Stories of rain guide

STORIES OF RAIN

A LEARNER’S GUIDE

We would like to acknowledge and thank the National
Lotteries Commission for sponsoring the trips taken to
make this book possible.

YATOO INTERNATIONAL PROJECT

YATOO-I

2

The rain does as follows,
Where they kill the water-bull.
There the rain runs along the ground.
Then the wild onions leaves sprout for the people…
The medicine men really seem to have
Their hands upon the rain-bull
For you see that the rain clouds come gliding along
Dia!kwain, 1870

Pippa Skotnes; Claim to the Country - The archive of Lucy & Wilhelm Bleek (with CD);
Published: Jacana, Johannesburg & Cape Town, 2007.

3

TABLE OF

CONTENTS

FOREWORD -------------------------------------------------------------------------------------------------------------- 05
CHAPTER 1: What is Land Art?-------------------------------------------------------------------------------------- 08
CHAPTER 2: Welcome to Africa------------------------------------------------------------------------------------- 20
CHAPTER 3: The Journey Begins ---------------------------------------------------------------------------------- 26
CHAPTER 4: Music in Empty Spaces------------------------------------------------------------------------------- 42
CHAPTER 5: Back to the Beginning-------------------------------------------------------------------------------- 52
CHAPTER 6: Cape of Good Hope----------------------------------------------------------------------------------- 58
CHAPTER 7: Final Thoughts----------------------------------------------------------------------------------------- 62

4

FOREWORD

FOREWORD FROM

SITE_SPECIFIC

The Global Nomadic Art Project is a nature art event spanning all the continents of the world
between 2014 and 2018. Originating in South Korea (2014) and travelling to India (2015). South
Africa hosted the Global Nomadic Art Project in September / October 2016. The Site_Specific land
art collective organised the South African leg of the global event initiated by YATOO, the South
Korean Nature Art Association.

YATOO, established in 1981, represents one of the earliest nature art movements in the world.
Yatoo literally means “to throw into a field” - to offer something to nature. The art is focused on
our relationship with the natural world. It is not seeking to dominate the landscape but rather
attempts to become sensitised to our connection and participation in the cycles of nature and life.
The emphasis is on ephemeral (temporary) work and the conceptual memory that remains to
influence minds.

Site_Specific (established in 2011) is a collective of volunteers passionate about art in nature. We
aim to facilitate a conversation that reconsiders our cultural practices and its impacts on nature,
seeking out a collaborative relationship between human needs and environmental concerns.
Although some land artworks become permanent installations, much of our practice is ephemeral
in nature – creating non-destructive, non-invasive, impermanent artworks, temporary installations,
performances, and interventions that dissipate as the climate and environment reclaims the work.
Community engagement and collaborations between artists and local residents are central to our
process through workshops, presentations, participation and conversation.

Land and nature art offers the opportunity to integrate ‘culture’ and ‘nature’, celebrating and
honouring those life resources that sustain us, reminding us of the temporary nature of our shared
existence.

5

A marriage between Yatoo and Site_Specific enabled the hosting of the Global Nomadic Art Project
South Africa. By inviting ten international artists to work alongside more than 60 local artists, the
stage was set to discover the wonderfully varied landscapes of South Africa through the lens of
nature art.

At each site, artists would attempt to rid themselves of preconceived ideas and political and
cultural ideologies, enter the landscape with an open mind and reflect on the perceptions, feelings
and insights inspired by a place and its materials in an ephemeral gesture. The experiences of
this form of engagement as well as many public and community workshops over 30 days were
documented in photos, videos and sound recordings - extending the ephemeral impact of those
moments and never to be repeated.

As the Global Nomadic Project moves from continent to continent, the art documented in South
Africa represents our unique landscape on an international stage. The effect here at home has been
a re-evaluation of commercial and spiritual values in South African art practice and an extension
of the genre of Nature Art to many new practitioners. This handbook created by Erica Lüttich,
documents the experiences of the Outreach Foundation’s educational tour during GNAP SA. It
promises to be a valuable resource for the South African art teacher and project facilitator.

Strijdom van der Merwe and Anni Snyman

Founding members of Site_Specific

www.sitespecific.org.za

November 2016

6

John Dlamini and Thandi Mke facilitating the mermaid with Kurland, Group of Hope.

Mungo Design donated the flax for the mermaid’s hair 2013. 7
Land Art Biennale 2013: Bitou Municipality.

CHAPTER ONE

WHAT IS LAND ART?

WHAT IS VISUAL ART?

Visual Art is a type of creative expression that
uses a physical form. This means when someone
wants to express their ideas but not use words,
they use drawing, sculpture, photography and
many other visual ways of expressing their ideas.
Most visual art we know is kept in museums or
in art galleries. Most of us know the very famous
artworks around the world, like the Mona Lisa by
Leonardo Da Vinci in the Louvre Museum. This is
the most famous painting in the world.

There are many
other famous
artworks as well,
such as the marble
sculpture of David by
Michelangelo.

David (1504) by Mona Lisa (1506) by
Michelangelo which is in Leonardo Da Vinci
Galleria dell’Accademia hangs in the Louvre
in Florence. Museum in Paris.
8

WHAT IS PUBLIC ART? CHAPTER ONE
The Long March to Freedom, 
For many years many famous artworks of the Olive Schreiner by Neil Jonker.
world have been kept in museums like the
Louvre, to keep them safe and preserve them
for future generations to appreciate. This is
important for artworks like paintings because
they need to be looked after otherwise they will
be destroyed. But to see these artworks, the
public need to pay the museum. Sometimes
the entrance fee to these museums are very
expensive, and many people cannot afford to go
and see these artworks. Some people decided
that this was not fair and thought that some
artworks should be free for the whole public
to see. This new type of art-making was called
Public Art. Public art is artworks created for
the public to enjoy. They are usually statues or
sculptures that are made from strong materials
like copper, bronze or marble. These artworks
are most often in parks or near recreation centres
where most people can enjoy them.

Here are some of South Africa’s more famous
public artworks.

The Long March to Freedom, Charlotte Maxeke
by Zelda Stroud, 2017.

Photographs courtesy of Gail Scott Wilson
9

Paper Pigeons (2009) by Gerhard Marx and Maja Marx.

Troyeville Bedtime Story (2011) by
Lesley Perkes, Johannes Dreyer and

Damien Grivas.
Images include intervention with
Boitumelo, Karos vir die Karoo, 2015.
10

CHAPTER ONE

CLASS DISCUSSION

1. Discuss with a partner whether you think Public Art is good for society? You can discuss this using the examples shown
above.

2. C an you think of other types of Public Art you have seen?
3. M any Public Artworks are paid for by the government. The government often tell the artist what the artist must create. For

example, Paper Pigeons was commissioned by the government. Do you think that it is a good thing that the artists are given
specific instructions, or should the artists be allowed to create whatever they want?

WHAT IS LAND ART?

If the artworks above are considered Public Andy Goldsworthy is a British artist known
Art, then what is Land Art? Land Art is not for his site-specific installations involving
the same as Public Art. Land Art began with natural materials and the passage of time.
He works primarily with rocks, ice, leaves
some artists becoming concerned with how and branches. He documents the process
of symbiosis between his creations and the
the environment is affected by humans. nature around the artworks. The artwork
below was specifically designed to celebrate
These artists decided that there must be a the rejuvenation of the Presidio Forest.
Goldsworthy is particularly interested in the
way to create art in the environment without environment and the ephemeral quality of life.

damaging the environment. This type of art
creation was a form of protest and activism.
This artwork is defined by two important

thoughts. The first is that this artwork is

trying to make people aware of how they

are damaging the environment. The second

thought is that the artwork should be made of

the materials found in the environment.

These are examples of Land Art from around
the world.

Spire (2008) by Andy Goldsworthy, in the Presidio forest, US.
11

Lugiswa Gqunta ‘Still Time’ Site_Specifc Bienale 2013.

Lungiswa Gqunta completed her undergraduate Her work provides commentary on the tools of
degree at the Nelson Mandela Metropolitan segregation and oppression, using familiar and
University in 2012 with a B-Tech Degree in Fine Art domestic objects which, when combined, become
Sculpture. In 2014, she moved to Cape Town, where weapons.
she completed both a Post Graduate Diploma and
Masters Degree in Fine Art at the Michaelis School of
Fine Art, University of Cape Town.

Image by Francki Burger 12

CHAPTER ONE

‘Running Fences’ after the Spring Tide came in and changed
the artwork, as nature through wind and water makes another
understanding and artwork of the fences.

‘The Dance’ by Marcella de Boom (1945-2009) Loxton - Great Karoo.

CLASS DISCUSSION

Now that you know the difference between Public Art
and Land Art you can discuss the following artwork
by Jeff Koons. Jeff Koons is a modern artist that often
does unusual and outrageous artworks.

13

The artwork is a massive puppy dog
made out of flowers and foliage. In this
artwork, Koons wanted to challenge
people to realise that we have made
commodities out of things like puppies
and flowers. Koons aims to raise
awareness that we as humans have
made things that are alive and often free-
willed into something that can be used
to make money.

This artwork is entitled Puppy. In 1992 it was placed outside the Guggenheim Bilbao Museum CLASS DISCUSSION
in Spain, where it still stands today.
Do you think this artwork is Public Art or Land
14 Art? Discuss this with a partner or in a class
debate.
Remember there is no right or wrong answer.
This is about learning to argue and support
your opinion.
Keep the following ideas in mind:
• Public Art is created in a space where

people can enjoy it without paying to
see the artwork;
• Land Art is made out of natural materials
that do not harm the environment;
• Land Art is ephemeral (temporary) and
not meant to last for a long time; and
• Land Art is meant to be used to make
people more aware of the effect they
have on nature.

CHAPTER ONE

LAND ART IN SOUTH AFRICA:

South African Land Artists:
Strijdom van der Merwe

Strijdom van der Merwe is one of the first Land
Artists in South Africa. He has worked as a full-
time artist since 1996. Van der Merwe’s interest
in Land Art is primarily based on creating
geometric structures out of materials found.
Like many other Land Artists around the world,
his work is always ephemeral. This means that
his artwork is not expected to last for a long
period, but instead, it is supposed to last for a
short period. Take a look at Strijdom van der
Merwe’s Land Art below and see if you can see
the differences between his Land Art and the
Public Art.

Strijdom van der Merwe, ‘Clearing a circle under a Strijdom van der Merwe ‘Drawing Ley lines’. Namtib, Namibia. 
Jacaranda tree’, Stellenbosch, South Africa.

South African Land Artists: Anni Snyman

15

Anni Snyman is another South African Land Artist. She began working in the medium of Land Art in
2009. Snyman is particularly interested in how the environment around an artwork may influence
the artwork itself. This interest in the space around an artwork is call being site-specific. This means
that an artwork will only make sense and have meaning in the specific place where it is created or
meant to be displayed.
One of Snyman’s main interests as an artist, is the effect of human existence on the environment, in
particular how the animals in nature are suffering. Her artwork, the Riverine Rabbit, is a geoglyph
in honour of the species that are at the brink of extinction in the area of Loxton.
South African Land Art: Site_Specific

Aerial view of the Doekvoet Denkpad Riverine Rabbit (2015),
by Anni Snyman in Loxton.

16

Anni Snyman and Strijdom van der Merwe, CHAPTER ONE
along with various other artistic and creative Andrea Cristoforetti’s ‘Genius Loci’ cubicle on Robberg Beach (in
collaborators, initiated an organisation called collaboration with Roger Trebilcock) Site-Specific Bienale 2013.
Site_Specific in 2011. This programme began
as an opportunity for artists and volunteers to
come together and discuss art within nature
and the implications of the destruction of the
environment. The collective would meet every
two years and spend several days together
creating site-specific art in a natural setting,
primarily using natural materials to create
artworks in nature and about nature that
would not harm nature.

Artwork called ‘Running Fences’ by the Bitou Neighbourhoods, Kranshoek,
Kwanokuthulo, Qolweni, New Horizons, Green Valley and Kurland
coordinated by Erica Lüttich, Site_Specific Biennale, 2013.

17

Global Nomadic Art Project (GNAP)

In 2014 an organisation called YATOO in South Korea began the Global Nomadic Art Project. This

project aims to be a massive collaboration between artists from all over the world. The aim of the
project is for artists to imitate the life of different nomadic people across the world. Most countries
in the world have had a population of nomadic people. Nomadic people are tribes or clans of

people who would rather travel around the country looking for good weather and food than live in

a specific home that is made of bricks and cement. The aim of GNAP is for a group of artists from

around the world to imitate this life and to travel around different countries creating art as they

travel without leaving any signs of their visit behind.

Seung-hyun Ko

Seung-hyun Ko is a founding member of YATOO 13 different countries took part in the 2016 GNAP
which began in 1981. He has, for more than one arranged by YATOO, Site_Specfic and various
hundred times over the last thirty years, searched other collaborators from around the world. Artists
natural sites for the four season workshops. He from Iran, Germany, Namibia, Ghana, Sweden,
participated in over thirty international nature art Korea, Hungary, South Africa, America and France
festivals since 1991. Since 2002, he has continuously came together in Johannesburg to take part in
installed “Kayageum” based on the concept of “the the Stories of Rain nomadic journey. This book is
Sound of A Hundred Years.” He has been working as a documentation of the journey taken by these
a head of the committee for the Geumgang Nature nomadic artists. The Stories of Rain journey was
Art Biennale from 2008 until now. He also works inspired by,and follows, the travels of the Khoi-Khoi
as a chief commissioner of the 2014-2018 Global people and their rock paintings that are dotted
Nomadic Art Project. throughout South Africa.

This is a map of the journey
made by the Outreach
Foundation Educational Tour.

18

CHAPTER ONE
During the journey, these artists divided into three groups and travelled to different parts of South
Africa, finally congregating in Cape Town for a final presentation of the artworks. This book will
follow one of these journeys led by Boitumelo, a programme of the Outreach Foundation.

At the back from left to right:
Mr Ko, Mahmoud Maktabi, Reyhan Omid, Chesney Lupton, Logan Lupton, Kim Soonim, Jasmine Lee, Chris Reinders
Sitting: Sibonelo Sibembe, Thuli Maseko, Thembani Maseko, Thandi Mke, Marie Gayatri, Imke Rust. 

19

CHAPTER TWO

WELCOME TO AFRICA

NOMADS OF SOUTH AFRICA

The first people to live in South Africa over 2000 years ago were the
nomadic San and Khoi-Khoi tribes. They originally lived in Southern
Africa roaming the entire country and foraging for edible foods and
hunting for meat. During their journeys, the Khoi-Khoi tribes would
create rock paintings on the walls of caves. Historians have many
different ideas about why the Khoi-Khoi people did this. Some believe
it was to communicate to other tribes if the area was safe or was
good for hunting. Others believe that these paintings have spiritual
meanings, this is because the paintings were only painted by the
Shaman of the tribe. The Shaman was the spiritual leader of the tribe.
They were the healers of the tribe and were expected to commune
with the spirits of the ancestors on behalf of the tribe. The shaman
would enter a trance and use natural pigments such as blood, fat, egg
and plant matter, to paint the images onto the walls. These paintings
are some of the oldest types of art in the world. Some of these
paintings have been around for more than 2,000 years, with the oldest
in Southern Africa dated as old as 27,000 years old.

Rock Art Rietfontein near De Aar.

Rock Art Rietfontein near De Aar.
20

Stories of Rain CHAPTER TWO

The San and Khoi-Khoi people were nomadic. What was the aim of the CREDO MUTWA
This means that they would not live in one place GNAP Stories of Rain VILLAGE
for a long period but instead, they would move Project?
around the country depending on the season. A total of 11 international
Instead of building homes or shelter, the San The Global Nomadic Art artists arrived in
and Khoi-Khoi people would make temporary Project aimed to follow Johannesburg on the 8
shelters from grass and reeds, or they would take the different journeys of September 2016. Eighty
shelter in natural caves. These journeys would the original South African four local artists from all
follow the rainy season of the country. Every area nomads and create pieces over South Africa, as far
in South Africa receives rain in different seasons, of Land Art along the way as Cape Town and as near
for example, Gauteng receives rain during the that would have no lasting as Hillbrow, prepared to
summer months from October to February, effects on the environment. welcome the visitors. The
but the Western Cape receives rain from May to The artists divided into three first day began with an art
August. The nomads of South Africa would follow groups and each group took exhibition at the Credo
the rain because they knew that where there was a different journey through Mutwa Village in Soweto.
rain, there would be food and water. The Global South Africa beginning in On the 9 September, all
Nomadic Art Project took this idea of their journey Johannesburg and ending the artists were welcomed
and replicated it. in Cape Town. Each journey to the township of Soweto
stopped at different towns where the artists of Ubuhle
CLASS DISCUSSION and locations in South Bobuntu Arts (UBA) prepared
Africa, many of these places a waste art exhibition. During
1. Discuss with a partner if you think Khoi-Khoi Rock have historical, cultural, this exhibition, a workshop
Paintings should be called Visual Art, Land Art or archaeological or ecological was conducted with the
Public Art? relevance. Morris Isaacson High School,
to introduce the ideas of
21 Land Art to the learners and
Remember the following: to discuss the importance of
the environment in the lives
• Visual Art is used as a way for an artist to of every person.
communicate an idea to the audience without
using words.

• Public Art is for all people to enjoy and not have
to pay to enjoy

• Land Art is using natural materials to create art
that is temporary and inform the audience about
environmental issues like pollution.

2. Now try to make your own painting. Using dirt and
water you can mix paint and then try painting on a
flat dry surface. You can try to recreate a San painting
or a painting from your own inspiration.

Marie Gayatri in discussion with Zamani Mathonzi and Sibinelo Sibembe at the
Art exhibition by Ubuhle Buntu Arts, Soweto. 

UBUHLE BOBUNTU ARTS

UBUHLE BOBUNTU ARTS was formed on 10 February 2011
for artists and is managed by artists. They understood
that there was an urgent need to address emergent and
young artists based in Soweto to initiate and create their
own opportunities especially in the Visual Arts discipline.
The group consists of approximately 15 artists who work
in various disciplines exploring the waste in our daily lives.
Artworks created from tyres by Lehlohonolo Mkhasibe, and
clay and dung used by Mzie Gojo, are only two ways that they
explore unusual materials and traditional cultures.

22

WHO IS CREDO MUTWA? CHAPTER TWO

Vusamazulu Credo Mutwa (born in 1921) is an CLASS DISCUSSION
important cultural figure in South African history. He
has an interest in the Indigenous Knowledge Systems 1. Indigenous Knowledge Systems are part of every
(IKS) of South African cultures and in particular the culture, family and society. Ask your family if there is
culture and IKS of Zulu culture. Credo Mutwa is a any family Indigenous Knowledge Systems that are
Sangoma and believes strongly in understanding relevant to you and your family.
one’s own culture rather than being influenced by
other cultures, in particular, those of the colonisers, 2. Discuss with your classmates if they have discovered
missionaries and the overall influx of European, and any parts of the IKS that is linked to their family.
more recently, American cultures. One of the great
beliefs is that African people must remember their In 1974 the Oppenheimer gardens in Soweto gave
culture and their folklore. Another of his beliefs is that Credo Mutwa a piece of land that he turned into the
the IKS has merit in the treatment of diseases such as Credo Mutwa Village. This village was designed to
HIV and AIDS. Credo Mutwa is not only a Sangoma but exhibit African cultural sculptures and various figures
is also a theatre practitioner, author and advocate for from Zulu mythology and culture.
cultural heritage.

Lerato Scheepmaker, a Traditional Healer, addressed the team at Green A young learner from the Isaac Morrisen High School.
Mountain to explore traditional healing and using nature to make us more
aware of natural medicines.

23

GREEN MOUNTAIN

After the visit to Credo Mutwa Village, the first event of Land Art-making took place at the Green Mountain
Conservancy in Renosterspruit.

Renosterspruit is a private conservation initiative that lies between Krugersdorp, Johannesburg and
Pretoria near to the Cradle of Humankind. The conservancy is approximately 10,000 hectares and aims
to protect the biodiversity and ecosystems. Rhenosterspruit’s key objectives are sustainability and
biodiversity. Sangomas and traditional healers often visit the sacred areas on the conservancy to perform
rituals. Shamwari Wildlife Rehabilitation Centre is based on the Rhenosterspruit conservancy and cares for
injured or ill wild animals before returning them to the wild.

CLASS DISCUSSION

Now that you have seen some Land Art that has been
created, go out and try create a piece of Land Art of your
own.

Remember the following:
• Land Art must have a meaning that is linked to

the environment. Here are some topics you could
discuss: pollution, environmental damage, animal
rights and recycling. There are many others you could
look at.
• You must use materials from the environment.
• You must take a photo of the artwork on your phone
when you have completed it, to show your teacher.

Discuss all of your different artworks in class together.

24

CHAPTER TWO

WHERE TO NEXT?

After the weekend in Green
Mountain, the artists divided into
three groups and travelled through
South Africa in these teams. These
teams occasionally met up, and
members of the teams would swap
between the teams. This book will
follow the journey of the Boitumelo
Team.

These were the members of the core team: Patrick Tagoe-Turkson Patrick Tagoe-Turksen creating Land Art at the Credo
• Phindu Muzhambi is a cellist and was Mutwa village, Soweto, 2016.
Born in Ghana in 1978,
responsible for coordinating the team; Tagoe-Turkson went on
• Erica Lüttich is an artist and one of the to study fine arts at the
University of Science and
Nomad Leaders. She is responsible for Technology in Kumasi-
heading up the Boitumelo Project; Ghana. Currently, he is a
• Evans Mathibe was responsible for the practising artist, a senior
media, filming and documenting of the lecturer and Head of the
journey; and Painting Department of
• Chesney Lupton was in charge of the School of Applied Arts,
logistics and driving. Takoradi Polytechnic. He
The following artists travelled with this also served as Vice Dean
first group: Ko Seunghyun, Kim Soonim for the School. Patrick’s
and Lee Jasmine (South Korea), Reyhan work cuts across drawing
Omid (Filmmaker), Mahmoud Maktabi painting, video, mixed
(Iran), Marie Gayatri (Sweden), Imke media, performance and
Rust (Germany) and Patrick Tagoe- sculpture.
Turksen(Ghana).

25

CHAPTER THREE

KAROO CALLING

KIMBERLEY

Once the team began to travel, their first stop was Kimberley. One of South
Africa’s greatest resources is diamonds and the country’s diamonds were
first found in Kimberley.

Sibonelo Sibembe, Assanda Jeje with Patrick Tagoe-Turksen at the Kamfer Dam outside
Kimberley, where the Lesser Flamingo breeding colony is.

26

CHAPTER THREE

McGregor Museum Impact on the Environment

On 24 September 1907, the McGregor Museum was Mining is one of the processes that has a significant
and long-term negative effect on the environment.
officially opened. This was the first museum to be built in Kimberley has one of the best examples of the
consequences of mining on the environment. This is
Kimberley. The widow of the former mayor, Mrs McGregor, called the Big Hole, and it is 463 metres wide. Over
22 million tonnes of earth were removed from the
helped the establishment of the museum by donating the hole to mine for diamonds. The Big Hole is no longer
a functioning mine, but a tourist site and a constant
funds necessary to start it. From 1908-1947 the museum reminder of the impact of mining.

was directed by Maria Wilman, a Cambridge graduate
of Geology, Mineralogy and Chemistry. The McGregor
Museum was and still is, a centre of historical and

ecological knowledge in the Northern Cape.

Diamonds

Before 1866, the land of Kimberley was largely farmlands CLASS DISCUSSION
that were sparsely inhabited. But in 1866 a young man
named Erasmus Jacobs found the first diamond on the Discuss with a partner what you think the possible
shore of the Orange River. This diamond has since been negative effects of the mine may be, not only for nature
called the Eureka diamond. The most prolific diamond but for people as well.
found in Kimberley is called the Star of South Africa and is
a 47-carat diamond. These are some of the things you can discuss:
• Mining was and is a very dangerous profession, every
Diamonds were formed billions of years ago and are fairly rare as few
are able to survive the difficult journey from the depths of the earth to the year people die working in mines, 100 years ago,
earth’s surface. mining was even more dangerous than it is now.
• The land that was removed was home to many local
communities and animals. The people’s land was
often confiscated to mine and many animals lost their
homes.
• Mining creates an enormous amount of pollution
including air pollution, water pollution and land
pollution.

Remember there is no right or wrong answer as this is an
exercise in explaining your opinion and using evidence to
prove your point.

27

DRIEKOPSEILAND

South-West of Kimberley lies Driekopseiland, where 3,500 engravings are
found on the riverbanks of the Riet River, a river originally known as Gama-
!ab (meaning muddy) in !Ora a Khoikhoi language. The majority of these
engravings are not recognisable though some are geometric shapes. Very
few represent human or animal figures. These engravings are the largest
amount found in all of South Africa. There are several theories as to who
created these engravings, though it is likely they were created by either the
San or Khoikhoi nomads.

The Water Snake

In the Botswana, Korana, Griekwa and Nama communities, there are oral
traditions of a mystical snake, which is associated with rivers. This snake
is believed to control the water in the river. The geometric shapes engraved in the river are said
to appease !Khwa, the /Xam name for the water snake. The people of this area believe that
these engravings were essential to guarantee the water supply during the year. Remember, the
Northern Cape does not receive a high rainfall like Gauteng or Limpopo. Today some of these
myths have permeated into other cultures, and there is a snake tradition in both the Zulu and
Xhosa tradition, although this snake is less benevolent.

The Watersnake by Pindulo
Muzhambi, De Aar 2016.

28

When we came here to learn about the river, the people CHAPTER THREE
who lived here as well as the engravings on the stone,

“the story about the river snake emerged. Regardless of
culture and in various traditions, the belief in the river
snake is everywhere, and this made me very interested in
finding out more. I was curious to see if I could find a river
snake as in so many belief systems in South Africa, people talk
about it. I started to walk around, and then I saw something
and thought maybe it is just erosion. But I kept searching
to find within myself, part of my own culture about the river
snake. I found these small holes repeatedly in a shape,
and with small stones and sand, I followed the lines, and it
became a river snake appearing on the river rock bed.”
~ Pindulo Muzhambi

Assanda Jeje recording an interview with Professor David Morris from the McGregor Museum in Kimberley holding a rock tool
found at Driekopseiland.

The team visited Driekopseiland, and under the guidance of Professor David Morris, the team
visited the now-dried riverbeds in which some of the Khoi-Khoi people had made engravings.
These engravings are over 3,000 years old. The team explored this area and discussed the
mythology of the water snake.

29

MAHMOUD MAKTABI Jasmine Lee, Reyhan Omid and Mahmoud Maktabi
discussing the position of artwork at Driekopseiland.
Mahmoud began his first artistic study in Persian
painting in 1999. As a curator, his most recent CLASS DISCUSSION
engagement was Living Spaces which took place
in Romania. Mahmoud has been the editor of two 1. In groups, discuss the difference between a painting
Recycling Art Festivals in Qazvin-Iran, and has held and an engraving.
two solo exhibitions, one in Tehran and one in • Provide a definition for each of these types of
Korea. artwork;
• Discuss the different techniques used to create
“I am interested in blending my body in the these types of artworks; and
environment physically and using the human body • Discuss the different materials used to create
as part of the work. The unlimited investigation in these types of artworks.
the environment deepens as you get more absorbed
in nature and as you search more. The placement of 2. Do some research on different types of paintings and
my body as part of the work simultaneously learns engravings in the natural environment.
from its surroundings and at the same time adds
to it conceptually. My work examines social and
traditional concepts which vary in each work”

30

CHAPTER THREE

Mahmoud Maktabi Land Art using his body, Driekopseiland, 2016. Mahmoud Maktabi body art created with Yasmine Lee and Reyhan Omid
documenting, Driekopseiland, 2016.

Some of Mahmoud’s work.

“To me, life is an
opportunity to discover
the concept of beauty that
constantly attracts me
toward the source and nature
of things. My confrontation to
the environment and its infinite
immensity has shown me a way
to observe this beauty from
a different perspective. What
allows me to keep going in my
work is the process to explore
and to create using my physical
self.”

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REYHAN OMID

Reyhan Omid as filmmaker, documented the journey.
She made interesting viewpoints of the journey in South
Africa. Her first impression was that with so many stories
to tell; we have much to share with the world. Her interest
is to document Mahmoud’s artwork and to create short
films exploring culture, art and nature.

Evans Mathibe and Reyhan Omid sharing a moment.

Reyhan in action and
enjoying the trip.

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CHAPTER THREE

DE AAR

After leaving Kimberley, the journey took the team to De Aar. De Aar is a
small town in the Northern Cape, and the name means ‘the artery’. It was
named this because it connected Kimberley and the diamond mines to
Cape Town.

Khazimla Centre for Excellence

Most schools around South Africa
do not have creative arts educators
or the facilities to teach subjects
like drama, dance, music or art.
Khazimla Centre for Excellence, run
by Katie du Toit, aims to offer the
opportunity to all learners of the municipality, to engage
with the arts under the guidance of facilitators and several
educators from the various schools.

The team hosted two different workshops at the centre Stone sculptures made by learners from Khazimla.
to promote arts education. The first workshop was with Workshop with Anni Snyman at Khazimla.
school learners from 10 different schools from around
the municipality and introduced different art forms and
art-making practices to the learners. Each team member
brought something new to the learners. Assanda Jeje and
Phindu Muzhambi held drumming workshops to teach the
learners rhythm and movement. The learners used recycled
plastic bottles as shakers. Sibonelo Sibembe offered
dance classes, and Mahmoud Maktabi taught the learners
Persian songs, while the other international artists, Patrick
Tagoe Turksen and Mari Gayatri, explored Stories of Rain
by creating artworks with the learners. At the end of the
workshop, the team and learners performed drumming,
dancing and singing while displaying the artworks they
created.

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International Land Artists, Jasmine Lee, Reyhan Omid, Mahmoud Maktabi and Patrik Tagoe-Turksen
exploring the shadows on the rocks. 

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CHAPTER THREE

Marie Gayatri

Marie Gayatri lives in Sweden, and works both as an educator and an artist in the nature art scene.
“I am interested in blending my body in the environment physically and using the human body as part
of the work. The unlimited investigation in the environment deepens as you get more absorbed in
nature and as you search more. The placement of my body as part of the work simultaneously learns
from its surroundings and at the same time adds to it conceptually. My work examines social and
traditional concepts which vary in each work.”

Marie Gayatri and Zamani Mathonsi ‘Mirroring Tree Roots’ Marie Gayatri at Rietfontein near De Aar.
Soweto, 2016.

The Bosasa Juvenile Detention Centre is the only juvenile detention centre in the entire municipality.
Within the detention centre, there is little room for creativity and self-expression. The team conducted a
workshop with 28 young people, five young women and 23 young men. This workshop was emotional
and for some of the young people uplifting. The activity conducted was intended to make one
consider how we think of ourselves and how others think of us.

35

Drawings by participants from Juvenile Care Centre, De Aar Image by Anni Snyman, 2016.
36

CHAPTER THREE
37

CLASS DISCUSSION

Drawing my shadow, drawing your shadow

You will now do the same activity as the young people from Bosasa Juvenile Detention Centre did, and discuss how you
might have changed your perception about yourself and the people around you.

You will need:
2 x large pieces of paper, recycled sheets work best (each piece needs to be as tall as you)
Permanent markers
Optional: Art materials such as paints, pastels, pens, etc.

You will work in pairs or small groups. Choose to work with people you like or are friends with.

This artwork is about who you think you are and who other people think you are. One at a time you need to stand in a space
where your shadow falls directly behind you and can be easily traced by a groupmate onto the large sheets. Each person
needs their shadow drawn twice.

Once all the members of the group have had their shadows traced, each person should take one of the shadows and create,
within the lines of the shadow, images of what you think you are. You can use images of things you love, or your favourite
hobbies, you can create images of your dreams or your fears. Use this shadow to show who you think you are and what
makes you different from other people. This may take some time. Be patient with your other group members and remember
this is about you.

With the second shadow, you are now going to let your group members work on your shadow and draw or create images of
who they see you as. They are going to create images in the shadow of things that remind them of you, and you will do the
same to them. Each member of the group should have a chance to work on each other’s shadow. Don’t take up too much
space on the shadow; everyone needs to work in it.

You are not creating a self-portrait or drawing a picture of your friend. The shadow is merely an outline that you can use to
express parts of your identity.

Remember this is not an opportunity to mock or hurt your friends. This activity is about who you think they are. Be honest
and kind. Remember they will be drawing on your shadow as well.

When everyone has completed their shadows, discuss with your group who you think you are, using your shadow to display
the different parts of your identity. Then allow your group members to explain why they chose the images they chose to
represent you.

This activity is all about identity and perception. Perception is all about how we see and understand something. For
example, when you tell people to think of the colour red and describe what they immediately think of, different people will
give different answers. Some will say love. Some will say danger. Others might think of blood or a stop sign. This example
displays how we perceive and understand the colour red differently.

38

CHAPTER THREE
Learners from Khazimla
Art School, De Aar, drawing
shadows in the veld, 2016.

Learners from Khazimla Art
School, De Aar creating Stone
Sculptures in the veld, 2016.

39

LEAVING DE AAR

The other teams travelling along the nomadic trails all briefly met up in
Richmond, a small town in the Northern Cape. The international artists
hopped from one team to another. Patrick Tagoe-Turksen, Mahmoud
Maktabi and Marie Gayatri Reyham Omid left the team, and Seung-Hyun,
affectionately named Mr Ko, Jasmine Lee, Thabang Selai, Simphiwe Sibisi
and Zimnande Retshipile joined the team on the journey to Loxton and
Matjiesfontein.

The team at Loxton. From left to right: Chesney Lupton, Mr Ko, Thabang Selai, Jasmine Lee,
Evans Mathibe, Zimnande Lebata, Simpiwe Sibisi and Ingrid Schöffmann.

40

CHAPTER THREE

Evans Mathibe trying out the ironstone rock gong.
De Aar has amazing rock formations and makes a great place to create land art.

41

CHAPTER FOUR

MUSIC IN EMPTY
SPACES

42

CHAPTER FOUR

THE KAROO

The team then arrived in Loxton in the Karoo. The Karoo is one
of the few unique biospheres in the world. It is one of the driest
parts of South Africa, as it receives very little rainfall. Underground
reservoirs provide most of the water for this part of the country.
People living in this area use water very carefully. The Karoo is
known for being an excellent habitat for sheep and lambs; this
means that the area produces lots of wool and meat.

Huis van Tyd - Artwork by Anni Snyman and Andrew van der Merwe; Poem ‘Die sterfjas’ by Melanie Groblar
and stitching by the people from Loxton. 

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44

CHAPTER FOUR

History of Loxton

Loxton, like many of the towns and even suburbs of South Africa, was originally a farm. The farm belonged to
A. E. Loxton. It was named after him after he sold the land to the church in 1899. Many of the trees that line the
roads are over 100 years old, and donkey carts are still used by people as a form of transport for both people
and goods.

Korbeel Huise – Corbelled Houses

In the Karoo, many of the first Dutch farmers in this area built small cottages for people to watch the
livestock, whether they were sheep or cattle. These structures are over 200 years old, the oldest dates from
approximately 1811, and is made from natural materials found in the land around Loxton. The team visited
these rondawels which though small, only 5 metres wide and 7 metres tall, are still used today as homes for
many of the population in Loxton. These structures dot the landscape through much of the Karoo and are
unique to this part of South Africa.

Interior of a Korbeel Huis. Korbeel House outside Loxton.

45

Las Lappies Workshops The Gayageum

The team held several workshops during this visit. Some Ko Seung Hyun created a remarkable artwork in
of the workshops took place with Grade 6 school children Loxton, using the natural and waste materials. The
with the assistance of the Endangered Wildlife Fund. The Gayageum is a traditional Korean musical instrument.
aim of the workshop was to educate them about the
endangered wildlife of the Karoo. One of the most moving
workshops done during this trip was a collaboration with a
craft group named the Las Lappies (the small extra pieces
of fabric that are sewn together). During the workshop,
stories emerged around the folklore and myths around
water.

Mr Ko and Ingrid Schöfmann (host of the Loxton Team) with parts of
the Gayageum, a Korean traditional instrument.

Thabang Selai fitting parts of the Gayageum, a Korean traditional
instrument.

Las lappies ladies hard at work making drawings of the Riverine Rabbit.
46

CLASS DISCUSSION CHAPTER FOUR

Multi-medium Artworks CLASS DISCUSSION
Artworks have multiple uses. Originally they were used
simply to beautify a space, but as time has passed Creating an artwork that is a musical instrument
artworks have shifted to involve complex thoughts
attempting to provoke critical thinking, and following this, You are now going to create a musical instrument out of
artworks have often been used as a medium for protest. waste and natural materials that is also an artwork.

In recent times artworks have moved away from simplistic These are some instruments that are easy to create with
definitions and will often use many different mediums to waste and natural materials:
convey a message. The Gayageum is an example of this • Guitar
type of artwork. • Drum
• Rain-stick
Multi-medium artworks can make the meaning of an
artwork clearer or add in other messages to the existing Remember this artwork needs to be beautiful as well as
artwork. functional. You can use the artwork to express an idea or
something about yourself. The design of the artwork can
The Gayageum is a multi-medium artwork because it is a be about the type of music you like.
physical object that should be looked at and interpreted,
but it is also an object that is used to create music. Detail of Gayageum made by
Mr Ko and Thabang Selai
Discuss this type of artwork in groups:
1. Do you think artworks should use more than one

medium to convey a message?
2. Do you think artworks can be objects with a purpose

as well as something aesthetic to look at?

Ice Pages created from water and pear tree blossoms. Pear trees blossoming in
Artwork by Erica Lüttich. Loxton.
47

Jasmine Lee
Lee, born in Chungju, in 1982, is a Korean artist. She
currently works as an International Cooperation Manager
of the Geumgang Nature Art Biennale and is a project
manager of the Global Nomadic Art Project – Korea 2014-
2018.

Yasmine Lee with Mahmoud Makatabi and Patrick Tagoe-Turksen exploring
thorns in De Aar with Marie Gayatri offering advice.

MATJIESFONTEIN

During this visit, the aim was to visit the site of the Snake
Eagle Geoglyph, an existing artwork created by Anni
Snyman and several other artists.

Lord Milner Hotel, the road to Matjiesfontein and Simpiwe Sibisi, Pindulo
Muzhambi and Retshipile Lebata walk the path to the Snake Eagle
Geoglyph.

48

CHAPTER FOUR

History of Matjiesfontein Geoglyphs

Matjiesfontein was founded in 1884 by James Douglas A geoglyph is an enormous artwork usually spanning
Logan, and it is a space where many historical events several metres made of natural objects such as rocks
occurred. There are many buildings preserved from the and trees as well as a variety of other growing objects
South African War (the second Anglo-Boer war), which such as grass. These geoglyphs are usually seen and
few other small towns in South Africa still have. The Lord appreciated best from above. This is remarkable when
Milner Hotel is still regarded as a historic and luxurious one considers that many of these geoglyphs were
venue today. The hotel was used as a hospital during made long before aeroplanes existed. Examples of these
the South African wars. geoglyphs can be found all over the world. In Chile,
there is the Atacama Giant who is 119 metres tall, and
The Snake Eagle Geoglyph Google satellites recently found over 50 new geoglyphs
in Kazakhstan.

The new geoglyph in Matjiesfontein is homage to the breeding pair of Black Crested Snake Eagles that had taken
up residence in the area. This is a magnificent bird found in the Karoo. Made using rocks painted with white paint
made from a mixture of lime and other ingredients, the artwork aims to engage people with nature. Over a path of
1,536 metres, you walk the thinking path and fall into a meditative state which helps you appreciate and commune
with nature.

Snake Eagle Thinking Path by Anni Snyman and Artists created in 2015. Simpiwe Sibisi, Pindulo Muzhambi and Retshipile Lebata walking the
Detail of the wing and tail feathers. Snake Eagle Thinking Path in Matjiesfontein.

49

Thabang Selai The Water-meid or the Mermaid

Thabang Selai is a South African artist from Diepkloof In many cultures around the world, there are myths and
in Soweto. Selai works in a variety of mediums and legends about mermaids. In the Karoo, the mermaid is
in 2017, he was invited to work on a project in the known as the Water-meid. She is a fascinating idea as
Democratic Republic of Congo on a ceramics exhibition, the Karoo itself receives less than 200mm of rain per
and he has completed a residency in South Korea. He year and sources most of its water through underwater
loves encouraging the children in his community to be dams and lakes. In other words, why is there mythology
creative and often holds art classes in his home. about a water being in an area that has almost no visible
water?

The Water-meid was celebrated and prayed to, precisely
because of this lack of water. She was said to provide
and protect the people of this area with the water
they needed. Many people in the area believe that
because of how badly we, as humans, have treated the
environment, the Water-meid is punishing us with floods
and dangerous storms.

Thabang Selai, ‘Stone and Water’ Matjiesfontein,2016

Thabang Selai, ‘Water Snake’ Matjiesfontein, 2016 Another possible explanation about why people believe
in the Water-meid in this area is because 250 million
years ago, the Karoo was not a desert, but was totally
underwater. Perhaps when the oceans pulled away
from the land they left this being behind. Just outside

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