In art criticism ‘nonrepresentational’ is a synonym for ‘abstract’. Used here, it draws attention to the fact that we do not represent the artists in the show, and it echoes the term ‘invitational’, an Americanism that describes a sports tournament open by invitation only.

The universal tropes that the artist explores in these seven works are so immense, so all-encompassing and so in urgent need of addressing that we are encouraged to pause here, to slow down, tiger, and to take in the erratic year that has been both the longest and the shortest time.

In the song Thuma Mina (Send Me), Hugh Masekela pens the lyrics “I wanna be there when the people start to turn it around”, which rings true to the very first words in South Africa’s Constitution, “We, the People”.

There are people in so-called academia, who in their wisdom have convinced themselves that they stand on a higher moral pedestal to call out Black people for their legitimate reaction to racism. We must challenge people like Adam Habib and Mam'Thuli Madonsela for their dangerous posture in defence of white supremacy.

Here I suspect is where we ought to look, for it is where the rain began to beat us. When we do, it will become evident that, twenty-five years after independence, Black people remain excluded from the circuits of knowledge and cultural production in South Africa. Similarly, we have as a logical consequence no role in the determination of our own society’s inter-subjective meanings, and its implicit norms constitutive of social practices.

Blood Psalms is an epic series based on ancient African mythology. Currently shooting in the Eastern Cape and Gauteng, Blood Psalms chronicles the rise to power of a fierce teenaged princess, Zazi (Bokang Phelane from Keeping Score, Emoyeni), who battles a world-ending prophecy to navigate her people through ancient curses, long-standing tribal vendettas, and the wrath of the Gods.

Political Science, as taught in South Africa, reflected a critical gap of a ‘lack’ (persisting to date) of most insights of ‘black’ Africans. My special interest, was expressly on ‘black’ South Africans (located in Africa or beyond in the diaspora).

The exhibition is divided into three areas or worlds. The first is configured around the Fall, a realm where the natural and human worlds meet. The animal-human hybrid figures represent the second world of the exhibition. Hybridity refers to the mingling of species, races or cultures, a crossing of one thing with another.