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𝐖𝐇𝐀𝐓 𝐈𝐒 𝐀𝐑𝐓?

𝐀𝐌𝐈𝐃𝐒𝐓 𝐁𝐄𝐀𝐔𝐓𝐈𝐅𝐔𝐋 𝐓𝐇𝐈𝐍𝐆𝐒

DISCLAIMER

I do not have any academic nor professional training in art. My articulation of what art is a function of my layman’s instinctual appreciation of things beautiful against the ugly; both in the figurative and abstract manifestations as my senses perceive it in any given situation and space, at any given time. All I know is how to think and write, and write and think. Art is what I feel. If I feel it, I can think it. If I think it, I can write it. Writing is my art, my artistic expression. Writing is what I do; all attributable to my academic training.   

WORKPLACE OF BEAUTIFUL THINGS

People do from time to time visit museums of all kinds for all kinds of recreational, educational, and research reasons. I work at Norway’s Nasjonalmuseet. The institution has proved to be an awesome literary creative’s wet dream for me as an author and poet. I get at least one goosebumps moment each day I am at work. Tens of thousands of works of art are on display throughout the eighty-nine exhibition spaces at the museum. In all their widely variable expressive forms, these artworks move me in a way that ever fills me with love and joy like I have never experienced before. Working here is a privilege I am much grateful for.

At different points in about all the exhibition spaces in the museum, there are rest stations comprising benches upon extensions of which are placed, amongst other items, wooden playing cards. The cards have various quizzes and games for the guests to have a go at as they sit and rest. I, together with Ole, a fine but ever condescending colleague young enough to be my grandson, happened to have been engaged in a discussion about various aspects of the museum when we approached one such station. Ole then unexpectedly reached out and randomly pulled out a card from the bench extension. It turned out to be a quiz card with the question: ‘What is Art?’; creating a gotcha moment that I saw Ole revelling in.

Talking about Ole’s gotcha moment, this was yet another one of those moments in which a person of European extraction comes to me with the pre-conditioned notion that Black people are not cultivated enough to appreciate the finer aspects of European culture. Anyhow, my immediate response, in this case, was, “Art is the capturing of an experiential moment in time and space in order to, perhaps, tell a story about that experience in the future. This capture can be in any form or medium according to the proclivities and talents of the artist.”
Ole, “I hear you. But you will have to elaborate more on all that you have just said!”  
Seeing as we had to attend to each of our respective duties at work then, I replied, “I shall write an essay for you, then. Deal?”
“Deal!”

My definition of art shall be both conceptual and functional. Conceptually, I know art when I perceive it. I do not have to be told. I do not have to be instructed. I know art when my senses register it. Regardless of the representational form, the sentimental response that I get from experiencing any manifestation of art that I consider as beautiful is a constant. Conversely, an unattractive, unpleasant artistic form as I experience it emotionally affects me in the same way relevant to it irrespective of the form or the representational style.

Whenever I read a storybook (or even write one) that I enjoy, my breathing rate slows down, and the total bodily relaxation I get gives me a wonderful warm feeling all over; I get goosebumps, and my palms get warmer and moist. This kind of feeling brings me immense joy. The dreamy state it gets me into sends me into a fantasy world of all things possible. If I had been, for one reason or another, going through hard times, this state brings hope home; it fills me with a sweet sense of freedom. In this state, I am invincible. This is my subjective domain for defining what beautiful art is for me as my perceptive senses – eyes, ears, skin, tongue, nose, intuition – register it, feed my hormonal system (feel-good hormones), and the latter instructing my nervous system to induce my being to act accordingly. Pure joy.

Whilst recognizing it for what it is, art that is repugnant to me is exactly that. If it makes me cringe, if it casts a shadow of pessimism over me, if it fills me with negative thoughts and associations, if it gives me a cold sweat, then it is bad art for me. There are times when I can see beauty in bad, ugly art, though. I think about the hands, or some other body parts, that created the work. Every hand shall tell its story according to its owner’s neuro-hormonal wiring and physical capabilities. One man’s apparent gory art may be another’s depiction of heaven. Beauty is in the eye of the beholder.

Functionally, art is a conveyor of messages, a storyteller; a courier of generational narratives in humanity’s dances with nature and itself over time. Art can be an instrument of change. Art can repair the once broken. Art can inspire hope, faith, trust, and love. To the extent that art is a personal expression, art may speak for its creator. Art creators have the potential to make or break society. Ask God, man’s most divisive, master-of-carnage creation. God may have created man instead, her most complex work of art. The outcome is not any better.

Art is identity. Identity may be deception obscured in art. From the outset, art may be true by intent and purpose. But when human perception and interpretation of reality are as polychotomous as there are so many people on earth, art shall be true or fallacious as to the perceptive state and cognitive capacity of the observer. Therein lies the mystique, the intrigue of art. Who am I? I am a man in love with art.

Art is some powerful stuff. Art is a human creative potential deserving to be handled with tender, loving care. At its best, art is an instrument of peace; art has the potential to stimulate reflection on the human condition. We rise, we fall; art captures all that. Art is beauty. Without beauty, life is not worth living.

Beauty moves humanity forward and higher on the scale of qualitative and quantitative improvements in life. It is not for nothing that nations of the world, interest organizations of all sorts and sizes, wealthy individuals, and many others invest heavily in the promotion, conservation, preservation, and storage of some of our most impactful artworks over the epochs into the future. Art immortalizes human experience.

Introducing our beloved Rock & Roll Norwegian Royal Family. Long live The King!

SIMON CHILEMBO  
OSLO
NORWAY
TEL.: +92525032
April 07, 2023

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Order, read, and be inspired by my latest and 9th book, 2nd poetry volume, MACHONA GRIT: Onslaught on Hate

MGEU, FOOTBALL SUPER STAR

MOYA NKHABU: TRIBUTE TO A ROLE MODEL

Growing up in the old, subdued black South Africa, I could never see myself playing serious football in a formal club setting. From the point of view of personal drive, the game has never charmed me that way. I could never say whether or not my lack of success as a junior street football player was due to being untalented, or simply that my passion was never aroused strongly enough. I’m inclined to suspect the latter.

Moya

©Simon Chilembo 2018. 2006/7, with Abel Nkhabu, a.k.a. Moya, Mgeu, legendary pioneer South African professional football player. Family friend, mentor.

 

In the old, apartheid South Africa days, football talent groomed itself, and thrived on the township streets, and rural playing fields. It was raw, pure, and ecstatic. Paradoxically, it provided spaces for all the joys of a free childhood in a then tyrannical state. Moreover, my childhood street football reality provided escape from the attendant ills of poverty in many a black South African home: all round domestic violence, woman and child sexual abuse.

Like most South African township boy children, I imagine that the first expression of my active physical power, from the time I managed to stand up, balance, and walk, was probably to kick at something. I have been kicking for as long as I can remember. Ball control, reading the game, and stopping opponents from scoring against my street team were my forte.

Dribbling was never my inclination. But, I recall, even the very best of our dribblers during my street football active years, up to age 12 years old, knew well not to fool around with the ball around me. If I had any football talent at all, it shone brightest whenever we opted to play a rather rough version of the game. Often, if it’s genuine street culture, it has to be rough; it has to be tough, it has to break all the rules, like Rock & Roll.

Here, the object was not to score goals, but for the competing teams to incapacitate each other’s players until there was only one young man standing, with the ball. If the one team totally demolished the other, the winning team’s members went for one another, then. Thus, the last man standing outcome. It gave an unforgettable, ego-boosting adrenaline rush. Great, great fun, it was.

In this brutal game, we had to be subtle, but extremely effective. That was so that if any adults were watching us play, they wouldn’t understand that we were, actually, out to deliberately injure one another. A strict rule was “no ball, no attack”; meaning that we went for one another only to the extent that one side had ball possession. And, direct kicks to the legs above the ankle were not allowed.

The idea was to “slice”, or “chop” each other’s legs at the ankles, much like Karate players execute the devastating leg sweeping technique called “Ashi barai”. Serious injuries, necessitating hospitalization, often occurred here. I never got injured. Several casualties have pointed to me, though. In action, I can be light and quick on my feet. I developed this ability from this dangerous kind of football playing. I would, later, take the skill with me to Karate. Fifty years on, I’m still standing, rocking as if there’ll be no end to my rolling life. Truth is, I want to live forever. I am a dreamer, and so shall it be.

My street football career was much fun, whilst it lasted. It gave me lasting valuable life lessons, as well: street survival alertness (“Tsotsis”, violent street hustlers, didn’t play football!), and fierce competitive spirit, or killer instinct cultivation. Street football also afforded me the first real taste of leadership, going into puberty and subsequent young manhood. The leadership trial run would reward me with just as premier and unforgettable taste of the thrill of victory. That owing to the coaching my impromptu leadership role empowered me to do with my team, one day.

A team had challenged us from another part of our township, Thabong Location, Welkom. Our challengers were notorious for severely beating up their opponents when they, the former, lost matches. These guys were a little older than us, and they had some of their neighbourhood supporters following them everywhere they went. Our team, on the other hand, was, usually, an ad hoc affair. It spontaneously organized itself around whoever was available on our street, and wished to play, there and then.

Unfortunately, on the day of the challenge, whereas we had more than what we needed of potential players, no one wished to play. All were afraid of getting beaten up by the visitors, in the event of the latter’s loss against us. The problem was that the visitors were still going to be violent if we chose not to play. These guys, the challengers, were crazy: when they won, they still beat up the opponents, if only to teach the losers not mess with the bad guys! So, either way, we were in trouble. Catch 22.

I do not seem to recall what led to my team prodding me for a solution to the dilemma we were in. They even decided that I should be the team captain for the day. Because I had already started training boxing by then, a thought struck me that if I made my team believe we were strong as individuals and as a collective, we could win in such a way that the bad guys wouldn’t want to fight us afterwards.

How? Let’s wear them out, whilst we remain strong all the way, throughout the match. How? Let’s do what nobody else did at that time: do a pre-match, team spirit enhancing jogging and calisthenics session! It’s called warming-up these days. Doing that would also give us a psychological edge over the opponents. It worked like magic.

My team played with the intensity and unity of purpose that we had never thought were possible before. In my head, I still vividly see replays of the match to this day. Playing on what we, then, called the “12 hurra!” principle, we beat the bad guys 12-0. The loss, combined with my team’s upbeat, super confident mood, overwhelmed the bad guys so much that they left our zone running as if they had just seen snakes, or some scary monsters like that. Eventually transferred into Karate, I have enormously enjoyed sports leadership and coaching since. I’ve won, I’ve lost. I’ve been stupid, I’ve been wise. I’ve made friends, I’ve lost friends. I’m here. I live. I love.

Adult club football was a different ball game altogether. I enjoyed watching this, not so much for the thrill of the game, but out of the fascination I had for those players that stood out as the best in the game, regardless of position played. The fascination was about the aura these guys seemed to carry, both on and off the field. They seemed to be ever so strong and happy.

It’s always been a great fascination for me as to how men, and women these days, running after, and with a ball could, at the same time, induce so much euphoria amongst the spectators. Off the field, the super star players seemed to wield so much power that it appeared, for me then, as if they could be rulers of the world. That was despite the fact that I, at that time, I had no real clue as to how gigantic and complex the world really was. They had all the beautiful girls. Attendant hyper fornication scandals I didn’t care much about. Rock & Roll is what it is: you burn, you burn. If the highway to hell is short, let it be. I’ll talk to Mother Mary another time.

One of those super star players was Abel Nkhabu, a.k.a. Moya, or Mgeu, late, 2017. May his soul rest in peace. I first came to personally know, and look up to him in the years 1972-74. Looking back, I like to think that, actually, this man was my first real-life, non-family Super Hero. He seemed larger than life, and, yet, he could touch me, ask me about my wellbeing, and encourage me to be good at school always.

There were also some of Mgeu’s generation of original black South African football mega stars around. By status, they were bigger than him by far; they have remained so, and are, today, living legends in their own rights. I still look at them with awe; still getting that tingling sensation in my hands and feet I used to get at their sight, on and off the pitch, in my early teens.

These men, in various capacities at club and national association levels, continue to steer modern South African football. They are doing so with the same inspirational class I recall from the early 1970s. In them, I still see hope for this troubled land of my birth, South Africa. However, these men are still far away from my immediate spaces. They have yet to touch me like Mgeu did. A consolation, though, is that, in my eyes, they carry on his spirit, and that of numerous other giants of the pre-1994 South African football scene.

Much of my desire to defy and beat the odds in order to succeed in life, be a super star, and live forever, is owing to these men of wonder in the history and development of this land. There is more to football than just seemingly mad twenty-two men chasing a ball around a stupid rectangular space limiting their freedom to run away with it, the ball.

Inspired by the big and strong, unbeatable Hercules in the bioscope, I liked making leather wristbands for my friends, my lebandla, my street gang, and me. The finest I ever made was of some fine, thick, nicely patterned leather piece from one of my mother’s old handbags. Mgeu liked that wristband so much that he borrowed it for a while. He wore it on several big matches he played, with Welkom Real Hearts FC.

Monna, dude, I, actually, feel stronger and more courageous when I’m wearing this band. And, you, know, the other thing is that people on the field get afraid of me, believing that the band is a fortifying juju gear. I like it very much!”

I refused Mgeu’s offer to buy the wristband. Of course, I was taken by the symbolic power effect it had on him. I wanted to have the power too. When he, eventually, gave the wristband back to me, he was overwhelmingly effusive. An ordinary older South African man would have bullied me and kept it, anyway. Mgeu’s return of the band permanently cemented the bond that we already had. Before that, no other adult man had ever shown me that kind of respect for my personal integrity. It was gratifying for me to find that there, in fact, were still some grown up men one could trust.

As first-born child in my family, I was raised to love, protect, and support my younger siblings, that as a matter of course. My general love for children and youth derives from my upbringing values. From the time I became aware of my sibling position and role in the family, fondness and caring for those younger than me, to beyond my home, was something one just did without question. It was something I never put much thought to, even.

My younger, and last-born sibling, Lucy Dintletse’s birth, in 1974, brought the real intensity of my love for children to my consciousness for the first time. Lucy’s affectionate family nickname is Sonono, often shortened to Sono. The very nearly nine years of her life would thrust the love to heights I have yet to fathom. MHSRIP.

Sono1974

©Simon Chilembo 2018. Sono’s Catholic baptism day celebration, June, 1974. Our maternal grandmother, Auma, there. My powerful women. MTSRIP, Sono (1983); Auma (2004)

I see Sono in every child of the world. Whenever I see children of the world suffer under mankind’s proclivity to wars in outrageously vain attempts to impose peace upon one another, her sweet face emerges above the misery I see; the pain, the hopelessness I feel. And, then, faith that, someday, we gonna be alright, is rekindled. Through every child whose life I touch wherever I am in the world at any one time, my steadfast hope and wish are that, one day, these children will grow up to be conduits of love and peace for all mankind.

Mgeu was one of the pioneering black professional football players in South Africa, in the early 1970s. He made a dashing and influential figure, to his grave. His entire life, he was fiercely anti-apartheid and black people’s oppression. From Mgeu, I learnt that a man could be big and strong as a super star, but he could still have time and energy to engage positively with children and youth. This has remained one of the key defining moments of my life.

Whereas my father remains the formidable force behind my formal dressing taste, my smart-casual dressing style has heavy Mgeu undertones. My father was laid to rest twenty years ago today, July 04, 2018. MHSRIP. I remember him with immense love with this article too: my father, the finest of gentlemen, my hero; the original Machona – (the) Emigrant, the traveller, the gypsy from the warriors of love mystics of my Tumbuka people, Eastern Province, Zambia. If you jump into Malawi, Tanzania, and, partly, the Democratic Republic of Congo (DRC), you’ll land into the midst of the extended empire of my people.

The original Chilembo Warriors

©Simon Chilembo 2018. With Big Daddy Cool, Sir E L W Chilembo. Pappa’s picture taken on my 21st birthday celebration party, June, 1981.

The one quality I’ve not quite been able to grasp, though, is the phenomenal “Ladies’ Man” tag Mgeu proudly carried to the very end. If we meet up again on the other side, I should ask him for specific coaching on this one; assuming that there’ll still be ladies abundance when I arrive there. But then again, we might find that the ladies on the other side are more work than what I have down here on earth. Nnnahhh, we let this one pass.

In the presence of Mgeu, I’d always feel like a 12-14 year old boy, if not even younger. In the photo accompanying this piece, we are meeting up soon after I had arrived in Welkom, from Norway, Christmas time, 2006/7. You know that sweet, loving feeling you get when you are with your favourite uncle, I had it at the time the photo was being taken; I’m feeling it as I write this article, at this very moment. Thanks, football, for one of the most significant men in my life!

I was fortunate enough to have had a few good men to relate to during my formative years. Many of those that were not so nice to me never lived to see the close of the 1970s. Good riddance. A lot of these not-so-nice men were generally unkind to youngsters. It’s just as well that longevity was never to be their gig. Morons!

In my dealings with children and youth, I endeavour to be, at least, as good as those adult males that have, each in their own special ways, contributed to my being the mad energy bundle that I am, now as a fully grown adult myself. I have never been able to think of a better way to express my deep felt gratitude for the presence of good men in mine, and other children’s lives.

In the early 1970s, Mgeu, together with a host of other first generation of black professional football players were organized under the auspices of the then National Professional Soccer League (NPSL). In my forthcoming 6th book, 4th novel*, read how these transformed the lives of the black people of South Africa, at a time when the then South African apartheid regime was at its most venomous. The NPSL effect is played out around a particular family’s life in Thabong, Welkom. Watch this space for more information about the impending book release. Coming soon!

Simon Chilembo
Riebeeckstad
Welkom
South Africa
July 04, 2018
Tel.: +4792525032
*MACHONA MOTHER – Shebeen Queen