When John Ndevasia Muafangejo died of a heart-attack on the 27th of November in 1987 at the tender age of 44, he left a permanent footprint on the changing landscape of art in Namibia in the form of 5000 hand-carved lino-cuts and slightly more than a dozen paintings. He was a prolific artist, hard-working to the point of exhaustion, producing on average 1 lino-cut a day and by the time his eyes closed forever under the Namibian sun, his unique experience and interpretation of life was known in the galleries and private collections of Europe and the United States of America. He inspired hundreds of local artists in the art of printmaking.
Existing literature is scant with regards to the 'person' that was John Ndevasia Muafangejo. We know he was born in southern Angola, at Etunda lo Ngadhi on 5 October, 1943. As a child, he served his family as a cattle-herder by day and took pleasure in the moral and philosophical discussions with the village elders, at night. After his father's death in 1955, his mother was destitute and moved to an Anglican mission station called Epinge, in northern Namibia (then known as 'Ovamboland'). In 1956, aged 13, John joined his mother at the mission station and received formal education at the local 'bush school', for the first time.
He converted to Christianity at the age of 14, was baptised, and in 1964, attended St. Mary's Anglican mission school at Odibo in northern Namibia, where he completed Standard IV (standards of education during Apartheid). Father Mallory of the mission school quickly recognised Muafangejo's artistic ability and arranged for him to attend the College of Art at Rorke's Drift in South Africa (1967 - 1969). Interestingly, after only eighteen months at Rorke's Drift, Muafangejo was admitted to hospital in Madadeni, New Castle, and treated for nervous exhaustion (neurasthenia / nervous fatigue), the same period the South African Apartheid regime declared war on the liberation struggle in Namibia.
(Lino-cut: The Battle of Rorke's Drift, John Muafangejo)
It is with particular reference to his hospitalisation in 1968, in Madadeni, for nervous fatigue that the spotlight falls on the person who was John Muafangejo, the pervasive anxiety and depression that resulted in his early, untimely demise.
John Muafangejo, as demonstrated by his prolific activity as an artist, had a strong urge for self-expression and this is not surprising given the precarious position he occupied in society at the time. His personal and political environment was oppressive, the voices of local people were suppressed by the Apartheid regime and yet, Muafangejo served as 'artist in residence' at Rorke's Drift, and was highly regarded by his critics and peers. His artworks were exhibited in prominent galleries, internationally. He was a man torn, at war with himself, battling for survival and expression in an environment which refused him participation as a dignified human being. And yet, he was known for his diplomacy, wit and sincere appreciation of beauty.
Many foreign observers have used the following adjectives 'autobiographical', 'traditional', 'religious' and 'political' in reference to his works without taking into account that Muafangejo enjoyed being 'part of' an idea', a vision or a group. Even more importantly, many observers seem to have missed how central 'words', 'speech' and metaphors were to his chosen form of self-expression. He enjoyed communicating, interacting and playing with words. The words in Muafangejo's lino-cuts are in English, not his native language, and cannot be considered mere anecdotal or humorous 'titles' of his artworks. The words he so carefully chose for predominantly short, powerful sentences and commentary, he intended should be read by everyone who saw his work, and they literally, illuminate his works.
(Photograph: The late John Ndevasia Muafangejo)
It is the power of his narrative supported by his expert arrangement of black and white graphics, composition and the creation of depth that spellbinds and haunts the observer. The imagery on the lino-cut was secondary to the 'words' which were his real achievement, while he speaks to this very day in the language of genuine artistry, recognised and appreciated across the world. Muafangejo sought for an illustration of the words and sentences he carved into the linoleum and used his background, daily life, surroundings and contemporary politics to illustrate what he had to say.
In 1970, Muafangejo returned to Odibo, in northern Namibia, and taught art at the mission station school until 1974. In that same year, he was invited back to Rorke's Drift as 'artist in residence'. In 1976, Muafangejo returned to Namibia and moved to Windhoek in 1977. He died without seeing and experiencing democracy in a free Namibia and would have celebrated his 70th birthday this year. In his honour, the John Muafangejo Art Centre (also known as JMAC) in Katutura was named after him.
In association with the Arts Association Heritage Trust (AAHT) of Namibia, the FNCC (Franco-Namibian Cultural Centre) will exhibit selected works of John Muafangejo. The exhibition, called the 'John Muafangejo Commemorative Exhibition', will open on Monday, 11th November 2013, at 18:30, FNCC and will run until 13 December 2013. On Thursday, 14 November 2013, Restaurant Le Bonne Table, next to the FNCC, will host an exhibition called 'The Legacy of John Muafangejo', exhibiting works by Namibian artists inspired by Muafangejo's life and art. Among them are Ndasuunje (Pappa) Shikongeni, Andrew van Wyk, Elia Shiwoohamba and Yoba Valombola, to name but a few.
Existing literature is scant with regards to the 'person' that was John Ndevasia Muafangejo. We know he was born in southern Angola, at Etunda lo Ngadhi on 5 October, 1943. As a child, he served his family as a cattle-herder by day and took pleasure in the moral and philosophical discussions with the village elders, at night. After his father's death in 1955, his mother was destitute and moved to an Anglican mission station called Epinge, in northern Namibia (then known as 'Ovamboland'). In 1956, aged 13, John joined his mother at the mission station and received formal education at the local 'bush school', for the first time.
He converted to Christianity at the age of 14, was baptised, and in 1964, attended St. Mary's Anglican mission school at Odibo in northern Namibia, where he completed Standard IV (standards of education during Apartheid). Father Mallory of the mission school quickly recognised Muafangejo's artistic ability and arranged for him to attend the College of Art at Rorke's Drift in South Africa (1967 - 1969). Interestingly, after only eighteen months at Rorke's Drift, Muafangejo was admitted to hospital in Madadeni, New Castle, and treated for nervous exhaustion (neurasthenia / nervous fatigue), the same period the South African Apartheid regime declared war on the liberation struggle in Namibia.
It is with particular reference to his hospitalisation in 1968, in Madadeni, for nervous fatigue that the spotlight falls on the person who was John Muafangejo, the pervasive anxiety and depression that resulted in his early, untimely demise.
John Muafangejo, as demonstrated by his prolific activity as an artist, had a strong urge for self-expression and this is not surprising given the precarious position he occupied in society at the time. His personal and political environment was oppressive, the voices of local people were suppressed by the Apartheid regime and yet, Muafangejo served as 'artist in residence' at Rorke's Drift, and was highly regarded by his critics and peers. His artworks were exhibited in prominent galleries, internationally. He was a man torn, at war with himself, battling for survival and expression in an environment which refused him participation as a dignified human being. And yet, he was known for his diplomacy, wit and sincere appreciation of beauty.
Many foreign observers have used the following adjectives 'autobiographical', 'traditional', 'religious' and 'political' in reference to his works without taking into account that Muafangejo enjoyed being 'part of' an idea', a vision or a group. Even more importantly, many observers seem to have missed how central 'words', 'speech' and metaphors were to his chosen form of self-expression. He enjoyed communicating, interacting and playing with words. The words in Muafangejo's lino-cuts are in English, not his native language, and cannot be considered mere anecdotal or humorous 'titles' of his artworks. The words he so carefully chose for predominantly short, powerful sentences and commentary, he intended should be read by everyone who saw his work, and they literally, illuminate his works.
(Photograph: The late John Ndevasia Muafangejo)
It is the power of his narrative supported by his expert arrangement of black and white graphics, composition and the creation of depth that spellbinds and haunts the observer. The imagery on the lino-cut was secondary to the 'words' which were his real achievement, while he speaks to this very day in the language of genuine artistry, recognised and appreciated across the world. Muafangejo sought for an illustration of the words and sentences he carved into the linoleum and used his background, daily life, surroundings and contemporary politics to illustrate what he had to say.
In 1970, Muafangejo returned to Odibo, in northern Namibia, and taught art at the mission station school until 1974. In that same year, he was invited back to Rorke's Drift as 'artist in residence'. In 1976, Muafangejo returned to Namibia and moved to Windhoek in 1977. He died without seeing and experiencing democracy in a free Namibia and would have celebrated his 70th birthday this year. In his honour, the John Muafangejo Art Centre (also known as JMAC) in Katutura was named after him.
In association with the Arts Association Heritage Trust (AAHT) of Namibia, the FNCC (Franco-Namibian Cultural Centre) will exhibit selected works of John Muafangejo. The exhibition, called the 'John Muafangejo Commemorative Exhibition', will open on Monday, 11th November 2013, at 18:30, FNCC and will run until 13 December 2013. On Thursday, 14 November 2013, Restaurant Le Bonne Table, next to the FNCC, will host an exhibition called 'The Legacy of John Muafangejo', exhibiting works by Namibian artists inspired by Muafangejo's life and art. Among them are Ndasuunje (Pappa) Shikongeni, Andrew van Wyk, Elia Shiwoohamba and Yoba Valombola, to name but a few.
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