A captivating facet of popular culture related to the healing industry is the display of posters at gathering points and intersections in Gauteng. Often stuck to the traffic light pole, these A3 and A4 pages, solicit attention.
A captivating facet of popular culture related to the healing industry is the display of posters at gathering points and intersections in Gauteng. Often stuck to the traffic light pole, these A3 and A4 pages, solicit attention.
The return of artifacts to their countries of origin is perceived by many as a milestone to recoup art, lost during times of conflict or by cultural appropriation.
I cogitate on historical beads, beading, aspects of how change has occurred and roughly what constitutes notions of bead work today, by posing questions with reference to ongoing research in Southern Africa.
The Sahara is earth’s largest desert. Its scorching heat, barren gravel plains and endless shifting dunes is also home to the nomadic Tuareg people.
Vernacular architecture in land-locked, mountainous Lesotho, comprises wattle and daub circular thatched structures or more recently rectangular shaped dwellings spaces, distinguished by murals on the exterior walls.
It is a joy to discover how tribal (or any art form) enriches the lives of those looking, and how the nexus between pre-conceptions and the unpredicted, conjugates new dictionaries of thought and often a passion for the genre.
Maconde tribal art, adapted, reinvented and traded to tourists in several countries, paved the way as some of the first contemporary art from the African continent.
Boundaries between costume, fashion and fine art are today indistinguishable. I illustrate various examples across the spectrum, and suggest that perhaps fabric is the next fine art frontier to be crossed.