Sethembiso Zulu’s maiden solo exhibition attempts to thoroughly debunk a few myths and stereotypes regarding amaZioni while highlighting intricacies of Southern Africa’s largest religious faith.
Flighted through the website of the North-West University, https://my.matterport.com/show/?m=vG8SQBVEi1s, Zulu’s virtual exhibition is a 3D exploration of the complexities of African Zionism and traditional beliefs, and how they intertwine.
Amply dubbed Ikhaya Likamoya – loosely translated as a spiritual home – the interactive digital work bears testament to Zulu’s knack for multimedia content, which he employs to portray the intricate relationship between water and spirituality – tokens of his religious faith. The exhibition gives a wide berth to stereotypes held against spiritual healers and their customs, such as Hlomani Izikhali, Yehla Moya Oyingcwele, Isiwasho and Ababekwe Izandla.
Mounted in the concourse of a large hall in the university’s main campus in the academic city of Tlokwe, previously Potchefstroom, Ikhaya Likamoya uses religious conviction and allegories to categorically distil controversies faced by traditional healers, of which he’s one. It is curated by well-known cross-disciplinary artist, Senzeni Marasela.
Ikhaya Likamoya is composed of mixed-medium installations that revisit solemn rituals performed regularly by amaZioni. Virtual visitors are transcended into the divinity of Zionism to witness its ceremonial approach to the divine.
The interactive display showcases six riveting images to the left side of the exhibition wall, each illustrating a different custom within the African Zionism church. The multimedia journalist makes a successful attempt to interpret the workings of his spiritual faith, including practices like Ababekwe Izandla, Itmusi Likagogo, and Okweshumi.
A click in the middle of the screen transports visitors to a wooden door frame, which symbolises an entrance to the church. Adjacent to the doorway, shoes are strewn about as props, suggesting a church in session, archetypal of the common practice of taking off one’s shoes when in worship.
Zulu juxtaposes a series of incongruous images to depict sticks, church clothes, water, a cross and other religious tokens, which are all figures of Ikhaya Likamoya. There’s particular surrealism that characterises the props used to portray Zionism in its most explicit form. Images buttressed to the wall evoke a tranquil spiritual healing, evocative of the happenings of amaZioni, where healers use indigenous plants as medicine, providing a perfect antidote to spiritual troubles.
The emotive setup unconsciously transports one to an otherworldly ceremony, manifested only in dreams and conjures up an illusionary feeling of inhaling the scent of traditional medicine, which puts the mind at ease.
Zulu has tailored this digital exploit to spark a debate about what spiritual healers go through during unprecedented times. He says it completes the second part of his photographic trilogy about spirituality. The newly recruited City photographer is an amaZioni devotee, which has over 15 million members.
A qualified video journalist, documentary photographer, trans-disciplinary artist and filmmaker, Zulu has straddled the media space using a multipronged approach to audio-visual content. He hails from Vosloorus, on the East Rand. Before working as a photographer for the City, he plied his trade at Eyewitness News (EWN) as a multimedia producer. He’s currently editing two short films that also showcase the Zionism diocese and its relationship with water and spirituality.
Written by Gontse Hlophe
12/03/2021