Observing birds soaring gracefully in unison, I am reminded of the freedom that art bestows upon us, evoking a sense of childlike wonder and possibility. In the shanty towns of Johannesburg, a child gazes up at the sky, dreams big and relishes in the feeling of reaching their full potential. Imagination is a poignant reminder of the boundless opportunities that exist, even for those who come from humble beginnings.
Reflecting on attending a funeral in rural Kwa-Zulu Natal, I ponder the journey from such a place to distant lands, filled with faith, passion, desire, and determination. It is a testament to the power of imagination and the strength of one's dreams to propel them forward, overcoming obstacles with courage and conviction.
As much as 95 percent of the world’s diamonds and 50 percent of the world’s gold comes from Africa
There are over 2000 different languages spoken in Africa.
Arabic is the most spoken language in Africa.
Africa makes 70% of the world’s cocoa beans.
Cocoa beans are used to make chocolate. Most of the world’s beans come from 4 West African countries: Ivory Coast, Ghana, Nigeria and Cameroon.
Africa has around 30% of the earth’s remaining mineral resources
This includes over 40% of gold reserves and 90% of platinum reserves.
I started my thesis by asking myself the question, "who were Africans before colonization?"
What products did they use, how did they dine and what did daily life look like?
With so many different tribes and dialects, I wondered, what is African design and is it intrinsically tribal?
Cape Town's Table Mountain from Camps Bay Beach Shutterstock / Dereje
What is African design?
Is there a difference between African and European design?
South Africa
Cape Town's Table Mountain from Camps Bay Beach Shutterstock / Dereje
Cape Town
In trying to answer these questions, I had to start at home, South Africa - particularly capetown as this is where British colonists first set foot on South African soil.
South Africa was colonised between 1652 - 1961by the Dutch, Germans and Britain. Products that came as a result of that are the black cast iron potjie pot -a three-legged cauldron originally from the Netherlands, brought to South Africa in the 17th century. It forms such a big part of the South African culture - used in big family gatherings such as weddings, celebrations and funerals, enamel bowls and cups , batik cloths which were brought to the continent by the dutch and is synonymous with African culture and attire.
The plastic bucket and bowl that has taken on many different functions from carrying water, washing clothes in, selling fruit and vegetables on the side of the road, doing house chores in and many other functions. It is the fusion of all these different cultures that formed my worldview on "African" design.
Colonization
Delving deeper into South Africa’s heritage, I found that the South African cuisine was also inspired by colonisation.
Food such as koeksisters, malva pudding, biltong, all tracing back to Dutch origin.
Cape Town's Table Mountain from Camps Bay Beach Shutterstock / Dereje
South African cuisine
In trying to design the tableware, I looked at all these different factors and I wanted a design that was inclusive, organic and had traces of the past. As I kept ideating, I realised that not all African countries were colonised and infact one country had always taken on a eurocentric way of life. Instead of chiefs who ruled small communities, it had an emperor who had strong ties with the west. Apart from a five-year occupation by Mussolini's Italy, Ethiopia has never been colonised.
Cape Town's Table Mountain from Camps Bay Beach Shutterstock / Dereje
Ethiopia
Haile Selassie was the last reigning monarch of Ethiopia's Solomonic Dynasty. The Solomonic Dynasty traces its ancient ancestry to King Solomon of Israel and the Queen of Sheba
The Napkin
In trying to design the tableware, I looked at all these different factors and I wanted a design that was inclusive, organic and had traces of the past. As I kept ideating, I realised that not all African countries were colonised and infact one country had always taken on a eurocentric way of life. Instead of chiefs who ruled small communities, they had an emperor who had strong ties with the west.
This got me thinking about how kings and queens dine and an item that is associated with fine dining, the napkin. An item generally white, made of cotton or linen, it symbolises how one behaves at a table. Much like cutlery, the way it is used at restaurants, often tells the waiter when one is finished with their meal or not.
Could I merge old and new? Can African and European design mutually exist in a symbiotic relationship?
I took on the challenge and began forming different shapes out of various cloth materials, in my attempt to create a bowl like structure and one that could challenge preconceived ideas.
Africa & Europe
Emperor Haile Selassie
Wikimedia CommonsA rendering of Shaka, founder of the Zulu empire.
My intention is to radically challenge a place setting by incorporating new ways of experiencing tableware.What if we embraced each other's differences instead of imposing a singular "normal"? Can we reimagine table settings to elevate storytelling and foster deeper connections? Each person carries a unique story, a tapestry of lived experiences waiting to be shared. The table becomes a canvas for discovery, a space to learn and celebrate the rich diversity of humanity.
Ideation
Process
After shaping, molding and many failed attempts, using slip and porcelain, I finally landed on a design that converted the napkin into a bowl that could also act as a sculptural piece on the table. In order to incorporate an African easthetic, I went back to the beginning and looked at various hut designs. It was then that I realised that African design isn't only tribal but much like the primitive hut structures, it is also the nature of mathematics, optimised engineering, sustainable, organic, sculptural.
Exploring African Vernacular Huts: Weaving as a Climatic and Social Architecture
Primitive Hut
Exploring African Vernacular Huts: Weaving as a Climatic and Social Architecture
The nature of mathematics
Exploring African Vernacular Huts: Weaving as a Climatic and Social Architecture
Optimised engineering
Exploring African Vernacular Huts: Weaving as a Climatic and Social Architecture
Sustainable
tièbèlè, the painting village, of the people GourounsiAnthony Pappone
Organic
tièbèlè, the painting village, of the people GourounsiAnthony Pappone
I thought about how I could bring all these factors into my design and it was by incorporating new ways of making.The bowls were crafted using a 3D ceramic printer, chosen specifically for its ability to produce precise ring patterns as it constructs the shape. This feature elegantly echoes the circular design of traditional African huts found across the continent. These huts, built in circular formations, symbolize unity and infinity, embodying the idea of interconnectedness without a distinct beginning or end. Similarly, as humans, we are all inherently linked, regardless of our origins or backgrounds.
New ways of making
Indigo
Indigo dye has been used for thousands of years, spanning numerous continents, cultures, and methods.
Indigo dye is first green and gradually turns blue when it comes in contact with air.The transformation is the result of the harmony between the air, temperature, humidity, and the plant itself. I incorporated this colour change into the glaze of the bowls and cups, again reiterating the merging of old and new coming together in an organic, harmonious way.
The pieces fit in the hand and are meant to be held intuitively by the user. They can fit into each other or lie next to each other. The gift is in being able to decide for oneself how and where each piece will be used.
