As Dr Bongani Tendai Percy Mashange donned his doctoral gown to receive a PhD, he became the first visual arts student at Stellenbosch University (SU) to have his master’s dissertation upgraded to a PhD.
Excelling academically as well as artistically, the creative scholar’s contributions are bound to resonate beyond the walls of academia, the university said.
In a media release, the university noted that “with a unique perspective shaped by his Zimbabwean heritage, global influence and a profound understanding of cultural dynamics, Dr Mashange’s striking abstract jewellery designs and groundbreaking research challenge conventions and invites discourse on identity and representation”.
Born into a family that value education and artistic expression, Dr Mashange is the second of three siblings to receive a PhD. Growing up in Zimbabwe, he attended Falcon College, a private boarding school where his aptitude for the arts flourished.
After completing high school at the top of his class, Dr Mashange’s father encouraged him to pursue a path that would allow his creativity to develop. He considered different international and local university options but chose to go to SU because of the Department of Visual Arts’ strong focus on jewellery design.
“Coming to Stellenbosch was a bit of a culture shock,” Dr Mashange admits. “Initially, I felt dislocated from the world, but I adjusted fast.” The campus became a place of growth and connection as he navigated challenges related to race and identity.
Being seen as a foreigner in South Africa intrigued Dr Mashange and informed his exploration of African identity. “My mother is Ndebele and my father is Shona, but because I don’t sound South African to some locals, I’m treated differently,” he explains.
“In Zimbabwe, I wasn’t considered Shona enough. In South Africa, I’m sometimes seen as not black enough.” These categorisations are exhausting, but they also push you to redefine yourself, Dr Mashange remarks.
Grappling with the rich tapestry of his own identity inspired him to explore the complexity of African identity, and for his research, he delved into how art objects and jewellery serve as both personal and collective narratives.
In African culture, jewellery transcends mere accessory status; it is a profound expression of identity, heritage, tradition and social status, intertwining tradition and modernity, he points out.
“I looked at my heritage, the places I’ve been, my own culture and background in terms of spirituality, as well as my own ethnic rites of passage. I then translated all these ideas into visual objects that communicate a modern Africa aesthetic. I also explored this concept visually through the materials and techniques that I use. I wanted to steer away from the traditional way of making jewellery.”
Dr Mashange describes his art as being rooted in an “Afropolitan quest”. The word Afropolitan is a blend of “African” and “cosmopolitan”, he explains. For him, it’s more than a buzzword or an elitist label; it’s a way to articulate the complexity of being African in the 21st century. Afropolitanism is about embracing modernity without being confined by outdated labels, he adds. It’s a rejection of essentialisms and a celebration of fluid, evolving identities.
His PhD combined theoretical exploration with practical artistry. His dissertation delved into identity, post-colonial Africa and decoloniality, themes deeply tied to his own experiences. This approach allowed him to interrogate broader narratives surrounding African representation in contemporary art.
Dr Mashange’s beautiful creations reflect his theoretical approach. His jewellery and sculptures blend traditional materials like wood and metal with modern techniques, creating objects that are at once rooted in heritage and strikingly contemporary.
The names of his jewellery pieces hint at spiritual concepts with cultural significance such as iThemba (hope), Sithembile (we trust), Simangaliso (miracle), Shavi (a wandering spirit), Murapi (healer) and Ukuqala kwenkululeko (the beginning of freedom).
For Dr Mashange, the value of jewellery transcends its material worth. By transforming wearable art into sculptures that provoke thought beyond adornment, he invites viewers to engage with deeper meanings tied to culture and identity.
“I use materials loaded with historical significance and reinterpret them,” he says. “African print fabrics, for example, originated in Indonesia and were commercialised by Europeans who exported it to Africa, but we’ve altered and reclaimed them as symbols of pride. My work is about that kind of agency. I aim to visually articulate and celebrate the nuanced realities of contemporary African identity.
“People often depict national identity as a closed system with rigid boundaries, which oversimplifies the true complexity of identity. As identities become increasingly entangled in contemporary Africa, I strive to reclaim an authentic, positive and affirming concept of identity to guide my artmaking.”
Although his creations are classified as art jewellery, it often resembles non-functional sculpture, prioritising aesthetics over representational or narrative elements.
“In essence, my work is about belonging,” Dr Mashange stresses. “The aesthetic I’ve constructed allows me to belong in different spheres. African identity is not fixed. It’s shifting and changing. We don’t have to stay loyal to the cultures we’ve been socialised in.”
Dr Mashange’s academic journey was not without its hurdles. Working on his master’s thesis during the Covid-19 pandemic was challenging but had an unexpected outcome in 2021.
“I did so much research that my theory supervisor, Professor Lize van Robbroeck, told me: ‘You’ve written too much, but it’s all valuable’. She and Carine Terreblanche (my practical supervisor) suggested it should be upgraded to a PhD.” He was completely overwhelmed when he realised his research was good enough to become Dr Mashange. And this became a reality when he graduated on Monday December 9.
He credits his family and lecturers for their unwavering support. “I think my academic success is due to a very good support system, starting with my family – my mom, my dad, my aunt and uncle as well as my siblings. My lecturers were extremely supportive. They were there for me all the way – emotionally and financially. It really was a team effort.”
As for the future, he’s taking it one step at a time. “I don’t have immediate plans,” he says with a laugh. “Right now, I just want to go home, sleep and celebrate graduation with my family.”
Long-term, he envisions continuing his exploration of Afropolitan aesthetics, possibly starting a jewellery brand or returning to academia. “People ask me if I’m an academic or an artist or a jeweller. Honestly, I don’t like labels,” he says. “I see myself as a contemporary art jeweller and an academic, but I’m still figuring it out.”
