Resistance Art in South Africa: Overview and Impact

Resistance Art in South Africa

• Resistance art emerged in South Africa during the apartheid era (1950-1994), a period of racial segregation and oppression.
• The Nationalist Government suppressed any form of protest or dissent.
• In 1960, the Sharpeville Massacre saw 69 people shot by police during a peaceful anti-apartheid demonstration.
• The Soweto Uprisings in 1976 were a series of student protests against Afrikaans as the language of instruction in schools.
• The Black Consciousness Movement, founded by Steve Biko, emerged as a significant force against apartheid.

Early South African Art

• The first half of the 20th century (1900-1950) lacked dedicated art schools or training centers for artists of color.
• Self-taught artists were the norm.
• Two crucial art centers emerged during this period, offering access to art and craft education: Polly Street Art Centre and Rorke's Drift.

Polly Street Art Center

• Founded in 1949 in Johannesburg by a liberal city council.
• Aimed to provide a recreational space for working men in the evenings.
• Dominated by male artists.
• The center fostered a "romantic re-connection to Africa" through its art.

Rorke's Drift

• Located in KwaZulu-Natal.
• Founded in 1963 by the Swedish Lutheran Mission in South Africa.
• Funded and supported by the Mission.
• A prominent role was assigned to women artists.
• The center emphasized a direct "connection IN Africa."

Durant Sihlali

• His art is often categorized as "township art," but it deeply reflects historical realities.
• He used impressionist techniques in his work.
• Notable works:
  • "Burning old clothes" (1964)
  • "Street vendors, Kliptown" (1980)
  • "Pimville rent offices on fire, riots (Soweto) 1977"

Ephraim Ngatane

• A prominent artist associated with Polly Street.
• Focused on depicting township scenes.
• Utilized watercolors, gouache, oils, and ink.
• Famous works:
  • "Musicians" (1967)
  • "Reading the Newspaper" (1969)
  • "Figures in a township" (1969)
  • "Reflections of Soweto" (1970)
  • "The Bridal Procession" (1962)

Neo-African Style

• Artists began to move away from traditional Western art forms, choosing more simplified and distorted representations.
• Cecil Skotnes, a significant artist at Polly Street, played a crucial role in this development.
• He collected African art and incorporated it into his own work.
• Skotnes' style emphasized the harsh realities of oppression and the absurdity of apartheid.
• His work aimed to draw attention to the injustices and violence experienced under apartheid.

Rorke's Drift Art & Craft Centre

• Founded in 1962 by Swedish missionaries Peder and Ulla Gowenius.
• Established as an extension of a Swedish committee dedicated to promoting African art and craft.
• Operated from the Ceza Mission Hospital in South Africa.
• Benefited from financial support and marketing by the Swedes.
• The center emphasized nurturing African artistic heritage and fostering cross-cultural exchange.
• It aimed to create a balance between traditional and modern art forms.
• ELC graduates were guaranteed employment opportunities at other art centers throughout the country.

Artistry at Rorke's Drift

• The center emphasized a close connection between Fine Art and craft workshops.
• The interaction between these areas is a unique aspect of South African art.
• Craft practices were typically divided by gender:
  • Weaving: Primarily by women
  • Fine Art: Primarily by men
  • Ceramics: Both men and women participated, but women favored coil techniques, while men utilized the kick-wheel.

Azaria Mbatha

• Influenced by his Christian Zulu upbringing.
• Notable works:
  • "Jesus After Death"— features Christian imagery and symbolism
• Themes:
  • Unity
  • Reconciliation
  • Christian imagery
  • Universal experience

John Muafangejo

• Born in Ovamboland, South-West Africa (now Namibia)
• His family adhered to Lutheran Christianity, retaining their cultural traditions.
• He was a skilled linocut artist—the first Namibian artist to achieve international recognition.
• He was influenced by Mbatha and the Rorke's Drift environment.
• His work integrates text, reality, and his strong Christian faith.
• He aimed to represent the social and environmental realities of his life, particularly the Church's role in resisting apartheid.
• His work often featured symbolism, such as the "reaching out" (unity and marriage), and patterns signifying Ovambo heritage.
• He incorporated Christian imagery into his artworks, reinterpreting traditional narratives.
• His signature style included decorative patterns, African-like zig-zag lines, and a bold use of black and white contrast.

This quiz explores the significant role of resistance art during the apartheid era in South Africa. It covers key events, movements, and art centers that shaped the artistic landscape from 1950 to 1994. Test your knowledge on the artists, protests, and cultural evolution of this critical period in history.