FROM THE ARCHIVE 2: December 10, 2017
Following in the footsteps of their predecessors, this new generation has taken up the social and revolutionary potential of poetry; they have grasped it between two hands, stretched it, pulled it apart, and moulded it back together in their own way, with an array of multi-disciplinary influences from hip-hop, jazz, visual art, film, and performance.
I hope that this artwork throws light on yet another aspect of global capital cycles that should be governed by fairer international Mineral Rights laws. Because this predatory mineral exploitation is a wave of neo-colonialism that could be curbed by more ethical governance internationally and not left to a few African leaders who do sign away rights for a pittance without conceiving of real value.
Petersen is a multi-disciplinary artist whose discourses focus on photographic ‘self-portraits’, installations and multi-sensory based performance. Her work has been a journey through her Muslim, Cape Malay, South African, and Indonesian past, with the hope of constructing a better future by taking back what has been robbed from her culture – heritage, history, pride, self-worth and dignity.
“Well you know, sometimes I get so irritated with audiences, especially male audiences who will say stupid things like “that’s a nice ass” or something like that. For me, I think as long as the performer knows exactly what the intention is with the body everybody will get over everything else. There are some people who just don’t get it, and that’s ok too. I know what my body is loaded with. I know what it is and I know how to use it. I know I’ve gotten to the point where I know how it works. I don’t necessarily care anymore.”
I think performative actions carry immediacy, and I think performative actions carry immediate connectivity just the way music does, but I think all art forms do this, can do this, it depends on how you utilise this.