Bubblegum Club

Tag: intersectionality

  • Visualizing Privilege in the Wake of Woke // With Rebone Masemola

    I am heterosexual

    I have never been a victim of violence because of my sexuality

    I still identify as the gender I was born in.

    I never had to “come out.”

    I am a cis man.

    I have never been catcalled.

    I am white

    I was raised by both my parents

    I have never been discriminated against because of my race

    I have never gone to bed hungry.

    I have never felt poor.

    I have never had to worry about making rent.*

    Statements annunciated. Bellowed throughout the crowd. If affirmed, a step is taken forward. An articulated advantage. The starting line of life clearly left uneven – individuals pinned to peppered points of privilege. These are but a few of the points raised by Pro-Black Feminst Rebone Masemola at the last Woke Saturday as part of a ‘privilege checklist’. She used the list to visually highlight the extent and position of privilege beyond just a buzz-word.

    This gathering was one of the inaugural public events she has hosted –  intentionally fostering a safe space in which people are invited to explore ideas and issues pertinent to notions of race, privilege, sexuality, masculinity and intersectional feminism. Woke entered public discourse on a tide political consciousness. As founder of the platform, Woke Project – Rebone notes a differentiation between woke and staying woke. In a sense she believes that the popular colloquialism has been tempered down from its original embodiment of social awareness and intersectionality. Staying Woke, extends from political awakening into action and activation.

    Creating constructive discourse seems to be an important step in enacting social change. Rebone holds the policy of “open invite, open mind” and utilizes the platform to, “showcase the works of emerging thinkers, activists and creatives who address a diversity of social issues.” The programme also strives to incorporate artistic endeavors like photography and poetry to address political consciousness in an inclusive way.

    Rebone’s experience in the space of academia, advertising and activism has inspired a desire of integrating these seemingly siloed disciplines. The utilization of critical thinking as a transferable skill has allowed her to engage across this spectrum of careers. The culmination of which has manifested through Woke Project – activating space both on and offline. The platform was created as a resource to share information and personal experiences, rooted in community.

    *An extract of the Privilege Checklist by Rebone Masemola 2018

  • Inxeba (The Wound): protest, culture & a tumultuous gay love story

    Warning: This article contains spoilers from the film, Inxeba (The Wound).

    Set in the scenic mountainous Eastern Cape emerges Inxeba, a powerful, moving and thought-provoking South African work of art directed by John Trengrove. This daring and unsettling film narrates the intersectional story of an uninspired and lonely Xhosa factory worker Xolani (Nakhane Touré) who joins the men of his community to initiate a group of teenage boys into manhood (a process known as ulwaluko). As Xolani embarks on the journey of being a caregiver during the initiation period, he encounters Kwanda (Niza Jay Ncoyini), a sullen yet defiant and disruptive initiate from the city of Johannesburg who urges Xolani to interrogate his queer identity.

    Inxeba is essentially a revolutionary tumultuous gay love story between two caregivers Xolani and Vija (Bongile Mantsai) which takes place in a violent, patriarchal and hyper masculine environment. It explores compelling themes concerning homosexuality, the construct of Xhosa masculinity as well as the colliding juxtaposition of modernity (represented by references made to the city and the effect it has on those that have left their rural homes) and tradition. Unfortunately, we live in a society where most instances of violent behaviour committed by men go unchecked which begs the question of how we should transcend violent masculinity in such spaces.  This film is revolutionary in numerous ways as it protests toxic masculinity and patriarchal cultural norms, it exposes deep-rooted homophobia and it fundamentally opens important and difficult conversations.

    The sublime cinematography manages to beautifully capture pain, love, affection, fear and rage all at once. One of the most mesmerizing moments in the film comes from the scene by the waterfall which showcases the passionate black Xhosa male lovers (Xolani and Vija) embracing one another, kissing, cuddling and being affectionate. This moment proves to be ground-breaking and encapsulating as it defies the rigid social norms and homophobic views that are held by some men.

    Viewers also get to witness the blossoming friendship between the caregiver and initiate. In a strange but organic way the initiate becomes the teacher when he drives his caregiver to confront his truth and sexual identity. The initiate plants the seed of learning and unlearning for his caregiver to which his caregiver rejects and ultimately chooses to return to his former life. The act of silencing is a common theme that reoccurs throughout the film. Kwanda is constantly silenced when he problematizes Xolani’s hypocrisy or even when he calls out Xolani for having an affair with Vija who has a wife and children back home. Kwanda’s opinionated and outspoken nature ends up being his detriment. This sets a strong precedent that being outspoken and fighting for what you believe in can get you killed. In the end, the unsafe environment that Xolani and Vija find themselves does not grant them with the opportunity to truly and freely love each other. They would rather pursue great lengths to protect their secret than taking the risk of being exposed, shunned and ostracized.

    Inxeba is bound to evoke feelings of shock, resentment, despondency and inquisitiveness which will take time to unpack, process as well as have honest and uncomfortable conversations whether it be on the dinner table or on social media. This film is imperative for the representation of the LGBTQ+ communities and that cause should not be derailed by cis-het fragile men. The representation of the queer community and queer issues in infinite versions matters. It also serves a crucial role of dismantling patriarchal cultural norms. We should ultimately never use culture as justification to dehumanise, oppress and subjugate marginalized folk (in this case queer folk) and if culture commits such acts of violence, this desperately needs to be tackled as well as problematized.

  • Lunga Ntila // An unapologetic, opiniated, artistic force

    “My feminism looks like freedom; it is opinionated and unapologetic.” These are the profound words said by design artist Lunga Ntila. She emphasises intersectionality, sexuality and femininity as important foundations regarding her storytelling and work. At her core, she is a truthful artist who encourages difficult but necessary conversations that speak to marginalized people. She manages to tackle subjects that attempt to dismantle a white, patriarchal social order while channelling creative energy to uplift black womxn.

    Lunga draws her greatest inspirations from music and art movements such as expressionism, cubism and post-impressionism. She is also inspired by her social structures and conversation, which she refers to as the “sensuality of things”. This can be seen in her expressive portraits. Her series titled “DEFINE BEAUTY” saw her distorting self-portraits as a way to make a commentary on how ideas of beauty are assembled. Often featuring in her own work, Lunga strategically uses her own body to challenge men’s entitlement over womxn’s bodies.

    ‘Watching me by Jill Scott’ by Lunga Ntila

    Lunga has also produced a body of work that speaks back to historical pieces that make white figures the centre. By inserting herself in these artworks, and sometimes manipulating other elements, she is engaging in an active form of decolonisation. This links back to her view that art is a visual manifestation of our time and believes that we look towards these visuals to gain a more coherent understanding of the history that forms part of our current story.

    She is a true millennial who uses Instagram as a kind of digital gallery space. The platform is also used as a source that motivates her to create work regularly. Posts on her page are interwoven with images of family, friends and political icons, which adds a layer of intimacy to how she shares her work.

    ‘Reimagining and Imagining’ by Lunga Ntila

    As an evolving conceptual artist and critical thinker, Lunga would like to expand her skills in various industries such as film and fashion. This stems from personal aspirations and her belief in the need for more representation of black people in the creative industry, specifically black womxn. Although her craft resides within the creative industry, she expresses her criticism of its exclusivity which is often fuelled by who is popular. In her view this can hamper the process of innovation.

    This blooming artist strives to one day collaborate with the likes of FAKA, Sakhile Cebekhulu and Bambatha Jones. One thing is for sure – Lunga’s political views combined with her artistic eye makes me eager to see where her journey will lead to next.

    ‘Red Converse’ by Lunga Ntila
    ‘For Real Look Ma’ by Lunga Ntila