Ke Namile

As part of our Womxn’s Month program, Eclectica Contemporary is pleased to announce the opening of Ke Namile, a group show curated by one of our invited collaborators, LegakwanaLeo Makgekgenene. They have brought together 7 artists which include: Malwande Mthethwa, Shana-Lee Ziervogel, Elijah Ndoumbé, Lamb of Lemila, Ranji Mangcu and Rona to present a show which confronts gender binarism and exclusionary feminism.

I find it difficult to express a sentiment without telling a story. Setswana is an oral culture, one of proverbs and idioms, a testament to the fluidity of life and being. And further, having the ability to bring broad philosophies to their essence, to make them pocket-size, such that one can carry them on their person for the journey. The title is a combination of two age old proverbs.

Matlo gosa mabapi
Neigbouring houses burn together.

Phududu e rile ke lebelo. Marota a re ke namile.
The antelope says I am fast. The hills say I am wide.
The first warns that the problems of a ‘household’ in a community are
or quickly become an issue that affects everyone and the burden of such
a problem ought to be shared.

The second that rash, unconsidered action in face of a complex
situation will not see the challenged prosper.
Molelo a re ke sa ka lebelo. Marota are ke namile, gape ke mmu.

The fire says I am burning (hot) and (moving) fast. The hills say I am
wide and of sand.

Here I offer that the celebration and perpetuation of exclusionary feminism and gender binarism-in the face of systemic gendered and racial violence-is the flame risk short cut and preferred ‘quick route’ to the realization of gender equity (read gender, race & specie). To understand that no narrative is of no consequence is to be doubly aware of the importance of inclusive dogma in steps towards radical change. “Smallness of micro-practices therefore also speaks to larger processes of social transformation”(Ngwenya, 2002: 2). This is to suggest that there is not only no difference, but perhaps, no such thing as small and large acts towards ‘revolution’.

This micro-practice pulls to prominence; equity in inclusion (representation) and earnest solidarity as the metaphorical extinguishing expanse that is in confrontation with the rightfully condemned system of inherited principles and cheek in tongue antidotes. Rather than an exercise in entering correspondence with the status quo, Molelo a re ke sa ka lebelo. Marota are ke namile, gape ke mmu is simply a contribution towards the panacea. In a time where we are able identify the interconnectedness of the markers of systemic violence, it becomes increasingly important, in real and imagined spaces, to seek out remedy and representation that comes as close as possible to fully engaging with the expanse.

– LegakwanaLeo Makgekgenene