nondumiso msimanga - Academia.edu (original) (raw)
Papers by nondumiso msimanga
Performing #MeToo: How Not to Look Away
Take a walk in my shoes by allowing yourself to shed your defences and put your underwear on the ... more Take a walk in my shoes by allowing yourself to shed your defences and put your underwear on the line…SA’s
Dirty Laundry is an artivism (art plus activism) campaign that took the call for re-introduced and re-viewed forms of
protest to heart, by using art to bring awareness to the issue of rape.
The artivism: 3600 pairs of underwear hang on a washing line of 1.2 km, over the city of Johannesburg’s
Maboneng precinct – used underwear donated by people across the country as a means to share their story or
support of surviving rape. A womxn puts her body on the line by stripping off the layers of clothing that en-role
her as an object because of her gender, taking off layer after layer of soiled white panties until she stands in the
street, naked, with only a childhood panty as covering. Visual artist Jenny Nijenhuis and performance artist
Nondumiso Lwazi Msimanga respectively collaborated to host, with SoMa Art + Space, an exhibition plus
street performances under the title The Things We Do for Love. Love being understood as a revolutionary
sentiment that demands action, as various notable revolutionaries have espoused. The artivism featured works
by womxn students from the University of the Witwatersrand, questioning presence in protest performance
(art, reality). SA’s Dirty Laundry asks South Africans to see their own story in one of the 3600 pieces of dirty
underwear. It introduces a new protest language – art – a present tense.
This profile piece reviews the project and discusses whether art, when used for the purpose of socio-political
activism, has the power and ability to shift the status quo. It discusses the potential and problems encountered
by the initiative, and proposes art as a feminist language aimed at bringing a message to people on the street.
De-stressing Race. Documenting ‘The Trauma of Freedom’ in post-apartheid South Africa; through ... more De-stressing Race. Documenting ‘The Trauma
of Freedom’ in post-apartheid South Africa;
through the viewpoint of a Black Female born
during the state of emergency (1985-1990).
ABSTRACT:
This study is as an examination into the everyday experience of Freedom in our
democracy as a traumatic one.
I outline my search as a Sartrean existential project, via the definitions of the key
terms in the investigation: Race, Trauma, Freedom, Post-apartheid, South Africa,
Black and Female. I make use of a practice-as-research mode of exploration through
the methodology of Narrative Inquiry to discover the stories that give meaning to my
being; as a free being. Through a critical reflection on the theatrical praxis, I draw
meaning as to what it means to be a young Black woman in South Africa today.
Freedom as a conceptual fact and the awareness thereof is outlined as the cause of the
distress that has been termed the ‘Trauma of Freedom’. What this work reveals to me
is the paradoxical optimism that is inherent within the ‘Trauma of Freedom’.
De-stressing Race. Documenting ‘The Trauma of Freedom’ in post-apartheid South Africa; through ... more De-stressing Race. Documenting ‘The Trauma
of Freedom’ in post-apartheid South Africa;
through the viewpoint of a Black Female born
during the state of emergency (1985-1990).
ABSTRACT:
This study is as an examination into the everyday experience of Freedom in our
democracy as a traumatic one.
I outline my search as a Sartrean existential project, via the definitions of the key
terms in the investigation: Race, Trauma, Freedom, Post-apartheid, South Africa,
Black and Female. I make use of a practice-as-research mode of exploration through
the methodology of Narrative Inquiry to discover the stories that give meaning to my
being; as a free being. Through a critical reflection on the theatrical praxis, I draw
meaning as to what it means to be a young Black woman in South Africa today.
Freedom as a conceptual fact and the awareness thereof is outlined as the cause of the
distress that has been termed the ‘Trauma of Freedom’. What this work reveals to me
is the paradoxical optimism that is inherent within the ‘Trauma of Freedom’.
Performing #MeToo: How Not to Look Away
Take a walk in my shoes by allowing yourself to shed your defences and put your underwear on the ... more Take a walk in my shoes by allowing yourself to shed your defences and put your underwear on the line…SA’s
Dirty Laundry is an artivism (art plus activism) campaign that took the call for re-introduced and re-viewed forms of
protest to heart, by using art to bring awareness to the issue of rape.
The artivism: 3600 pairs of underwear hang on a washing line of 1.2 km, over the city of Johannesburg’s
Maboneng precinct – used underwear donated by people across the country as a means to share their story or
support of surviving rape. A womxn puts her body on the line by stripping off the layers of clothing that en-role
her as an object because of her gender, taking off layer after layer of soiled white panties until she stands in the
street, naked, with only a childhood panty as covering. Visual artist Jenny Nijenhuis and performance artist
Nondumiso Lwazi Msimanga respectively collaborated to host, with SoMa Art + Space, an exhibition plus
street performances under the title The Things We Do for Love. Love being understood as a revolutionary
sentiment that demands action, as various notable revolutionaries have espoused. The artivism featured works
by womxn students from the University of the Witwatersrand, questioning presence in protest performance
(art, reality). SA’s Dirty Laundry asks South Africans to see their own story in one of the 3600 pieces of dirty
underwear. It introduces a new protest language – art – a present tense.
This profile piece reviews the project and discusses whether art, when used for the purpose of socio-political
activism, has the power and ability to shift the status quo. It discusses the potential and problems encountered
by the initiative, and proposes art as a feminist language aimed at bringing a message to people on the street.
De-stressing Race. Documenting ‘The Trauma of Freedom’ in post-apartheid South Africa; through ... more De-stressing Race. Documenting ‘The Trauma
of Freedom’ in post-apartheid South Africa;
through the viewpoint of a Black Female born
during the state of emergency (1985-1990).
ABSTRACT:
This study is as an examination into the everyday experience of Freedom in our
democracy as a traumatic one.
I outline my search as a Sartrean existential project, via the definitions of the key
terms in the investigation: Race, Trauma, Freedom, Post-apartheid, South Africa,
Black and Female. I make use of a practice-as-research mode of exploration through
the methodology of Narrative Inquiry to discover the stories that give meaning to my
being; as a free being. Through a critical reflection on the theatrical praxis, I draw
meaning as to what it means to be a young Black woman in South Africa today.
Freedom as a conceptual fact and the awareness thereof is outlined as the cause of the
distress that has been termed the ‘Trauma of Freedom’. What this work reveals to me
is the paradoxical optimism that is inherent within the ‘Trauma of Freedom’.
De-stressing Race. Documenting ‘The Trauma of Freedom’ in post-apartheid South Africa; through ... more De-stressing Race. Documenting ‘The Trauma
of Freedom’ in post-apartheid South Africa;
through the viewpoint of a Black Female born
during the state of emergency (1985-1990).
ABSTRACT:
This study is as an examination into the everyday experience of Freedom in our
democracy as a traumatic one.
I outline my search as a Sartrean existential project, via the definitions of the key
terms in the investigation: Race, Trauma, Freedom, Post-apartheid, South Africa,
Black and Female. I make use of a practice-as-research mode of exploration through
the methodology of Narrative Inquiry to discover the stories that give meaning to my
being; as a free being. Through a critical reflection on the theatrical praxis, I draw
meaning as to what it means to be a young Black woman in South Africa today.
Freedom as a conceptual fact and the awareness thereof is outlined as the cause of the
distress that has been termed the ‘Trauma of Freedom’. What this work reveals to me
is the paradoxical optimism that is inherent within the ‘Trauma of Freedom’.