Hey Little Darling

Here Comes The Sun, Little Darling

Lerato Mojapelo

Figure 1: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) i

Figure 2: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) ii

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Introduction 1 Background 4 Feminine figures that wore the headwrap in spaces of influence Nina Simone 5 Winnie Mandela 6 Contemporary movements that use the headwrap as a marker My art making process 8 Enslaved Women 10 Nina Simone 13 Winnie Madikizela Mandela 16 Tawakkol Karman 20 Prof. Mamokgethi Phakeng 23 Little Darling/Women of this Generation 26 Lerato Mojapelo 28 Artists that I draw inspiration from 32 Conclusion 33 List of illustration 34 Reference list 35 Curriculum Vitae 37

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Introduction In my artwork titled “Here come the sun, little darling (2023)” the headwrap and hijab are used as metaphors that depict the manifestation of the feminine power from select women leaders. The work of women such as Enslaved women, Nina Simone, Winnie Madikizela Mandela, Tawakkol Karman and Professor Mamokgethi Phakeng are used as references in the creation of the headwraps. The aim of the artwork is to celebrate and recognize these women who have shown qualities of leadership, courage and taking the initiative. This is because women are often subjected to gender stereotypes that make it seem as though women are incapable of doing anything beyond the parameters of domestic servitude, childbearing and caregiving (Casad & Wexler 2017:755). The women who are referenced have shown abilities and strengths that defy gender stereotypes, and this makes them figures that exemplify what women of this generation can look up to.

The headwrap is also used as a metaphor that represents women of this generation, and their use of the headwrap as a marker for continued socio-political issues that affect women today. Contemporary movements such as The Black Doek Movement and Doeks on Fleek are discussed on how the headwrap is a marker for their socio-political movements. The headwrap is also used as a metaphor that describes my own heritage and traits of my identity. My interest with the headwrap as metaphor through these different women is that it creates a commonality and a sense of community that is relatable. The headwrap is an apparel that patriarchal ideology has sometimes used to suppress and limit women through stereotypes of how a woman should look (Griebel HB 1995). In using the headwrap as a metaphor the intention is to redefine it as something that women can use to create their own meaning of who they are.

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Figure 3: Lerato Mojapelo, Here Comes The Sun, Little darling (2023)

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Figure 5: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Figure 4: Lerato Mojapelo, Here comes The Sun, Little Darling (2023)

Figure 7: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Figure 6: Lerato Mojapelo, Here comes The Sun, Little Darling (2023)

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Background During the times of slavery and colonialism, slave traders and owners used the headwrap as a form of identity for slave women (Griebel 1995). It served as a marker for enslaved women, and it was used to create a distinction between women who were free and women who were enslaved. The headwrap was used to create division, and it was a division that symbolized a woman’s social status that would then determine how she will be treated.

However, enslaved women used the headwrap as their own ethnic markers and they chose to see the headwrap as something that reminded them of their heritage and where they came from (Strubel 2014:6). In their own discreet way, enslaved women showed resistance by choosing to use the headwrap as something that reminded them of their heritage in the land of their enslavement.

Figure 8: enslaved women on plantation farm 4

Feminine figures that wore the headwrap in spaces of influence Nina Simone

Nina Simone (1933-2003) was a musician and civil rights activist who openly sang and spoke about the socio-political injustices that affected black people in her time. In some of her performances Simone can be seen wearing the headwrap in spaces of publicity and influence. Her civil rights song titled Young, Gifted and Black (1970) is regarded as one of the most important song in the civil rights movement. On March 31, 1972, the mayor of Berkeley California Warren Widener, declared the day Nina Simone Day. The recognition and award was in honor of her civil rights participation through music. On the day of the award, Simone wore a headwrap. Because of her, the headwrap existed in a space of honor and recognition for her civil rights work.

In her biopic film titled What Happened Miss Simone (Garbus 2015), she can be seen wearing the headwrap as she incites retaliation and political resistance to her audiences. Through her activism, Nina Simone reconstructed the symbol of the headwrap in spaces where she had the power to influence resistance and political activism. She translated the headwrap into a symbol of boldness, activism and perseverance. In Today’s time, Nina Simone is remembered and celebrated through some of her iconic looks and one of her iconic looks is of her wearing gold headwrap, making her look regal, honorable and bold (see image below).

Figure 9: Nina Simone in one of her iconic looks 5

Winnie Madikizela Mandela Another prominent figure of political resistance and activism is, Winnie Madikizela Mandela (1936-2018). She was instrumental in the fight against the Apartheid regime, and she played a vital role in changing the political sphere of South Africa (Lameche 2017). She led many protests and movements against the racist regime. Her active involvement in political resistance and civil rights made her a threat to Apartheid ideology.

Mandela recruited soldiers into Umkhonto We Sizwe and she worked with Chris Hani and Oliver Tambo in retaliation to the Apartheid regime. At some point she was the highest ranking official of Umkhonto We Sizwe(Lameche 2017). Winnie Mandela also wore the headwrap in many of her political activities. Because of her, the headwrap existed during a turbulent time that would change the political landscape of an entire country. Because of Winnie Madikizela Mandela, the headwrap symbolized power; resistance and femininity’s ability to lead fearlessly even in the most hostile conditions.

Figure 10: Winnie Madikizela Mandela 6

Contemporary movements that use the headwrap as a marker Black doek movement The Black Doek movement is a South African movement that is about helping women who are victims of gender-based violence (James 2021). The movement also represents women who have lost their lives to GBV. According to Dereleen James (2021), “It is also a movement that represents hope and solidarity for survivors of GBV”. In the movement, participants wear black doeks while protesting for women’s rights and raising awareness around gender-based violence in South Africa.

Doek on fleek Another movement called “Doek on Fleek” (established by Thandi Mavata) is a women empowerment movement that is focused on getting rid of the “pull her down” syndrome (Mavata 2023). The “pull her down” syndrome can be described as women denigrating other women. This movement empowers women through career guidance, business coaching, life coaching and encouraging women to support each other. These contemporary movements use the headwrap to symbolize their social activism for women of today. Both movements are active on social media platforms, making them accessible to social media users who would like further information or participation in the movements

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My Art Making process Here Comes The Sun Little Darling (2023) is a body of work that is made up of headwraps that are used as metaphors that references select women leaders as an art making strategy. The artwork is made up of seven headwraps, and some headwraps are made from different shapes, namely; cones and cubes. Some of the headwraps are in literal form so that audiences understand what the artwork is about.

The community of headwraps proposes a strong-willed identity of feminist power. I manifest the community of feminine power with references to influential female leaders with the headwrap. Therefore, my headwraps are modeled from enslaved women, Nina Simone, Winnie Madikizela Mandela, Tawakkol Karman, Prof. Mamokgethi Phakeng, Women of today’s generation and my identity.

The materials used in creating the body of work are color and pattern

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Enslaved women The headwrap is made from an off white/cream fabric with white threaded pattern. The intention with is headwrap is to depict the paralyzing sphere that enslaved women were in.

This is because enslaved people only had two options, survive or perish. The white pattern on the fabric references the ideology of colonialism and slavery on African women. The contrast of color between the fabric and pattern references how the smallest difference being skin color determined a women’s social ranking and the treatment she would receive based on her appearance.

This headwrap of enslaved women is a part of the community because their history matters. It informs issues of racism and gender that still exist today. This headwrap is also a metaphor that references modern day slavery.

The Kafala System which is still being practiced in some Middle Eastern countries (such as Dubai, Saudi Arabia, Jordan and Lebanon) subjects foreign women from 3rd world countries into domestic servitude, physical and sexual abuse under the false pretense finding work so they can support their families (Klovborg 2018). Kenyan Senator, Emma Mbura is an activist against the law that allows women to go to Middle Eastern countries for domestic work. She started a grass roots campaign to reinstate the ban of Kenyan women from taking domestic work in Middle Eastern countries (Klovborg 2018).

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Figure 11: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) 11

Figure 12: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

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Nina Simone this headwrap is made from cone shaped, leopard printed gold fabric. In her biopic film, Simone mentions that she directly told Dr. Martin Luther King that “I am not none-violent” (Garbus 2015). This is because Dr. King believed in non-violent protests in the civil rights movements. This is where the inspiration for the fabric comes from. The material is inspired by Nina Simone’s “not none-violent nature” and her activism in civil rights movements through music. The title of the project “Here comes the sun, little darling” is inspired by her rendition of the song from the music band, The Beetles.

In the song, Simone sounds like she is encouraging a young lady that has been through a tumultuous time, she gives a sense of hope and enlightenment which relates to the whole point of this project. Nina Simone is a part of this community because she used her musical strengths to spread awareness about the racism and social injustice toward black people in America. In her biopic film she expresses how important it was to be an artist that reflected that times she was in.

Her words were, “I choose to reflect the situations in the times I find myself in, How can you be an artist, and not reflect the times we live in” (Garbus 2015). Her artistry is honored and recognized by the rock ‘n roll hall of fame, the Grammies and other prominent platforms of today’s time (reference please). Her artistry made her famous and she used her popularity to expose the dehumanizing conditions of American white supremacy on black people.

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Figure 13: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) 14

Figure 14: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

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Winnie Madikizela Mandela This headwrap is made from black velvet and black fabric. This fabric choice is inspired Mandela’s political struggle for black people in South Africa. The headwrap represents her leadership and courage to stand firmly in the face of hostility against a racist regime that committed atrocious crimes against humanity.

Winnie Mandela is a part of this community because of her political struggle against the racist Apartheid regime. Her role as a civil rights activist in South Africa changed the narrative of my place as black woman living in South Africa.

I have the freedom to vote for any political party and, there are human rights laws in South Africa that defend me against any kind of discrimination as a black person living in South Africa (www.gov.za). Winnie Mandela played an essential part of changing the political landscape of an entire country. Her prominence in South Africa is still remembered and celebrated today; on the 26th of September 2023 William Nicol Drive was changed to Winnie Mandela Drive (www.news24.com). This shows that Winnie Mandela is still recognized and celebrated for her political activism that changed the lives of many black South African citizen.

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Figure 15: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) 17

Figure 16: Lerato Mojapelo, Here Comes The Sun little Darling (2023) 18

Figure 17: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

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Tawakkol Karman Tawakkol Karman is a contemporary figure of political resistance. As a Nobel Laureate, Karman is a representation of activism for women’s rights and peace making through non-violent protests. The hot pink fabric color references women (this is because pink is normally known as feminine color); the line pattern on the fabric is faces of women.

The pattern is inspired by what Tawakkol stands for as an activist for women’s rights in Yemen.

Tawakkol Karman is a part of this community because she is the embodiment of sociopolitical leadership. Karman displayed courage by publicly oppossing the dictatorship government of Ali Abdullah Saleh, she was even arrested for leading the protest against Saleh’s regime. Her arrest led to the protest's growth in number and support (rfkhumanrights.org). Karman’s influence in peaceful protests gained her a Nobel Peace prize in 2011, making her one of the youngest recipients of the prize (nobelprize.org)

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Figure 18: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

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Figure 19: Lerato Mojapelo, Here Comes The Sun Little Darling (2023) 22

Prof. Mamokgethi Phakeng this headwrap is inspired by Prof. Phakeng’s academic and career achievements. Prof Phakeng is the first South African female with a PhD in mathematics education. She also served as vice chancellor for Africa’s top University, University of Cape Town from 2018-2023.

She is a contemporary figure of leadership in education and an inspiration for academic excellence for South Africa’s youth. The pattern that is used for Prof. Phakeng’s headwrap references her advocacy for education in South Africa youth.

The denim blue color reference one of her looks in headwrap the light blue color on top of the headwrap references her time as vice chancellor at UCT (University of Cape Town). In the beginning of her term at UCT, Professor Phakeng used the money intended for her inauguration at UCT to help fund outstanding fees for some post-graduate students. She exemplified leadership in education by giving others a chance to graduate so they could further their lives. She has upheld her integrity and decorum in the face of scrutiny and unsound press. She continues to be a leader today through educational tours that she does across South Africa.

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Figure 20: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) 24

Figure 21: Lerato Mojapelo, Here Comes The Sun Little Darling (2023) 25

Little Darling/Women of this generation this headwrap emulate the colors of the rising sun. The headwrap takes reference from the project title and Nina Simone’s rendition of “Here Comes The Sun, Little Darling”. This headwrap represents women of today’s time; it serves to remind women of today that they are a part of a legacy of overcomers.

Figure 22: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

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Figure 23: Lerato Mojapelo, Here Comes the Sun, Little Darling (2023) 27

Lerato Mojapelo this headwrap depicts some of my personality and the headwraps influence though my own culture as a Bapedi woman. This headwrap is one of the abstract pieces from the community of headwraps.

It reflects where I come from, my gratitude for cultural importance in influencing identity and spirituality. In advocating feminine power through these headwraps, I am obliged to identify with what I am advocating for. I am a part of this community because have the same feminine power that exists and existed in this community of women.

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Figure 25: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

Figure 24: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

Figure 26: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

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Figure 27: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

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The community of headwraps are placed at different heights to convey the median height range of women.

In creating the range in height of the headwraps, the intention is to portray the realism of these women. And to create a sense of connection for the viewer with the artwork. the height differences do not depict the actual height of the female figures but the median height of women in general.

The height of the headwraps range from 1.53m to 1.63m

Figure 28: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

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Artists that I draw inspiration from Bisa Butler is an artist that I draw inspiration from, she uses color fabric and quilting to create her artworks. She uses fabric to create portraits of black people in a way represents them in a way that esteems them. I am inspired by how she is able to create representation for black people using bright colored fabric to tell a story of their existence.

Yinka Shonibare is another artist that inspires me in how he uses African printed fabric. He uses different fabric to explore themes of identity and representation. His ability to connect Eurocentric and African cultures using fabric inspires me to explore the significance of patterns and colors in the role of representation.

Through Butler and Shonibare’s work, representation takes its form in the use of color and patterned fabric that they use. In my work title Here Comes The Sun, Little Darling (2023) I use fabric, color and patterns to represent different facets of the headwrap. Through the different women in the project, I also explore ways of expressing their personality and advocacies. For example, with the Nina Simone headwrap, the gold leopard printed fabric is meant to represent her “not none-violent” method of activism

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Conclusion The body of work for this project uses the headwrap as metaphor to express feminine power through references made from women leaders who have worked in different fields of life. I validate feminine power through these headwraps in order to inspire women of this generation. The community of headwraps is meant to create different examples of feminine power. So that women of this generation have referential examples of inspiration against the struggles of life that continue to linger on. My hope with this body of work is that women will see those who’ve come before them and then see that same power as something that exists in them too. Women leaders like Winnie Madikizela Mandela, Nina Simone, Tawakkol Karman and Prof. Phakeng have exemplified their capabilities and strengths to lead while maintaining decorum and assertiveness in their respective fields of work.

Contemporary Socio-political movements such as the Black Doek Movement and Doek on Fleek, use the headwrap in symbolizing their messages. These movements focus on women empowerment and resistance on social issues such as gender-based violence in today’s time. The headwrap was also used as a metaphor for women of this generation and as a form of representation for my own identity. In including a reflective headwrap of my own identity, the intention is to see myself as someone who is just as capable of defying stereotypes that undermine my capabilities. The patterns on the reflective headwrap are meant to remind me of who I am and where I come from. To the fellow women of this generation, I say, We can do it, we can overcome whatever challenges designed to break us down, because those who came before us are evidence of everything and more that we can do today.

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List of Illustrations Page i Figure 1: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page ii Figure 2: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 2 Figure 3: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 3 Figure 4-7: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 4 Figure 8: Enslaved Women Page 5 Figure 9: Nina Simone Page 6 Figure 10: Winnie Madikizela Mandela Page 9 pictures (1-6): images of the process Page 11 Figure 11: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 12 Figure 12: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 14 Figure 13: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 15 Figure 14: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 17 Figure 15: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 18 Figure 16: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page19 Figure 17: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 21 Figure 18: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 22 Figure 19: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 24 Figure 20: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 25 Figure 21: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 26 Figure 22: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 27 Figure 23: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 29 Figure 24-26: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 30 Figure 27: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023) Page 31 Figure 28: Lerato Mojapelo, Here Comes The Sun, Little Darling (2023)

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Reference list • • • • • • • • • • •

Butler, B. 2018. The Safety patrol, I know why and Southside Sunday [O]. Available: https://www.bisabutler.com/porfolio Accessed 20/07/2023 Casad, BJ & Wexler, BR. 2017. The sage encyclopedia of psychology and gender: Gender Stereotypes. Pp(755-758). SAGE Publications, Inc. Online ISBN: 9781483384268 Garbus, L (dir). 2015. What Happened, Miss Simone? [Film]. Netflix.

Griebel, HB. 1995. The African American Woman’s Headwrap: Unwinding the symbols. In Dress and Identity. (ed) Higgins M, Eicher J & Johnson K. p (445-460) NY: Fairchild, 1995 Human Rights | South African Government (www.gov.za) Human Rights | South African Government (www.gov.za) James, D. 2021. “The Black Doek Movement”. Interviewed by SABC News. 21 Aug 2021.

Youtube link: https://m.youtubr.com/watch?v=l0BWm5kmrFM Klovborg, S(dir). 2018. Maid in Hell. [Film]. BBC Kirkland, T. 2018. Clothing as resistence. pp 41-42. https://ualresearchonline.arts.ac.uk/id/eprint/19481/ [ACCESSED 27/02/2023] Mavata, T. 2023. “Doek of Fleek”. Interviewed by SABC News. 3 April 2023

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Reference list • • • • • • • • • • •

Tawakkol Karman - Nobel Lecture: In the name of God the Compassionate the Merciful (nobelprize.org) https://www.nobelprize.org/uploads/2018/06/karman-lecture_en.pdf [ACCESSED 02/11/2023] William Nicol Drive officially renamed Winnie Mandela Drive | News24 https://www.news24.com/news24/southafrica/news/william-nicol-drive-officiallyrenamed-winnie-mandela-drive-20230926 [ACCESSED 02/11/2023] Youtube link: http://m.youtubr.com/watch?v=3od0ycYl4Rw Lameche, P(dir). 2017. Winnie. [Film]. Netflix South Africa. Minister of State Sercurity. 2021. Winnie Madikizela-Mandela. [O].

Available: https://www.thepresidency.gov.za/national-orders/recipient/winniemadikizela-mandela Accessed 20/07/2023 Strubel, J. 2014. African headwraps. In Strauss, M & Lynch, A (Eds). Encyclopedia of ethnic clothing in the United States (pp 5-7). Lanham, Maryland: AltaMira Press https://rfkhumanrights.org/assets/documents/Tawakkol-Karman.pdf Tawakkol-Karman.pdf (rfkhumanrights.org) [ACCESSED 02/11/2023] Zeitz Mocaa. 2023. Yinka Shonibare CBE. [O]. Available: https://zeitzmocaa.museum/artists/yinka-shonibare/ Accessed 20/07/2023

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Curriculum Vitae Lerato Mojapelo Born December 1990

Group Exhibitions: Unisa 3rd year Exhibition 2023 Email: mojapelolerato7@gmail.com Cell: 081 579 0759 Website:

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