In the Namibian diamond mining town of Oranjemund, a unique and somewhat surreal
existence unfolds. Oranjemund is a place where time seems suspended. From the arid desert
landscape to the vast expanse of the ocean, the surroundings serve as a constant reminder of
the power and fragility of the natural world.
From this remote and isolated town, escapism emerges as a prevailing theme, embodied in
the town's predominant pastime - drinking. Central to the town's identity is the distinctive
attire worn by the miners - balaclavas, serving as both a practical necessity for their diamond
mining endeavors and a symbol of anonymity within a transient community. These balaclavas
reflect the utilitarian ethos that permeates life in Oranjemund, where material abundance is
scarce, and only a handful of establishments cater to the basic needs of its inhabitants.
Through the OMDis Residency, a month-long annual residency for visual artists based in the
SADC, Ericke Tjiueza, a photographer, filmmaker, and visual artist from Namibia, explored
these themes. Living in Oranjemund, Ericke was inspired by the town's sense of escapism
and the miners'; balaclavas. Collaborating with local craft artists, he created balaclava-inspired
face masks using recycled materials like rusted tins and discarded beer cans found along the
Orange River. These masks, infused with the spirit of the region, became artistic expressions
that reflect the resilience and resourcefulness of the community.
“The balaclavas inspired me to reflect on the role of face masks in African culture. Although
African face masks and miner's balaclavas may appear distinct on the surface, they share
similarities in their symbolism and significance. Both serve as potent symbols of identity,
spirituality and community, transcending their material forms to convey deeper meanings and
connections within their respective contexts. While not imbued with supernatural powers, I
find the balaclavas worn by people in Oranjemund to hold similar spiritual resonances, a
symbol of anonymity within the transient community, acting as a shield against the human
condition of living within the confines of a remote mining town,” Ericke Tjiueza.
From here, “GOLELA,” emerged. A collection of photographic works that transcend mere
aestheticism, offering a profound commentary on the human condition within the confines
of a remote mining town. “GOLELA” draws from African folklore. Known as a malevolent
mythical manlike animal that hides in the shadows and of which people are to be afraid of.
The masks represent golelas but they also embody the resilience and resourcefulness of
people from Oranjemund. In most African traditions, masks are believed to possess spiritual
pathos, serving as conduits between the physical and spiritual realms. The masks are used in
ceremonial rituals to commune with ancestral spirits, protect against malevolent forces, and
to transmit cultural knowledge. Similarly, while not imbued with supernatural powers, the
balaclavas or ‘face masks’ worn by miners in Oranjemund hold spiritual resonances, acting
as a shield against the harsh environmental conditions of the mines. They serve as a tangible
reminder of the interconnectedness of the mining community, offering protection and solace
in the face of adversity. Tjiueza’s photography reflects the utilitarian ethos that permeates
life in Oranjemund, where material abundance is scarce and weather conditions are harsh.
“GOLELA” opens at The Project Room on Friday, 28 June 2024.
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