: : ? 25 revolution, and with years of varied experience as a “conductor” of artists and events, working in the dingiest of corners and rubbing shoulders with the “highest of high”, Gwangwa speaks with passion of the migration of peoples. She speaks of how we all come from the same beginnings, and of the arbitrary circumstances that divide us, and of the power and purpose of arts and culture to build understanding and kinship across even language and geographical barriers. Not far away, in Marshalltown, newly- appointed curator Dr Same Mdluli heads up the prestigious Standard Bank Gallery. Despite three degrees to her name, and a wealth of experience in the field (including as a prasticing artist, primary school art teacher, and a stint with one of the big commercial galleries), Mdluli is clear that her career trajectory is not a particularly notable one, but rather (as with many of her colleagues) the result of working hard against the many institutional mechanisms that have kept black scholars from pursuing certain career paths. “It is inevitable,” she says, “that after more than twenty years since the political shift of 1994, the excuse or myth that there are not enough educated black art practitioners no longer holds true!” The first exhibition presented under her leadership is entitled “I Am Because You Are: A Search for Ubuntu with Permission to Dream”, and speaks to the same philosophy that found Gwangwa drawn to a space that engages our relationship with the continent. Both Gwangwa and Mdluli make reference to the creative output of the 1980s as the birthplace of what is now coming to bear. As Mdluli explains: “It was then that black artists were finally allowed to show in spaces that were reserved for white artists only. What we are seeing now is an industry that has no choice but to keep on par with what is happening not just in the country, but on the entire continent!” The importance of legitimate platforms for communicating in one’s own language cannot be underestimated (whether that be visual, or movement, or cultural, or with words), and it is the perceived imbalance of knowledge and power (because of diminished agency) that is at the forefront of what these leaders seek to shift during their tenure. Mdluli explains, “Art institutions in South Africa have a responsibility to ensure that the content, and the context from which they operate, are centred from within the African continent. With the advent of art fairs and biennales for example, Africa has a far greater presence in the international arena. It is therefore all the more important for the visual arts to remain relevant to its time; but to do so with a level of integrity and authenticity that will benefit coming generations.” Gwangwa reiterates, “We need to unpack our identity as Africans. Tomorrow’s children are going to be running this continent – we need to sort out the ‘stuff’ between us, to acknowledge and embrace our similarities, so that future generations can step into the power, value and beauty that this continent has to offer.” There is no doubt that culture remains the ultimate catalyst for connection, nor that under the guidance of these leaders, the time has come for the creation and celebration of a new order. Opposite :: Dr Same Mdluli Photo :: Supplied :: Fiona Gordon Creative Fix