Living sculptures that stand for history's truths | Sethembile Msezane

45,633 views ・ 2017-09-29

TED


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I'd like for you to take a moment to imagine this with me.
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You're a little girl of five years old.
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Sitting in front of a mirror,
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you ask yourself,
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"Do I exist?"
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In this space, there is very little context,
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and so you move into a different one,
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one filled with people.
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Surely, now you know you're not a figment of your own imagination.
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You breathe their air.
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You see them,
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so they must see you.
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And yet, you still can't help but wonder:
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Do I only exist when people speak to me?
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Pretty heavy thoughts for a child, right?
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But through various artworks that reflect upon our society,
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I came to understand how a young black girl can grow up
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feeling as if she's not seen, and perhaps she doesn't exist.
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You see, if young people don't have positive images of themselves
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and all that remains are negative stereotypes,
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this affects their self-image.
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But it also affects the way that the rest of society treats them.
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I discovered this
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having lived in Cape Town for about five years at the time.
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I felt a deep sense of dislocation and invisibility.
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I couldn't see myself represented.
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I couldn't see the women who've raised me,
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the ones who've influenced me,
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and the ones that have made South Africa what it is today.
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I decided to do something about it.
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What do you think when you see this?
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If you were a black girl,
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how would it make you feel?
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Walking down the street,
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what does the city you live in say to you?
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What symbols are present?
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Which histories are celebrated?
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And on the other hand,
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which ones are omitted?
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You see, public spaces are hardly ever as neutral as they may seem.
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I discovered this when I made this performance in 2013 on Heritage Day.
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Cape Town is teeming with masculine architecture,
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monuments and statues,
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such as Louis Botha in that photograph.
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This overt presence of white colonial and Afrikaner nationalist men
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not only echoes a social, gender and racial divide,
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but it also continues to affect the way that women --
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and the way, particularly, black women --
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see themselves in relation to dominant male figures
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in public spaces.
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For this reason, among others,
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I don't believe that we need statues.
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The preservation of history and the act of remembering
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can be achieved in more memorable and effective ways.
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As part of a year-long public holiday series,
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I use performance art as a form of social commentary
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to draw people's attention to certain issues,
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as well as addressing the absence of the black female body
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in memorialized public spaces,
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especially on public holidays.
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Women's Day was coming up.
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I looked at what the day means --
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the Women's March to the union buildings in 1956,
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petitioning against the pass laws.
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Juxtaposed with the hypocrisy of how women are treated,
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especially in public spaces today,
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I decided to do something about it.
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Headline:
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[Women in miniskirt attacked at taxi rank]
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How do I comment on such polar opposites?
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In the guise of my great-grandmother,
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I performed bare-breasted,
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close to the taxi rank in KwaLanga.
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This space is also called Freedom Square,
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where women were a part of demonstrations against apartheid laws.
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I was not comfortable with women being seen as only victims in society.
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You might wonder how people reacted to this.
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(Video) Woman: (Cheering)
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Woman 2 (offscreen): Yes!
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Sethembile Msezane: Pretty cool, huh?
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(Applause)
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So I realized that through my performances,
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I've been able to make regular people reflect upon their society,
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looking at the past as well as the current democracy.
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(Video) Man (offscreen): She's been there since three o'clock.
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Man 2 (offscreen): Just before three. About an hour still?
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Man 1: Yeah. It's just a really hot day.
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Man 1: It's very interesting.
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It's very powerful.
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I think it's cool.
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I think a lot of people are quick to join a group
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that's a movement towards something,
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but not many people are ready to do something as an individual.
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Man 2: So it's the individual versus the collective.
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Man 1: Yeah.
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So I think her pushing her own individual message in performance ...
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it's powerful.
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Yeah, I think it's quite powerful that she's doing it on her own.
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I'd be interested to know why she's using hair extensions as wings,
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or whatever those things are meant to be.
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They are wings, yes?
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Woman 3: With her standing there right now,
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I think it's just my interpretation
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that we are bringing the statue down
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and bringing up something
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that's supposed to represent African pride, I think.
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Or something like that.
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Something should stand while Rhodes falls,
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I think that's what it's saying. Yeah.
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Yes. Thank you.
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Man 3: What is behind me represents the African culture.
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We can't have the colonialist law,
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so we need to remove all these colonial statues.
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We have have our own statues now,
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our African leaders -- Bhambatha, Moshoeshoe, Kwame Nkrumah --
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all those who paid their lives for our liberation.
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We can't continue in the 21st century,
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and after 21 years of democracy,
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have the colonizers in our own country.
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They belong somewhere. Maybe in a museum; not here.
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I mean learning institutions, places where young people,
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young minds are being shaped.
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So we cannot continue to have Louis Botha, Rhodes, all these people,
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because they're representing the colonialism.
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(Applause)
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Sethembile Msezane: On April 9, 2015,
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the Cecil John Rhodes statue was scheduled to be removed
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after a month of debates for and against its removal
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by various stakeholders.
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This caused a widespread interest in statues in South Africa.
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Opinions varied, but the media focused on problematizing
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the removal of statues.
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On that -- well, that year, I had just begun my master's
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at the University of Cape Town.
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During the time of the debate of the statue,
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I had been having reoccurring dreams
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about a bird.
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And so I started conjuring her
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mentally, spiritually and through dress.
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On that day,
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I happened to be having a meeting with my supervisors,
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and they told me that the statue was going to fall on that day.
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I told them that I'd explain later,
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but we had to postpone the meeting
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because I was going to perform her as the statue came down.
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Her name was Chapungu.
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She was a soapstone bird that was looted from Great Zimbabwe
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in the late 1800s,
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and is still currently housed in Cecil John Rhodes's estate
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in Cape Town.
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On that day,
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I embodied her existence using my body,
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while standing in the blazing sun for nearly four hours.
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As the time came,
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the crane came alive.
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The people did, too --
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shouting,
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screaming,
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clenching their fists
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and taking pictures of the moment on their phones and cameras.
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Chapungu's wings,
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along with the crane,
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rose to declare the fall of Cecil John Rhodes.
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(Applause)
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Euphoria filled the air as he became absent from his base,
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while she remained still,
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very present,
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half an hour after his removal.
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Twenty-three years after apartheid,
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a new generation of radicals has arisen in South Africa.
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The story of Chapungu and Rhodes in the same space and time
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asks important questions
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related to gender,
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power,
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self-representation,
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history making
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and repatriation.
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From then on,
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I realized that my spiritual beliefs and dreams
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texture my material reality.
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But for me, Chapungu's story felt incomplete.
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This soapstone bird,
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a spiritual medium and messenger of God and the ancestors,
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needed me to continue her story.
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And so I dabbled in the dream space a little bit more,
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and this is how "Falling" was born.
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[A film by Sethembile Msezane]
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(Video) (A capella singing)
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[FALLING]
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(Applause)
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In the film,
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Zimbabwe, South Africa and Germany share a common story
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about the soapstone birds that were looted from Great Zimbabwe.
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After Zimbabwe gained its independence,
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all the birds except for one were returned to the monument.
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"Falling" explores the mythological belief that there will be unrest
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until the final bird is returned.
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Through my work,
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I have realized a lot about the world around me:
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how we move through spaces,
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who we choose to celebrate
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and who we remember.
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Now I look in the mirror and not only see an image of myself,
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but of the women who have made me who I am today.
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I stand tall in my work,
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celebrating women's histories,
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in the hope that perhaps one day,
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no little black girl has to ever feel
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like she doesn't exist.
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Thank you.
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(Applause)
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