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abstract
We cannot fight ‘climate change’– we objectify that which we cannot touch. The ‘fight’ refers instead, to our observations, reflections and concerns on the impact these shifts in climate patterns (as a result of a substantial increase in global warming) have made on our lives and on the natural environments that we rely on for sustenance. It refers to the devastation these shifts have created, impacting vulnerable peoples significantly.
The media particularly during the United Nations Climate Change Conference (COP27), focused attention on the myriad ways in which the change in climate could be blamed for the state of hunger and poverty, political and social unrest – globally. This begs the question of why Climate Justice – the elephant in the room – is embedded in the agenda; and as a concern within this ‘fight’, cannot find its way to restore women to land ownership in previously colonised areas of the world.
This photo essay, through the lens and experience of the making of Silence as a Room#1 of #5, Richmond, Karoo, considers the ways in which our relationships to land and ‘the feminine’ have formed a significant impact on all areas of our survival; where women in particular for the past few centuries have been severed from the land rendering many destitute, without means and by extension without dignity or autonomy. Speaking through a visual language (as seen here: https://coral4art.co.za/silence-as-a-room/), a work in and of the land (and the feminine), the structure, created to draw attention to silence in the land as experienced and created by a brown woman; was developed by manually working the land, observing ownerships, access and power to and on the site. The work highlights and speaks to the gendered power and authority inherent in our access to land drawing attention to the engine − capitalism that ultimately should pay the price of affected and vulnerable peoples the world over, but does not. I consider that this is no coincidence.
Disclosure statement
No potential conflict of interest was reported by the author(s).
Notes
1 ME refers to the idea that in my individual state of being, I am not just mySELF, but rather that I exist as an identity partly given to ME externally. I am therefore racialised, gendered, class described and much more. In Dreams as R-evolution (https://coral4art.co.za/dreams-as-r-evolution-2/), I am situated in the body of work as a representation of myself and of those like ME – implying anyone who identifies closely to this ME and my specific description including all of the above. In Dreams as R-evolution, I include a detailed glossary (MY Glossary) of terms for words, symbols and ideas that I use repeatedly in my collective body of work over the past ten years and more.
2 The Feminine is a constant reference in my collective body of work (https://coral4art.co.za). The concept – feminine for me does not necessitate gender, though it alludes to women as a primary ‘holder’ of matters and energy, feminine. Feminine can also be feminist and it is black and brown. It is also womanist and eco-feminist. It is as I am all these things that are embedded in my Feminine.
3 ‘Green’ is also a reference I make to an installation (2021-2022) that encounters the natural environment of which we are a part and its engagement with the Feminine. Refer to: https://coral4art.co.za/3266-2/
4 Silence as a Room, more details here: https://coral4art.co.za/silence-as-a-room-about/
5 ‘We’ in this instance could refer to human beings; (man)kind; whoever coined the word Earth as pronoun – the Bible, Western colonial society; men; women … If anyone has referred to the Earth in its pronoun, then you are included in the ‘we’.
6 A site, www.brandsbyovo.com (https://brandsbyovo.com/why-we-name-drive-connections-with-brand/) (accessed 4 April 2023) that deals with the psychology of branding, writes that naming provides identity, symbolism, description, reference, allows one to simplify, organise and tame. Taming, according to the site, allows one to form an emotional connection to the thing that is named; it becomes ownership or control or a way to become better acquainted with.
7 ‘These councils’ refer to the traditional councils who have decision-making capacity.
8 A tongue-in-cheek witty science fiction movie, Guardians of the Galaxy, which first appeared in a Marvel comic in 1969. The first film made in 2008 provided source material for the Guardians of the Galaxy, a 2014 movie directed by James Gunn and later again, Vol 2 in 2017. To be noted, the hero is an American pilot named Peter Quill and his team become the guardians. They are criminals who decide to save the galaxy. Groot who is a gun toting large tree and a Racoon (Rocket Raccoon) form part of the notorious team. Find a review here: https://fictionhorizon.com/guardians-of-the-galaxy-movies-in-order-how (accessed 4 April 2023).
9 It is well-known that many of the ships that stopped over at the Cape before and after the refreshment station was established gained access to women from Khoi-Khoi and San villages as well as the slaves that were brought to the Cape.
10 ME – (see MY Glossary 2023) is a reference to anyone that is of a similar demographic to ME in gender, sexuality, interests, abilities, race, culture, height, a minority.
11 coloured is deliberately not capitalised and neither is it written in parenthesis as is typical, to indicate my disdain for the label, which I was given during apartheid, which separated ME from others and which continues to do so.
12 black is not capitalised and neither is white as I prefer not to elevate the racial demography given to us during apartheid and which affects us still now (See MY Glossary 2023).
13 Indian while used to refer to a specific racial group during apartheid is capitalised as it relates to the country. In this instance it references a South African demography.
14 A Suzuki Jimny which seems to have a following of people who often use this vehicle for 4 × 4 sporting events and experiences. For ME, it is a functional vehicle that uses less petrol and can arrive safely over rough terrain in reasonable condition. It forms part of my story.
15 According to the locals from the location, hunters are referred to as ‘illegal’ because they are not able to apply for hunting permits for financial reasons and as their demographic does not augur well for the farmers. They are treated with suspicion as they often access the farms illegally with their hunting dogs, devastating the sheep herds and small game. It must be noted that these ‘illegal’ hunters are generally hunting for food – some of which they would sell; as opposed to hunting as a sport which is well capitalised.
16 MAPSA – Modern Arts Project South Africa is an arts residency that offers cultural and artistic exchanges, residencies and accommodation to visitors who travel through the town of Richmond, Northern Cape. The MAPSA also boasts a collection of artworks acquired from South African and International artists.
17 ‘Brother from another mother’ is ‘de lingo from da township’ (this could mean almost any township where coloured people live though I’ve often heard it said in Gauteng and Western Cape). It means the half-brother, or an unknown parentage … orphan, someone not to be too closely associated with … it’s often a veiled insult, though on many an occasion it’s said as a laugh … and we all know what it means.
Additional information
Notes on contributors
Coral Bijoux
CORAL BIJOUX has spent substantial years in her practice engaged in the development of programmes for artists amongst others, and the development of creative and contextual spaces for audiences to ruminate about humanity and the environmental longevity of our world through imaginative spaces and artworks. For the past 10 years, she has engaged her own artmaking and curatorial practice encouraging ideas about dreaming as activism and transformation. The large-scale installations she creates embodies the experience of space, through the juxtapositioning of object, sculpture, and 2-dimensional work as ‘mini-worlds’ using found, upcycled, natural and atypical materials within these multiple sites. Her audience is situated at its centre. She sees herself as a lifelong student, with interests in philosophy, science and art. Formerly a qualified educator with many years of experience in management and educational development initiatives, she has returned to study, where she completed an Honours in Gender Studies (summa cum laude) and is completing an inter-disciplinary Masters in Arts at the Drama Department, University of KwaZulu-Natal (UKZN). Find out more here: https://coral4art.co.za/about/