The Baddies of Isandlwana, a solo show by Desire Marea

Desire (Duma Buyani) was born in the serene coastal town of Scottburgh, KwaZulu-Natal, in 1991. Today, he makes his home and hones his craft in the vibrant community of Amandawe, within the same province.

Orphaned at the tender age of six, Desire was nurtured by a close-knit extended family, whose dynamism and unwavering support became the bedrock of his aspirations. From an early age, he felt an inexorable pull towards the arts. Upon confiding his ambitions to his family, he learned of his illustrious lineage: his father, Menzi Mcunu, was a celebrated artist from Lamontville, Durban. Menzi’s legacy was not merely confined to his artistic prowess; he was revered for his community outreach programs, imparting the gift of art to homeless children. His contributions earned him the honour of having the main gallery at Durban’s BAT Center named after him.

Desire pursued his artistic education at the prestigious National School of the Arts, later earning a BA in Visual Communication from Vega School.

His creative spirit is kindled by the rich tapestry of culture and history, the camaraderie of his peers, and the enduring strength of loving Black families. Among the artists he reveres are Zanele Muholi, Athi-Patra Ruga, Sabelo Mlangeni, and Luvuyo Nyawose.

The Baddies of Isandlwana

In Marea’s series of paintings, the black queer identity is reimagined within the ancient, pre-colonial landscapes of the Zulu nation. Drawing inspiration from the historic Battle of Isandlwana, where King Cetshwayo led the Zulu warriors to a triumphant victory over the British army, the title reflects more than just a moment in history—it embodies the enduring spirit of resistance against colonial oppression.

Yet, the work transcends this singular event, engaging with contemporary struggles against the pervasive ideologies of colonialism, including the violence of cis-heteronormativity that has seeped into our cultural beliefs as Zulu people. Through vibrant imagery of love, romance, intimacy, and eroticism, all steeped in the mystical essence of our heritage, these paintings portray men as warriors of the great Zulu nation.

Here, love is a battlefield, fought for with the same valour as fighting for family and kin. It speaks of courage and the fearless embrace of vulnerability within the bonds of brotherhood. These are stories of war and loss, of grief and the harrowing journey of living with defeat. Yet, they also echo themes explored in music, where masculinity, eroticism, and spirituality blend into a rich palette.

Through this artistic lens, we reimagine our ancestry, honouring the erased generations and redefining what it means to be their descendants.

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