GOLELA

In the Namibian diamond mining town of Oranjemund, a unique and somewhat surreal existence unfolds. Oranjemund is a place where time seems suspended. From the arid desert landscape to the vast expanse of the ocean, the surroundings serve as a constant reminder of the power and fragility of the natural world.

From this remote and isolated town, escapism emerges as a prevailing theme. Central to the town’s identity is the distinctive attire worn by the miners – balaclavas, serving as both a practical necessity for their diamond mining endeavours and a symbol of anonymity within a transient community. These balaclavas reflect the utilitarian ethos that permeates life in Oranjemund, where material abundance is scarce, and only a handful of establishments cater to the basic needs of its inhabitants.

Through the OMDis Residency, a month-long annual residency for visual artists based in the SADC, Ericke Tjiueza, a photographer, filmmaker and visual artist from Namibia, explored these themes. Living in Oranjemund, Tjiueza was inspired by the town’s sense of escapism and the miners’ balaclavas. Collaborating with local craft artists, he created balaclava-inspired face masks using recycled materials like rusted tins and discarded beer cans found along the Orange River. These masks, infused with the spirit of the region, became artistic expressions that reflect the resilience and resourcefulness of the community.

“The balaclavas inspired me to reflect on the role of face masks in African culture. Although African face masks and miners’ balaclavas may appear distinct on the surface, they share similarities in their symbolism and significance. Both serve as potent symbols of identity, spirituality and community, transcending their material forms to convey deeper meanings and connections within their respective contexts. While not imbued with supernatural powers, I find that the balaclavas worn by people in Oranjemund hold similar spiritual resonances, a symbol of anonymity within the transient community, acting as a shield against the human condition of living within the confines of a remote mining town,” says Tjiueza.

From here, GOLELA emerged. A collection of photographic works that transcend mere aestheticism, offering a profound commentary on the human condition within the confines of a remote mining town. Drawing from African folklore, the golela is known as a malevolent mythical manlike animal that hides in the shadows and which people are to fear.

The masks represent golelas, but they also embody the resilience and resourcefulness of people from Oranjemund. In most African traditions, masks are believed to possess spiritual pathos, serving as conduits between the physical and spiritual realms. The masks are used in ceremonial rituals to commune with ancestral spirits, protect against malevolent forces, and to transmit cultural knowledge. They serve as a tangible reminder of the interconnectedness of the mining community, offering protection and solace in the face of adversity. Tjiueza’s photography reflects the utilitarian ethos that permeates life in Oranjemund, where material abundance is scarce and weather conditions are harsh.

GOLELA opens at The Project Room on Friday, 28 June 2024.

The Project Room - Namibia www.theprojectroom.com.na