ABAFA(BA)ZI
“Abafa(ba)zi” is an isiZulu amalgam, which translates as “women who die knowing.” It combines the word “abafazi,” meaning “women,” with the prefix “ba,” meaning “those who are or those who do.” The title is inspired by the idea that women who possess knowledge can choose either to share it or to keep it to themselves while they are alive. The title symbolises the bravery and determination of women who navigate spaces of political and social uncertainty, conscious of the risks involved yet undeterred in their pursuit of justice, freedom, and a meaningful life.
Abafa(ba)zi – Those Who Die Knowing
Abafa(ba)zi* is a collaborative exhibition including commissioned works, artistic experiments, and existing works with transdisciplinary women artists and researchers from the African continent connected to womanisms. It is rooted in personal and familial narratives, underscoring the pivotal role of black women as shapers of everyday life and custodians of stories.
Abafa(ba)zi combines the Zulu words "abafazi Abafa(ba)zi," which translates to "women who die knowing" in English. The title is inspired by the concept that women who possess knowledge can choose to either share it or keep it to themselves while they are still alive. Abafa(ba)zi combines the prefix ‘ba’ meaning ‘those who are or those who do’ into the word Abafazi (women) from the Zulu language, translating to those who die knowing. This title symbolises the bravery and determination of women who navigate spaces of political and social uncertainty, conscious of the risks involved yet undeterred in their pursuit of justice, freedom, and a meaningful life.
This exhibition highlights the ways in which women have served as conduits of knowledge in ordinary settings and communities; it also positions us (Black women) as preservers of our own narratives. Abafa(ba)zi acknowledges the continuation of authentic black womanhood and feminist pursuits, highlighting our collective responsibility for evaluating and reframing narratives while emphasising self-awareness and the capacity to sculpt personal narratives. By amplifying the voices and experiences of these women, Abafa(ba)zi fosters transgenerational dialogues and empowers younger generations within the African societal fabric.
Ubufazi (womanhood) is an agency practised by African women in various ways that embodies the qualities of femininity, imagination, and innovativeness present in African societies. Despite different terms across cultures, it reflects the essence of womanhood. Here, Ubufazane (womanism) is not a reaction to imperialism, nor is it performative; the exhibition is birthed for black women to exist freely.
Eight visual artists were invited to respond to the call to participate in “Abafa(ba)zi”. Alongside them, four musicians were commissioned to compose a song that would complement the spirit of the show. Through these diverse artistic contributions, we aim to explore how African women serve as bridges between the known and the unknown in their communities and beyond.
Curator: Thina Miya
Curatorial Assistant: Puleng Mongale
Curatorial Undertaking
“Abafa(ba)zi” explores the multifaceted ways in which African women have embodied and practised feminism within the context of African society. This exhibition illuminates their agency as they navigate familial, social, and spiritual landscapes. Each artist contributes to a broader narrative of self - being and self - determination, centering black women in their own narratives and offering glimpses into the lived experiences of African women across generations.
As “Abafa(ba)zi” travels across the continent over a period of five years, the exhibition title will be translated into the languages of each new country it visits. This inclusive linguistic tapestry will weave together many voices in solidarity, affirming the right of women all over Africa to exist freely and authentically in any form they choose. The growing collection of languages, like the women’s stories, will not be bound by borders but rather united by a shared purpose of liberation.
As part of the artists’ creative process, they were asked a series of reflective questions to inspire their work: When did you first realise that a woman may serve as a bridge between the known and the unknown? Was it something she said or did? What was her name, and how old were you? How did this realisation broaden your understanding of the world? This catalogue explores the various responses to these questions, some expressed through new commissions and others through curatorial selections of existing works. Through the exhibition, we hope to honour the countless unnamed women who preserve stories and culture.
Mimicking the layout of a house, the exhibition invites visitors to enter and exit through the kitchen, a central space in many African homes for gathering and storytelling. The drinking vessels, as the exhibition’s key visual, symbolise the pouring out and imbibing of knowledge and healing, and the sharing of stories, wisdom, and cultural heritage.
Building on the idea of home, the exhibition delves more deeply into communal values, exploring how “we” as a society empower ourselves through strong family bonds. It embraces tradition while accommodating diverse experiences, allowing space for the many different expressions of black culture. In doing so, the exhibition reflects a broader understanding of how culture and community shape identity beyond individualistic perspectives.
KITCHEN:
ANCESTRY | SPIRITUALITY | MIGRATION
The artwork featured in this area, which focuses on migration and memory, uses photographs and maps to reflect how migration shapes personal and collective histories. This initial placement emphasises the connection between nourishment and movement, suggesting that just as food sustains, so do stories of migration and survival.
Laeila Adjovi, The Roads of Yemoja ︎︎︎
LIVING ROOM:
BLACK WOMEN AS PRESERVERS OF KNOWLEDGE
This grouping of artworks explores the theme of knowledge preservation, to honour Black women as custodians of cultural memory. The living room setting emphasises it as a space for shared wisdom and intergenerational dialogue, where stories, skills, and traditions are passed down. Each piece reinforces the idea that, much like a family gathering, these exchanges are essential for sustaining identity and collective knowledge across time.
Armel Luyzo Mboumba , Éther Féminin: Révélations des Foréts Sacrées ︎︎︎
Piloya Irene , Vestiges of Time ︎︎︎
PASSAGEWAY:
TRANSGENERATIONAL CONVERSATIONS
KNOWLEDGE EXCHANGE
The passageway in an African home represents a connecting space, where daily crossings allow for the sharing of stories, values, and wisdom between generations. This transitional area embodies the continuous flow of cultural knowledge, as ancestral heritage is preserved and reshaped through lived interactions. The artworks grouped here explore these themes, delving into the ways knowledge, memory, and identity are passed down and reinterpreted across time.
Wilfried Mbida, Madame Widow Biyembel ︎︎︎
Amanda Mushate, Mushoko Erudo Nezvito ︎︎︎
EMSAMO (SHRINE):
COLLECTIVE VOICES FOR CHANGE
Umsamo (Shrine) introduces the premise of the exhibition with a song, an enchanting choral verse that embodies the spirit of empowerment. “Umsamo” refers to a space (typically in a house) where the physical and metaphysical meet and where communication with the divine becomes possible.
