Masimba Hwati

Exploring the Liminal as a site of rituality, resistance and negotiation through intersections of sound and multimedia sculpture

How can cultures in Post-colonial Africa today achieve sound and aesthetic positions that are not default states, or merely acquiescing forms of hybridity and plurality?
How can sound and multimedia sculpture be used to study the complexities of a culture whose creative ‘structures inscribes both affirmation and resistance to Colonization and neo-colonization?’
I am interested in a  trajectory of negotiation and resistance that will explore the intersection of sound and Multimedia sculpture in liminal postcolonial Zimbabwean spaces. The multiple ways in which cultural resistance  which is the use of symbolism and meaning, to combat oppressive power can be registered and performed at this intersection. The research will involve interpreting archival war time radio shows and treating them as scores and material in designing and production of multimedia experimental sculpture /instruments in collaboration with dancers, composers, experimental musicians, and the public to create bizarre orchestras, convocations, and rituals. In this research, I propose to construct sonic and spatial experience zones that allow for the opportunity to contemplate on the current troubled state of Sub Saharan African societies with a special emphasis on Zimbabwe. These are performance situations and spaces for convocation ritual and study concerning ideas or resistance and negotiation using sound and multimedia sculptural elements.

 

A score for negotiation and immigration, Image credit: Tutsirai Musingwini, 2020, Harare, Zimbabwe
Masimba M Hwati is a multi-disciplinary artist mediating his practice through voice,  sound sculpture, performance, video, photography
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