Sydney Kumalo en ander Bantoekunstenaars van Transvaal (Afrikaans)

Abstract

Die beginpunt van die nuwe Bantoekuns in Suid-Afrika was die Pollystraatsentrum wat in 1948 in Johannesburg gestig is. Skotnes was van 1952-1965 hoof van die Sentrum en het o. m. Kumalo, Ngatane, Sithole, Maqhubela en Legae onderrig. Klem is gele op kontak met die tradisionele kunsverlede van die Bantoes en 'n grondige tegniese opleiding. Kumalo en ander leerlinge van die Pollystraatsentrum het in 1957-8 die belangrike kerkopdragte van Kroonstad en Orlando uitgevoer. Die plafonpanele en kruiswegstasies van die Kroonstad- en Orlandokerke vorm die beginpunt van Kumalo se kunstenaarsloopbaan. Naas leiding van Skotnes het hy ook onderrig van Villa ontvang. Kumalo het ten spyte van Westerse invloede 'n besonder persoonlike en individuele beeldhoustyl ontwikkel, waarin die invloed van klassieke Afrika-kuns gesien kan word. Kumalo het reeds internasionale bekendheid verwerf en is die meester van Suid-Afrikaanse Bantoekunstenaars. Ook Legae is 'n beeldhouer. Sy werk is meer westers as die van Kumalo en van 'n meer liriese kwaliteit as die fors beeldhouwerk van Kumalo. Lucas Sithole het bekendheid verwerf met houtbeeldhouwerk in slank figure en dieruitbeeldings. Sy werk is van 'n meer populere aard en hy toon 'n neiging om na die publiek se smaak te werk. Dumile het hom toegele op groot houtskooltekeninge van 'n illustratiewe en ietwat makabere aard. Hy het baie navolgers onder die Bantoekunstenaars. Maqhubela het aanvanklik veral mosai"ekpanele uitgevoer. Sy meer belangrike kunswerke begin met die houtskooltekeninge waarby later die gebruik van pastel gevoeg is. Sy onderwerpe is nie beperk tot die lokasietema nie maar is afkomstig van 'n wyere verbeeldingswereld. Na kontak met Portway het hy baie op kleurgebruik in sy skilderye begin konsentreer. Naas Transvaal is daar ook in Natal 'n groep Bantoekunstenaars werksaam met Zondi as vernaamste verteenwoordiger. In Rhodesië word die seepsteenbeeldhouwerk van sg."werkswinkel"-kunstenaars algemeen aangetref. In Sentraal- en Wes-Afrika word 'n groot verskeidenheid kunsvorme beoefen. Die nuwe Bantoekuns in Suid-Afrika het gegroei vanuit die Pollystraatsentrum. Hier het Skotnes sy Bantoeleerlinge bekend gestel met die klassieke en tradisionele kuns van Afrika. Hierdie uitdrukkingsvorme is op 'n besondere wyse verwerk en assimileer soos veral blyk in die kuns van Kumalo. Kontak met blanke kunstenaars sal steeds vir die Bantoekunstenaars 'n verryking bly in die skepping van hierdie nuwe kuns wat eie is aan die gees van Afrika.

The Polly Street Centre, which was established in Johannesburg in 1948, gave rise to the development of a new Bantu art in South Africa. Skotnes headed the Centre from 1952-1965 and taught, amongst others, Kumalo, Ngatane, Sithole, Maqhubela and Legae. Contact with traditional art forms was stressed, as was a solid technical training. In 1957-8 Kumalo and other pupils of the Centre completed the important church commissions of Kroonstad and Orlando. Kumalo's artistic career began with the ceiling panels and Stations of the Cross of the Kroonstad and Orlando churches. In addition to the Polly Street classes, Kumalo was also instructed by Villa. Despite strong european influences Kumalo developed a distinctly personal style which also reflects the influence of African art. Kumalo has an international reputation and the maturity of his workmakes him the doyen of South African Bantu artists. Legae also, is a sculptor but shows a more lyrical and gentle quality in his work compared to the bold, strong forms of Kumalo's sculpture. Sithole is known especially for his wood carvings of animals and tall, slim human figures. He does, however, tend to follow the dictates of popular demand. Dumile mainly produced large charcoal drawings of an illustrative and rather macabre nature. He has since built up a considerable following amongst Bantu artists. Maqhubela initially worked in mosaics. His more important artistic production started with charcoal drawings which later included the use of pastels. He does not depict the township life but excercises a free imagination in the choice of subjects. Contact with Portway influenced Maqhubela to concentrate mainly on the use of colour in his paintings. The main group of Bantu artists work in the Transvaal. Natal also has a group of whom Zondi is the most important representative. In Rhodesia the soapstone carvings of the "workshop" artists have become increasingly popular. A great diversity of styles is to be found in contemporary western and central African art. The new Bantu art in South Africa started at the Polly Street Centre in Johannesburg. Skotnes introduced his pupils to traditional forms of African art. These forms of artistic expression were assimilated into the work of the Bantu artists and resulted in a distinctly personal style, as can be seen in the sculpture of Kumalo. The work of our Bantu artists will be enriched by a continued contact with european artists in the developing of this new and vital art of Africa.