2018 Nov. 9: Johannesburg Pride 2018 that was

by Thobeka Bhengu

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The 29th edition of Johannesburg Pride had another run on the 25th to the 28th of October 2018, packed with multiple events that ranged from a lifestyle conference focusing on health and LGBTQ+ rights, a fitness event, a gala dinner showcasing community heroes, the official pride parade and festival, closing with a family brunch on the 28th. The event that seems to attract large numbers of the LGBTQ+ community is the official pride event, which is a parade and festival; with the festival attracting the largest numbers of people and the event trending on social media.

On the 27th of October, I was up early in the morning after a six-hour drive to Johannesburg with my acquaintances. After a few drinks and light conversations when we arrived on the 26th, I was certain I was skipping the parade as I was the only one who had asked if we were going to make it to the parade. The responses made it clear that the parade was not the main event of pride, the responses seemed quite familiar to me. This didn’t come as a shock as I have never had any desire to persuade or share my thoughts with my friends and acquaintances on the importance of pride marches. The morning of the 27th we woke up around 11 am, leisurely got ready and headed for the pride festivities and I couldn’t help but be anxious about what I was to expect since it was the first Johannesburg Pride I have ever attended.

After we had arrived at Melrose Arch, we decided to take a quick walkabout trying to figure out what was happening around the venue that saw large numbers gathered at Melrose Arch. People were still arriving in their numbers hours after our arrival, within the first hour of being in the space my feet were sore and there was no way of getting a seat in the packed venue with small to large groups randomly spread in selected spots that they could find in the venue. I watched as large numbers of queer people tried to move about to and around the packed beverage stalls in their fashionable clothing, looking like they just stepped out of the runway. It was refreshing to see so many diverse queer people looking their best. As the sun began to set, the venue was packed to capacity, leaving very little room to move around and socialize, as groups gathered in their preferred spots dancing to their favourite jams and enjoying live performances from various artists such as Toya Delazy as a headlining artist, DJ Tinks, DJ Biskit and many more. Johannesburg Pride 2018 was precisely what they had promised, a festival at Melrose Arch that was meant to “Colour the Streets in our Diversity.’’ A few people expressed their disappointment about the turnout at the parade as opposed to the festival.

After reflecting on my experience I had a better understanding of the importance of the discussions around the politics of pride. Without failure to acknowledge that the politics of pride have evolved over time. We have to acknowledge that for some people, pride festivals are merely a platform to celebrate and be merry and for others it is political. Whilst I recognize the diversity amongst the LGBTQ+ community, it is a shame that we continue to allow the commercialization of pride and consciously disregarding the opportunity to join the ongoing fight for LGBTI+ rights in our numbers at pride parades.

There are clear odd dynamics created by the origins of pride celebrations, that were born of strong political acts and the current pride celebrations across the world have become more about the fun and parties. South Africa is no different from the rest of the world and has hastily moved towards the commercialization of pride festivities across the country. The discussions of the politics of pride are still continuing around South Africa. As deliberations continue and in some spaces still being overlooked, we have a number of questions to ask ourselves as the queer community about the aim of these pride celebrations. Have we won the fight for acceptance, respect, and equality for LGBTQ+ people in South Africa? Is there no longer any violence and oppression of LGBTQ+ people in South Africa? I have a lot of questions in mind that would suggest there is an ongoing necessity for a political pride before the big party. As long as LGBTQ+ people are still targets, to corrective rape, murder and discrimination then there is still a need to organize and address the ongoing violations of basic human rights for queer people in South Africa.

As we celebrated and enjoyed the festivities of Johannesburg Pride 2018, let us not forget that our voices are louder when we stand hand in hand and completely disregard the idea that pride is just a loud party but highlight the importance of visibility and the ongoing fight against discrimination and homophobia. Let us work towards inclusive and safe pride celebrations across the country.

 

About the author

Thobeka Bhengu is a performance art & human rights activist, performer, choreographer and an artistic director of the Rainbow Theatre Company, a project of the Gay & Lesbian Network. She was born in Inanda, Durban in 1988 and lives in Pietermaritzburg, KwaZulu Natal.

She studied BA Drama & Performance Studies at the University Of KwaZulu Natal in Pietermaritzburg; where she performed in productions such as William Shakespeare’s Mid-Summer Night’s Dream directed by Paul Datlen, Tortouise’s Dream directed by Ntokozo Madlala, The Beatles & Young Gifted and Gorgeous(Musicals) directed by Peter Mitchell.

She was introduced to theatre and dance when she was doing her first year of Law in 2007 and had chosen drama as an elective.
In 2010 she dropped her Law degree and registered for a BA in Drama & Performance Studies. She started taking extra dance classes with Vusi Makhanya, Mandisa Roelene Haarhoff, Mlondi Zondi, Mbo Mtshali and Kwanele Finch Thusi.  Dance became a language that she understood, a way to tell stories using the body as a tool. She first performed on a professional stage outside the University in 2011 at the Jomba Contemporary Dance Festival (Fringe) in two works by Mandisa Roelene Haarhoff and Zenzelisphesihle “Sparky” Xulu.

            In 2013 she moved to Cape Town and joined the Earth Child project as a volunteer, teaching drama and contemporary dance.

After her first tour in 2014 to Swaziland & Zimbabwe with a production titled Sound Gaze: Moving Images of Marie in Woyzeck , directed by Juanita Chitepo, she decided to dedicate her career to creating work that moves people, a platform for dialogues and work that addresses social ills, injustices and violence directed towards marginalized people, specifically focusing on the LGBTI+ community and women.

 In 2015 she took her first production as a working artist to the Jomba Contemporary Dance Festival (Fringe)  with the Rainbow Theatre Company. In the same year, she launched her first photography exhibition that represents and captures from a different eye, a series of well-known hate crime cases in South Africa and original stories of real life LGBTI+ members around Pietermaritzburg, through the use of photography, performance art and music. This exhibition supported by the Gay & Lesbian Network became part of the Pink Mynah Festival Film & Arts Exhibition, which is an annual festival aimed at celebrating diversity within communities, bringing people together and creating awareness.

She has created several works such as Ab/normal; My Body, My Life, My Decisions; Reality Check: Living Vulnerable lives; Breaking Dawn.

Her recent interest in photography has given her a platform to include images of her visual work in performance.  Some of the visuals were included in the 2016 National Arts Festival (Fringe) production titled My Body, My Life, My Decisions by the Rainbow Theatre Company.

 

Posted in 24 Years of Democracy, Abantu, Activists Act, Advocacy, Africa, Archive, Archiving Queer Her/Histories in SA, Art, Art is Queer, Pride is a Human Right, Uncategorized, Writing is a Right | Tagged , , , , , , , , , , , , , , , , , , , , , | Leave a comment

2018 Nov.7: Launching the Dark Lioness

by Lerato Dumse

Following successful launches in USA Philadelphia, Atlanta, New York City as well as Johannesburg, South Africa. Oslo, Norway became the first European country to host Somnyama Ngonyama book launch on November 1, 2018. Zanele Muholi launched the much awaited photo book comprising of more than 90 self-portraits. The event featured as part of Oslo World festival focusing on Freedom in collaboration with Kunstplass, a venue for Contemporary Art.

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After a brief search using the directions given to us by Henriette Stensdal owner of the gallery, we arrived at Kunstplass, which was hard to miss with the LGBT flag and a huge banner with the iconic Somnyama IV, Oslo, 2015 image hanging Conspicuously outside the gallery.  

 

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Having reached the venue on time the gallery team were working on the final touches of the setup process setting up chairs, the projection and most importantly laying out a stack of sealed Somnyama Ngonyama copies. Following a welcome note by gallerist Vibeke Hermanrud and introduction by Oslo World Director Alexandra Stølen, it was over to Muholi who started the evening by presenting a slide show of Somnyama Ngonyama images, giving background and anecdotes to the conceptualization and production of the self portraits. Muholi also gave a brief presentation of other bodies of work created since the early 2000s till present. With the slide show concluded, guests were given an opportunity to purchase a copy of the book and have it signed by Muholi.

Somnyama Ngonyama launches have taken different forms, in Philadelphia it was part of a book fair, then at  Spelman Museum, Atlanta hosted it alongside a Somnyama Ngonyama travel exhibition and artist walk-about; NYC had a book party and signing at Yancey Richardson Gallery followed by a conversation and launch at New York University with Deborah Willis. Johannesburg had a book launch with a twist when Wiser, Wits University had a panel discussion by Jackie Mondi, Milisuthando Mbongela and Pumelela Nqelenga moderated by Prof Hlonipha Mokoena with Muholi in the audience responding to questions from the house.

 

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On the day that the book was launched in Johannesburg, in neighbouring Cape Town the Actuarial Society released their prediction that in the year 2100 the world’s three largest cities will be African. One of the questions posed by the panellists during Somnyama launch was how will the work be viewed in 20 years? The more open-ended question is how will the work be viewed should the Actuarial’s prediction come true. Which conversations will dominate, how will racial, social, political and economic landscape look around the globe?

 

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The answer rests partly on where this archive ends up, with ever evolving technological advancements; external hard drives will probably be a thing of the past. The written text that interpret the images in Somnyama is contributed by poets, academics, curators to name a few and are written from different perspectives including admiration, moments of discovery, anger, questioning and responding to known realities.

How the world and South Africa will look in the year 2100 is anyone’s prediction, calculation and guess. According to Zanele Muholi, Somnyama Ngonyama seeks to respond to the past and the present, time will tell its relevance for the future.

 

 

Previous by Lerato Dumse

 

2015 Aug. 23: Muholi and Dumse present at Light Work Artist AIR

 

Related links

 

 

2018 Oct. 25: Somnyama Ngonyama – Wiser Launch

 

and

 

 

and

 

‘I’m scared. But this work needs to be shown’: Zanele Muholi’s 365 protest photographs

 

and

 

The Fever-Dream Urgency of Zanele Muholi’s Self-Portraits in “Somnyama Ngonyama”

and

Zanele Muholi’s Transformations

and

An important departure for a real conversation: Zanele Muholi’s ‘Somnyama Ngonyama’

Posted in A new visual history, Article by Lerato Dumse, Uncategorized | Tagged , , , , | Leave a comment

2018 Nov. 6: Loss

We live and love in loss
 Loss is inevitable
You can’t runaway from loss
Loss is everywhere like love
You can’t love and not lose
 You can’t gain and not lose
You can’t live and not lose
Everyday there is a loss
Someone has lost
In loss
Our hearts are shattered
Our souls are broken
Our minds flock in disbelief
Pain is our norm now
In loneliness we find comfort
We live and love in loss.
 Loss is inevitable.
We can’t runaway from loss
Loss is everywhere like love
You can’t love and not lose
 You can’t gain and not lose
You can’t live and not lose
Everyday there is a loss
Someone has lost
You can’t fight the loss
You can’t confront the loss
You can’t prevent the loss
Scream
 Shout
Maybe that can ease the loss
Speak
Cry
Maybe that can ease the loss
You can’t runaway from the loss
No matter where you are
No matter who you are
Loss will catch up with you

© By Mercury

06/11/2018

Mercury Nonkululeko Duma
She is a poet and writer. She is passionate about telling LGBTI+ stories using art.
She currently studying Criminology at the University of South Africa (UNISA) to enhance her knowledge on how criminal justice system can be used to deal and address the inequalities and injustices faced by the LGBTI+ people.
She has worked as performer for Rainbow Theatre Group which was project of the gay and lesbian network. The group has performed in many different spaces including the National art festival and the Jomba dance festival.
She is currently writing a book called A transman amongst us. The book details the journey of a transgender man from childhood to adulthood.
Posted in Poem, Poetry, Text by Mercury, Text by Mercury Nonkululeko Duma, Uncategorized | Tagged , , , , , , | Leave a comment

2018 Oct. 25: Somnyama Ngonyama

To name ourselves rather than be named, we must first see ourselves – Lorraine O’grady

When thinking portraiture, Somnyama Ngonyama is a persistent point of reference.
When questioning notions of self-identification, I refer back to this haunting work as though the journey were a pilgrimage. It serves as a subtle lesson in power. How to defy it. How to speak back at it in ways that allow new ways of being in the world to emerge.
Somnyama Ngonyama introduced me to Zanele Muholi’s oeuvre. The works, individually and when collated seamlessly into the exhibition hosted by the Stevenson Gallery in 2015 and published into a book bearing the exhibition’s name, called me towards the notion of the patriarchal gaze, making me question what it means to see and to be seen. This series of self-portraits that present Muholi in different guise, taken over a period of a year, a different portrait each day, but always with the same intentional yet indifferent stare, brings the politics of auto-expression home.

Somnyama Ngonyama is a work that references black and white portraiture, a medium that has been seminal in creating and articulating black subjectivity.
In dark hues -a black that is black, a strong and melancholy grey, an endearing white- Muholi makes stark the precarity of black subjectivity in a way very much reminiscent of Glen Ligon’s sentiment “I feel most coloured when I am thrown against a white background”.

In a world where gender expressions that fall outside of white -cis masculinity are consigned to the periphery, the relegation zone, Somnyama Ngonyama articulates a personhood that is never fixed, that under a patriarchal gaze is constantly moving between invisibility and hypervisibility.

It is a brilliant example of the point Aria Dean makes when she says “we are the constant
voyeuristic subject and object, both surveilled and surveyor”.
In a world where white heteronormativity is still very much the standard, where beauty and physical desirability are the modus operandi and marginalised individuals are being both excluded and co-opted into the beauty industry in various ways, Zanele Muholi’s project becomes ever more poignant. It reinforces the importance of self-stylisation and self-affirmation.

In this series of portraits, the resonance of the work is constructed in a two-fold process. Muholi centres herself as the object of the patriarchal gaze, whose hegemony she then counters through her insistence on starring back at the camera lens. Meanwhile she has fashioned herself in both a literal and metaphoric manner. It is these devices that allow her to re-create hers as a subject position that is capable of contesting the patriarchal gaze.

In Against Interpretation, Susan Sontag dictates that when interacting with a works of art “the goal should be to show how it is what is, even that it is what it is, rather than to show what it means”. But the potency and symbolic breadth of Muholi’s work lies in its call to all three. How it is what it is – a subversive act that is as decisive as it is bold. That it is what it is – necessary in its call to affirm blackness and lastly what it means – that individuals who have been marginalised, have the potential, through acts of self-affirmation to destabilise the status quo.

 
About the author
SIHLE MOTSA

Pursuing a Master’s Degree in History of Art at the University of the Witwatersrand. I am interested in the possibility of curating from an archival perspective. I deeply moved by the articulations of gender in South Africa’s visual terrain. This feeling is very much informed by my own subject position as a black womxn whose feminist politics have allowed me to develop a language for expressing the many ways in which black womxn have been absented from art histories and a praxis that seeks to insert marginalised voices into the contemporary art canon.
I am an aspiring curator currently working as part of the Banele Khoza’ curatorial team at the BKHZ Studio. I am a writer who has delivered conference papers titled It Is Your Story, Just Not Your Story to Tell- Prioritising Third Person Narratives, presented at the Narrative Enquiry for Social Transformation and Where does it still hurt?
Mapping the Cartographies of Pain, presented at the 2018 Afems Conference.

 

 

Related links

2018 Oct. 25: Somnyama Ngonyama – Wiser Launch

 

and

 

 

and

 

‘I’m scared. But this work needs to be shown’: Zanele Muholi’s 365 protest photographs

 

and

 

The Fever-Dream Urgency of Zanele Muholi’s Self-Portraits in “Somnyama Ngonyama”

and

Zanele Muholi’s Transformations

and

An important departure for a real conversation: Zanele Muholi’s ‘Somnyama Ngonyama’

 

and

 

https://stevenson.info/publication/zanele-muholi/somnyama-ngonyama

 

 

Posted in 24 Years of Democracy, Achievement, Act, Active Black Lesbian Artists in South Africa (ABASA), Activists Act, Advocacy, Archive, Archived memories, Art Activism, Art Activism in South Africa, Art Edutainment, Art Is A Human Right, Art is Queer, Uncategorized | Tagged , , , , , , , , , , , , , , , | Leave a comment

2018 October 25: Somnyama Ngonyama – Wiser Launch

Text by Jackie Mondi
Photos by Lerato Dumse & Terra Dick

 

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Indeed, I do tread lightly around Zanele! You see, I am a reluctant or rather self-conscious writer, but Zanele somehow manages to ignore my protestations with a stern but ego-boosting, “Bhala Mzala. Your writing gives me life!” So, how can you not write after an internationally acclaimed photographer says that to you? Anyway, I am so glad that she got me to bhala about Somnyama Ngonyama from its early days!
Look at where we are now!

Congratulations, my friend and thank you for making me part of this absolutely beautiful work of art. Thank you to Professor Mokoena for inviting me to speak here tonight. It is an absolute honour!

 

Nomalandi Wenda

Nomalandi Wenda, Parktown, 2016

 

Zanele calls this an archive of the self  but this is book is that and so much more! Look at Nomalandi, for example, in light of Tito Mboweni’s Medium Term Budget Speech yesterday, the falling rand, the looming downgrade, etc. So, you see, this is much bigger than Zanele. You can also see that this project is not limited to the ligibiti as Binyavanga Wainaina calls the LGBTIQ+ movement that Zanele is so passionate about. It is about the struggle to fight against the erasure of our history and our very existence. At first glance you might think this is biographical but then once you immerse yourself in the images, you forget about Zanele and it is just you and the images, a different perspective emerges. Let me share the thoughts that went through my mind when I viewed the images for the first time at the Stevenson Gallery.

Somnyama IV.  The title photograph is an image in the darkest shade of black that it subverts even the most noble intentions in the  “I don’t see colour, I see people” platitude. It forces you to think about your perceptions of and towards blackness. Is black beautiful?  But what is beauty and who decides? If white symbolises purity is black therefore symbolic of grime? What about the mane? Do lionesses have manes? Could this be about the centre of contestation that black hair has become? What is it about black hair that makes it so contested? This bold image is a no holds barred emphatic declaration of the power of blackness and so is the name, Somnyama Ngonyama, a name you cannot say without bowing and raising your arms as you would when greeting a royal persona; as in: Bayede!
Somnyama Ngonyama!
Siyakhothama!

 

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‘Mfana’, London, 2014


Mfana.
Who is this boy?
Is this image autobiographical? Is this just a random name or a deliberate attempt to get us thinking about our perception of gender? Perhaps this image attempts to  explore the ambiguities pertaining to gender and sexuality; getting us to think about the identities that lie along the continuum of femininity on the one end and masculinity on the other. But we tend to get too preoccupied with these ambiguities as we stereotypically view what is different as deviant. This clouds our judgement and causes us to turn a blind eye towards the injustices experienced by those whom we deem untermensch in our hateful heteronormative world… 

 

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Thulani II, Parktown, 2015

 

Thulani. What do you say when a country turns on its people? Never, not even in our wildest nightmares would we have imagined that eighteen years into our democracy would we witness a massacre so callous it would evoke the harrowing memories of Sharpeville, 21 March 1960. Thulani was a mineworker at the Lonmin Platinum Mine who was murdered in cold blood on 16 August 2012 together with 33 of his colleagues for demanding a decent wage. Zanele could not hold her peace; she could not be quiet about this darkest sport on our democracy which will take generations to erase.

 

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Bester IV
. My absolute favourite. Bester is the name of a domestic worker who has spent her life cleaning homes she would never own, looking after the madam’s children while hers had to fend for themselves and cooking food she would only eat as scraps from the pots as she readied herself to scour them clean with a skuurpot.  Bester’s head is adorned with balls of skuurpot. The skuurpot was a permanent feature in my mother’s kitchen when I was growing up, together with its companions, steel wool and sunlight soap bar. These tormented me in my childhood, scouring pots with skuurpot and soap and then buffing them to a brilliant shine with the steel wool. This was hard work. I hated the skuurpot even more, especially towards the end of its lifespan when the metal strands started unravelling and would prick and scratch your hands as you used it to clean pots. But, here Zanele has transformed this torture instrument into something beautiful. Zanele put all the domestic workers and all of us who have ever struggled with skuurpot on a world stage! This was powerfully validating for me. It affirmed that we are people and our lives are still significant, despite all the scouring that our bodies and our souls have had to endure.  And, we are still the dark lionesses because that is one thing you cannot scrub off with a skuurpot of any kind.

 

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So, I  invite you to explore this dynamic publication, which is about the essence of life.
It is the story of love, joy, loss, pain, falling and rising again. It is about the indomitable human spirit that is embodied in Sindile. That spirit, which is in you too, is what we call humanity. Bona holds up the mirror, do you see yourself?

Thank you!

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Related links

 

and

 

‘I’m scared. But this work needs to be shown’: Zanele Muholi’s 365 protest photographs

 

and

 

The Fever-Dream Urgency of Zanele Muholi’s Self-Portraits in “Somnyama Ngonyama”

 

and

 

Zanele Muholi’s Transformations

 

and

 

An important departure for a real conversation: Zanele Muholi’s ‘Somnyama Ngonyama’

 

 

 

 

 

Posted in 2018 Somnyama Ngonyama Book Launch @ WISER, Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , | Leave a comment

2018 Oct. 25: Black Queer Joy

Photos and text by Lerato Dumse

 

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Seoketsi Mooketsi, a Trans Activist and Feminist is one of the many members of the community who attended the lecture…

 

Simon Nkoli Memorial Lecture brought together Sandile Ndelu, Letlhogonolo Mokgoroane and Dr Dulcy Rakumakoe three academic minds to lead the panel discussion marking the 20th year commemoration titled Black Queer Possibilities: Reading the past into the future.

 

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The Lecture organised by the Simon Nkoli Collective, was hosted at Constitution Hill’s Women Gaol and is accompanied by an exhibition of Nkoli’s archive. The multimedia exhibition curated by Zama Phakathi includes images, text, video, certificates and awards conferred to Nkoli by various organisations for his political activism and advocacy.

 

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Black Queer Joy, Civil Union Act, Imagining, Accessible Healthcare, the importance of communing as the queer community are some of the points that kept the speakers and guests engaged.  It was pointed out during the lecture that the room had many academic students and professionals allowing for privileges of accessing such spaces. It was agreed that geographical, language and economic limitations don’t translate to not having a sounding contribution to make within the development of LGBTIQ+ community.

 

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Adopting a humorous reflective story telling approach, Dr Rakumakoe spoke of coming to Johannesburg for the first time as an 18-year-old to study medicine at Wits University. The following year South Africa held its first democratic elections, I started my first year in Primary School and the doctor met her first girlfriend leading to a journey of visibility that would help introduce her to other LGBT members. Joining an LGBTI church located in Hillbrow just above the popular nightclub where they spent Saturday evenings, allowed her to make more connections and become a member of Nkateko Organisation, “a black lesbian society”.

Bev Ditsie, friend and Nkoli’s fellow comrade features in many of the archived material documenting those members who were instrumental and visible as LGBTI members in Apartheid South Africa. Bev thanked the Simon Nkoli Collective for keeping his name alive and keeping with Simon’s spirit, adding “erasure is big in this country.”  Offering a glimpse into the man Bev noted that Simon’s activism was in his personality, “his personal was political and never missed an opportunity to educate even when text was written limiting him as merely being a social butterfly.”

 

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With the first part of the day wrapped up, the crowd was then invited into the exhibition space to remember a man who appears to have not been camera shy, hence preserving his image for posterity. With the rain falling in moderate intervals the youths who had attended the event carried on the conversation over snacks and drinks. Simon Nkoli would have been pleased with the future he helped to create.

 

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Previous articles by Lerato Dumse

 

2017 Dec. 15: Ricki & Tony’s best wedding

 

 

 

 

 

 

 

Posted in 2018 Simon Nkoli Memorial Lecture, Panellists, Sandile Ndelu, Letlhogonolo Mokgoroane, Dr Dulcy Rakumakoe, Speakers, Uncategorized | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Konang Grae for Miss Drag SA 2018

Katiso “Konang Grae”Kgope entered her first Miss Valentine’s  pageant in 2014 in Daveyton and was crowned the 2nd princess. In 2015 she finally became the queen
of love and won the title of Miss Valentine’s Daveyton. Two years later
she tried her shot at the crown for Miss Daveyton LGBTI and won the title of 1st runner up for 2016 and 2017.

Over the years Konang has worked with one of the big names in the LGBTI
community. An internationally acclaimed photographer ,and visual
activist, Zanele Muholi. Konang is a participant of projects including Brave
Beauties, which is a photo series featuring Transwomen in South Africa. Participants share their stories with the world with the aim of further educating people about
Transwomen in South Africa. The project has been exhibited in different countries and Konang was part of the exhibitions in August 2017 at Stevenson Art Gallery in Cape Town and Durban Art Gallery in December 2017.

The 23-year-old from Daveyton was selected to be a finalist for the prestigious pageant for Transgender and Drag queens called Miss Drag South Africa. Battle of beauty and, not just any typical beauty pageant, but a pageant that focuses more on what a woman in the LGBTI community can do for her community.

its not only about the beauty but more about being a beauty that serves a great purpose in the good and benefit for their community. Konang was asked to do a project called Drag with a purpose which is a project that involves doing something that will benefit your community. She has decided to think outside the box and thought of an
unusual way of doing so. She decided to create posters of the
different individual sexual orientations and give brief explanations of
what each of the LGBTI abbreviations stand for and has decided to put up her
posters around her community of Daveyton. The beauty queen felt it best that
having those posters all around, is a good way of educating people of
Daveyton about the LGBTI community and avoiding stereotypes.
Konang will fight for the crown for Miss Drag South Africa 2018 this
weekend, on the 29th of September

in the Port Elizabeth Opera House. You can
show your support by purchasing your ticket at Computicket for R150 a
ticket.
#TeamKonang #MissDragSouthAfrica2018 #EvHEmpire

Photos by: Tim Wilson

Posted in Uncategorized | Leave a comment