Thank you! Born in in South Africa, Mbatha attended a Swedish Lutheran missionary school and was brought up on Bible stories. Bible stories became the subject matter of his art, and it was only natural to him as a black under Apartheid to depict Herod as a white ruler and Jesus as a poor black child. The author went to Sweden as a young man to continue his studies and made Europe his base thereafter.
ECSTASY, CREATIVITY AND IDENTITY AMID IRONCLAD CHAOS by Azaria J.C. Mbatha | Kirkus Reviews
Such autobiographical details are culled with no small difficulty from a thicket of imaginary dialogues, anecdotes, quotes and diatribes. The writing is difficult to decipher because of nonstandard word choice, spelling, syntax and punctuation. Some sentences are repeated word for word, and in other sentences, words are omitted.
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Some dominant themes emerge, including the debunking of distinctions between crafts and art, the debt worldwide modern art owes to African tribal artifacts, the value of multicultural exchange and the inappropriateness of Western and capitalist criteria to an understanding of African art. Mbatha gives readers a clue as to how to appreciate this hefty and undisciplined tome when he compares buying a donkey to evaluating a work of art.
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Ecstasy, Creativity And Identity Amid Ironclad Chaos
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Toggle navigation MENU. Ecstasy, Creativity and Identity Amid Ironclad Chaos is also the story of two very different families, the black Lendebeles and the white Kalagaans. Together, these two families grapple with changing mores about race and new ideas about creativity. Eventually, they start a feminist art club together, using artistic expression to make bold statements about mans place in the world today. Gripping, funny, and moving, Ecstasy Creativity and Identity Amid Ironclad Chaos is a stunning look at art, apartheid, and the common goals of man.
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