‘Art is different from life’: Doctrine and agency in Thokozile Philda Majozi’s insights and imagery

Abstract

Established in apartheid South Africa, the tapestry-weaving venture at the Evangelical Lutheran Church Art and Craft Centre, Rorke’s Drift, was situated in a complex mission environment, on the junction between evangelised and unevangelised isiZulu-speaking communities. Although local women who worked at this centre in the 1960s and early 1970s were trained in creative strategies by Swedish artists, their lives were constrained by missionary strictures, inherited customs and apartheid laws. Little has been written on the tapestries made by these marginalised women, whose experiences were discounted in the socio-political milieu. Yet even as they were subordinated by political and social hierarchies, some found ways to assert their individualities. One of the most prolific was Thokozile Philda Majozi. As this study demonstrates, her woven iconographies, as well as her personal insights on those of others, provide a lens through which local Lutheran agendas and prejudicial social practices may be read. Some works anticipate the mission’s eventual change of heart on inherited customs and African-initiated churches. Majozi’s discussion also reveals how weavers often ignored Lutheran restrictions in the interests of artistic experience, despite the systems of control that defined their lives. Yet Christian weavers such as Majozi also complicated their representations of mission life, deploying images of un-evangelised women that articulated their own ambivalence towards them.