“But where is the light and why does it not come in through your bloody fingers? You hold your bloody fingers before my eyes and there is light in them but I can not see it.”
“You say: There are countries in my bloody fingers. I am interested in the borders.”
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ZiwuSeven maz’phelele. Index finger in the air, thumb at 90 degrees. Right angles for holy fractals. Two digits forming sacred geometries to say, this many days till I see you again. This way light splits and fractures and breaks itself in this many ways. This many centuries since they came and dispossessed. The biblical number of spiritual perfection. The stamp that brands every work of God. For He looked upon it, and saw that it was good. Seven.
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The First World Festival of Black Arts, or FESMAN as it’s commonly called, was a month-long pan-African festival that occurred from April 1 to 24 in Dakar, Senegal, in 1966. A passion project of poet-President Leopold Senghor, the festival was supposed to mark Africa, “its rightful place as a creator of culture,” and “the opening of this new era.”
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Born in the Eastern Cape of South Africa, Buntu Fihla is a visual artist with strong leanings towards street art and large-scale public murals. The mural mentioned above, Inyeke kaSebe (Sebe’s lip), is from a series titled Isizathu Esihle Singafihla Ububi, loosely translated, bad deeds can be masked by good reasons. This body of work looks at the elements that constitute the coat of arms of the Ciskei, which were highly patronizing of amaXhosa and isiXhosa Culture.
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