Writer: Culture Writer | Photographs: Supplied
An insidious threat is quietly emerging from the muted voices within our communities—those who are not merely enthusiastic consumers of the rich South African art landscape but also ardent supporters of the growing trend of cultural hybridity. Padmini Mongia, insightfully emphasizes that ‘cultural identity’ embodies a singular, shared culture that represents a collective ‘true self.’ This essence lies beneath the myriad of other, often superficial or externally imposed identities that individuals with a common history and ancestry carry. The narrative of blackness and the experience of black existence reflect a profound journey where we have continually forged our identities through the corridors of art. This journey is not merely one of self-determination; it is also a manifestation of resistance and the expression of immense love, illustrating the diverse and vibrant hues that our art encompasses.
Within the arts community, there exists a troubling hesitation to engage in a deep and meaningful dialogue surrounding the cultural and political imperatives that shape our contemporary landscape. By “imperatives,” I refer to the profound themes explored by the talented drummer Tumi Morogosi in his thought-provoking album “Group Theory: Black Music.” Similarly, the powerful work of Thandiswa Mazwai in her latest offering ‘ Sankofa’ and the daring work of Makhafula Vilakazi in “Concerning Blacks” illustrate these critical narratives.
The Standard Bank Young Artist Awards have played a pivotal role in documenting the diverse artistic talents that have emerged throughout our country’s history. In some ways, these prestigious awards serve as a mirror, reflecting the social and cultural currents of their respective eras through the selection of featured artists each year. A landmark moment occurred during the 1994 Standard Bank Young Artists Awards, where an unprecedented shift took place: over two-thirds of the recipients were black artists.
One of the awardees, Ntate Jerry Mofokeng , emphasized that upon recieving this award, he was encouraged to showcase his work as an artistic expression rather than a political statement. However, I contend that by distancing themselves from the socio-political landscape, artists may overlook a significant responsibility inherent in art. As Nina Simone profoundly articulated, artists have a duty to reflect the times in which they live. To dismiss this obligation is particularly irresponsible during a crucial period like 1994, when South Africa was on the brink of a new democratic era. This was a time when the previous apartheid regime had so deliberately utilized art as a tool to propagate its ideologies and maintain its oppressive grasp on society. In this context, the role of art transcends mere aesthetics; it becomes a vital vehicle for truth, resistance and spirituality.
In recent times, the work produced by the 2023 and 2024 cohort of young artists has emerged as a striking reflection of contemporary issues, particularly within the theatre category. One notable contribution came from The Theatre Duo, who were part of the 2023 Cohort. They tackled the complex and often contentious subject of corruption through their thought-provoking adaptation of *KKK*, a powerful piece written by Jefferson Tshabalala.
Additionally, Momo Matsunyane, who was honored with the 2024 Young Artist Award, poignantly explored the life and legacy of the radical Mama Winnie Madikizela-Mandela in their work. Without disregarding the critic of these plays, both of these plays shed light on urgent and courageous themes that compel us to reflect on our generational mission as young people in this country. Their performances challenge audiences to engage deeply with the social and political narratives that shape our collective experience today.
The 2025 Young Artist Award cohort showcases an impressive array of talent that reflects the rich diversity Standard Bank Art has championed over the years. However, one can’t help but feel a desire for a broader exploration in the themes these artists engage with. Many of their work are deeply rooted in personal narratives, often reflecting their own life experiences and emotions. While this inward focus provides valuable insight into their individual journeys, it also tends to create a sense of tunnel vision, limiting the conversation around the broader socio-political and spiritual impacts that affect the community of young people today.
There is an opportunity for these artists to elevate their work beyond personal introspection and delve into the collective experiences and challenges that resonate within the times of the country and the world really, at large. James Baldwin, much like the iconic Nina Simone, fervently urges us to recognize the profound responsibility of the artist. He asserts that it is their duty to illuminate the raw truths of the human condition and the complexities of society, even if it necessitates confronting and disrupting establishment. Through their evocative expressions, both Baldwin and Simone compel us to engage with uncomfortable and often violent realities, pushing us to reflect on the world around us and our place within it.
I believe this is where the disconnection between artists and the vast majority of young people originates. Nowadays, many young individuals in this country find themselves immersed in groove culture and a lifestyle heavily influenced by alcohol, therefore resulting in a depressed youth with no sense of purpose. This trend largely stems from the fact that much of the art they consume lacks truth and often glorifies themes that ultimately do not serve our collective progress. As a result, they are drawn into a cycle of superficial experiences, overshadowing the deeper conversations and truths that art can and should fascilitate. Discounting the importance of engaging in these truths puts us at a risk of prolonging healing and the formation of real solutions as we confront the reality that the ‘rainbow nation’ is a false narrative.
The intricate histories surrounding blackness not only serve as vital educators but also as catalysts for confronting the pressing issues we face; these issues demand our urgent attention to dismantle the pervasive oppression faced by black nations on a global scale. However, we mustn’t limit ourselves to expressions of sorrow and lamentation. Instead, we must actively seek to formulate real solutions to counteract the premeditated demise imposed upon us by those in power. It’s essential to recognize that figures such as Donald Trump and Elon Musk represent forces that threaten not only the existence of the black nation but unity as well. Their influence must be critically examined as part of our collective struggle for justice and liberation.
Here i uncover two artists who should have been a part of this year’s cohort. Whom without fear nor favor genuiley confront the often unsettling and thorny but yet necessary conversations the youth should be having to begin the healing process.
Gabi Motuba presents a thought-provoking work titled “The Sabbath,” which intricately explores the profound histories of black thought while firmly anchored in the tenets of black theology. This piece masterfully captures the complex and often tumultuous relationship that black individuals have with faith and Christianity. Motuba delves deep into the rich and multifaceted experience of a spirit-filled community of black people who navigate the dual realities of hardship and suffering.
In her compelling assertion, Motuba states, “Our inheritance as Black people, Christianity, the idea of Exodus, I wanted to spotlight those things and create a sound that would force one to bear careful witness.” This powerful reflection invites us to consider the significance of the Exodus narrative within the context of African theology and liberation movements, serving as a beacon for those confronting oppression and marginalization.
Additionally, the work resonates with Timothy van Aarde’s perspective that highlights the Exodus story as a pivotal element in black theology, articulating a narrative of resistance against systemic victimization. In the South African context, black theology transcends mere discussions of power dynamics and economic disparity; it is also a profound journey towards the reclamation of human dignity and a celebration of black identity, where the themes of victimization play a secondary role.
Motuba’s exploration vividly illustrates the cultural hybridity that characterizes this dialogue, exploring the intricate blending of identities that manifests in the diverse expressions of Jazz music. This fusion not only enhances the richness of the genre but also serves as a testament to the resilience and creativity of black communities in their quest for spiritual and cultural affirmation.
The powerful voices of youth ring out through the significant sound of the 15-piece band known as iPhupho L’ka Biko, inviting us to reflect on the profound impact of their music. Their work is not just a celebration of radical black musical traditions; it is a bold and heartfelt exploration of complex themes such as dispossession, race, history, ritual, and the essence of identity. Offstage, the members extend their influence by spearheading significant initiatives like the Amanzi Sessions, which create a platform for authentic and meaningful discourse between generations.
During these sessions, community members come together to engage in deep conversations that delve into the historical wounds etched into their lives—issues like alcoholism and violence that have permeated their communities. Through these sessions iPhupho L’ka Biko empowers young people to cultivate a vibrant reading culture, encouraging them to actively serve their communities and become champions who address the pressing challenges they face. They also extend their work through hosting ‘men circles’ where they explore positive masculinities.
Notably, this very band played an integral role in the Fees Must Fall movement, tackling urgent and contemporary issues that affect the most marginalised. As a collective, iPhupho L’ka Biko consistently delivers astonishing and transcendent live performances that are more than just entertainment; they are a call to action. They challenge us to confront difficult discussions about our identity, sparking reflections that help shape real solutions for young black individuals navigating a tumultuous world. Their music and activism intertwine, igniting a passion for change that resonates deeply within the community.
Despite their profound impact, these extraordinary works often go unrecognized by prominent accolades like the Standard Bank Young Artist Award. It may appear paradoxical to expect an institution such as Standard Bank Arts to acknowledge the burgeoning wave of artists whose music incites audiences to scream, chant, and worship a black God—an entity perceived only by those who are deeply attuned to this spiritual and radically expressive genre. However, suppose these platforms genuinely aspire to honor the legacies of our esteemed predecessors, including luminaries like Miriam Makeba, Busi Mhlongo, Moses Molelekwa, and Hugh Masekela. In that case, they must also embrace the vibrant and radical contemporary talents that resonate powerfully with today’s listeners.
These musicians not only carry forward the rich traditions of the past but also craft new narratives that speak to the heart and soul of a generation thirsting for connection and authenticity. Artists who are intricately woven into the social fabric of young people are courageously standing up to confront the established powers. In a time when nations are retreating into protectionist tendencies and societies increasingly urges the youth to become active architects of their own futures, we simply cannot allow for a disengaged or pacified generation.
Art should transcend the superficial realm of fleeting “vibes,” ephemeral “softness,” and self-indulgent themes. Instead, it must engage profoundly with the complexities of consciousness and history. Particurlarly in a world where there are genocides in countries like Congo, a world we oppressive narratives dominate. Art serves as a crucial tool in the ongoing struggle to restore dignity and humanity in the wider societal narrative, illuminating the marginalised experiences and celebrating their contributions in a way that demands recognition and respect. Any progressive institution should rally support behind artists who reflect the glaring violent human conditions and who seek to promote nations healing through their work.
Nonetheless, heartfelt congratulations are in order for the Standard Bank Young Artists cohort of 2025. A special commendation goes to Modise Sekgothe, whose impactful work has played a crucial role in illuminating and preserving black archives. We challenge Standard Bank Art to engage more profoundly with the vital conversations that young people are initiating about their responses to the oppressive forces that persist in our society. We cannot stand idly by and allow South Africa to become a passive spectator, vulnerable to the onslaught of bullying narratives that distort the truth about our nation.
Instead, we must harness the powerful tool of art to respond to and counteract these misleading portrayals, bringing forth a vibrant and authentic representation of our rich culture and the spirit of resistance. This vision can be realized through the support of institutions like Standard Bank Art, to empower artists who are bold enough to take radical and conscious approaches in their work. Lest we breed a culture of fearful artists.
