Sahlah Davids
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PIERCED
“‘Malayism’ denied Islam the dynamism as a code applicable to the resolution of human problems. ‘Malayism’ was a selfish and individualistic approach. It considered only the individual’s needs in a practical ritualistic sense, but ignored completely his right to human dignity and the rights and needs of others. This attitude is very aptly expressed in the words uttered so often by conservative Muslims, ‘We Malays live for the Aqhirāh i.e. the hereafter, and the world belongs to the non-believers.’“ (Achmat Davids, 1985:6)The “Cape Malay” identity was developed through the intersection of religion and politics that lead to the creation of its unique traditions. Islamic practice in the Cape is unlike any practice in the world. This stems from acts and ritual practices that were used as a way of sustaining the Islamic religion during periods of political upheaval. Colonialism has had an immense effect on the practice of Islam. Holding onto traditions that are unique to The Cape stands as an act of resistance to the Apartheid and colonial system. Malayism was seen as a disease, existing through brainwash and the continuous degradation of human existence in response to the fear of the loss of religious freedom. It resulted in complacent bystanders who accepted white authority by turning a blind eye to the political upheaval present during the 1940s to 1985. In order to understand the complexities of the present, an exploration of the past and the systematic trauma it holds is important. Acts of leisure, acts of silence, and acts of power against religious practices are juxtaposed in what it means to be Muslim in a post-Apartheid South Africa.
The chairs are a reminder of a domestic space, yet they are mangled and warped, rendering them futile and unable to be used. The upholstered cushions are constructed out of sharp pins and protruding beads, making them uncomfortable to sit on. The decorative nature of the stools is amplified – an ugly beauty. By making use of beads, fabrics, pins and rich tones, Pierced becomes an extension of my lived experience of growing up with a paternal grandfather who was a tailor and a maternal grandmother who is a seamstress. In relation to the history of slavery in the Cape, many Muslim slaves were skilled artisans who transferred their skills from one generation to the next. I was constantly surrounded by lush fabrics, the sounds of the sewing machine creating its stitches, and beads that embellished garments that would often shine when worn. I see this aesthetic as both a connection to my family history as well as the religiopolitical lineage present in the Cape. The sound elements create tension and are in dispute with one another, yet the space becomes somewhat of a forced interaction and conversation between polarizing positions. Pierced places the viewer in the midst of discussion, dispute, prayer, debate, ritual, a fight for freedom, cries of joy and sadness, dhikr, a march in solidarity, and lulled recitation. This overwhelms the installation space, yet there are no figures, only chairs positioned and ready for prayer towards the Ka’ba, while others seek guidance from Table Mountain.
To be pierced is to be attached, serving a purpose that hurts but binds.