The Figure of the Khoisan Mother in Lady Skollie's Work: Trance Rhythm and Noise

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Copyright: 2025
Pages: 26
Source title: Decolonial Aesthetics of Blackness in Contemporary Art
Source Author(s)/Editor(s): Zingisa Nkosinkulu (Tshwane University of Technology, South Africa)
DOI: 10.4018/978-1-6684-8716-7.ch004

Keywords: Art and Design / Culture & Population Studies / Information Science Reference / Social Sciences & Humanities

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Abstract

This chapter draws from decolonial epistemic critical theory with specific reference to Nelson Maldonado-Torre's notion of the phenomenology of the cry and African art. Maldonado-Torres' thoughts apply to the accounting of art created in Blackness and to the reading of creative expressions that are inherently decolonial aesthetics of Blackness. This chapter seeks to locate the theme of the phenomenology of the cry as a decolonial imprint inherent in Lady Skollie's visual art practice, especially the figure of the Khoisan Mother. In this chapter, it is argued that it is from this point that Lady Skollie can be declared a decolonial existential phenomenologist/philosopher who practices decolonial phenomenology from the position of the previously marginalised. From this position, Lady Skollie's work can also be declared to be an Africana decolonial aestheSis.

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The Figure of the Khoisan Mother in Lady Skollie's Work: Trance Rhythm and Noise

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