Lisakhanya Bala's Reflection

Museum Tour: Zeitz | Iziko | District Six

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A Journey of Stories in Stillness

ZEITZ embodies art through its architecture, rooted in the building’s original structural purpose. Iziko narrates unearthed artifacts and motherhood through the lens of African language rather than Western ones. District Six events carry the reader like a current - a space where emotions of empathy and reflection live and linger.

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ZEITZ MOCAA honestly made my engineering senses tingle in a good way. As it was my first time at the museum, I was truly amazed just based off of the structure itself. The SALA exhibition was a breathtaking embodiment of elegance and depth. The contrast within the space, showcasing beautiful pieces that address hard and uncomfortable conversations such as racial classification, poverty, and war, had a strange yet profound effect on my mind. It forced me to look beyond the aesthetic appeal of the exhibition and absorb the message the artist intended to convey. I was excited to discover a Black South African artist who uses my personal favourite medium: charcoal.

Iziko’s exhibition on Motherhood was my personal favourite from the museum tour. I recognized familiar artists I admire, such as Lulama Wolf and David Goldblatt

I’ve always been drawn to subject matter related to women - especially Black women. I appreciated the influence of art movements such as Realism, which depicted the hardships of motherhood, and Romanticism, highlighting the beauty within those hardships. The artworks were arranged with a rhythm that felt both organic and intentional.

District Six was truly a touching exhibit. What I appreciated the most was the detailed focus on a few families who lived there before the forced removals. Not only were their physical possessions stripped from them, but their dignity was left to rust underground. The number of people who were removed from their homes was heartbreaking, but even more heartbreaking was how few were able to reclaim their land.

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Under The Aegis

The Gallery of Black Excellence

Under the Aegis is a gallery that screams possibility - the possibility of being a boss, an icon, and someone who doesn’t conform to the rules, especially as a Black woman in the art industry. Anelisa Mangcu is a powerful reminder of what can happen when you relentlessly chase your dreams. The gallery reflects who she is; it feels like a sanctuary for expression. It is intimate, inviting, and elegant. Her curation goes beyond the artwork itself; it shows her commitment to highlighting voices that are often overlooked and underrepresented

Walking into the gallery feels like an experience, more than just a visit to an exhibition. The current show, Klop Klop, is so beautifully curated that almost every piece feels alive. Each work, displayed within the four walls of the gallery, is given space to express its voice. I was personally captivated by how the Kaapse Klopse, which originated from painful beginnings, transformed that history into something celebratory. As someone who is not from Cape Town, I truly enjoyed learning about this tradition.

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“BLACK EXCELLENCE IS NOT A TREND — IT’S A LEGACY, AND BLACK WOMEN ARE ITS FIERCEST ARCHITECTS.”

- ANONYMOUS

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REFLECTION

The Experience

My experience this week was nothing short of fulfilling and truly surreal. I kicked it off with a museum tour alongside the Rhodes Scholarship learners. It was beautiful to take in all the art alongside such kind-hearted people. I couldn’t help but feel like I was gatecrashing their party, but everyone welcomed me with open arms - such incredible and intelligent individuals, curious about what the world has to offer. Seeing the visual representation of history and culture through the artists’ execution was brilliant.

The Motherhood exhibition’s use of wall colours using - deep red and earthy greens symbolising blood ties, fertility and nurturing - was very effective. What stood out most for me was the diversity of perspectives, as the artists came from different backgrounds and eras. Talking Heads and Heritage utilized spacing and lighting in a way that made it feel like we were actually in a cave, especially with the minimal use of light. So, so cool!

When I arrived at Under the Aegis, I was warmly welcomed by the curatorial assistant Itumeleng Manne (Tumi). She is such a gem - super kind, warm and funny, with a personality very much like Anelisa’s. Although there hasn’t been much physical work during the week, Tumi gave me great insight into their day-to-day duties in the gallery: how it operates, the process of closing an exhibition, what it’s like to work with various artists, and what they look for when selecting artists to showcase. I am truly in awe of them. They work with so much grace, and just from how the gallery looks and is maintained, I can tell they love what they do. It’s inspiring to see Black women doing what you might expect an old white man to do. The inner child in me saw what it’s like for someone who looks like me to achieve such amazing accomplishments.

I am so grateful for the advice they both gave me about navigating this current period of pausing my studies due to financial reasons. I want to thank them for their guidance, for lending an ear while I vented, and for sharing the bursaries and websites where I can apply for internships and/or job opportunities. They have encouraged me to see the light at the end of the tunnel. Thank you, Anelisa and Tumi, for being relatable. I know it’s not much, but I truly appreciate you both for sharing your journeys. Ndiyabulela