The South African town of Hamburg sits on one of the Eastern Cape’s most beautiful estuaries. Surrounded by pristine beaches, dune forests and winding rivers, Hamburg, like the rest of the region, is known for its rich xhosa culture, cattle ranching, fishing and farming. It is also home to a group of women who have created an extraordinary array of works of art that have been exhibited around the world.
The Keiskamma Art Project was created to teach the art of embroidery to local women during times of economic and social difficulty, but it has grown into something bigger. Many of their tapestries, which have been exhibited in international art galleries, are being brought together for the first time at an exhibition in Johannesburg.
Their story begins in 2000 when Dr. Carol Hoffmeyer moved from Johannesburg to Hamburg. She finds a town suffering from high unemployment and a community of women desperately looking for a way to support their families.
Having learned embroidery himself, Dr. Hoffmeier hoped to empower local women by passing on his knowledge. “The initial purpose of this project was not to use creativity to build confidence and self-esteem and make money,” she says.
From a rudimentary start to a workshop in an abandoned old house, An increasing number of women learn about the project through word of mouth. More than 150 women are currently participating in this initiative. In addition to earning income by selling works, this project also provided a meeting place and support system for women.
A visitor stands in front of Keiskama Guernica (2010), a 3.5×7.8 m (11.5×26.6 ft) tapestry inspired by Pablo Picasso’s 1937 painting Guernica. credit: Anthea Pocroy/Keiskama Trust
Initially, the women simply made cushions and small handbags to sell to tourists. Single mother Veronica Nkosasana Betani, 53, has been with the initiative since its inception. With that money, she can now take care of her children and grandchildren.
Eventually, the women started receiving commissions for larger productions. They were given panels about a meter in size to work on at home, and by piecing together the finished panels they were the first large works and one of her most famous works I created “Kei Kama Her Tapestry”. Her 120-meter (394-foot) long wool-stitched piece donated to the project was inspired by the Bayeux tapestries made to commemorate the Norman conquest of England in the 11th century. .
“It’s the first 120-meter tapestry that tells the story of our region.” Dr. Hofmayer says.
While the Bayeux Tapestry gives a conqueror’s perspective, the ‘Keiskama Tapestry’ tells the story of the conquered Xhosa people through colonization and the English Frontier Wars of Xhosa from 1776 to 1876. – For the first time in South Africa, all races can vote.
“When it was screened at the 2003 National Arts Festival and later won the National Arts Award, it caused a stir,” says Dr. Hofmeyr.
It is one of the giant tapestries on display at the current retrospective “Umaf’ evuka, nje ngenyanga / Die and rise like the moon” at the Constitutional Court of Johannesburg, South Africa.
Exhibition “Umaf’ evuka, nje ngenyanga / Like the dying moon” held at Constitution Hill, Johannesburg, South Africa. credit: Anthea Pocroy/Keiskama Trust
Co-curator Pippa Hetherington says making ‘The Keiskamma Tapestry’ was a cathartic moment for South Africa. “The film depicts a dark period in which the Xhosa people were destroyed. Killing cattle to drive away the white settlers forced them into extreme poverty and forced them to seek work from the white settlers. I had to go to ,” says Hetherington. “Then followed by apartheid.”
The work has visited art galleries around the world, as well as in European cathedrals. It was purchased by Standard Bank and then loaned to Cape Town’s Parliament House, but was nearly destroyed in a fire in January 2021.
Another famous work is the Keiskama Altarpiece, made by 130 women. Based on the Isenheim Altarpiece (1512-1516) by the German Renaissance artist Matthias Grünewald, the work is 4 meters high and 4 meters wide and is intended for the youth of the community. It reveals the struggles older women endured when they were infected with HIV. Decades ago, grandparents stepped in to care for their children.
The innermost panel of the Keiskama Altarpiece contains a mixture of photographs and embroidery. credit: Anthea Pocroy/Keiskama Trust
It is also the first public release of the Women’s Charter Tapestry, completed in 2016 as a celebration of femininity. They are shown alongside her 2003-2004 “Tapestry of Democracy”.
The raw and provocative work tackles some of the country’s darkest times. Among ‘Democracy His Tapestry’ is a work inspired by Picasso’s 1937 painting ‘Guernica’. At more than 3 meters (10 feet) high and nearly 8 meters (26 feet) wide, Keiskama Guernica tells the tragic story of life and death at the height of South Africa’s HIV epidemic.
“We created this piece to shout out to the system and commemorate people,” says Dr. Hoffmeier.
Recent works address contemporary issues. “Covid Resilience Tapestry” deals with the pandemic, while “A New Earth” and “Our Sacred Ocean” are calls to environmental awareness.
Details in “Covid Resilience Tapestry” (2022). credit: Anthea Pocroy/Keiskama Trust
The tapestry, now recognized for its artistic value and cultural significance, is a testament to the talent and resilience of the community.
“There is no other way for me. I want to keep Kieskamma because it is a place that helps women keep going,” says Betani.
Dr. Hoffmeier still has work to do. She hopes the project will “continue to work for the benefit of the community and ultimately give this marginalized rural community a voice.”