Posts tagged ‘Zimbabwe’
Raphael was born in Zimbabwe and has worked mainly as an independent curator for more than ten years before joining the National Gallery of Zimbabwe in 2010 as its Chief Curator. He is the founding curator of the 1st Zimbabwe Pavilion in 2011 and also curated the Zimbabwe Pavilion 2013 and 2015 at the Venice Biennale. Raphael was awarded the 2006 – 2007 Chevening Scholar and now holds an MA Curating Contemporary Design from Kingston University London.Raphael will give a talk on his work and experiences.
Join Kwani? Trust for a special edition of Sunday Salon featuring writers from Kenya, Uganda, Nigeria, South Africa and Zimbabwe.
Is it prize season, you ask? Yes it is!
Winner of Kwani Trust’s Manuscript Prize and the Commonwealth Writers’ Prize Jennifer Makumbi, reads from her just-launched novel, Kintu, published by Kwani?
The Shortlisted Writers of the 2013 Etisalat Prize for Literature – Yewande Omotoso, author of Bom Boy, Karen Jennings, author of Finding Soutbek and the overall winner, NoViolet Bulawayo, author of We Need New Names, read from their work.
Kwani? Trust sends off the two Kenyan writers shortlisted for The Caine Prize for African Writing 2014; Billy Kahora and Okwiri Oduor, with readings from their nominated stories ahead of the announcement of the overall winner in Oxford in July.
Live music by KIU
Find more info here
BIEA Seminar: Rain, Power, Sovereignty & The Materiality Of Signs In Southern Zimbabwe, Apr. 16 2014 @ BIEA / IFRA
Rain, Power, Sovereignty and The Materiality Of Signs In Southern Zimbabwe
Date: Wednesday 16th April 2014
Venue: British Institute in Eastern Africa, Laikipia Road, Kileleshwa, Nairobi
Time: 11.00 am
Entry: Prior RSVP. For more information please contact firstname.lastname@example.org or call +254 735 260 004
Seminar by: Joost Fontein, University of Edinburgh
Chair: Sinoxolo Neo Musangi, British Institute in Eastern Africa
In 2010 a government meteorologist revealed that for much of the last decade, the Zimbabwean weather forecast had been censored on a daily basis by agents of the President’s Office. ‘This information’ he said ‘was seen as sensitive’. What this ‘sensitivity’ amounts to is the subject of this paper. It is hard to make sense of the government’s impulse to censor the weather forecast in the 2000s without reference to the localized re-configurations of authority over land and ‘re-making’ of the state that fast track land reform provoked. To the extent that fast track offered new opportunities for the realization of a diversity of localised aspirations and imagined futures that turned on access to land and fertile soils in divergent ways, the recurrent droughts and failing harvests of the early 2000s were politically significant because they called into question the legitimacy of land reform, and the broader ‘thirdchimurenga’ project constituted around it. But across Zimbabwe, and the region, rainfall and drought have long been measures of contested political legitimacy in more complex ways not limited to the politics of food, famine and agricultural production. In southern Zimbabwe, this is true not just for spirit mediums, chiefs and other ‘traditionalist’ authorities for whom rainmaking practices are well-established means of demonstrating ‘autochthony’, sovereignty and legitimacy, but also for war veterans, new farmers, government technocrats and others involved in land reform during the 2000s. This is what I examine here. Whilst I focus particularly on rainmaking practices, encounters with njuzu water spirits, and national biras that took place in the 2005-6 when research was carried out, the larger point I pursue is that water acts as an index of power – of the entangled but contested play of legitimacy and sovereignty – across many different registers of meaning and regimes of rule. In making this argument I engage with Keane (2003; 2005) and Engelke’s elaboration of Peirce’s theory of signs (1955), and build upon others (James 1972; Jedrej 1992) who have long argued that rainmaking ‘traditions’ across eastern, central and southern Africa are less a form of applied meteorology and more an idiom of politics and power, in order to argue that they are necessarily both at the same time.
Exhibition Dates: Monday to Friday, December 16-20 2013, January 2-10 2014,
Time: 1 to 6 pm
Témoin/Witness is an exhibition initiated by the Goethe- Institut South Africa and curator Simon Njami; co-curated by Sammy Baloji and Monique Pelser. It showcases the works of photographers who were involved in a Photographers’ Portfolio Meeting over a span of three years. The aim was to present their work within the portfolio reviews to several curators to gain critical feedback. The photographers included Sammy Baloji (DRC), Calvin Dondo (Zimbabwe), Sabelo Mlangeni (South Africa), Abraham Oghobase (Nigeria), Monique Pelser (South Africa) and Michael Tsegaye (Ethiopia).
The exhibition speaks about the social issues, ever-changing past and present and inherited cultures across the African continent. It represents how this group of emerging photographers perform the role of onlookers, and actively survey their immedate environments. The works then become historical records and evidence reflecting the constantly shifting history, inherit cultures and social issues that span across the African continent.
About the Photographers
Sammy Baloji, born 1978 in Lubumbashi, D.R.C, lives and works in Lubumbashi and Brussels, Belgium.
“My work questions the still existing traces of colonization in Congolese society. In this approach, it expresses a desire to inform and rewrite a story from the present. A present aware of his past and ready to assume the future. My photographic work is between documentary and fiction. In this sense I need a context (the environment) to create my own story. To do this, I did some research on topics or events of the past and even on the present. I’m using pictures archives or even sound archives to create a new statement.”
Calvin Dondo, born 1963 in Harare, lives and works in Harare, Zimbabwe.
“I believe our work as an artist is to open doors, shed light and give new possibilities to, first, our immediate environment, and then, the world at large. Our visual statements provoke and shift societies understanding of the world. Whatever work I do I feel I am responsible to everyone around me.”
Sabelo Mlangeni, born 1980 in Driefontein, lives and works in Johannesburg, South Africa.
“My work challenges a viewer, like in this body of work ‘Country Girls’. In our society we are taught that a man should present himself in a certain way, seeing a man in a dress shifts the way we think and are taught to think. It is political and confronts issues of homophobia.”
Abraham Oghobase, born 1979 in Lagos, lives and works in Lagos, Nigeria.
“The social, political and economic situation of society plays a pivotal role in my work. I am interested in using photography to explore the way people live and how they are affected by the different systems that exist, and how conditions evolve to meet or take advantage of certain needs. For example, with this series ‘Jam I’ explore how rural-urban drift, among other things, has led to inflated rents in Lagos and congested living spaces. My exploration of identity through self-portraiture in Nigeria and abroad, for example, is often a function of how I am perceived as a photographer, an artist, a black male, a Nigerian, and so on, which in turn is based on social and cultural points of view that have their roots in history.”
Monique Pelser, born 1976 in Johannesburg, lives and works in Cape Town, South Africa.
“I try to use the camera and developing photographic technology as a way of re-looking at my country, the land, people and the objects or traces which were left behind and have become a historical burden. I feel that my generation and those that follow have inherited a lot to process. I try to use photography as dissonance, as a way to re-look and represent and process this history.”
Michael Tsegaye, born 1975 in Addis Ababa, lives and works in Addis Ababa, Ethiopia.
“In the past ten years, the city in which I live, Addis Ababa, and the rest of Ethiopia has gone through tremendous changes – both demographically as well as physically – with the construction of new buildings and the demolition of the old ones. The changes that modernity has brought about in the rural areas are also quite significant, as old cultural practices adopt certain aspects of new ones.”
Acts from: Mandy from Nigeria, Kagiso Lediga from South Africa, Patric Salvador from Uganda, Carl Joshua from Zimbabwe and Eric Omondi from Kenya
Performance by Queen Mashie
Sandra Mashiringo a.k.a Queen Mashie was born on March 10 1982,in Gutu, Masvingo, Zimbabwe. She started singing early in class four as a member of the school choir but her progression was interrupted when she joined high school that had no music teacher. She joined the catholic church choir, instead, where she excelled and represented in music competition.
After high school she moved to Harare to join her elder brother and accomplished musician ,Andy Brown, who convinced her to ditch the computer studies she had gone to pursue for a career in music because he thought she had a talent from hearing her singing around the house and in 2002 she joined Andy Brown and Storm band where she got her musical experience. She later joined the Vintage Band as a lead singer with that veteran guitarist Mdhara Timi Makaya.
In 2006 she moved to Nairobi Kenya to pursue her musical career. She worked with Nyota Safi Band and later joined The Tutu Band and was signed with Sound Africa and recorded her first album Kare Kare (long time ago). She did collaborations with different artists from Kenya and Zimbabwe, and produce her second album CD/DVD Queen Mashie Collaboration.
Queen Mashie also performed at the Sauti Za Busara Festival 2008 with Afrodynamics ,a composite of various musicians from different parts of the world (France, Mozambique, Senegal, Austria and Zimbabwe) With the influence from Chiwoniso (mbira maestro),Queen Mashie started playing mbira (the traditional instrument widely played in Zimbabwe, Congo (known as Likembe and other African counties) in 2008.
She composed and recorded her first mbira song on Kare Kare album and on her upcoming album Mbijana Mbijana.