The Pedagogy of Decolonial Art: Lessons from MEDU and Jantjes
Note: This reflection is from one of the classes in the course on Decolonization.
The question “What is art doing?” has haunted me since the one of our class until the final symposium session discussion. I have reflected a lot and connected the readings about MEDU art and Jantjes’ artwork with the notion of decoloniality. One of the lecture session mentioned that, decoloniality involves addressing hidden forces of colonial power, offering perspectives on struggle, and disconnecting those colonial powers from the local oppressed nations. These forms and actions of “decoloniality” involve a certain method of pedagogy, raising questions such as:
How do we educate people about this? How do we propagate decolonialism? How do we define freedom and embrace local/traditional culture, detached from imperialism and colonial power?
These questions about education led me to the aim of the Medu Art Ensemble. Medu is a collective of Southern African artists, who call themselves cultural workers, founded in Botswana in 1979. It aimed to train artists, foster cultural work environments, and build relationships among Southern African cultural workers. As stated in the reading, “Medu Art Ensemble, where the role of the artist concretized itself: the role of an artist is to learn; the role of an artist is to teach others; the role of an artist is to ceaselessly search for ways and means of achieving freedom” (Tricontinental, 2023, p. 9). From the readings, I want to highlight the speeches about The Necessity of Art, No Revolutionary Soloist, and the meaning of Being Understood. These values are pivotal to the movement and “education” of resistance art.
In 1982, the Medu Ensemble organized an event called “The Culture and Resistance Symposium and Festival of the Arts,” which convened a diverse group of artists and activists to explore the role of culture in liberation. Medu’s artworks and performances showcased at the festival embodied hope and resistance against apartheid, reflecting their commitment to using art as a powerful tool for social change.
Artists like Thami Mnyele emphasized the social responsibility of art in raising awareness and connecting it with the struggle for liberation. Medu’s work aimed to popularize the thoughts and deeds of the people through art, encapsulating the core ideas of The Necessity of Art. No Revolutionary Soloist. and To Be Understood. Furthermore, The legacy and impact of Medu’s cultural productions and artifacts continue to resonate with contemporary cultural workers engaged in political struggles. The organization’s work underscored the crucial role of art in national liberation movements, highlighting its enduring significance.
This then relates to Jantjes’ artwork, A South African Colouring Book (1974–5). The collection comprises 12 screen prints on cardstock, each designed with a gridded background and incorporating a collage of photographs, drawings, and text. Every poster features a series of color blocks arranged in rows, highlighting a particular coloring activity. The artwork employs a striking contrast between a vibrant and playful children’s coloring book style and the gravity of its subject matter. Utilizing screen printing, known for its bold and visually compelling graphic imagery, the artwork not only captures attention but also serves as an accessible medium often used in resistance movements such as MEDU. Symbolism and imagery play crucial roles, enriching the aesthetic experience while reinforcing a strong political message. By depicting the reality of the situation rather than abstract images, the artwork effectively communicates its deeper meanings and resonates with viewers on both artistic and ideological levels.
The notion of a “coloring book” itself underscores the idea of childhood education using coloring books, engaging the audience with memories of how we were educated with these tools. As we grow up, the meaning of color broadens, shifting from mere “color” to the socio-political context of color, as seen in racial segregation under apartheid. Jantjes’ work emphasizes the construction of racialized identities under apartheid, especially with his personal identification and the “white only” sign. His portrayal of colored people educates and gives meaning to the socio-political situation.
Although Jantjes is not a member of MEDU, his work resonates with the legacy and impact of MEDU ART. Cultural productions and artifacts like his remain relevant for contemporary cultural workers engaged in political struggles.
“To Seidman and Mnyele, it is neither possible nor responsible to exclude representations of the realities of the people in their art. Rather than adhering to a rigid style” (Tricontinental, 2023, p. 29)
