I’m not trying to be ‘African’. I’m not trying to prove anything. If you want to doubt if it’s African, look at the material the art is made of and look at the person making it. So I’m using local materials and the concepts I put across are indigenous to this place. I actually hate the title ‘African art’ because titles are for people who want to gain from this.
His work speaks to the present by utilizing the past and invoking the violence enacted by the church, the military, and even the scientific fields, all under the guise of civilization so as to conquer and plunder black and brown nations.
Black Americans got involved in the Punk scene during the ethos of the mid-seventies, just as Fusion, Disco and early Hip-Hop were going through a nexus and a simultaneous disbanding to stand on their own accord, distancing themselves from one another as they crossed paths at the intersection of Black American music.
This is the last article in a series of articles on the friendship between ‘two’ African American artists, a “friendship beyond understanding”. In every article The Harlem Renaissance is the context of the story. This article is about the friendship between the poet and novelist Claude McKay and the activist poet Charles Ashleigh.
It is obvious that, for these Zimbabwean artists, migration is not just a topic or a social issue, but life experiences. Just as those who work in South Africa to make a living, many of the artists are also here, above on everything else, to make a living through their creativity.