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The politics of fashion and beauty in Africa

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30 | Fem<strong>in</strong>ist <strong>Africa</strong> 21<br />

social isolation that they experience, <strong>and</strong> the complex racial system they face,<br />

‘hides’ them away. This is compounded by the homophobic, sexist, patriarchal<br />

<strong>and</strong> classist societies that Black lesbians f<strong>in</strong>d themselves <strong>in</strong>. Thus, Black<br />

lesbian spaces are a necessity, <strong>and</strong> <strong>in</strong>deed have cont<strong>in</strong>ued to be a def<strong>in</strong><strong>in</strong>g<br />

element <strong>of</strong> Black lesbian organis<strong>in</strong>g <strong>in</strong> South <strong>Africa</strong>. FEW rema<strong>in</strong>s one <strong>of</strong> the<br />

very rare spaces that work<strong>in</strong>g-class Black lesbians <strong>in</strong> Johannesburg occupy, or<br />

from which they f<strong>in</strong>d social support. In recent years, different group<strong>in</strong>gs that<br />

<strong>of</strong>fer social <strong>and</strong> network<strong>in</strong>g spaces have emerged, <strong>in</strong>clud<strong>in</strong>g queer monthly<br />

events such as ‘Open Closet’, which takes place <strong>in</strong> Melville <strong>in</strong> Johannesburg,<br />

<strong>and</strong> the most recent ad hoc travell<strong>in</strong>g event #ForBlackGirlsOnly that is<br />

held <strong>in</strong> different South <strong>Africa</strong>n cities. Sivu Onesipho Siwisa, organiser <strong>of</strong><br />

#ForBlackGirlsOnly describes it as:<br />

a deliberate <strong>and</strong> unapologetic space to centre the lives <strong>and</strong> experiences<br />

<strong>of</strong> Black women right across gender <strong>and</strong> sexuality l<strong>in</strong>es. It is a space to<br />

share tools to build ourselves. A space to tend to our wounds – wounds<br />

we may have not even known we had. It is a space <strong>of</strong> safety, however<br />

momentary, where Black girls are not threatened.” (Vanguard Reporter,<br />

2015)<br />

“I St<strong>and</strong> Corrected”<br />

For many years now, Black lesbian visual activist Zanele Muholi has been<br />

captur<strong>in</strong>g the lives <strong>of</strong> black LGBT persons <strong>in</strong> South <strong>Africa</strong> <strong>and</strong> elsewhere.<br />

Muholi has a long history <strong>of</strong> activism, hav<strong>in</strong>g been a part <strong>of</strong> the Black lesbian<br />

organisation Nkateko <strong>in</strong> the 1990s <strong>and</strong> later co-found<strong>in</strong>g FEW. Driven by the<br />

urgent dem<strong>and</strong> <strong>of</strong> represent<strong>in</strong>g black queerness <strong>and</strong> ensur<strong>in</strong>g its visibility,<br />

Muholi’s photographic work rema<strong>in</strong>s one <strong>of</strong> the richest visual archives on<br />

black queerness on the cont<strong>in</strong>ent. It is Muholi’s Miss Lesbian photographs,<br />

a series <strong>of</strong> the artist’s self-portraits pos<strong>in</strong>g as a <strong>beauty</strong> contestant, that are<br />

<strong>of</strong> <strong>in</strong>terest here. This series is a cont<strong>in</strong>uation <strong>of</strong> Muholi’s own experience as<br />

a runner-up <strong>in</strong> the Ms Sappho contest discussed earlier. At the same time, it<br />

speaks to other current realities that are tak<strong>in</strong>g place <strong>in</strong> South <strong>Africa</strong>.<br />

In August 2012, Cape Town dancer <strong>and</strong> choreographer, Mamela Nyamza,<br />

<strong>in</strong> collaboration with British-based playwright, actor <strong>and</strong> director Mojisola<br />

Adebayo, put together a stage performance, I St<strong>and</strong> Corrected, first<br />

performed at Artscape <strong>The</strong>atre <strong>in</strong> Cape Town. <strong>The</strong> poster advertis<strong>in</strong>g the play<br />

was that <strong>of</strong> a Zanele Muholi photograph from the series Miss Lesbian. <strong>The</strong>

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