In defence of jumping against border controls
TIME OUT
AFRICA without borders is what was uppermost on Nkosinathi Quwe’s mind when he delivered his Jumping Borders exhibition.
The central theme of his work is the act of jumping. What may seem a simple and natural movement has deep symbolism for him.
“Through my work, I decided to explore and capture that suspended moment when one is in the midst of jumping over a fence or crossing a stream or any sort of physical barrier.
“For me, that is a sacred moment of rebirth, transformation, death and life,” he says.
“I confront issues of identity, black body politics, xenophobia, migration and the forced displacement of families. My work is also about getting over personal obstacles and hindrances.
“It’s about the spirit of survival and fighting to see another day.
“Jumping is an action that one engages in when excited, suddenly startled or frightened. You either jump for joy or jump because you have just realised that there’s a snake coiled up on the floor.
“The action itself at times is a means of seeking freedom from certain bondage or obstacle.”
Quwe says describes a transformation of the body, the physical, mental and spir- itual aspects of an individual.
He argues that the phrase “jumping borders” now carries negative connotations.
But he counters that, historically and geographically, borders were not a natural part of the African landscape.
“They are barriers that have divided nations. They are the direct results of the legacy of colonialism and a vicious capitalist system that claims ownership, exclusivity and rights to land and natural resources that once belonged to every animal and human being living on the land.
“Borders have left some nations trapped in fear, packaged and isolated in countries led by tyrant leaders – making it hard for people to seek help and relief from neighbouring countries.”
Quwe’s works are a result of an art residency cultural exchange with Zimbabwean Epheas Maposa who came to Johannesburg in March while Quwe returned the favour in April by visiting Harare.
is on at Eyethu Gallery in Mofolo, Soweto, until today. It then moves to Harare.