Installation view Will See You in December...Tomorrow, Maputo (parque MUSART) and Johannesburg (Ansteys Studios), 2014-2015

"It’s 1975 post-independence and 

Samora would be sending the Portuguesback to Portugalsome who were Mozambican 
by birthright were to quickly forge a new identity." 
My grandfather a carpenter –talks about big 
commissions for crates/ crate like objects, that would transport back livesobjects, and 

memories. That would do a crossing from the Indian Ocean to the Atlantic - that would mean that aviolently athey arrived be sacked from Maputo to PortugalAgain. We laugh, at the despair, at the victory, at Samora's courage and audacity, at our handicaps as a people to even begin to talk about the traumas inflicted on us. Again.

These stories are part of an expanded narrative of early human migration into Mozambique as it stands as an important point of contact and opening in the Indian Ocean, and while doing research for this project I was able to connect our trade roots to India as far back as the 11th century and as near as today.

The material/ fabric called “capuIana” used for to make the drawings of the exhibition were bought in an historical relevant market that served the new peripheries of Maputo segregating the metropolis onto two, the city and the periphery (built with the purpose of lodging workers and locals) during the colonial era. The capulana was bought in a small shop owned by an Indian family that brought the product from as far as JayPur, India and has been doing so since early trade days.

Drawing on Capulana, 40x30cm, ,JayPur Shores,
Will See You in December…Tomorrow 2015

The material is not only symbolic for it’s overt reasons as it has been appropriated into Mozambican tradition, but it also reconstructs and begins to question the historical relevance of Mozambique at the point of contact with Europe (Portugal, 1498)[1]. This early history also disputes many claims of a non-existence of African history preceding [European] invasion.

[1] Vasco da Gama arrives in the North of Mozambique in 1498 with the final goal to reach India. And since Indian merchants were already present for over 3 centuries it is possible that he was helped in his endeavour. Putting into question earlier claims of discovery and self-congratulation.

This project involved a series performances entitled Ironing History [out], which took place in Maputo in early 2015 surveying Mozambicans as to their activities in South Africa that generally are centred around trade and labour. These performances took place at entrance of the train station and Junta, spaces where a large flux of commuters use to arrive and depart from Maputo. 

The Object (number) and it's Owner"
Euridice Kala's Performance's in Maputo entitled: Ironing History [out]- what do Mozambicans do in the neighbouring South Africa? As the artist, enquired from the participants about their [non] journeys to S.A. The reasons and temporality tend to vary from very short 1 (one) day visits to purchase their monthly groceries, or a visit at the car stand, to the miner who only visits home (Mozambique) once a year to others who have not returned until the recent ‪#‎xenophobic attacks scared them for the violence witnessed was too much to bear.

The conversation with miner Júlio Nhomambe, known in the past by his number ‪#‎Z0074829, who remembers having returned to Maputo between a Tuesday or a Wednesday in 2003. Was a reflection of his time in SA and how he's now finding a possible clarity in his own country when there was non before.

Copyright Basilio Muchate, Ironing History [out], Maputo,

It also included videos, photographs and objects in the exhibition space as well as a public conversation entitled "Bringing Intercourse to Space: What makes a good exhibition?????" that took place in October 17 of 2015 at 3pm in Johannesburg

Part of the research process housed on a facebook page: 


The three Euridice's in the Holy grail, From the Series Entre-de-Lado, sizes variable, print on canvas paper, 2102
"Mozambicans current poise for marriage amongst young people is almost like buying into a system whereby being yourself is not a trend. Your loved ones want you to belong to the club, and never be the other, the outsider… otherwise You represent danger to society …” 

How do you position yourself in relation
to feminism(s) and the socio-political
It all depends in the context [like I said
before]. I mean abstractly we are all
powerless as individuals a bit of a paradox
for the present climate. We have
come so far in presenting the results of
our curiosities that we think all is accepted
when reaching for what we believe.
There lacks the journey at this instance.
At this point I am not accepting to be
carried by this passive collective information,
through social media and other
outlets that convey most social and or
political truths –I prefer walking, flying,
being in certain destinations to restrain
myself from general opinions ergo positions.
Therefore my position is be there, write
from there, for there, make it for there.
And at the same time expect nothing.
And as I say that, be in your sofa.

Queen Victoria and Prince Albert’s wedding in 1840 –a photograph. This image was to be circulated all over Europe and canonize the image of the bride –a white wedding dress, about to represent all the meanings that reveal to this day religiously the rituals of couple unions for many cultures. 

Entre-de-Lado observes an appropriation and questions the materiality and meanings of  
the white wedding dress in the context of the other- as an inward exercise, as a personal journey into the self

Photographic/ Performance

This phase consisted of a photographic body of work of about 20 images taken in Johannesburg between 2012 and 2013.

The images where taken with an understanding of contemporary portrayal of wedding images, taking cue on personal narratives that contributed to a body of work that is translated into whimsical, transient, and unrealistic- it contributes to an expanded notion of the bride questioning the materials and the civil status she’s encounters herself in. 
The dress was or is a surveyed during this process without much subversion to it's meanings and symbolic representations. 


During a period of reflection around (re)production of the same images, which culminated in some process work during a residency at Hangar in Lisbon in 2015. I furthered my interventions into the dress, in the attempts at deconstructing it's symbolic nature, at subverting it's meaning based on colour and resources.

Research Period
African Leaders between 1960-1975

This part of the idea expands the initial personal narrative of the project into a narrowed political moment on the African continent. With a majority of the states that turned into countries were going through a moment of liberation from colonial domination. 

It acts as a reflection that observes the companions of the leaders to be or in power between the period and beyond. It's intricacies as it begins to engage with some connections, to reveal names (female) that I was not aware of as history prefers to ignore them as important figures.

This also gave way for the installation Imagine if Truth was a Woman_Why Not, a excerpt from the Beyond Good and Evil by Friedrich Nietzsche. 

Imagine if Truth was a Woman_Why Not

Measuring Blackness and a Guide to Other Industries, video, 14:45mins, 2016

Unlike Other Santas...
2013 video, 3 channel installation 

The work references Zwarte Piet in parallel to hair while a black woman, however, it's a complete process of [de] construction of the elements that make up zwarte piet the character in a ritualistic/ processual representation.


The images reflect upon these ideas with the loosing of the hair, and then the delivery and enunciation of the character with painting of the face- but the fact that there is a lack of hair it again refutes a complete Zwarte Pitien transformation. 

The character [woman] is in the process of metamorphoses. The woman covering herself into a worrier and emerging as a representation of Zwarte Piet, having had full awareness of the process, and regaining the power within these process of representation that has taken power away from the black body. By fully engaging with the stereotypes created around the black body the character fluctuates between feelings of power and powerlessness. 

(Working about Work)


Three channel video- Installation
Johannesburg Library
Regions A-G

This is a story... where bureaucracy does not reign, no work is required- but moments of reflection and wonder."

Post-independency Mozambicans abandoned the field, the industry and many other lower level structures of work. This exodus to the capital that soared with independence euphoria, revealed a counter action to work, to the forced labour years "xibalo" installed by the Portuguese colonial system that masqueraded as soft slavery. People where forced to work cotton farms for little to no gain, at the expense of sustainable food farming, women who constituted the majority of the force (in teh farms) - where paid in capulanas, food rations and little to no money. Men where forced to take up work on the mines in the neighbouring South Africa and where at times stripped of any possible individual narratives and further reduced to numbers and or secondary narratives.

Could work be constituted as an organic socio-cultural practice in Mozambique? Can we return to the cotton farms introduced by the Portuguese, the sugar plantations that saw the country grow in exports? Our thriving fabric and sugar industries that brought fame to the colony industrious work organic to the individual identity of the Mozambican and if so can it be represented in the same format, which dominated the late 19th Century and early 20th century with the industrial revolution.

My questions as an artist is to continue to locate the traumas allocated to certain industrious ways that were established during the colonial era and quickly died during the early post-independence period.

Can we afford to wonder and reflect on this factors, Mozambique has become a changing industrial space- one that looks at a 'free-market' at a cost os many who are still affected by the psychologic ills of forced labor.

Fast Forward [A Working Title]

Text base Performance
pencil on paper

(Work on Trade and Space)

Public Acts# 
2 performances 

Performance at the Jeppe train station

©Akona Kenqu

Tea for Stories  No Story/ No Cup
 Performance at the Jeppe -Triangle
©Akona Kenqu

Dancing Bits 

Video  2'38
June 2015 

I will continue to dance because it's 2015. As the observer becomes the observed. I will continue to dance.

I can be an individual????

"What do I look like when I am free????"

Embracing the power of (body) images. RED and BLACK!!

dancing bits from Euridice Kala on Vimeo.

"Arrival| Departure| Return and then..."  

Performance installation

April 2014

    "Arrival| Departure| Return and then...", performance, Copyrigth Akona Kenqu, 2014

While floating in residency, at  the CuriocityBackpackers in Maboneg. I found myself in the midst of confusion, what is it that I was doing there? Complying with that which is "non compliable", which we treat as taboo. Well, how else do you deal with the centre if you are in the fringes? Perhaps in accordance we find other articulations of what this exhibition space is about!! I am in the middle of it, resigned to find gravity in it. I am working with two instruments the physical and the metaphysical. Whichever hits me the most in the end i will perhaps favour.

The non-exhibit at the exhibition space will begin on the evening of the 23rd April with Nancy May Roberts and Miles Malaba Ncube.

And at the end of the day of 31 May with sound collaborators. Throughout that period, I will be excavating what makes my experience recordable. And why bother even do anything in the space if it's doing things to you already. 


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