this referred to Hip Hop then, and how it had lost a sort of pureness. Therefore, this idea is not new. There is a change in how Hip Hop has been/is currently delivered and perceived, and I have found myself falling in and out of love with it.

Nevertheless, every now and then I research artists that remind me of my early experience of Hip Hop as a teenager, the strength and open mindedness it gave me when I struggled to understand my emotions, and the world around me. Listening to people like Black Thought, Talib Kweli, OutKast , Mos Def, Queen Latifah, Big L and many more, I was on a constant high and driven. Growing up in Zimbabwe then relocating to London, I related to these artists without the need to be in America. Hip Hop transcends borders. It has a way of speaking to the heart and motivate. Hence, I am not surprised that many aspire to re-live what they see or hear from musicians in their ordinary lives. Personally I continue to engage with artists that substantially resemble what Common once upon a time referred to. Those that do not fit into any stereotype yet they love what they do, and produce music that is; true, healing, thoughtful, socially and culturally conscious  - to me Homeboy Sandman is the epitome of that!

I first discovered him in 2013 when a fellow poet friend sent a link of his music following a conversation we had about lyricism, particularly within the poetry scene at the time. I felt there was a lack. To be honest, I had lost a sense of connection with the creative scene. I was at a weird state of being. In many ways 2013 is very poignant to me and marked the beginning of bracing certain things about myself that I had avoided over the years . It was a period of questioning, anger and falling, all the while trying to avoid falling. Hearing Homeboy Sandman at that time and the energy he had then, I was blown away. I became an instant fan! I love his genuinity, his expression of self with regards to his surroundings and worldwide issues through the craft of Rap. I have not had every album, or listened to each and every track, but I respect him as an artist so going to his gigs comes naturally. Its knowing that he will deliver and he will just be himself - reciprocating what I myself are looking for: an honest performance without having to act like I am so deep into everything he does, but showing my appreciation and embracing him as he is.

At Cargo, March 2013

So, you can imagine my excitement when he picked a childhood friend of mine and I to be extras in an upcoming music video which he was hoping to shot during his tour in London.  We had just had the pleasure of being in the first row of his gig and pretty much danced throughout the gig. To  call my friend a fan is an understatement. He knows most of Homeboy Sandman's music and so he selected our gig date - 16th of October which was the first day of Homeboy Sandman's 3 part showcase ( a musical journey of his music from beginning to the present at Echoes London ). What I found inspiring about his passion is his research on Homeboy Sandman's affiliates and his separate love of their music - In a way, I gravitated off him during the show, part of my enjoyment came from him considering that this was our reunion after 15 years! We had a lot to catch up on but with the music and the high we had from the show, on so many levels we did not need to find connections or gaps of the past to relate. This was our present, a night of ecstasy with no need for any opium.  

At Echoes London, October 2016

Following the gig, and realising that I had not heard much of his new stuff, I went home and immersed myself in his new album. I could not believe that I would be in his music video the following day! As I listened, I was taken to yet another emotional energy - there is a transition in his music, a lighter mood to him. Ironically I feel I am at the same place, less critical and more comfortable with myself, yet still learning and embracing whatever life throws at me.

 4 AM came and went. I pressed repeat to a few tracks, engulfed in a musical trance - immediately I felt that I had to have a conversation with him. I was not sure if it would happen but I chanced it. I emailed and asked if I could interview him after the filming, and he said YES! 

Before Filming 

Gaynor: Why did you choose music, why Rap? I read a bit about your background, you went to law school, and you are quite conscientious, you could have been a lawyer or a politician, so why choose music?

Homeboy Sandman: Music is just my passion! I have done a lot of things, I did some teaching for a little while, I was also in law school and both of them have a social interest, they are society and community oriented. Hip Hop and rhyme is different. I remember when I was a teacher I would spend about a year with a group of kids, I loved my kids, but when I go into schools for a day as an MC I felt I made more of an impact. I think it was the status and esteem of being an MC but it was also a medium to project the ideas and prospectives I had then. I was involved in several other occupations before music, but they were not  something that I could do all day or loved doing. First record came out in 2007 and 9 years later I am still doing music. I am not getting tired at all. I love rhyming, I am more excited about it now, you know, it's just the passion!

Gaynor: Yesterday I had a conversation with a friend about our nature as human beings and how at times we can be layered in terms of how we interact with various people, but nonetheless, our core still remain same. Thinking back to the gig on Sunday you mentioned that you used to be a Vegan but you are no longer as you are still evolving as a person. Therefore, I was just wondering how do you relate with that in terms of your beliefs, do you feel a certain pressure to stick to some ideals you had before, especially the way your fans relate to you, how to you deal with that?

Homeboy Sandman: There is this quote, I cannot remember who said it, its not mine but whoever it is, said; " you have no obligation to be the same person you were 5 minutes ago". I do not know if you have heard that before, but I actually joke with a lot of artists, and know different artists that it seems to me do feel a pressure to continue to cater to what their fans expect. When you present yourself to the public sphere they are many people that identify with you for reasons that are not your talent. For me, I can rhyme that's my core, that my centre. Throughout my career there has been people that align themselves with me not because I can rhyme but because of some socio-political stance I had, or where I was from, and the fact that I was a vegan - reasons other than the fact that I can rhyme. If those reasons change, those people are likely to go elsewhere. However, I am blessed to have understood and know myself. I change a lot , therefore I let people know that it is one of my defining characteristics. So for me being open and honest all the time, knowing that I fluctuate is very important. I understand that as I change there will be people that leave because I am not a way I used to be,  there will be people that come as I will be a way that represent them. Ultimately the people that are down with me because I make Hip Hop records that no one else in the world can make, they are going to stay with me throughout all of that.

The truth is, I love talent, I love Hip Hop, rhyming and music of all different types of genres. I derive joy from listening to a wide variety and characteristics of people or personas because the talent is always there. The most important thing is to make sure that talent is paramount . As an artists  I am always artistically growing and pushing forward, this is what allows me to express myself. I do not feel pressure and I am lucky as this is a limitation that artists deal with constantly.

Gaynor: What do you generally think about the current music scene, a few weeks ago I saw an online video recording of John Forte saying that he feels that he is creating alternative music to what is in the charts. To summarise he felt that artists are creating music from fear of being uncool, the video is 3 years old, but what do you think, is he right ?

Homeboy Sandman: There are different types of artists, although, the line between artists and celebrities is somewhat blurred now. That is not to say that some celebrities are not artists, but they are some celebrities that have been given the term artists who are not, yet people assume celebrity means artists. This is not a judgement of anything, celebrities are cool too. Having said that, if you look at art form, like the example I always give is; if Aretha franklin came out today she would not blow up. She does not have the right look, but she is out there making records.People like Dwele too, so there are people that are out there that aren't what is popularised but they are artists - there are different types of artists. Some of them fall in the Venn diagram of what is popularised by the decision makers behind the media for whatever reason. Thereby, alternative music to what is popularised that makes sense, that is a real thing and true.  As for alternative art, art is individualistic, anyone other than myself is going to make art that is alternative to me. I am an alternative artist compared to another. When you start dealing with such terms as alternative they are more often than not definitions based on categories that have been imposed by what is popularised, or made celebrity because the environment does not allow art to thrive independently of categories such as Conscious Hip Hop, Underground Hip Hop, etc,  everything is given a specification to cater to peoples preferences, that way it also makes it easier for people to buy and access.

Gaynor: Who and what are your current inspirations musically and in general, and why?

Homeboy Sandman: My biggest inspiration is my father throughout my life, and it always continues to be that way. As I look around my boy Aesop is doing great things musically he has just put out the "Shrunk" video. Aesop, he is a really big influence on me. A few weeks ago I put out a record about riding the bus, "Bus (A Rhyme)", and I was feeling all good about myself, nobody has ever done that before, and then he put out a song last week about going to the psychiatrist - "Shrunk". I love my record but the song he made, am blown away, I think its phenomenal. I look up to what he does. There I was feeling that I make records that nobody does, and he just did something even more different, his record is crazy! So I am definitely inspired by him. Then there is my boy Peanut Butter Wolf , I am inspired by how true he is to himself and to the music that he is into and the way he runs his label. I could go on but those are a few. Main influences/inspirations or associations are people that I enjoy being around and can learn from, those that are genuine and have unique styles or formula to their life and existence, bringing talent musically. The common dominator of those I admire is elite skill and a freeness of being themselves.

Gaynor: Your tracks, "God" and "Speak Truth", I connected to them and can relate on so many levels.  I am interested in finding out how they came about lyrically, and how important is honesty and religion to you? Especially when we think of church at times while they are religious they are not the most honest organisations.

Homeboy Sandman: "Speak Truth" actually its funny we spoke of Many earlier, aside of our music connection he is also a really good friend of mine. There was a time I had to speak a truth to him that I was afraid to speak and that was the root of that song.

The reason why I think it is important to be honest, well I am not really a very religious person or have religious affiliations although I respect peoples beliefs whatever they are. Personally I believe in God,  I have a faith in God , I think he is the reason why we are even having this moment and why we met. I do not know what is going on or what will happen in the future but I feel that God wants me to tell the truth always. What I say in that record - " Speak truth even if it seems like its a wrong look". It's all about accepting that I do not know how to prophesise what is going to occur but I am letting it be - it may seem like speaking the truth is a bad idea but when you do, you find that it was a good idea in ways you had never imagined, its the way God hooks it up.

The song "God", that's one of my favourite songs if not my favourite in my whole career. It is actually a song I tried to write for a long time. Its a simple song if you listen to it. A lot of the songs I do or have done I feel are complex, and multi-layered; from the vocab to the flow, to everything. "God" is one of the most simple and direct songs I have ever done. I feel like that is where I was messing it up, trying to make it all complex, I could never nail it or get it right to a point were I felt it was right, until I was straight forward and simple like the simplicity of it. Later I thought God doesn't need to be a super-duper complex thing that I can not explain, let me talk about how he moves me in my day to day life and affects my judgement on everything, he does not need to be some mystical being that no one understands, I got enough of that already.

Gaynor: Your latest album, " Kindness For Weakness" maintains your ways of saying what you think or feel without preaching or giving a prescription of what music and life should be like, so how do you feel about artists and musicians talking about social and cultural issues worldwide and taking responsibility as social activists or commentaries. What do you think is the role of artists?

Homeboy Sandman: That is one thing that I feel differently about lately. In the past I felt I had the responsibility to the world and thought that I should make records that make sure that no one gets the wrong idea about life. I think a lot of that came from the bizarre idea that I knew everything and was here to explain to other people how they should live. I do not feel that way anymore. My responsibility is to me. I want to be a good person and go with my gut to do what is right, that what I can do. I don't think God makes mistakes, the world is the way it is, if I made it, it would be different, but I did not make it and what do I know. God made it and he knows best so I move out here following my gut doing what I think God wants me to do. Its not for me to be telling people how to live, they have a different life from mine. One thing that I used to be comfortable with early in my life was telling people that what they were doing was wrong and that they were scared. I look back at it now and I think that is crazy. For all I know based on their life experiences that is probably the most courageous thing they were doing that I probably could not have done.

Now I have more perspective, I do not feel that every artist has an obligation. I feel my obligation is to be true to myself and my art benefits from that. I would not be surprised if other people benefit from that too. Other than that nobody has an obligation to me and I do not have one to anyone. Over the years through various experiences ; meeting people, seeing different things and having different conversations I get to learn and be more open minded. I feel more comfortable with the unknown and I realise I do not know everything. There is diverse human experience so there is no right or wrong. I cannot judge others the way I judge myself.

Gaynor: Reflecting back to music, what can we look out for in the future?

Homeboy Sandman: I got an EP in the works that I am excited about. I believe it includes some of my best writing of my career, definitely some of my most intensely focused writing and I am really hyped about it. I am better than I have ever been. There is a lot in the pipeline so look out for that!

Having had an interview/conversation with Homeboy Sandman, I learnt something profound. My relationship with Hip Hop and looking at it as debase is all from my point of view. This is not wrong either, but that put things in perspective for me. Homeboy Sandman has no intention to teach and tell people what to do but he does so by just being himself and being true. This is the reason why I find it so fitting to put him in this category. I am humbled by his essence and so happy to have had such a deep meeting at this period in his life and at this stage of mine!

[fambaneni]

Revival

It has been almost 4 months! Time flies. I have so much to share, but I do not even know where to begin. Initially, I had hoped to blog regularly, share all my projects, including personal thoughts pertaining to my progress. However, it is not always easy to experience or learn new concepts, then immediately share them, before properly reflecting on their impact to ones’ development. With no Art or Art History background, I have to admit, it has been a challenge to find my own presence within the art world and continue with the spirit that inspired me. If am honest, not every exhibition or talk that I have attended since January has influenced my passions. Many lacked context, some were haphazardly presented, and other works were unrelated to the themes. I did not enjoy myself at all. This concerned me a lot. I know in every career there are some elements that are not always pleasant, but this pushed me to evaluate the type of projects I would like to be involved in, and their specific nature.

I began by questioning my interest in art and culture; looking at pieces that moved me, examining particular characteristics that stood out, and why they were so poignant. With no doubt I am more attracted to Black culture. Since my own personal struggles and final year dissertation, I have been engrossed with the Black psyche; exploring trauma through the impact of history and memory with philosophical enquiry. Back in October 2015, after a series of visits to talks and exhibitions centred on Black culture, mainly Black and African artists, I was driven to examine their significance within the art world, their own creative dynamics separate from their Black identity, and how they deal/negotiate or rather affirm a stance/response to wider art audiences. This transpired organically and so I know instinctively that this is the right career path for me.

@October Gallery 14.05.16 Sokari Douglas’ “Red Grace”, My favourite....

I am also fascinated by History as a subject and its own effect to the very subject of Black identity and culture, especially regarding notions of Black History - how it has been perceived/received and acknowledged. I would say that I am generally passionate about History, how it either teaches us a lot about ourselves or the gaps between truth/reality and what the masses are taught/know. Therefore, while it has been difficult to find my footing within the art world, I am certain of the fact that I will based on my preoccupation with History and culture. With that in mind, the last 4 months have been a learning curve, and also a knowledge of self as they say. I have come to accept that while I studied History for 4 years at university, and have also personally dealt with it one way or the other since I was 13 years old, there is so much of my own History that I do not know, Zimbabwean History, and African History in general! That was the alarm! Realising that the subject and themes I hope to investigate, and connect with so easily are in a way alien to me, a child of Africa, I was disappointed.  

Conversely, the disappointment was a revival – I had a beginning and so now I can navigate. From January – March I enrolled on a curating course at Tate Modern as I wanted to have an idea of the British or rather European theories of art, then connect it with my interest in Black culture; looking at how they link or contrast, and if they do at all. It was an amazing experience and the beginning of many explorations. I was also able to share my thoughts with fellow curators and art lovers regarding my research and how I could transform it into exhibitions. While Black culture is my drive, I aim to maintain a voice that is not bias or discriminatory, but one that finds intricate foundations that illuminate the humanitarian essence of us all.

Since my time at Tate, I have been involved in so many projects. I have met interesting people collaborated with a few, and will be posting up some of my experiences so far, so, look out for those!

[fambaneni]

Honour Thou Heritage

“What you think of yourself is what you know of yourself, and what you know of yourself is either what you discover of yourself or what people tell you about yourself” ( Daniel Jatta,2014). This has been the fate of Africa and Africans. At the most part our histories have always been disregarded and culture viewed as backward. This representation of the continent is not only mis-education but it also undermines Africa’s richness and contribution to world history. Reflecting back to my studies, I remember reading a quote from the African Studies Review Journal  by the renowned German philosopher, Georg Wilhelm Freidrich Hegel which suggested that African history was insignificant. In his Philosophy of History he stated “Africa had no historical part of the world” – He further explained; “The negro exhibits the natural man in his completely wild and untamed state. We may lay aside all thought of reverence and morality—all that we call feeling—if we would rightly comprehend him; there is nothing harmonious with humanity to be found in this type of character” (Bethwell Ogot, 2009).In all honesty, I was hurt and disturbed by this comment. As a respected philosopher, his thoughts were very influential. Subsequently, in his own way he set a precedent in which Africa, African history and culture was overlooked.

However, of late, there has been a different narrative – Africans and those of the Diaspora are taking a stand in voicing their history through various projects that illuminate Africa in a positive light. Topics range from; art to fashion, business and technology. In the UK today, several organisations both African and non-African such as; Another Africa, the Black History Studies, Costume Institute of the African Diaspora (CIAD), and many others have been progressively presenting some of Africa’s true essence. One could say that we are beginning to tell the forgotten stories. This was my first reaction when I read the British Library’s current West Africa, Word, Symbol and Song exhibition’s press release.

The British Library Square and Entrance

I was stunned by the exhibition’s comprehensive examination of West African heritage, particularly its focus on the intellectualism of that region. Although this is specific to one area, it denotes Africa’s involvement in the advancement of civilisation which it is often denied. Exhibitions such as these promote cultural appreciation and effectively help us preserve key historical moments and traditions that are sometimes neglected. In her paper: “For my own research purposes”? Examining Ethnomusicology Field Methods for Sustainable Music, Dr Janet Topp Fargion the Lead Curator of World and Traditional Music at the British Library, and also one of the curators of the exhibition, examines the study, and methods of Ethnomusicology. In it, she spoke of the importance of recordings as part of archives with reference to Jeff Titon’s view of recordings as a “renewable human cultural resource”. Dr Janet expands this idea and suggests a broader description which she termed “facilitation of the continuation of tradition”( Dr Janet Topp Fargion, 2009). While this was on music and the historical safeguarding of recordings and archival content, I cannot help but use this same principle to all forms of historical conservation. Pondering on this fact and Dr Janet as one of the curators, I feel that her belief and thoughts are echoed within the exhibition, and overall, the exhibition itself wholly highlights that every culture and its people are valuable.

Entrance of the Exhibition

Contemplating upon that and my current curating endeavours, I realise that my personal and professional are intertwined and fuel each other. As I have already mentioned in previous posts, part of my interests and journey is set on engaging with history and examining its truths or myths in the quest to make sense with my world. This is a grand idea and I have been told I am a dreamer, and if so, I dream with a goal. I am aware that my hopes may not be achievable and with history’s own limitations, this including the various opposing views that authors and scholars tend to have - ultimate truth can never be really known. Nonetheless, I still believe I can make sense with my world through connections in history and being acquainted with my familial and African heritage. As such, when I hear of, or read stories that offer this possibility, I cannot help but pursue them. One such story is that of the Akonting, a flute instrument featured within the British Library’s exhibition, courtesy of Daniel Jatta. His research on the Akonting instrument; its construction and playing methods reveals extensive similarities to that of the Banjo, thus making it the ancestor of the Banjo. These findings revolutionise music history and signify Africa’s role in shaping world history – disputing Hegel’s theory on Africa. The Banjo is known to be the father of music such as Bluegrass Jazz and Soul. Although there have been disputes on its origins, reading the exhibitions catalogue’s chapter on Crossings, mainly the impact of slavery and how it enabled the transmission of culture, the Banjo’s journey from the Motherland Africa to the West cannot be denied.

 The Exhibition catalogue: Chapter Three; Crossings, featuring the Banjo and the Akonting 

As a musical fan when I first met Daniel Jatta I was ecstatic – Born in the 80’s growing up in the 90’s, Hip Hop was pivotal in my life. As I grew older I was introduced to Jazz and Soul. I lived music; going to gigs, hanging with musicians and various bands was a natural occupation of mine. Although I have always known that Africa was the roots of music, I never felt that there was substantial evidence to confer it, until I heard about the Akonting. Personally I cannot oppose its close relation to the Banjo, so I can understand Daniel’s dedication to sharing its history and preservation through his educational centre in The Gambia, similar to Dr Janet’s own preoccupations as an Ethnomusicologist.  Daniel’s centre is an ongoing project committed to educating others academically and culturally – with a keen emphasis on Gambia’s deep traditions. When I first learnt about his organisation I had nothing but respect for his endless devotion to his heritage.

From left to right; Gaynor Tutani, Dr Janet Topp Fargion, Daniel Jatta and Jean Joseph 

Following my meeting with Daniel, I have been engrossed with the Akonting. Consequently when I found out that it was part of the exhibition, I felt inclined to visit and explore the British Library’s own fascination with the Akonting, what they thought of his findings and Daniel’s own feelings towards his inclusion. Fortunately after correspondence with the press team at the British Library, I was able to arrange a video recording talk/discussion with Daniel, Dr Janet, and my curating mentor Jean Joseph, a visual artist, writer and curator. Prior to the talk, Dr Janet gave us a tour of the exhibition and this enabled us to put the Akonting in context of West Africa, culture and history.

For more information on Daniel Jatta, including his talk held at SOAS in December 2014,visit:

http://ethnomusicologyreview.ucla.edu/content/akonting-history https://www.soas.ac.uk/cas/events/africanseminar/01dec2014-the-african-roots-of-the-new-world-banjo.html

[fambaneni]

‘Stuff I’ve Made (over the years)’, by Peter Miller, (1st- 7th Dec) @ Brick Lane Gallery Annexe, 93-95 Sclater Street

Peter Miller’s exhibition at Brick Lane’s Annexe gallery is definitely one not to miss. I caught it by chance while strolling around Brick Lane, exploring the area, and looking for possible exhibitions/events hire spaces. When I walked in, I initially thought that he was one of the gallery’s employees that were expecting me regarding venue hire. While speaking to him I was engrossed by the sculptures around me, so when he explained that he was not a member of staff, but actually the artist whose works was showing, I instantaneously felt that I had to find out more about his pieces. Consequently I promised to come back and continued with my day’s appointments. When I returned he was happy to talk to me and even bought me a cup of peppermint tea – this was all prior to the night’s private viewing which I was also present for and considered myself privileged having seen it before the masses!

Part of the exhibition collection

While having our tea, we walked around the gallery, and shared our interests and life backgrounds. I was surprised to find out that the wooden sculptures which are in the first half of the gallery date back to 25-30 years! After so many years, he is still creating and passionate about his art, which he began at the age of 20. His first tutor was Peter Hibbard who taught him for 1 day a week for 2 years, and then later, he enrolled at Sir John Cass School under the tutorship of Clive Duncan and Michael Marriot, both of whom are renowned artists in their own right. Learning this I was curious about his art processes and how he develops his pieces.

 Private viewing - wood sculptures made 25-30 years ago!

Looking at his sculptures they are all so different with varying shapes and sizes. His main materials are copper, brass, wood and slate – and as he creates, he either knows what he will make or it evolves naturally. He pointed 4 pieces that were connected and reflected his approach, these were; The Eye Within the Building is Forever Watching, Flight, Inuit Bird and Wrapped Bird. The first 2 were organic, and the other 2 were a result of the first 2.

The Eye Within the Building is Forever Watching                      

Inuit bird

While making the The Eye Within the Building is Forever Watching, in order to obtain the curves on the sculpture he carved it down layer by layer. This resulted in small wooden pieces which he collected and later used to create the Inuit Bird following a bird exhibition visit, and his wife purchasing a post card of a bird designed by Kenojuak Ashevat at the exhibition; seeing the image in 2D, he wanted to create it in 3D. As for Flight, he used a clay mould. To maintain the mould’s moist he covered it at night with a black bin bag during his making period. By doing this he noticed that the bag took the shape of the mould, so he then decided to use cling film in the same way and used its cast to create the Wrapped Bird! 

Peter’s work is truly mesmerizing, and I enjoyed my talk with him. I was also fascinated by his love for music and some ideas that he had to incorporate it in his pieces. He is a man of great character who is conscious of the world he lives in. His themes range from family to politics making the show electric. 

 Proportionate Response

I was particularly drawn to his balancing scales sculpture entitled; Proportionate Response. This was inspired by a comment given by an Israeli spokesperson on the death of 3 Israeli children, and the Israeli’s government’s response to their death which resulted in the Israeli’s killing almost 3000 Palestinians. Unfortunately I could not recall this particular incident but I am aware of the conflict and the usual disproportional casualties. This actually made me think of the current Syrian case and the more lives that could be lost. What was interesting about Peter’s piece was the use of teeth as the weighing substance. I found it very powerful because when we lose our teeth we really feel a loss, therefore the unbalanced loss, while one side had fewer teeth, it was heavier than that which had more teeth- making it very symbolical and thought provoking. While it is an exhibition of his works, I felt that it had the effect of showing his own balance as an individual and ability to be unbiased. Therefore I highly recommend a viewing of Peter’s exhibition – Seeing it online and browsing images will not be adequate, so do yourself a favor and go and have a peek!

Peter sitting in the gallery. The sculpture directly above his head is the Wrapped Bird and this was created from his Flight sculpture, which is the main feature within the window display

For more information, visit; 

http://www.petermillersculptures.co.uk/

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The after talk : one to one interview with artist Richard Mudariki

African contemporary art is a rapid emerging global force and it has been receiving acclaim over the years. One platform that is dedicated to exhibiting the continent’s creative phenomenon to the western world is the 1:54 Contemporary African Art Fair which launched its first edition in London, 2013 - showcasing 15 exhibitors and over 70 both promising and established artists from Africa. In just two years, the fair has progressed from being an annual to a biannual platform, having launched a New York edition in May. According to its Artistic director Koyo Kouoh; the art ‘fair promotes contemporary African visual culture, while synchronously fostering a site for exchange and discussion’.

1:54 FORUM 2015 Artist Talk: Marc Stanes and Richard Mudariki in conversation, London (image courtesy of ARTCo Gallery)

This year’s London edition featured 38 exhibitors, and over 150 African artists and those from the Diaspora. Running parallel to the galleries’ exhibited works was a conversation programme titled 1:54 FORUM, this brought together curators, artists and art professionals from across the continent in a series of lectures; panel discussions and artists talks. I had the pleasure of attending one of the artists’ talks which featured the talented Zimbabwean painter Richard Mudariki - represented by his German gallery ARTco. Richard’s paintings are issue driven and comment on the various socio-political themes on the continent and beyond. He has exhibited extensively in Zimbabwe and South Africa, and is slowly gaining international recognition with exhibitions in London, New York, Berlin and Paris. Born in 1985 in Seke, Zimbabwe, Richard did not receive any formal art education but holds a degree in Archaeology, Cultural Heritage and Museum studies. One may ask how then did he become a painter?

When he was 16 years, Richard wrote a letter to the National Arts Council of Zimbabwe informing them that he wanted to be an artist and asked if they could help. To his surprise the then director replied to his enquiry and referred him to the National Gallery of Zimbabwe. However, he was too young to be enrolled at the Visual Art School that the National Gallery run, so he was encouraged to focus on his education and continue his artistic activities laterally. He then wrote another letter to the director of Gallery Delta, a gallery in Harare that was established in 1975 by Derek Huggins and his wife Helen Lieros. Similarly, they responded to Richard but also stressed that his age was a restriction. Nonetheless, from then on, Derek Huggins periodically encouraged Richard through a series of correspondence advising him to continue with his art and gave him feedback on sketches he sent to the gallery.

Helen Lieros and Richard Mudariki, Gallery Delta, Harare 2013 (image courtesy of the artist)

A year later, Derek and Helen invited Richard to the gallery to meet and explore the art exhibited in their gallery. Later Richard established a relationship with Helen who encouraged Richard to concentrate on his drawing.The young prospective artist would then go home, concentrate on his drawing, sketching; street scenes of his neighbourhood of Chitungwiza, objects in his family home, or anything he found interesting - then discuss his works with his new found mentor Helen. During that period, he met several other young artists who lived in his community and were attending the Visual Art School of the National Gallery. He frequently visited them after school and would learn valuable skills and the basics of drawing and painting. Allen Kupeta, a previous student at the Visual Art School was one such artist and he shared his knowledge with Richard. As a result, being surrounded by other artists and interacting with those represented by Gallery Delta, he quickly learnt the principals of picture making. Richard’s passion as a young boy drove Derek and Helen to enrol him to private art classes which they held. His first class was with Greg Shaw then later Helen and he attended religiously for over a period of over 7 years.

Richard Mudariki and Marc Stanes (image courtesy of 1:54 Copyright Benjamin Hoffman)

Sitting across Richard and Marc Stanes during their artist conversation as part of the 1:54 FORUM programme and hearing his life story, I could not help but wonder if at 16 he had ever imagined himself to be at this stage one day and have his art celebrated. I was impressed by his determination and spirit to never give up! Luckily for me I was able to convince him, on his first visit to London, to have a one – to – one interview and ask a few questions which left me curious following his talk with Marc.

Gaynor: The political and social climate of Zimbabwe reflects in some of your work, but from the talk with Marc and one or two questions addressed by the audience you do not seem to feel comfortable talking about it or being regarded as politically inclined, so why is that you deal with such topics? What is your aim? Or reasons behind such paintings?

Richard: Gaynor, I know of very few artists who are comfortable of being on a stage and talking about their art to a room full of people. It is said that our fear of the spotlight and addressing a group of people is greater than that of death. As artists, we spend most of our time in front of our artworks so that transition from interacting with our work in the private space of a studio, to addressing and talking about it to a group of people in public is a tough one. As a painter, one tends to speak a visual language which is always a challenge to verbalise.

However, as l mentioned earlier, the body of work that highlighted the political and social climate of Zimbabwe was a result of the experience l had whilst being in the country during the political upheavals of 2008-9.This was expressed in my exhibited works as part of my first solo show in Cape Town. Why deal with such topics? Well, why not. Art has the ability to; provoke thought and harness the power of imagination. It should address difficult issues, pose questions and challenge those who engage with it to see the world differently. Other artists such as musicians, poets, writers or actors express their; experiences, hopes, fears and questions through various art forms. Mine is just through painting. I believe that an artist is like an information gatherer who captures sentiments, hopes, fears, and questions then translates these preoccupations into a single object. Someone once said; “good artists are like emitters of messages, but they are like broken emitters, because they emit messages that are not the common view”.

1:54 FORUM 2015 Artist Talk: Marc Stanes and Richard Mudariki in conversation, London (image courtesy of ARTCo Gallery)

 Gaynor: In closing you said you were moving toward philosophical themes, there is a painting which Marc quickly flipped through but did not address, entitled Fixing Africa (2015) philosophically speaking do you think it can be fixed? What exactly about Africa do you want to be fixed?

Richard: As mentioned earlier, my work centre on various themes and basically question situations, openness and never accept things at face value. This painting, Fixing Africa, challenges all of us – political leaders, business-people, civil society and ordinary Africans to get into our work suits, take up responsibility, fix the problems in Africa and make it work. Otherwise Africa will not be open to progress but rather exploitation.

Africa is on the rise and many say that Africa is central to the new economic world order. With many minerals, resources that outlast any other continent and a growing population; multinationals and foreign investors are jostling to set bases in the continent. However for Africa to succeed, the 54 states must work together and exist as one unit: socially, economically and politically. Political crisis, war, xenophobia, greed and corruption are the stumbling blocks to achieving the prosperity we need.

This painting shows the continent as one mechanical unit, in a workshop getting a much needed repair and maintenance to set it up as a strong and fully functioning unit - to take advantage of the ‘Africa Rising’ phenomena. It is being broken up, taking out the old parts, oiling the gears, measuring the positives and the negatives then noting progress. The parts are so crucial to the whole.

Fixing Africa (2015) oil on canvas, 101x75cm (image and copyright courtesy of the artist)

Gaynor: What other topics and ideas are you working on or continue to work with?

Richard: They are varied. Currently identity is a major concept, this includes; how one sees himself in a globalized world and more importantly as an artist, and how some cultures are being eroded by globalization and other cultures’ dominance. In the art world, it is sad to note that artists from Africa are bundled together and called ‘African artists’, without the acknowledgement of the differences of the cultural and societal backgrounds from which these artists come from. Surely artworks produced by artists in Zimbabwean are quite different from those by South African artists or those from Ghana, Nigeria or Ethiopia. Though we may all be from one continent, we are very different in many aspects. Another topic that l continue to highlight is that of migration. As a Shona living in South Africa, with its diverse cultures, I am always thinking and examining that theme. Recent paintings on the subject of migration and its effects include a painting called Foreign National (2015), Only in South Africa (2015) and Mukwirikwiri (2013). Some of these paintings highlight and question issues such as xenophobia in South Africa and the concept of Ubuntu. I must add that my work also responds to the environment that l live in, expressing my ideas on the events and experiences taking place around me. Events and experiences such as the ‘Rhodes Must Fall’ student demonstrations in Cape Town culminated in me addressing the issue of post colonialization and transformation in the painting ‘The Model’ (2015) or the experiences of neo colonialistic activities of  China on the continent in the painting ‘Chinese Taylor’ (2014).

Gaynor: Gallery Delta seems to be one of those pivotal creative places for artists in Zimbabwe. Many artists that are prospering now or are popular already came through its doors, as Marc also suggested, can you maybe share some key memories you can remember there?

Richard: Gaynor, being part of the journey of Gallery Delta’s aim of providing an ideal venue and support for Zimbabwean visual artists in their struggle to be creative and survive, is one that l am proud of. I recently took part in an exhibition which celebrated 40 years of the gallery being in existence. I am very grateful to those who have assisted me from a very young age and had faith in my abilities and determination to be a creative. Some of the key memories at Gallery Delta include; the frequent interactions with talented artists who regularly came to the gallery and were kind enough to give valuable advice. Some of these included Richard Witikani, James Jali, Hilary Kashiri, Lovemore Kambudzi, Darly Nero, Thako Patel among others. Another highlight was taking part in creating a Greek Mural for the Greek Cultural week in Harare, in which l received an award.

The art lessons were also pivotal. As students we were encouraged to be individual and to think on our own. We could borrowed art books from Helen and learnt about other artists from Europe. I also remember the critic sessions so vividly. I can recall my own critic sessions with Helen. I was quite young and often found myself losing direction, being influenced by other artists at the gallery. She would say “you have lost it! Go back to your heart, paint from inside”. And who could forget the hot lemon tea that was served by Amai Courage to the students every Saturday morning.

Gaynor: From the talk with Marc I gathered that you were also very academic, so I am curious, why did you choose art?

Richard: I think that it is one thing to be talented, and another to be a successful artist. Talent can be a natural ability, but what separates one is the constant application of sweat, discipline, practice and continued learning of an art form, then finding one’s own voice. Passion and perseverance is what led me on my creative path. As one gallerist once told me; ‘If you find out that you are good at something, and you do that something well and with all your heart, good things start happening’. I do not think there is something that l am very good at other than painting!

I was fortunate enough to have realized at an early stage that my purpose was to be an artist. I did fairly well in my educational studies and could have become an academic or an archaeologist.  However, l must say it is not an easy profession. In the world we live in, to be a successful artist, the artist should not look at her/himself as just the maker of the artworks, but also look at her/himself as an all-rounder, he/she has to do the public relations (at gallery openings or art fairs), the marketing (on social media), brand managing, the administration and finances (buying materials, paying bills and eating), and these challenges are what push artists to continue and become even more creative.

Q and A session

Gaynor: As an artist when people critic your work, how does that make you feel, is it a positive or negative and what do you want people to get from your art generally?

Richard: Since one brings his/her work to be viewed by the public, one is bound to receive criticism. As you noted some of the criticism can be positive or negative, constructive or destructive, encouraging or depressing. I enjoy listening to people’s interpretations of my work. Is it not that art has multiple interpretations? People see things differently, what I paint or think while painting is not necessarily what others will get when they look at it and that is what it should be about really. Regarding criticism, it depends from whom it is coming from. Is it from someone who is respected in the field and whom l respect? As they say, you can’t seriously take sex advice from a virgin.

Gaynor: Ok final question, this may be odd, but there was something about your T-shirt that stood out to me and I wondered, is there a story behind it?

Richard:  Nothing much rather than just distinguishing myself as an artist coming from Africa in a cosmopolitan city like London.  I bought it on my first visit to the Dakar Biennale in Senegal, an important art event on the continent. So for me it has that personal significance and I enjoy wearing it at events that showcase art from Africa!

To listen to the audio recording of the talk click below:<<https://soundcloud.com/1-54-forum/forum-london-2015-artist-talk-richard-mudariki>>

[fambaneni]

Curating conversations in retrospect

It has been almost two weeks since the end of my 8 day course with Inspire Legacy and Autograph ABP. I have been trying to work out what I have gained from it and what my next direction should be. In all honesty, I cannot believe what we managed to pack in 8 days; the various artists, curators, directors and professors that we met, learning about the amazing projects and exhibitions they curated and knowing how they accomplished them was just priceless. Meeting these ordinary- extraordinary individuals was food for thought. My mother always used to say to me (Usakundwe nechisinga femi) in English – you cannot be defeated by something that cannot breathe. If you can breathe, and  if you are as human as all those making history and doing well, why can’t you? I guess this has been my thoughts since the course. I could sit and tell you every lecture,every word of encouragement I received given that was my intention initially and during the course as I could not wait to feedback each session. However, now, all that seems trivial, what’s more important and what I have been contemplating on is the main lesson of the whole course. For me personally the lesson was to be as driven as I can possibly be! I am open to making mistakes, I am aware I have so much more to learn and may have peculiarities and weaknesses especially with some projects that I may take on,  but I am determined to at least just try!

Artist Panel, from left to right : Ajamu, Sonia Boyce and Leslie Hewitt

Continuation of Artists Talk ; Chila Burman giving us an overview of her works at the current No Colour Bar exhibition at Guildhall Art Gallery

Talk On Public Art ; Michaela Crimmin and Dr. Michael Prokopow

Lunch Time @ Huong Vietnamese Restaurant - Shoreditch

Deciding what to eat was always a hustle- but I had Ash who always seemed to pick the best meals.....

One of my favourite highlights of the 8 days.....@ Autograph’s Rock against Racism exhibition

Couldn’t resist a snap of Zhi’s infectious smile....and Ash at the background!

Train Snaps to Bristol

In Bristol 

With Lauren walking towards the Watershed in Bristol - I love her fascination with the number 8 hence her earring - which to me is more like infinity!

Journeying to the Watershed

More walking towards the Watershed.

@ The Watershed listening to Dr. Michael Prokopow’s talk on his Leona Drive exhibition in Canada 2009.

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Day 4: Connections Through History

Since Friday the 9th of October I have been on an 8 day Professional Development course in collaboration with Inspire Legacy and Autograph, based in Rivington Street. I planned to wait until the end of the course to write and log everything after having put all my thoughts together and experiencing the course in its entirety. However, as you can see, I could not wait! During our tour of the Rock Against Racism exhibition of Syd Shelton’s photograph collection showing at Autograph, with one of the co-curators Carol Tulloch I could not contain myself. I literally felt like a child in a candy store! As a history fan this exhibition came to life for me; walking around the gallery space, engaging with the pictures and getting to know how and why the exhibition came into being was the highlight of my day. I was part of that history; as a spectator, and simultaneously as a participant involved from a distance. There were some key pictures and areas of London that I could relate to - one that stood out to me was the Reggae music snaps and artists such as Aswad who I have had the pleasure of seeing in concert, as such, although I was not born yet, I was connected to this era and this has been the thread, not only for today, but throughout the last 4 days. It has been a ‘connecting the dots’ experience which leaves me feeling awe. At times during our talks I find myself beaming from inside and wish it could just reflect - Life is truly a beautiful thing and I am grateful of the fact that I have had the opportunity to experience this, especially at this point in my life.

This Picture Carol explained how Syd rushed to capture this specific moment and how glad he was that he did!

This was Carol’s own collaboration as an artist as she was mainly responsible for this part of the show and picking the images for it

Music...... My first love!

For those that know me, Brixton has a special place in my heart!

My group......Engaging with history.....We had the pleasure of having Jeannette Ehlers whose own exhibition also featured at Autograph in May 2015. Writer and Curator,Chandra Frank wrote an interesting review of this exhibition and you can read it via the link below:

http://africasacountry.com/2015/05/whip-it-good-jeanette-ehlers-and-using-the-white-mans-tools-to-strike-back/

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2/10/15:Unexpected Beauty

I have a habit of sometimes bottling things for so long, I can hold things in, calm on the outside but inside I am exploding! I do not like it at all and I have been working on always saying what I think, how I feel and being as open and honest as I can. However, this is not always easy and I find myself stuck with the old habit. The only thing that can get me out of it is to find some avenue of release; usually it’s by keeping myself busy, attending a show or gig and this day was one such episode. Unfortunately I was brewing so much and carrying some baggage which an ordinary show could not unload. I had a meeting, or so I thought I had one at the Guildhall Art Gallery with one of the Ambassadors hoping to find out more about my volunteering post for the No Colour Bar: Black British Art in Action 1960-1990 exhibition. But when I arrived, she was not available. I had travelled all the way there, put my thoughts in a box and hoped to just focus on this meeting.

I had planned to go to a Poetry night with a friend, but she texted and pulled out, so I told a few more friends who said they were unavailable. Usually I go to some shows alone and release but this time I needed company and realised that in my state the show would not have done me any good. I walked out of the gallery as there was no network just to check my email for the meeting, then I realised I had deleted it and it was no longer in my trash. Went back in, walked through the exhibition again although I have been there more than twice. I was in a state of ‘funk’ as I would like to put it, not the good kind of music funk but the funk which makes you want to scream out loud. So I walked outside, sat by the square just to allow myself to breathe and take a minute, accepting that I was already there and just had to be present rather than drown in my thoughts.

I looked up, the sky was a bright blue, it was sunny and the breeze was beautiful. I had to look for a positive, lift myself and let go. As I sat across the gallery, seeing the No Colour Bar banner in bright red within the Guildhall square I saw a significance beyond me. When I attended the private viewing on the 7th of July and hearing one of the curators of the exhibition stating the importance of it being held at this venue I knew she was right but I did not feel it. It was at this point that I did. The architecture around that square, the heights of the buildings just echoed, look at me! So I resigned from my own sorrow, gazed at the tall buildings; blocking everything around me, I stood up, went to the middle of the square and started taking pictures of the buildings in a circular motion while remaining on the same spot. What came out of it is a narrative through pictures which in a way eased the anxiety I had and calmed me down. After this I walked from the square strolled around Bank area walking past alley ways and just looked at the buildings around me. I am not really that engaged with architecture but somehow this sparked a really interesting attraction which I may explore further!

[fambaneni]

1/9/15: Venue Hunting/Gallery Hopping/London Gazing

As I think of exhibition ideas one of the things I have had to think about has been spaces for possible exhibitions. As such I went on a gallery hopping day with one of my most cherished friends Smart Urihofe whose mind I like to explore. Having him around always challenges how I think and see the world, I love his honesty and also respect his eye when it comes to seeing art especially as an artist/creative himself. I had made a list of specific galleries I wanted to check out, especially those on African art or have exhibited African artists given that Arc Gallery represents African artists. I had six in total; Tiwani Contemporary, Gallery of African Art ( GAFRA),  October Gallery , Tribal Gathering London and Lacey Contemporary which collaborated with AAbru Art for their 3rd year of Transcending Boundaries exhibition 22nd April – 17th May 2015.

Our day started at Green Park at GAFRA where they were showcasing the Ethiopian artist Wosene Worke Kosrof. This had particular resonance to me as during the previous weekend I wined and dined at Addis an Ethiopian restaurant in Kings Cross, so I felt a continual of the Ethiopian experience. Looking at Kosrof’s work, I like his addition of poetry within his works, and how he reflects on his identity both as an Ethiopian and an expatriate based in the USA. This is particularly seen in his My America II 2015 which is a large painting made up of a combination of images and signs including symbols such as the; Nike tick, the Star Bucks coffee in Armharic, the Statue of Liberty and a Court of Arms which looks Ethiopian, hence maintaining this idea of a mixed identity. However there is an equilibrium essence which is solidified by the balancing scales that can be seen along the top of the group images. The perfect close to this exhibition, his work in general and my general outtake is a quote by him; “I believe that art like language is communication. It is a primary form of human expression. Life without art would be like no life”. This set the precedent for me personally for the rest of the day. I found myself trying to hear the ‘communication’ of the following exhibitions that we went to, and reflect on what each meant to me. From the 6 listed we only visited 2: GAFRA and Lacey Contemporary due to our location and the fact that we were walking rather than using public transport. As a result our adventure was free flow and we ended up just visiting galleries nearby.

Two other exhibitions/works that made an impact for me on the day was the Herrick Gallery’s group showing and the Serpetine’s Gallery’s Duane Hanson’s sculpture exhibition. Herrick’s Gallery’s exhibition focused on the creating processes of artists and Paul Hazleton’s fixation with dust caught my eye as it is quite unusual, yet reflecting the fundamentals of existence - he accumulates this dust from his surroundings then molds it into human like silhouettes occupied in everyday activities which we can associate with, such as dancing. The detail and precision was astonishing and I wished I had been present during his making.

 Hanson’s exhibition also includes elements of existence similar to Hazleton. However, unlike Hazleton, Hanson’s pieces are almost human like that you think that they are actual human beings. On entry I did not realise this, and so when I saw one of the sculptures of a lady selling books, I asked Smart if they were being sold and he told me to ask her which I did, only to realise that it was a sculpture! Following this exhibition we walked from Mayfair to Holland Park to visit Lacey Contemporary. This felt like forever, by the end of the day my feet were killing me but it was a worthwhile experience - I got to see parts of London that I have never seen- This including walking along Kensington Church Walk, an alley that I was mesmerised with. I pretty much spent about a good 20minutes there, visited the hat and vintage shop along it and took a few more shots! We finished the day with a late lunch at La Piccola Deli near Holland Park Station, cheap yet tasty!

Eating @ Addis In Kings Cross

Group Dance Dust Sculptures By Paul Hazelton

Skeleton  Dust Sculpture By Hazelton

A Painter Sculpture By Duane Hanson

Me Blending With A Few Of Hanson’s Sculptures

Kensington Church Walk - A beautiful Alley!

With Smart @ Kensington Church Walk Alley Way

Final Stop - La Picolla Deli

Inside La Piccola Deli 

[fambaneni]

Into Curating

August 3rd marked my first day as an intern for the Arc Gallery. My time and what I have experienced so far I cannot tell it in a few words and as you have already noticed I am not one of a few words. However, I want to try and keep blog posts brief so you do not get too bored.

One thing I can share for now is the pleasure of exhibition ideas that I have been brain storming in my head. I have been keeping a log of how each idea has developed and how I have connected with some of the artists, mainly those I plan to work with. With my own personal quest of tracing History, and examining ideas of identity within art, I hope to somehow be able to communicate this journey to you and also have you share your opinions on the blog and question me like I already said. As I am at the initial stages of my ideas I cannot disclose much but I am looking forward to when I can!

[fambaneni]

A day with James Barnor

“A day with James Barnor”, I have had many of these with Mr Barnor, and I have grown to respect him as an elder. Mr Barnor has amazing stories so much so that I look forward to the day that his autobiography will be published, and hope that he will still be around to write it himself!

Currently his photography is being appreciated within the wider public. When I met him he had just come from an exhibition in Amsterdam at the Foam gallery where they were showcasing some of his works, and he came back with even more beautiful stories. When I look at Mr Barnor, I just see a talented man. Not consciously thinking of his Ghanaian heritage or yet alone race, Mr Barnor lives and breathes photography. He is forever taking pictures. Some of me which makes me slightly uncomfortable as am no model but I have grown to accept that he will always do just that. Now his famous line is; “Oh how I wish I was younger, now I have to put down my stick before I take a picture, and by then, the shot/moment is gone”. I have so many quotes by Mr Barnor which always leave me brewing when I get home once I realise that it is a privilege to be so closely acquainted with him. My best memory of our time together was the GUBA awards on the 4th of July held at the Hilton Metropole in Edgware and the following day at the Africa Writes Festival. Being in his presence has just been amazing; I have formed a friendship that I know will be one of those stories I tell in the future!

With James@ The Guba Awards July 2015

Taken By James Pre-Africa Writes Festival ; 5th of July 2015 @ The British Library

Taken By James During One Of Our Hang Outs!

James’ Favourite!

[fambaneni]

May – July 2015; Staying in Power: Black Photographs of Black British Experience 1950s- 1990s

What led me to this exhibition? Brixton! During my time at Goldsmiths University, Brixton was my favourite place; the buzzing streets, the lights, the live music clubs, the mix of the Afrocentric markets, African and Caribbean food stalls intertwined with a mix of European food stalls in the Village Market – Brixton was my home. I remember celebrating my 26th birthday with a group of friends; we began with an Italian meal in the market, then we headed to the Ritzy for their Soul House open mic, and finally we closed the night with some dancing at the Hootanany! This was the first time I ever celebrated my birthday so a bond with Brixton was cemented!

Today with the gentrification, high priced rents and realising that some of the key places that bond us are so long gone, I cannot say I still see it as before. Nevertheless, knowing that there was some unspoken connection I wanted to take a recent acquaintance through that journey and make them see Brixton through my eyes! The plan was to go to the Black Cultural Archives (BCA), check out their exhibitions, and then buzz through the market. This did not materialise as I had imagined. What happened next? A peruse through the BCA site led me to their Staying in Power Photography exhibition. Seeing one of the pictures by Neil Kenlock of a woman in a living room, I mentally journeyed back to my childhood; the 1990s. The picture instantaneously reminded me of one of the only pictures I have of my late mother standing in a living room! Gut feeling - Without thinking twice I booked two tickets for the exhibition’s 2 day conference which was held on the 22nd and the 23rd of May at the Victoria and Albert Museum (V&A), and the BCA.

On the 22nd I attended the Conference at the V&A and had the pleasure of meeting some of the photographers celebrated. They shared their life stories, key moments and images that either set their careers or meant a lot to them! This was History and art at its best! What I appreciated the most was their oral histories which is part of the collection and make up the exhibition with respects to Black culture in Britain. Unfortunately I could not make it the next day at the BCA and the long awaited Brixton tour also never happened.

Interestingly enough, on the 22nd at the V&A I met an amazing artist, Jean Joseph who has been an inspiration ever since. Following our correspondence she introduced me to James Barnor one of the celebrated photographers who I have also grown so fond of. Through him I had the opportunity to attend the Staying in Power Unseen: African Photographer’s Narrative talk held on the 16th of July at the BCA. This was somewhat similar to my experience at the V&A in May. However, the Unseen images talk was more special as these photographers picked their own images for the talk and gave a more personal talk with regards to the images themselves. As a hip hop and music fan when Normski and Jennie Baptise’s shared some of their coverage of that scene during the 1990s I was ecstatic! We had a brief break and I got the chance to dine with Normski where we talked briefly about his works, and shared some funny stories.

When we went back for the second half we discussed what the photographers thought of the exhibition, and how they viewed themselves as artists, especially the idea of being termed Black artists. This was somewhat the close of the night AND in a way a pathway which I decided to follow through. How are we to view art works of people of colour, should we just purely appreciate them as art and separate the idea of their racial background or will that always play a role? This is a common debate which in a way has always been addressed thus seemingly useless for me to engage with. Nevertheless, why is it so prevalent and continue to be a central debate? Should exhibitions of Black artists and Africans hold significance based on race and History, if not what should the significance be? What is the result of having such exhibitions at commonly known White institutions such as the V&A, and lastly what is the next stage for these artists and art in general either within that common debate or outside of it? These are questions that I will hopefully tackle as I explore the art world and find my own feet within it, so you will find that at times I will get back to these, but I will not always focus on them as I also want to engage apolitically although still paying attention to this political element as one may see it

Photo By Neil Kenlock 

My Mother During The 1990s

With Normski @ The BCA Unseen Images Talk

[fambaneni]

Where it all began

Over the years, one thing that I have learnt is that I have no control; I can hope, I can wish but if something is not meant for me it’s not for me. However, this is not always easy and I have found myself agonising anxiously and fighting battles whereby defeat was only acknowledged years after having wasted time and energy. Nonetheless these have been lessons to overstand myself, and the world around me from a Gaynor point of view. Everyone has a story, a vision, a path but we seldom expose ourselves to engage intimately with our own being. For my part; I guess it all began in 2011 while in France with a group of friends. Maybe one day I will tell that story, but those that know the internal struggle I enjured throughout that trip and some years after can tell you that this was a pivotal point in my life, and will probably forever remain stained in my soul. With hindsight I am thankful of that experience, but during that time I retired from life itself. I even thought of my own death, but even that was no resolution. I have always found comfort in music, yet that too was useless. I could no longer run away from myself, my mind, and my emotions. I had to feel it. Zealously finding words through poetry was no comfort. Life continued; everything else was as it always had been. I on the other hand was not the same…..I had to do something!

That something was to trace back, trace Memories, My-History and somewhat the Real-History. As a fan of History it made sense, after all I was also reading it at university and during my final year some topics covered Southern Africa where I am from, and Africa in general –This is where it began. Somehow my studies correlated with the battles I felt inside with respect to the past. As I read and studied I saw myself within the pages, there were moments of anger, moments of appreciation and an awakening. During my dissertation writing/research I found a new respect for people of colour and African heritage. Their drive, creativity and expressions through either; art, literature and music to not only understand themselves but their struggle, appreciating life and seeing it from a positive point of view regardless of the negative elements around them, that, that woke me! As such it is no surprise that I have decided to take this journey further and delve into art. I have no idea where I am going with it but I invite you to walk with me, keep me company, help me find avenues and points of discussion, challenge my opinions, give me some of yours and hopefully we will grow together