Phumzile Nombuso Twala
Phumzile Nombuso Twala, is a Soweto-born writer, researcher, curator and independent arts practitioner. A contributor to various cultural and creative industries projects, she is currently developing an interdisciplinary heritage, research and development praxis, informed by public engagement curating models, as well as by exploring community engagement and art institution
models through research-led inquiry.
Currently Researcher at Andani.Africa, a creative industries research and strategic advisory agency, she is also a Research Associate at the Open Restitution Africa Project led by Molemo Moiloa and Chao Tayiana Maina.
In 2021 she was Research Assistant for the Winnie Madikizela-Mandela Interpretive Centre/Museum project led by Nkule Mabaso, Nontobeko Ntombela and Luvuyo Nyawose.
She has also contributed research and a catalogue essay to the When Rain Clouds Gather Exhibition (Norval Foundation)(2022- 2023).
In addition, she is also the Public Engagement Curator of the Yakhal’inkomo Exhibition: The Bongi Dhlomo Collection (2022 – 2023), co-curating with Tumelo Mosaka and Sipho Mdanda.
Awards
Robben Island Museum (RIM) 2020 Heritage Bursary Recipient
Department of Sport, Arts and Culture (DSAC) 2020 Heritage – related studies Bursary Recipient
Standard Bank Group Foundation of African Art Postgraduate Prize (2021) for Outstanding achievement in Postgraduate African Art Studies. (Wits University Humanities Dean’s List 2021)
models through research-led inquiry.
Currently Researcher at Andani.Africa, a creative industries research and strategic advisory agency, she is also a Research Associate at the Open Restitution Africa Project led by Molemo Moiloa and Chao Tayiana Maina.
In 2021 she was Research Assistant for the Winnie Madikizela-Mandela Interpretive Centre/Museum project led by Nkule Mabaso, Nontobeko Ntombela and Luvuyo Nyawose.
She has also contributed research and a catalogue essay to the When Rain Clouds Gather Exhibition (Norval Foundation)(2022- 2023).
In addition, she is also the Public Engagement Curator of the Yakhal’inkomo Exhibition: The Bongi Dhlomo Collection (2022 – 2023), co-curating with Tumelo Mosaka and Sipho Mdanda.
Awards
Robben Island Museum (RIM) 2020 Heritage Bursary Recipient
Department of Sport, Arts and Culture (DSAC) 2020 Heritage – related studies Bursary Recipient
Standard Bank Group Foundation of African Art Postgraduate Prize (2021) for Outstanding achievement in Postgraduate African Art Studies. (Wits University Humanities Dean’s List 2021)
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Interests
Uploads
Videos by Phumzile Nombuso Twala
By: Phumzile Nombuso Twala
Inkunzi isematholeni: situating intangible heritage within township communities and displacing built-environment institutional captivations
Papers by Phumzile Nombuso Twala
Andani.Africa was commissioned by the British Council to conduct a mapping study to provide an overview of the visual arts sector in nine countries within Sub-Saharan Africa (SSA). The study covered Ethiopia, Ghana, Kenya, Nigeria, Senegal, South Africa (SA), Sudan, Uganda, and Zimbabwe. Findings of this report support the development of one of the key British Council programmatic areas, Culture Connects. This mapping report highlighted the state of visual art in the respective countries by identifying emerging visual arts trends, opportunities, and innovative solutions within respective African countries. It is envisioned that the extended version of the report for the British Council will inform renewed approaches for collaboration, funding models and programme initiatives.
By exploring where the individual Black Self meets the collective and how this delineation is blurred, I aim to delve further into notions of individuality and how these seep into a real or imagined whole.
What does it take to be ‘kasi’? Who wants to be known as ‘kasi’? Who is ‘uDarkie ekasi’?
As an arts practitioner developing an interdisciplinary praxis, I’m keen to explore these kinds of identity politics through the lens of translanguaging and township-based experiences and expressions.
My aim is for this text to offer alternative insights into the intersection of ‘Black Bodies,’ the various notions associated with how ‘Black People’ are perceived, and their self-perceptions within township spaces.
It is my primary aim to offer a nuanced view of the process of development of this public-sector-led township-based museum and to explore the extent to which community engagement occurs at various stages throughout the period spanning 25 years (1996 – 2021). Designed by architectural firm Mashabane Rose Associates, the revamped memorial was unveiled on June 16, 2001 and the museum was officially opened on June 16, 2002 (Marschall 2006:149). This memorial and museum site was developed to honour the memory of the protesting and slain student activists of the June16, 1976 Youth Uprising.
I am interested in developing a praxis centered on unpacking the intersection of social interventions, museum practice and community engagement. I aim to introduce a heightened sense of awareness about existing blind-spots about the notion of ‘townships’ and the people living in them, especially around ideas of how ‘community’ is imagined and defined in this context.
My aim is for this research paper to offer a nuanced perspective on public-sector-led museums based in township spaces, through the lens of the HPMM site. I am contending issues around how ‘community’ is described and the extent to which a community-centric approach to the continuing development of this site is possible within this context as well as the complexities of having a white cube inserted into specific township spaces without extensive connection to the residents and broader community members.
This study aims to add to existing literature by delving into some of these unspoken public perceptions from the perspective of members of the broader community of Soweto, beyond the local residents of Orlando West and Phefeni. I aim to interrogate the merits of a tourism-led approach to heritage practice within this context and to concentrate on the populace for whom these spaces are said to serve.
Drafts by Phumzile Nombuso Twala
Talks by Phumzile Nombuso Twala
While digitisation is often considered a strategy for future oriented safe
keeping, distribution and greater engagement, we ask – for who? And
for what purposes? And are we making decisions about digitisation that
ensure these objectives are met in ethical, equitable ways?
Podcast Hosts
Chao Taiyana Maina and Molemo Moiloa of Open Restitution Africa
Podcast production and research Team
Phumzile Nombuso Twala and Lethabolaka Gumede on research.
Josh Chiundiza on music.
Karugu Maina on design
Annelien Van Heymbeeck on editing.
Zine Team:
Lauren von Gogh on English language editing
Alassane Diallo and Laurent Chauvet on French language editing
Proverb oHG on German language editing
Stiftung Humboldt Forum im Berliner Schloss:
Dortje Fink
Selina Mackay
Michael Dieminger
Alondra Meier
This zine and podcast are produced under a creative commons licence.
By: Phumzile Nombuso Twala
Inkunzi isematholeni: situating intangible heritage within township communities and displacing built-environment institutional captivations
Andani.Africa was commissioned by the British Council to conduct a mapping study to provide an overview of the visual arts sector in nine countries within Sub-Saharan Africa (SSA). The study covered Ethiopia, Ghana, Kenya, Nigeria, Senegal, South Africa (SA), Sudan, Uganda, and Zimbabwe. Findings of this report support the development of one of the key British Council programmatic areas, Culture Connects. This mapping report highlighted the state of visual art in the respective countries by identifying emerging visual arts trends, opportunities, and innovative solutions within respective African countries. It is envisioned that the extended version of the report for the British Council will inform renewed approaches for collaboration, funding models and programme initiatives.
By exploring where the individual Black Self meets the collective and how this delineation is blurred, I aim to delve further into notions of individuality and how these seep into a real or imagined whole.
What does it take to be ‘kasi’? Who wants to be known as ‘kasi’? Who is ‘uDarkie ekasi’?
As an arts practitioner developing an interdisciplinary praxis, I’m keen to explore these kinds of identity politics through the lens of translanguaging and township-based experiences and expressions.
My aim is for this text to offer alternative insights into the intersection of ‘Black Bodies,’ the various notions associated with how ‘Black People’ are perceived, and their self-perceptions within township spaces.
It is my primary aim to offer a nuanced view of the process of development of this public-sector-led township-based museum and to explore the extent to which community engagement occurs at various stages throughout the period spanning 25 years (1996 – 2021). Designed by architectural firm Mashabane Rose Associates, the revamped memorial was unveiled on June 16, 2001 and the museum was officially opened on June 16, 2002 (Marschall 2006:149). This memorial and museum site was developed to honour the memory of the protesting and slain student activists of the June16, 1976 Youth Uprising.
I am interested in developing a praxis centered on unpacking the intersection of social interventions, museum practice and community engagement. I aim to introduce a heightened sense of awareness about existing blind-spots about the notion of ‘townships’ and the people living in them, especially around ideas of how ‘community’ is imagined and defined in this context.
My aim is for this research paper to offer a nuanced perspective on public-sector-led museums based in township spaces, through the lens of the HPMM site. I am contending issues around how ‘community’ is described and the extent to which a community-centric approach to the continuing development of this site is possible within this context as well as the complexities of having a white cube inserted into specific township spaces without extensive connection to the residents and broader community members.
This study aims to add to existing literature by delving into some of these unspoken public perceptions from the perspective of members of the broader community of Soweto, beyond the local residents of Orlando West and Phefeni. I aim to interrogate the merits of a tourism-led approach to heritage practice within this context and to concentrate on the populace for whom these spaces are said to serve.
While digitisation is often considered a strategy for future oriented safe
keeping, distribution and greater engagement, we ask – for who? And
for what purposes? And are we making decisions about digitisation that
ensure these objectives are met in ethical, equitable ways?
Podcast Hosts
Chao Taiyana Maina and Molemo Moiloa of Open Restitution Africa
Podcast production and research Team
Phumzile Nombuso Twala and Lethabolaka Gumede on research.
Josh Chiundiza on music.
Karugu Maina on design
Annelien Van Heymbeeck on editing.
Zine Team:
Lauren von Gogh on English language editing
Alassane Diallo and Laurent Chauvet on French language editing
Proverb oHG on German language editing
Stiftung Humboldt Forum im Berliner Schloss:
Dortje Fink
Selina Mackay
Michael Dieminger
Alondra Meier
This zine and podcast are produced under a creative commons licence.