Hue by Hue - Issuu

HUE NOVEMBER 2017

ISSUE 01

PAINTING: JIMMY LAW

table of contents

01 Out of Africa

Art for the privileged?

Art with rules on a deadline

Janes Era

02 The big little Grahamstown

Freshwe

Kearne the dragon

Moving beyond the stigmitisation

Mehndi: Cultural appreciation or appropriation?

Duende

CREATIVITY CONNECTS US A rising problem in our society is that people often feel disconnected from their local and global community. We often feel untouched by the problems of others and because of this, we do not feel strongly enough that we are part of a larger community. Hue is defined as a colour appearance parameter – it is something that showcases the various tones which a single colour has the ability to produce. It is for this reason that we have created a magazine with the intention to showcase the various forms of which art can be expressed – much like that of presenting art as a hue rather than something confined. Art is often referred to as having the ability to express certain feelings, emotions, and experiences one cannot do so with words. Yet, art does not necessarily give you all the answers you may be seeking but engaging with it makes you connect to your senses, body, and mind. Art provides us with the opportunity to illuminate our inner lives and enriches our emotional world. It provides a doorway through which life can be escaped, bringing pleasure to the eyes while whispering to the soul. Many of us have a preconceived notion of artists being the standard painter or sculptor, but art is far greater than that. Similar to specific palates people have when it comes to food, everyone has a certain palate for the type of art that appeals to them most. Indulging in the various kinds of art forms, artists and new perspectives on art education hidden in greater

Grahamstown we encourage an interest in learning more about the people who form part of our community. This can help us identify with one another, expand our notions of ‘we’, and show us that individual engagement in the world has actual consequences. Different individuals use art in numerous ways for various reasons. For many, it is used it to express themselves, and for others, it could be used to tell stories about the lives or emotional turmoil’s and challenges. It for this reason that we at Hue, argue that art shapes who we are and what we do. Art expression is food to many of our soul and brings us copious amounts of joy. It also celebrates and acknowledges the diversity of human expression, while uniting people on both a local and global scale, despite language or culture. It is something that has been important to our world for decades. We hope that our publication not only informs you of the various hues through which art can be perceived but gives you an escape to a world of calm, simplistic contempt. Guiding you through the pages with the appreciation of its beauty in its countless forms which fills you with childlike wonder and ambition. Essentially experiences these emotions which enhances our capabilities with a positive attitude. Alev Oguz said, “Art is the journey of a free soul” and only by engaging with it are we able to allow ourselves to take the first step towards this.

- HUE TEAM

out of

Africa BY: SIA MAUSI

The current generation of artists has the responsibility to generate growth as well as cultivate and create art in the contemporary African context. Although there is an increase in globalization and the constant promotion of Western culture, an interest in African aesthetic has risen. It is for this reason that the time has come, to push boundaries in African art and support African artists. This is not the first-time African art has been under the microscope; African art has always been influential in cultural change. It has had a significant role in shaping the culture and history of the world. From as early as the start of the 20th century, African art influenced some of the worldâ&#x20AC;&#x2122;s most iconic artists; including that of Picasso, Derain, and Matisse. The raw expression of imagination, emotion and psychological represented in African art is something that has never been investigated before. It can be said that this is what fuelled the move from naturalistic art and architecture, towards abstract art. Unfortunately, African art has not always received the recognition it deserves. This is why it is important to create a platform where African artists are given their rightful credit and exposure. A platform by Africans, for African artists and one that caters for Africans first. The current wave of Afropolitanism, which is the

voguish term for work made by young African artists both in and outside Africa, is escalating in the contemporary world. With various forms of artwork, fashion, and photography, Afropolitanism is influencing creatives globally. African artists continue to push boundaries and contribute to the contemporary African art world. These artists have put Africa on the map again and have been involved in evaluating the Modernity in contemporary African whilst mediating its place internationally. However, there is a mandate to ensure that correct exposure is presented in a nonexploitational way for African artists. This is because African art tends to be sold in foreign countries for modest prices while imported art is unaffordable to the average African. Why should we care? Apart from tourism and economic growth, focusing on African art is an effective way to ensure that the diverse African cultures and history remain. Artists should not have to move out of Africa for their work to be taken seriously. By creating platforms and investing in African artists, a movement where artists can be celebrated in their own societies can be created. This will also see the much-needed growth of art education that can reach millions of aspiring artists across Africa.

Art for the

privileged “Eleven days of exclusion”. Artwork; Sia Mausi

rahamstown is said to be the creative city of South Africa. Thousands of individuals from all over the world flock to the town each year for the National Arts Festival – the largest Arts festival in Africa. While it has created many opportunities for business, according to locals, it has not done much to teach visitors about art itself. It is clearly evident of how art forms a great deal of Grahamstown’s identity. Apart from the National Arts Festival, there is a culture of creativity and artistry; whether it be students from Rhodes University, local traditional clothing and jewelry designers, painters and even the beggar on the corner with a guitar. There is a large disconnection between the township and the suburban area regarding art exposure and education. One could say that sociocultural factors can be the reason for this. Looking at the educational structures in the township areas, it is no secret that there are limited resources and a general lack of acknowledgment for the arts by basic education institutions. For this reason, one can easily assume the vast difficulty of becoming an artist in the township. Xolani Mbethe has been living in Grahamstown for over 20 years and has only seen two plays in his entire life. While money was primary reason of this, there were many other factors that caused had also contributed. When he was asked for his view about art in Grahamstown he seemed puzzled. Mbethe fiddling nervously with his hands, and worried about giving the wrong answer – he had to be reassured that there was no fixed definition. After some internal self-deliberation, his final answer was that he did not know what art was. This was not because he had never seen it before, but because he was unsure about what it actually was. When Themba Khuzwayo, a colleague, and friend of Mbethe, was asked the same

BY: SIA MAUSI

question Khuzwayo was as just as confused. After some deliberation with Mbethe, he finally answered, “I think art is something that we can see, something that is nice. There is a guy in my neighbourhood called Rasta, he makes shoes. I think he is an artist.” He explained that he thought this because, “I think it is a talent because he takes time to make these shoes, he knows exactly what measurements to make and they look good (The shoes).” It is evident that both subjects define art in their own context and surroundings. They had not been taught in school the endless world of art but they had created their own definition. Many children in South African townships will not be taught extensively about art; in fact, many may not even think of it as being a career option. Apart from Arts and culture, which ceases at grade 9, it is not explored much further. Numerous schools do not even offer it as a subject. Given the demographics, it is not difficult to see why township schools give focus to subjects like maths and physical sciences. Children are usually the hope of the family getting a better life. Mbethe explained that he had not even considered taking art as a subject because of finances, “It was never even an option; I needed to make sure that I got good marks and picked the right subjects so that I could work and support my family.” Although, one could argue that one needs to take it upon themselves to learn about art how is it possible without the proper resources to do so? There are many individuals like Mbethe and Khuzwayo, whose circumstances have led to their lack of knowledge and participation in art. Mbethe believes that “Art should be taught and promoted in all aspects of life, regardless of the sociocultural contexts.” He also hopes that in the future, art will be taught in more spaces like that of the ones he grew up in.

art with rules on a deadline.

Art student ‘s work space. Photograph: Narishka Govender

BY: NARISHKA GOVENDER

Walking into the quiet building, tucked away behind a tree, feels daunting to one who is unfamiliar with the world of creation and beauty in an institutional setting. The cold thoughts of stress, white pages, and black words perhaps the colour grey best describes the intuitional setting. Still, for some, it is full of vibrant colours of oil paint and canvases screaming for decoration with anything the heart desires. Fine art is not often considered when people think about studying at a university level. Many merely avoid the degree, for the fear of a jobless future or the lack of creativity. Professor Heidi Sincuba expresses that one of the problems many students have is channeling their creativity. The professor of painting explains that it is confidence that often inhibits young artists from achieving their full potential – students feel they should have all the answers. “Trying to figure out those things out is being an artist,” she says. This skill is an expression of a person’s imagination and such is something which is very hard to limit. Professor Sincuba has come up with specific criteria for students to get the marks they deserve. There are five main points that she considers whilst marking students: attendance, critical thinking, research, discourse and the actual work presented. The aspects of critical thinking and research are worth the most because this work is complete before the art piece begins. The critical thinking engages with the field and context of the theme that the students are given. This generates the individuality in the pieces with their different angles

on the broad themes. Research allows the student to understand how people perceive the theme and how they can use this in the execution of their ideas. Sometimes the expression of one’s imagination can be difficult to interpret into physical form. Courtney Drysdale, a student at Rhodes University fine arts department, says that the image that they usually have when planning never comes out how they imagine. “During the planning stages, you can have this magnificent thought of the product, but, you just end up producing something else. It doesn’t make it any less magnificent”. The art school, like the entirety of Rhodes, is currently undergoing a transformation. Decolonisation is a hot topic for the students and many are interpreting themes that have more of a western ideology into pieces that relate to South Africa. The students enjoy that many of the lecturers are young and trendy because it makes them easier to relate to. The interaction between the students and lecturers is vital throughout the process of their practical assignments. The lecturers are consistently available to guide students with their artworks and help develop their ideas. The curriculum is made up of two parts; the theoretical and practical parts. The aim of art history is to help students with their research as well as give a theoretical view to the very skill based subject. For the first two and a half years: the students are given themes in which their art should be based on. However, midway through the third year,

the students are left to fend for themselves in terms of their themes. “This is sort of a blessing and a curse all wrapped into one,” laughed Drysdale. Often students find it hard to go out and find their own sources because after being told what to do for a long time, many are faced with too many choices. Although, a preferred medium is a good foundation to build on. In honours year (fourth year), the students have to create an exhibition and find their own funding for the showcase. This is an important part of the fine art process because it shows how people react and receive the art. The smell of turpentine and dreams linger in the air as you lead away from the studio. All the students passionate about what they are doing. Unaffected by the pressures of the capitalistic outside world, they feel the need to create and fill the world with beauty and fire. Making tangible emotion and wanting to perfect their skills at the hands of those professors and peers who guide their brushes.

ANE’S ERA BY: NARISHKA GOVENDER

Swimming in her oversized red parka, oozing quirkiness and knowledge. Leading me to a door with a sign that boasted “Staff Only”, pushing through the other side the room was no bigger than a pantry. It was her sanctuary, decorated with few personal details – it was the office of an art teacher. Portfolios of students and attendance registers littered the wooden desk, pushed up against the wall. “Right then, shall we begin?” a smile stretching across her face. Jane James is a high school art teacher, who works at the Carinus School of Art. It caters to all the high schools and primary schools in Grahamstown. Her studio where her students worked, decorated with black and white checked floor and pale blue furniture creates a free, stylistic atmosphere. James, originally born in Kenya, moved to Johannesburg when she was very young with her parents and sisters. She had always loved art and beauty. Something her parents have constantly encouraged her to pursue. Starting a degree of fine art at Wits University and completing it through UNISA, she found her love for painting and pottery. In the late 80’s she enrolled into Rhodes University to get her teaching diploma so she could begin teaching art. James also did a course of reflexology as she feels that healing and art two sides to the same stone, “I think it is the creative impulse, creating something towards wholeness.” After completing her degree, James confessed that she was put off art and wanted nothing to do with it for a while. “I never wanted to touch a pencil or paintbrush again”. She felt that maybe she was following a direction that was not natural to herself. James felt the need to find her own artistic path rather than following a path set out by teachers that she did not fit into well. Bending down and reaching into the lowest cupboard in the storeroom, she gently pulls out three boxes. Her wrinkled hands gently unwrap each of her “little treasures” and place them delicately on the table. “I do not know if they will ever sell” she smiles longingly holding her chunky vases in her arms. Her inspirations come from the earth, ancient times and what is within her. James creates whenever she is free “which is hardly ever, these days”. The pieces are sturdy, unlike the delicate, graceful vases held in the hands of her students, “I feel like I have passed that stage (her students’ stage) of creation and have tapped into something more primitive within myself that I have projected into my art.” The pieces James has created use variations of clay morphed into one piece. She often creates indentations in her pieces to give them some texture and then stains them with oxide. Oxide is a liquid metallic substance after it has dried it stains these indents and becomes shiny black in complexion. Although, her impulses

channel towards the water and greenery, her art exhibits the desert colours of the earth. “It is the colours of the clay that really influence my work” the variations of brown to copper then, greys and black show the earthy tone of her work entirely. James loves to play with asymmetrical forms for her vases, which gives them variation in “different sense”. This makes her pieces truly unique and naturally rugged looking. “I do not think I would have done this sort of thing (teaching) if I could do it all again” she admits. James loves traveling and, in her youth, rarely stayed in one place at a time. This gave her a life filled with adventure, which she still craves. James now fills her time with books, gardening, and her two children – her best achievements in her life. “Often artists end up in the position of teaching because it is really challenging to make money as an artist” especially because her work consists of very subjective pieces. James does try to sell her work at the Grahamstown National Arts Festival, but has not had much luck; many people think that her pottery has a function (to plant flowers and other plants in). She says that it is not for a functional purpose but rather is for decoration. “I do not make it sturdy enough to put things in” she confesses not wanting the vases to break. James is a woman who set about a path that forked out into various directions and became a whirlwind of excitement to which she is now content. Her teaching, children, and pottery are all she needs out of life, which makes it not all that exciting but very fulfilling indeed.

“

I feel like I have past that stage of creation and have tapped into something more primitive within myself that I have projected into my art. - Jane James

The art teacher, Jane James. Photograph: Narishka Govender.

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little

THE BIG IN GRAHAMSTOWN BY: ALESKA WINETZKI

Entering a small portion of Bruce Little’s world, it is not difficult to understand the raw talent in which he possesses. The atmosphere breathes a surreal feeling, unearthing a magical sensation and artistic urges. The towering sculpted art-works are breathtakingly realistic, even in their semi-completed form. Bruce Little is a self-taught artist who combines both his passion for nature and practical instinct to sculpt the creatures he has observed for most of his life. Little was born in South Africa and spent the majority of his childhood in the bushveld, where he developed his early passion for the African wilderness and wildlife. He worked as a conservationist and professional game ranger at several game reserves around South Africa, including that of Londolozi and Singita. He then lived and worked on a private conservation project in the Eastern Cape restoring the former beef and sheep range, Hopewell, to its original state. These twenty years of experience gained in the wilderness gave Little some invaluable insight into the behaviour and traits of his subjects to which he holds dearly. Little has spent the last 19 years working on sculpting what visiting admirers refer to as “marvels of raw talent”. Little portrays them in a way which focuses less on the strict anatomical correctness of the animal, and more about encapsulating the deeper meaning of the animals he observes. In certain artworks, Little has added human elements in an attempt to portray the imperishable bond we as humans have with nature. “I’ve always had a love for nature and the urge to keep busy with my hands, so sculpting was a natural fit for me”, Little explains the reason he started sculpting in the first place, “I mean, it really came out of nowhere.” His sculpture sizes vary, ranging from miniatures to life-size. Little’s sculptures have been exhibited internationally for the last 11 years including numerous exhibitions situated at the Mall Galleries in London. Specifically, His bronze sculptures have been on all five continents as private commissions and limited editions. His most monumental artwork, so far, has been that of his sculpture of a lion, named Dawn Patrol, for Longleat. Upon its unveiling, the Fundraising Chairman of the Leonardo DiCaprio Foundation, Milutin Gatsby decides that a second monumental lion sculpture would be donated for the Foundation’s annual gala event in 2016. The piece was then auctioned off to one of the world’s elite and was made unique with the casting of an inscription and signature from Leonardo DiCaprio himself. Keryn Daley, Little’s personal assistant of two years describes Little

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as a typical artist who constantly has new ideas for projects and artworks. She explains the difficulty of being able to gain traffic that the Gallery hopes for. Although, the most popular season remains hunting season as many of the clients of the surrounding game reserves and hunting lodges are very attracted to the works of Little. The most popular artworks at the Gallery are that of the dung beetles which form part of the puta artworks, and not necessarily that of the bronze due to their expensive nature. According to Daley, “These have gained the most foot traffic due to their intricate nature”. Recently, Little has started producing functional artwork such as napkin boards and further developed the scope of sculptures produced. Little currently resides in Stellenbosch, working on opening a new Gallery on Church Street this coming week, with the official opening being on the 23rd of September this year. Whereafter, the pieces will be taken through to his London Exhibition. Little meets this new project with much excitement about both the space and his artwork. The exhibition will be one of his biggest solo exhibitions to date, in which he looks forward to showing off his new collection. According to Daley, “The work that he is producing this year for his bronze collection is the best that he’s ever done”. Additionally, Emily Godwin, an aspiring sculptor and fan of Little explains how she “has always looked up to him and his remarkable talent for portraying detail in such colossal pieces”. She is not the only one, many students and aspiring artists look up to Little and are wildly excited about his new Exhibition. Little has never aspired to become a full-time artist and looks at his career now more as a bucket list in which he is slowly able to tick off. His previous collection was met with high rates of success and he hopes that his new one will be just as well received so that more traffic is able to be generated around his work and galleries.

Photographs from top to bottom: Sculptor Bruce Little. Sourced: Brucelittle.com Bronze sculpture made for the Leonardo Di Caprio Foundation. Sourced: Brucelittle.com Bronze beetle puta collection. Photograph: Aleska Winetzki

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The work that he is producing this year for his bronze collection is the best that he’s ever done - Keryn Daley

FRESHWE. gap in the market to bring modern day apparel design and traditional African fabric is what inspired Frank Dollar to start his own business in Grahamstown, six months ago. Dollar was born on 13 May 1995. Growing up on a farm in Northern Zimbabwe has taught him that one can always go forward and follow one’s dreams no matter the circumstances. “The current situation in Zimbabwe has been tough growing up in but Zimbabweans are very resilient people who always make a plan”, Dollar says. Dollar is a handmade shweshwe shorts designer at Freshwe, a business he owns himself. Shweshwe is a printed dyed cotton fabric usually worn for traditional purposes by Xhosa women. “I have many people that I admire the work they have done such as Elon Musk and Professor Owen Skae. I do not idolise anyone as a life-conducting path. I am my own person and aim to make my own path while learning from multiple successful people”, Dollar says. He started this business by walking into a fabric shop and coming out with few meters of what he calls beautiful shweshwe fabric, Dollar did research and was surprised to know that there were no handmade shweshwe shorts on the market and found a seamstress to replicate the shorts he had given to her. “I am very motivated by the artisan movement, the authenticity of something handmade and I love how happy the products make my customers”, Dollar declares. He is proud to have taken the courage to go forward with the idea of creating a purely handmade ethical product that people have grown to enjoy. “I wish to establish myself as a brand and to maintain a valuable clientele base. I am to produce products that are desirable and make people happy. I aim to influence the artisan market and promote sustainability in fashion”, Dollar explains. The most challenging thing he faces in designing clothes is not knowing what colours and patterns people are into and producing enough stock to keep up with the demand. The shorts he designs target all young adult males. It is just a matter of time before he expands to cater for the opposite sex. Besides designing, Dollar adores selling and marketing. He believes that he has unique artisan product that no one else has. Dollar’s designs are locally produced. “I am excited by the fashion industry as a whole and enjoy watching and learning from its evolution. I love business, people, markets and the outdoors in general”, said Dollar in an excited manner.

I am my own person and aim to make my own path while learning from multiple successful people. -Frank Dollar

DRAGON

BY: BULELANI NONYUKELA

“

KEARNE THE

He plans to expand his business but money is a constraining factor and he does not receive any form of support from the government. He still has big dreams for his future. He plans to move to London at the end of this year and find a job that adheres to the values he respects, “Hopefully I will learn from other entrepreneurs and eventually start my own business whether it be overseas or in South Africa”. When Dollar and six other students from Rhodes University saw a need for affordable electronic gadgets and devices in a student town with the added convenience of a delivery service, they decided to start a business called G-Tech. A company that specialises in electrical appliances. Dollar is also a student assistant at Kingswood College in Grahamstown. He holds a Bachelor of Science degree in Environmental Science and Botany from Rhodes University and he is currently doing a Postgraduate Diploma in Enterprise Management. He is not married; however, he is in a relationship and has no children. He enjoys reading, listening to music, socialising and doing activities with friends. He has a family in Zimbabwe that has supported him throughout. What you would not have known about Dollar is that he has played Tennis for Zimbabwe.

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Shweshwe shorts. Photograph: Frank Dollar

BY: ASANDE LERATO NYANDENI

ajority of students who go to Rhodes University either obtain degrees that have to do with Journalism, Accounting, and Pharmacy but Kearne Human is not your average student. Kearne Human, better known as Dragon is a hip-hop rap artist but mostly identifies himself as a ‘heArtist’. When the 21-year-old Port Elizabeth resident decided to go to Rhodes University, he knew that all he wanted to study was music. Human who goes by the name ‘Kearne Dragon’ (his stage name) says, “Music is my art forms a great deal of my life. I express myself best through music I produce.” Human started playing the violin at the age of 5 years old and at the age of six, his preschool report stated that he liked often to rap in front of his class and write down lyrics. That is when his love for music started. He first started recording at the age of 15 when his friend, who is also his producer started building a studio. They both started with ‘Singstar’ microphones and now have proper equipment as well as an 808 machine. Human, at 21 has already released nine songs within the last three years on his Soundcloud account. The first song he released, in 2014 was called Valium. This was the same year he started working with Lunar Room, which is located in Port Elizabeth. He has worked with other artists such as Pierre Stemmet, Carey Hayes and has featured them in some of their songs. He also mentions that he enjoys listening to other people’s music who share similar experiences to him. “When I write songs, people reach out to me and tell me that they appreciate it because they go through something similar so that is something that really drives me”, says Kearne. He calls his music Art Rap because of the way in which he plays with wording to create his lyrics. He believes that his music is something that is intrinsic to him because it represents his experiences in his everyday life. Human states that, “because of my music,

I have this obsession with self-expression so fashion is another form of art and selfexpression for me.” He is also the Co-founder of a fashion-based organization called Vehement Youth. The fashion organization deals with documenting fashion in and around South Africa and producing content on the latest trends around the world on their WordPress and other social media pages. The Vehement Youth lives by the quote, “Clothes mean nothing until somebody lives in them.” Human describes himself as an all-rounder, “I am not only a musician, I am also interested in other things like fashion. I am all about expressing myself, I do this through music and fashion, which is why I identify myself as a heArtist.” Human performs at places in Grahamstown such as 37 On New and events like Pop Art. The Pop Art event is an event where UCKAR (University Currently Known as Rhodes) students showcase their talents and artistry. Sinaye Ntshudu, a fan of Kearne Human mentions how much she admires not only his music but also him as a whole. “He takes great pride in all that he does, not just his music but things like his Instagram account. He makes sure that he represents himself the way that he wants people to think of or see him.” Ntshudu follows Kearne Human on Instagram so that she can stay updated about his new releases. She also relates to the music that he makes and believes it is something that feeds her soul. Human is an individual who takes great pride in his brand including the way he looks, dresses and the way that he presents himself to others. His social media accounts are more about promoting his brand and his music rather than his personal life while portraying everything he considers as art. “I can never perform wearing mediocre clothes. People need to remember me not just for my music but what I wore when I rocked that stage.”

Kearne Human. Photograph: Kyle Prinsloo

MOVING BEYOND THE STIGMITISATION BY: ALESKA WINETZKI AND ASANDE LERATO NYANDENI

Tattoos signify one major concept – individual expression. This is very individualistically driven because every tattoo represents a unique story with significant meaning to the individual. Tattoos are a form of expressing ones personality as well as their beliefs all while adding beauty to an individual. Tattoos have long been stigmatized in society and were present in ancient civilizations for various religious reasons. They were also used as a form of punishment and as the mark of an outcast, slave or convict. The popularity of tattoos commenced with European sailors who would get assortments of original tattoos so that they would be identifiable if lost at sea. It then spread around shipyards among workers who were considered to be “low class,” as employment at the shipyards was only at very thankless and low-income jobs. Simultaneously, tattoos became popular among criminals in prison, resulting in tattoos being associated with the “lower class” and criminals. However, today, tattoos represent far more than they are given credit for. After the end of World War Two, the world began to evolve into a more conservative society and the perpetual stigmatization of tattoos increased with the rise of conservative religious citizens. However, in today’s progressive society attitudes are changing. South African statistics relating to tattoos are scarce,

however it is presumed that these statistics would resemble statistics gathered in similar societies, such as America. In America, it was recorded that 86% of young professionals did not think piercings and tattoos would reduce the chance of securing a job. Tattoo statistics have shown that tattoo popularity has grown 13% since 2007, with about 42% of adults having at least one tattoo. This does not go to say that attitudes toward tattoos in the professional field have completely changed. For example, only 8% of government employees have ink or piercings. The reasoning behind people’s tattoos have also changed. Some people get tattoos based on their religious beliefs, to honour the death of a loved one, to show their artistic expression or simply to be spontaneous and get something in the spur of the moment that is permanent. Whatever the case may be, the permanence of tattoos represents the individuality of a person, which can serve to provide insight into their character when applying for a job. For example, if a manager was hiring a person for a position and asked what the meaning behind their tattoo was, they would be able to learn more about a potential employee based off their response and decision-making process to get permanent ink on their body. Yet, this is not the same in all professional environments. In the

legal fraternity, it is still deemed disrespectful to bear visible tattoos in court. The stigma and negative connotations associated with tattoos can also affect a client’s confidence in professional fields, such as the legal and medical fields. This does not go to say that the presence of tattoos affects a person’s capability or confidence, but has rather become a purely perceptual stigmatization. We live in a progressive society and as tattoos become more of a regular occurrence, the stigma associated with them diminishes. Unoriginal or inappropriate tattoos would not only enforce stereotypes of the past, but also would not be worth the pain or misfortune. Ultimately, everyone should consider the permanency and placement of tattoos, as well as the potential consequences in specific professional environments.

BY: ALESKA WINETZKI

MEHNDI: CULTURAL APPRECIATION OR APPROPRIATION

ith the rise of popularity of the intricate, brown-

article published in the Daily Bruin revealed that the actions

red patterns of henna illuminated on mainstream

of wearing of henna often takes the beauty and ignores the

media. A widely controversial debate of whether

people and their history. The Daily Bruin highlighted that the

the commercialized use of henna is cultural appropriation or

majority of the people wearing henna designs are unlikely to

appreciation has developed.

stand in solidarity against the hate crimes against the cultures

The art form of henna also referred to as mehndi in Hindi and

from which it originated.

Uru, has been practiced for thousands of years in Africa, India,

Despite this view, henna has been accepted and welcomed

Pakistan, the Middle East. Henna was originally used to soothe

by some. Zarina Cassim, co-founder of Henna House in

people in the heat of the desert due to its natural cooling

Grahamstown believes that when people become interested

properties. Soaking the palms and soles of feet in henna paste

in the henna tattoos on someone, it essentially entails learning

was a common practice to refresh the body. According, to

more about where it comes from and its cultural significance.

Isabel Oberlender, the stains which remained on the skin

“The appreciation of the culture is just being done in a more

surface after the henna paste was removed inspired the use

modern way – that should not take away from the fact that

of henna for decorative purposes. Traditionally, the temporary

people are willing to learn”.

tattoo is most commonly reserved for special events, including

According to Motara, the popular trend is giving more attention

weddings and religious celebrations among the Muslim and

to those cultures that were subdued and hidden away. “I

Hindi cultures. The historical and symbolic designs embellished

actually think it’s really impressive that someone is taking an

on the arms and feet are meant to demonstrate love and

interest in my culture and sharing my culture in a sense”, Motara

strength in a bride’s marriage.

stated. She further explains that the use of henna is being done

In most Indian and Muslim households, girls from a young

in more practical means, such as having a tattoo done in it

age are taught the intricate skill of henna art by the older

prior to having it done in permanent ink.

generation of women, Shehnaaz Motara, co-founder of Henna

On one hand, some believe that the use of a culturally significant

House in Grahamstown explained, “You develop your skill at

custom cannot be considered a fashion statement or trend

every celebratory gathering by practising on other members of

and the continued wearing of henna blatantly ignores the

your family – it becomes something special you are a part of.”

feelings of those who find it sacred, for a short-lived aesthetic. It

With the rise of henna booths at markets and festivals alongside

also allows people to pick and choose which parts of a culture

the growing availability of henna kits, the temporary tattoos

they want to participate in which reduces its significance. For

are finding a commonplace in society. Many celebrities have

example, when people use a “Blaccent” when explaining a

also openly showcased the traditional designs and given way

story which involves a person of colour and actually emphasizes

to its expanding popularity. To some people, these beautiful

the perceived “superiority” of English over other languages. On

artworks are innocent but the non-traditional wearing of

the other hand, the modernized perception of the movement

henna are countered with outcries of cultural appropriation.

believes that it brings more attention and importance to

Anika Chadha, a student from the Hindu Society at Rhodes

the religious practices of those cultures which form part of a

University, explains that “borrowing the sacred practices of

minority in most communities.

a culture without the intention to learn anything about it is

In essence, there is a fine line between appropriation and

extremely offensive.” Chadha goes on to explain that the

appreciation and many people grow frustrated trying to

commercialized wearing of henna for non-religious purposes

differentiate between the two. The first question one should ask

takes away from its cultural significance.

themselves before participating in the trend is, “Am I reducing

It is for this reason that it is important to consider when the

this cultural practice to a fashion statement or am I willing to

wearing of henna surpasses cultural appreciation and becomes

learn more about the culture itself?”

cultural appropriation. Cultural appropriation involves the normalizing of something special taken from a culture, without permission to a point where it is stripped of its importance. An

Illustration: Narishka Govender

duende. (n.) the mysterious power of art to deeply move a person

BY: BULELANI NONYUKELA

ome artists do not only use art as a profession but

of their lives and draw how it felt in order to grow emotionally

also as a form of therapy. Art improves one's physical,

and mentally. Individuals are passionate about their talents,

mental and emotional health as well as their wellbeing.

it is what people enjoy most. Those who do what they are

It also allows for the release of tension.

passionate about tend to be happier.

You do not have to be a professional artist to have your

There are dance, music, and movement therapy classes to

share in this strain realizing tool. Art has the ability to change

accommodate everyone. Art can be beneficial to both the

one’s behaviour; one can experience behavioural change

artist and the audience. For example, the musician may be

towards oneself and others. It helps express how one feels

healing their soul while developing the lyrics and melody to

and diffuses the internal discomforts caused by stress and

their song and the final product could also heal the audience

various conflicts in an individual’s life. It is for this reason that it

that receives it.

has often been considered as a tool for self-discovery.

A saddening affair is that the South African society does not

Art helps to distract one from their life draining experiences

utilize art therapy very well because there are a vast majority

and assists in self-appreciation. This is extremely crucial,

of people who do not take art seriously or who have a lack

particularly to the increasing depressed society we face

of knowledge of its presence at all. It is for this reason that

ourselves living in. A vast number of the South African

the enormous psychological and health benefits art, as well

community are self-doubting and art can assist in diverting

as art therapy as a whole, can have on a person’s happiness

one’s attention to more positive aspects while focusing on

need to be shared. Cathy Malchiodi said, “Art is a constant

what builds them.

agent of transformation and is indeed the soul’s drive to

Art opens the mind – it allows one to have various

health.”

perceptions of the world. Anyone can have their piece of this art therapy, some use music, dance, acting, painting or drawing as a way of shifting away from what cause strain in their lives. For example, listening to music can make some people emotional, which can also be a significant part of the healing process. There are numerous creative ways to use art therapy to grow

Illustration: Narishka Govender

and produce art. One can document a spiritual experience

ALESKA An aspiring media attorney. Daily survival kit: caffine and and affection.

NARISHKA Lover of cheese and tea. I crave cold, rainy days with good movies.

LERATO A short ball full of nothing but creativity.

SIA Spottieottiedopalicious.

BULELANI I love radio producing and reading news. Creating news content fascinates me.

HUE TEAM

HUEHUEHUE HUEHUEHUE HUEHUEHUE HUEHUEHUE HUEHUEHUE HUEHUEHUE HUEHUEHUE HUEHUEHUE

HUE.