By Unam Ntsababa
South Africa’s history of resistance art is rich and powerful and intricately linked to the socio-political struggles we have faced as a nation. From the 1960s, art was used as a tool for fighting against apartheid and promoting social change. Artists often challenged the repressive government and used their work to bring attention to the atrocities Black South Africans endured during apartheid. Notably, the violent Sharpeville Massacre in 1960 tragically inspired artists to portray the cruelty of the state. During this time, different schools of thought about the place of art and culture in our society emerged. Some artists believed in using art as a direct weapon in the liberation struggle, while others focused on creating community art centres to foster a non-racial cultural practice.
‘It is as though our rulers stalk every page and haunt every picture: everything is obsessed by the oppressors and the trauma they have imposed.’ – Justice Albie Sachs
Key Artists and Movements
Thamsanqa “Thami” Mnyele is a notable figure from this period who viewed art as a tool for liberation. His work, such as “Women Unite Against Apartheid,” called for the use of art to express demands for freedom and justice. Mnyele was a prominent voice for Black African artists and continued his activism despite being in exile. On the 14th of June 1985, he was one of 12 people killed by the South African Special Forces in Gaborone, Botswana.
Thamsanqa “Thami” Mnyele (1948-1985)
Paul Stopforth used his work to hold the apartheid government accountable for its violence by showing the faces of the policemen who interrogated, tortured and killed Steve Biko. His series The Interrogators and Interrogation Spaces depicted the torture and suffering of political prisoners, focusing on the brutal treatment of leaders like Steve Biko.
Paul Stopforth (1945-), The Interrogators, 1979, mixed media on panel
The UDF Poster “Botha’s Emergency” is another critical piece of resistance art. Created by the United Democratic Front (UDF) during the 1980s, this poster criticised President P.W. Botha’s state of emergency declarations, which were used to justify brutal crackdowns on anti-apartheid activists. The poster’s stark imagery and bold text served as a rallying cry for resistance.
Botha’s Emergency, Produced by the United Democratic Front (UDF) at the Community Arts Project (CAP), 1985
Known for mixed-media collages, Sam Nhlengethwa created work that highlighted the realities of life under apartheid. His work often incorporates photographs, newspaper clippings, and other materials to create poignant depictions of urban life and resistance. In one of his most notable pieces, It Left Him Cold – The Death of Steve Biko, Nhlengethwa captures the sombre moment of Biko’s death. This was a powerful statement against the brutality of the apartheid regime.
Sam Nhlengethwa (1955-) It Left Him Cold (The Death of Steve Biko), 1990, collage, pencil and charcoal on paper, 69 x 93.2 cm. Standard Bank Collection, Wits University.
Sam Nzima is best known for the powerful and poignant photograph taken during the Soweto Uprising. The image shows 12-year-old Hector Pietersen’s lifeless body being carried by fellow student Mbuyisa Makhubo, with Hector’s sister, Antoinette Sithole, running alongside in distress. This haunting image became a symbol of the brutal suppression of the anti-apartheid movement and drew international attention and support for the fight against racial discrimination and segregation in South Africa, helping to raise awareness of the injustices and mobilize people around the world to support the cause.
The Post-Apartheid Transition
By the early 1990s, Apartheid was no longer economically viable for South Africa. The regime faced increasing international sanctions, internal resistance, and economic decline, making it clear that the system could not be sustained. A combination of economic pressure and the unwavering efforts of anti-apartheid forces resulted in negotiations that ultimately led to the end of the regime in 1994. As a new day broke across the nation, the focus on resistance art changed. New societal themes including identity, corruption, inequality, and the continuous fight for real democracy were addressed by artists.
The phrase “resistance art” came to refer to a wider variety of political and social critiques. In the post-apartheid era, artists continued to use their work to challenge societal issues. The Gaborone Culture and Resistance Conference in 1982 was a pivotal moment that marked the transition of resistance art into a new phase.
The Contemporary Art Scene and New Forms of Resistance
Zanele Muholi, a visual activist and photographer, focuses on identity politics, as they relate to the experiences of Black LGBTQ+ people in South Africa. Muholi’s work, such as the “Faces and Phases” series, challenges social norms and champions LGBTQ+ rights by depicting the lives of Black lesbians and transgender persons.
Athi-Patra Ruga uses performance art, tapestry, and mixed media to create bold and colourful critiques of contemporary South African society. By questioning conventional ideas of masculinity and identity, their alter-ego characters and vibrant works challenge traditional notions of masculinity and national identity, advocating for greater acceptance and understanding of many identities.
Kudzanai Chiurai employs photography, painting, and film to address issues like political corruption, social justice, and African identity. His work often features dramatic, allegorical scenes that critique contemporary African politics.
Kudzanai Chiurai (1981-), We Live in Silence VIII, 2017, Pigment ink on fibre paper
Resistance art in South Africa illustrates a journey from overt political opposition during Apartheid to a broader engagement with various social issues in the contemporary era. The legacy of artists like Sam Nhlengethwa and Sam Nzima, combined with the ongoing work of contemporary artists like Zanele Muholi, Athi-Patra Ruga, and Kudzanai Chiurai, ensures that art remains a powerful medium for social commentary and change in our country.