The language of decoloniality in the arts is a reference to the movement and the discourse that is aimed at the dismantling of the lingering effects that have been perpetuated by colonialism in artistic expression, production and interpretation.

This has involved challenging and also redefining the dominant narratives, practices and the structures that have historically marginalised the non western forms of art and creativity.

The language of decoloniality in the arts sector seeks to reclaim, reimagine, and reinvigorate indigenous and local artistic traditions, giving voice to perspectives that have been suppressed or overlooked.

In the ongoing effort to reclaim and reframe African identities, artists and cultural practitioners across the continent are increasingly turning to their roots to tell stories that are authentic and reflective of their true histories.

Trevor Mthimkhulu, a decolonial artist, poet, and Pan-Africanist known as Mvelonyana Ka Ntu, articulates this movement with profound clarity:

 "As artists and cultural practitioners, our mission is to tell stories that are deeply rooted in our own histories, cultures, and traditions, rather than those imposed upon us by colonial powers. This journey includes the revitalisation of our indigenous languages, symbols, and practices within the arts, ensuring that our narratives are authentically our own."

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Mvelonyana Ka Ntu's words resonate with the growing wave of decolonial thought that is sweeping through African art and culture.

This movement is not just about resisting the remnants of colonialism; it is about actively reconstructing a cultural identity that honours the past while speaking powerfully to the present and future.

By revitalising indigenous languages and symbols, artists are not only preserving heritage, but they are also challenging the dominance of eurocentric narratives that have long overshadowed African voices.

This approach is vital in a world where globalisation often threatens to homogenise diverse cultures. By reclaiming and celebrating their  unique histories, African artists are ensuring that their stories remain vibrant and relevant.

The resurgence of these indigenous practices within the arts is a testament to the resilience and creativity of African people, and it stands as a powerful form of resistance against cultural erasure.

In the evolving landscape of Zimbabwean art, a significant shift is occurring as artists increasingly challenge the residual influence of colonialism on their cultural expressions.

Nkosilondile Sikupa, known as Static in the hip hop circles of Bulawayo, offers a compelling perspective on this movement. As an artist deeply invested in the themes of decoloniality,  Static believes that Zimbabwean art must break free from the constraints of Western aesthetic dominance.

Reflecting on this, Static shares his views:  "In my opinion decoloniality of the mind is essential because it questions the dominance of Western aesthetic standards and cultural values that have long overshadowed our own systems. It's about demanding broader recognition for diverse artistic expressions and dismantling the hierarchies that have placed Western art forms above others."

For Static, this is not just a theoretical stance; it is a call to action within Zimbabwe’s vibrant art scene.

He believes that in order to truly express Zimbabwean identity through art, there must be a conscious effort to revive and celebrate indigenous languages, symbols, and practices that have been marginalised for far too long.

In his own work, Static strives to merge the modern beats of hip hop with the rich cultural narratives of his Ndebele heritage, creating a sound that resonates with both the old and the new.

Static’s opinion reflects a broader sentiment among Zimbabwean artists who are increasingly using their platforms to assert cultural autonomy.

He sees this movement not just as a rejection of Western influence but as an affirmation of African artistic traditions that deserve equal standing on the global stage.

According to Static, this process of decoloniality is crucial for fostering a more inclusive and culturally authentic art scene in

Zimbabwe, one that can inspire future generations to take pride in their heritage while contributing to the global arts community.

In my view, the language of decoloniality in the arts compels us to critically engage with the way epistemologies, theories, and interpretations of history are deeply embedded in colonial frameworks.

This colonial shadow is evident across various educational and cultural institutions, particularly in the syllabus content taught at universities, which often prioritises Western epistemologies and marginalises indigenous knowledge systems.

From the curriculum to the standards and perspectives in art, there is a pervasive tendency to uphold colonial narratives and aesthetic values, while sidelining or misrepresenting the rich and diverse traditions of colonised peoples.

For instance, university syllabi often emphasise eurocentric theories and historical interpretations, presenting them as universal truths, while non-Western perspectives are treated as peripheral or exotic.

This imbalance perpetuates a limited understanding of history and culture, reinforcing the dominance of Western paradigms. In the arts, this colonial bias is reflected in the standards used to evaluate artistic works, where Western forms and expressions are frequently elevated above others.

Consequently, artists and scholars from formerly colonised regions find themselves navigating a system that undervalues their cultural contributions and imposes restrictive definitions of artistic merit and historical significance.

By interrogating these colonial legacies, we can work towards creating an educational and artistic environment that is more inclusive and reflective of the diverse epistemologies, theories, and histories that exist across the globe.

But this requires a deliberate effort to decolonise the curriculum, embrace indigenous knowledge systems, and reframe the standards and perspectives that shape our understanding of art and history.

Only then can we begin to dismantle the colonial structures that continue to influence how we interpret and engage with the world around us.

Patience Tauro, a prominent female musician from Bulawayo and a staunch feminist, provides a compelling critique of the representation of women in Zimbabwean arts, which aligns with the principles of decoloniality.

She underscores the critical issue of how traditional narratives often overlook or marginalise female voices.

Tauro articulates her perspective by stating that: “In my view, the narrative within Zimbabwean music and arts often overlooks the voices and experiences of women. Our stories are frequently told through the lens of patriarchal standards that diminish our contributions and perspectives. By embracing feminism in my music, I challenge these traditional narratives and strive to bring a more inclusive and equitable representation of women’s experiences in the arts.”

Tauro’s insights reflect a broader decolonial critique of the ways in which colonial and patriarchal legacies continue to shape cultural production and representation. Her approach challenges the historical and ongoing influence of these legacies, advocating for a re-evaluation of how women’s voices and contributions are represented in the arts.

This critique is deeply rooted in decoloniality, which calls for a dismantling of dominant Western and patriarchal frameworks that have long dictated the standards and perspectives in cultural and academic contexts.

In Zimbabwe, educational curricula and artistic standards have been shaped by colonial and patriarchal biases, reflecting a historical narrative that prioritises male perspectives and marginalises female contributions.

These biases are evident in the content taught at universities, which often perpetuates a colonial and patriarchal lens on history and culture. Similarly, traditional standards in the arts have been influenced by these biases, imposing Western values and neglecting indigenous and feminist perspectives.

Tauro’s feminist approach in her music serves as a form of decolonial resistance, challenging these entrenched biases and advocating for a more inclusive representation of women’s experiences.

By integrating feminist themes into her work, she not only critiques the colonial and patriarchal frameworks but also seeks to transform them, offering a more equitable portrayal of female artists and their contributions.

 This shift aligns with the decolonial goal of revising and expanding historical and artistic narratives to reflect a diverse and inclusive reality.

In this context, Tauro’s efforts exemplify how decoloniality can be applied to cultural production, challenging and transforming the dominant narratives that have historically marginalised women and other underrepresented groups.

 Her work highlights the need for a critical reassessment of how history and culture are represented, ensuring that all voices and contributions are recognised and valued.

I am of the belief that decoloniality emphasises the importance of creating platforms for artists from marginalised communities to share their work and perspectives.

This involves not only providing opportunities for these voices to be heard but also challenging the power structures that have historically excluded them.

The language of decoloniality in the arts is an ongoing conversation that involves artists, scholars, and cultural workers around the world.

It is a call to rethink the ways in which art is created, valued, and understood, with the goal of fostering a more inclusive and equitable cultural landscape.

Raymond Millagre Langa is musician, poet, orator, independent researcher and founder of Indebo edutainment Trust. You can follow on Facebook @Millagre Ray Langa, on X you can follow on #Millagre Langa, email. millagrepapito@gmail.com or indebotrust@gmail.com
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