Women such as Winnie Mandela, Harriet Tubman, Mary McCloud Bethune, and many others are key symbols of freedom from apartheid, slavery and segregation. Accordingly, African-American and black South African artists have portrayed women of color in ways that depict their strength and resolve. Willie Bester's "Thobeka" (Gender room 2) and Alonzo Adam's "Sister Proud" (Gender room 2) offer powerful examples of female strength and resolve. Robin Holder further references this strength through symbolism in the "Coming of Horses II." Spellman Malungu in "Fertility" (Gender room 2) cites not just heroic virtues, but the more fundamental role of women as progenators of life. Other treatments focusing on the dignity, place and remembrance of women are found in Lillian Blades "Air, Dusk, Fall and Elders" (assemblage) in which she uses found objects from her grandmother's attic, Winston Soali in "I Saw Her" (Gender room 2) (abstraction), and William Tolliver (Gender room 2) in "Cajun Lady" (figurative). Also, Louis Delsarte in "September 11" (figurative abstraction) portrays the woman's emotional strength after the attack as the child in the water looks to her for hope and a future. The continued parallel is both African-American and black South African artists accord a place of respect, honor and remembrance to women in the struggle for human rights, and social justice. |
