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EZAKWANTU
Beadwork from the Eastern Cape
South African National Gallery
Cape Town
October 30, 1993-February 26, 1994
"Ezakwantu" (Things from the House of the People) was the South African National Gallery's first beadwork exhibition. Curated by Emma Bedford and Carol Kauhnann, it displayed beaded garments and objects from the Ciskei and Transkei, former homelands that are now reincorporated into South Africa. Occupying the southeastern section of the country, they are associated with Southern Nguni-speaking people such as the Thembu, Mfengu, Mpondo, Gcaleka, Bomvana, Xesibe, and others.
Anyone attempting to display or explore cultural issues in South Africa on the eve of its first democratic elections was faced with a range of intricate and complex problems. To embrace these issues was, and still is, a challenge to any gallery or museum curator. There can be no easy distancing, no possibility of a safe perspective from another continent. The struggles for power, directly linked to concepts of identity, have resulted in carnage, necklacing, land contestations, and disenfranchisement.
Clearly aware of the constraints, the curators of "Ezakwantu" attempted, within a gallery context, to address some of the issues. The exhibition and catalogue go some way toward engaging the communities concerned and reflecting and representing voices previously excluded. An effort was also made to position the exhibition in a contemporary political framework and to draw in individuals from a wide range of South African society. Xhosa dancers and an imbongi ("traditional" praise poet) were featured at the opening, and Albertina Sisula, head of the ANC's Women's League, was the guest speaker. These all helped to alter the perception that an art gallery is largely a white, elitist establishment. "Ezakwantu" also extended beyond our usual expectations of an art gallery exhibition by including two bead-artists who demonstrated their skills and exhibited the things they made as well as their materials and tools.
To add to the already comprehensive list of curatorial complexities, objects and garments from the eastern Cape areas are notoriously difficult to display. None of the large fabric pieces are singularly striking, since color and pattern are subtle and restrained. Furthermore, the garments and beadwork are not intended to be displayed singly but are worn massed together, creating an impressive overall effect. Duplicating this is near impossible without...