The few black artists who made any early inroad into the urban South African art scene occupy a position parallel to that of Africana painters, who were primarily producing an accurate pictorial record of the curious exotic details of fauna and flora, and studies of the indigenous people.
In tandem with the colonial and apartheid view that blacks were a ‘breed’ apart, what many white collectors expected of black artists was an art that, through their eyes, represented cultural apartness, or what was called “native studies”. Such works were those depicting the ‘authentic’, mystical and exotic African, showing ‘tribal’ life and customs – like for example Gerard Bhengu’s ‘Smiling Young Man with Feathered Headdress’ (undated).
The foundations of fine art by black South African artists were laid by early pioneers; John Koenakeefe Mohl, Ernest Mancoba, George Pemba and Gerard Sekoto. All of these early figures had produced artworks unprecedented in terms of the history of art by black South Africans. It was an art that was a response to the changing conditions of black experience, with an increase in Christian influence and pressure from a white controlled economy.
Their art was also formed as a result of the influence of a western approach to art making, and the introduction of materials and techniques associated with the European tradition. These artists had had the opportunity to study both locally and abroad.
Of the early pioneers only Mohl was able to have any direct influence on art developments in South Africa in the forties. And it is for this reason that he can be considered to be the father of township art. He was certainly the first black artist to work and exhibit as a professional fine artist in Sophiatown and Soweto, and the first artist who offered art classes in the township.
In the 1930s and 1940s, Mohl and Sekoto painted images of the township and township life of the black and ‘coloured’ working class, against a backdrop which most whites, because of the divides of segregation and class polarisation, knew very little about black. Through their art they revealed to whites, the primary consumers of art at the time, the lives of people who were confined to townships when they were not toiling in the white economy.
In depicting those who were considered only good enough to keep the wheels of industry turning and the kitchen sinks of leafy white suburbs clean, Sekoto, along with Mohl and Pemba, pioneered a genre that is today commonplace and a cornerstone of South African culture – ‘township art’. Every artist who has worked in this genre, follows in the footsteps of Mohl, Sekoto, Mancoba and Pemba.
The label, Township Art, was coined originally in reference to the movement that blossomed in the black townships during the 1960s. Correctly, therefore it applies only to that historical phenomenon and the works of art that issued from it. Township art became a kind of hothouse, in which a generation of young black artists ripened.
The main identifying features of of Township Art were its subject matter and its source. The artists involved were mainly residents of the black townships on the outskirts of Johannesburg; most students of the Polly Street Art Center; and their primary theme was the everyday life of the community in which they lived. Township Art was essentially concerned with the human situation. Conceived amid the the daily angst and hardship of existence in a deprived society, it testified to the spiritual resilience of the artists.
Social circumstances were even less favourable than in Sekoto’s day. Sophiatown’s and District Six communities and culture had been forcibly removed and dispersed. The anonymity of life in the sprawling Soweto, the loss of community cohesiveness and the feelings of displacement that followed the destruction of Sophiatown gave rise to a yearning for self-affirmation and to give a definition to a collective identity. It is therefore not surprising that Township Art coincided with the dawning of Black Consciousness among the townships residents.
Yet, the wave of self-expressive energy that surged out of Soweto in the sixties was not motivated by political agendas. Though their records of daily life were often permeated by subjective emotions, there was little ideological content in the earlier work.
Lack of resources meant that many black artists had to rely on media other than oil-painting, and making a virtue of necessity gave added force to their work. Black artists also made striking use of the accessible and relatively cheap medium of the linocut, charcoal and pen drawing and watercolours.
Feni (known as Dumile), for instance, became a master of drawing, often in ballpoint pen. He encapsulated profound personal emotions in images of poverty, brutality and fear. Dumile’s powerful sense of anger, frustration and despair at the deprived lives of his fellow black South Africans fed into work of extraordinary power; his distorted figures seemed to have been physically deformed by the very forces of society. Called “the Goya of the townships”, he painted his own version of Picasso’s Guernica, a cry of pain at human suffering. (Ref)
By the Mid-seventies, perspectives shifted as Black Consciousness gained impetus and township residents became increasingly politicised.
Some Artists of this Era
Esme Berman – Painting in South Africa
Archival Platform -Emile Maurice – Gerald Seto
Marie-Lais Emond – Township art: South Africa’s political writing on the wall
Kayla Reid – Introduction to Township Art
Polly Street Era
South African art – emerging Black Artists