By Iminza Keboge
Published August 11, 2024
Dance to the Rhythm of My Soul, a month-long art exhibition that marks six decades of diplomatic relations between Kenya and South Korea, has opened at Nairobi National Museum.
Featuring the work of female artists from Kenya and South Korea whose art not only transcend cultural and temporal boundaries but also offers profound insights into identity shaped by personal, collective, and cultural memory, the show opened on August 4 and is expected to run through August 31, 2024.
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Central to the exhibition is ‘Nowness,’ exploring contemporary identity from a female perspective. Dance to the Rhythm of My Soul dives into our sense of self through the intricate lens of memory, weaving together diverse yet shared cultural experiences across Asia and Africa.
Kenya and South Korea, according to the publicists of the show, ‘share a vibrant history rooted in rich heritage and proud national identities – but both nations also overcame colonization; Kenya by the British and Korea by the Japanese – who even banned the Korean language. Despite these challenges, their cultural heritages have thrived and continue to blaze their own paths’.
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The artists whose work is on show in Nairobi are:
Nadia Wamunyu
Nadia Wamunyu lives and works in Nairobi, with her art being shown throughout the African continent and worldwide. She experienced a partial loss of hearing at the age of five and learned from an early age to communicate through her work: ‘I realised I could record my memories, experiences, tastes and feelings through drawing,’ she says, ‘a relief from the stress of vocal communication that I struggle with.’
Inspired by her tutor Patrick Mubaki, her expansive works include themes of women’s rights, feminism, the body, identity, and memories. Her collections celebrate black women, depicted as powerful gymnasts exuding pride, potential, and character – and in continuous motion, symbolizing time’s passage, and the relentless quest for self-discovery. Through coffee and ink stains, she highlights the gymnasts’ stark white leotards, challenging historical misrepresentations of African women and challenging the prejudices they endure. By confronting traditional portrayals of black female bodies, Wamunyu addresses the ongoing battle against marginalization, objectification, fetishization, and erasure. By focusing on the body’s symbolism rather than facial features, Wamunyu initiates a dialogue on the representation of black female bodies, probing questions about identity and perception, such as, “What is the relationship between my body and my work?” and “How does it influence my self-perception and others’ perceptions of me and my art?”
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Oh Myung Hee
Oh Myung Hee is renowned for her mastery of mother-of-pearl, acrylic on canvas, and Geonchil – a traditional Korean lacquering technique embodying Korean cultural heritage, blending beauty, functionality, and profound respect for nature and craftsmanship. However, for her Venice exhibition, she began incorporating family photos, seamlessly merging traditional techniques with contemporary materials, themes, and concerns to craft new narratives. Her work on show features two cycles, each exploring significant themes in Korean women’s history. The first cycle focuses on Korean Giseang, who were highly trained artists in music, conversation, and poetry. Revered as fashion icons and intellectuals, these women graced royal courts and scholar-officials’ homes. Her work celebrates their femininity, freedom, and desire, boldly challenging societal norms with materials such as mother-of-pearl, eggshell, and Geonchil lacquer. Her art salutes the Giseang’s courage, and trailblazing spirit in the fight for Korean women’s rights. The second cycle, “Ganggangsullae” or “Moondance,” captures the exhilarating harvest-time performance where women sang and danced all night, expressing their innermost thoughts without societal judgment. Traditionally, in Korea’s male-dominated society, women were restricted from singing loudly or going out at night. But during the Chuseok festival, they revelled in Ganggangsullae, seizing a rare chance to break free and express themselves with abandon. Oh Myung Hee’s art, despite confronting the pain and conflict of history, carries an enduring message of hope, celebrating the indomitable spirit of women who carved out their own paths.
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Prina Shah
Prina Shah presents a powerful site-specific installation comprising seven vibrant sculptural balls, each symbolizing a chakra and reflecting her rich Asian heritage. Adorned with handwritten ink messages, these intricate creations resonate with memories, serving as the ‘voice’ that energizes each chakra. A mirrored door stands before the balls, inviting viewers to engage in deep self-reflection and encouraging them to explore their own memories and identities. Cultural identity is at the heart of Shah’s art, resonating with the experiences, beliefs, and traditions of her community. In Doorway to Memory, she transcends personal ego, fostering a profound connection with others: a journey toward self-transcendence and an epiphany of the Other. Rooted in meditation and her life experiences, including the 1982 Kenyan coup attempt, Shah’s art delves into human evolution and consciousness. She celebrates the importance of cultural connections and personal creativity, emphasizing spiritual investigation and self-exploration. Shah works on memory at an energy level. Specifically, she addresses this through the yogic tradition of energy chakras. Shah believes, as do the Yogic traditions, that the energy we hold and develop carries memory. This memory is inherited from our ancestors and events from the past that have shaped us, affecting us from the inside on an energy level. By turning inwards and working through each chakra, which represents a different aspect of energy, Shah explores these memories.
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Challenging traditional gender dynamics, Dance to the Rhythm of My Soul features three groundbreaking female artists from diverse cultural backgrounds exploring how memory impacts identity. Through the artists’ unique journeys, the bonds between Korea and Kenya are emphasised.
The exhibition is curated by Metamorphosis Art Projects, London, founded by Tatiana Palinkasev and Eva McGaw. Renowned for their innovative approach and commitment to highlighting the relevant stories of our times, MAP has earned international acclaim for showcasing artists from around the world, pushing the boundaries of contemporary art. Sending a powerful message about the changing tides in the global art scene, this exhibition not only supports these artists’ careers but also serves as an inspiration for young female artists and curators globally.
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A series of workshops and round-table discussions accompany the exhibition, held in collaboration with Kenyatta University and University of Seoul. These sessions are designed to deepen the engagement with the exhibition’s themes and foster dialogue among artists, scholars, and the community.
This is also an important platform for artists, curators and students to talk about the theme of contemporary identities through the prism of memory, and approach as diverse creative professionals.
A comprehensive catalogue, featuring essays and studies from curators and art critics, provides insight into the artworks, practices, contemporary East African art scene and the artists themselves.
Following its premiere in Nairobi, the exhibition aims to travel to Seoul, London, Amsterdam, among other cities, together with other significant art centres. The aim is to incorporate local artists at every venue, fostering an exchange of ideas and perspectives to highlight the importance of personal memory and cultural identity in contemporary art worldwide.
