This article explores the exhibition 'I Put My Hand On My Chest To Feel My Heartbeat' showcasing the work of young South African photographers, with a particular focus on Simphiwe Fuwe Molefe's exploration of the convergence of Zulu and Sotho cultures through his collages. The author connects Molefe's work to their own experiences growing up in a culturally diverse township, highlighting the fluidity of identity and the beauty of cultural blending in South Africa.
Whenever I find myself in the position where someone asks, “What are you?” the natural response is to say, “I am Pedi.” However, that is not the reality for many South Africans. Our identities are rarely singular, rarely confined to one language, one tradition, one way of being. We are connected to many cultures, moulded by histories that extend beyond the rigid boundaries of classification.
But even that response can be met with resistance — some find pride in belonging to a singular heritage, an unbroken lineage. I come from many — and I belong to all of them. If you want specifics, my mother’s father is Tsonga from Mozambique, her mother is Zulu from Bergville, which shaped the foundation of my upbringing, and my father is Pedi. It is with this layered understanding of identity that I step into I Put My Hand On My Chest To Feel My Heartbeat, an exhibition by the Thokoza photography initiative Of Soul and Joy at Constitution Hill in Johannesburg. The ancestors of Constitution Hill must have decided I needed to be cleansed before stepping into the space, as rain baptised me on my way to the Women’s Prison, where the exhibition is taking place. Once inside, I am met with a heartening sight — young people, some still in their school uniforms, huddled around the works, taking pictures, engaging with the art. It makes me smile. South African documentary photography is often under-appreciated, yet here, in this historic space, the youth are not only witnessing it but also seeing themselves reflected in it. There is a live band playing Three Little Birds by Bob Marley. I forget that I am wet and practically dying from a cold. The walls are adorned with the works of 16 artists: Zwelibanzi Zwane, Xolani Ngubeni, Teboho Mabuya, Vuyo Mabheka, Tadiwa Mokono, Limnandi Paca, Lunathi Mngxuma, Siyabonga Mhlanga, Simphiwe Fuwe Molefe, Lehlohonolo Sigaba, Anele Ntshangase, Sibusiso Bheka, Thembinkosi Hlatshwayo, Tshepiso Mazibuko, Life Ngubeni and Sikelela Mdilikwana. Each piece tells a deeply personal story — yet one that is undeniably universal to the South African experience. I am immediately drawn to Molefe’s work, a series of collages that merge two seemingly different cultures — Zulu and Sotho — in a single landscape. The images cut through the illusion of separation, challenging the notion that cultural identities are distinct and unyielding. At the centre of his work lies a Basotho blanket, layered with imagery and meaning. On it, a mirror. A deliberate invitation to reflect, not just on the art, but on oneself. Standing in front of it, I see my own complexity mirrored back at me. The Zulu and Basotho figures in his work do not stand apart, they coexist, not as separate entities but as parts of a greater whole. It is a South African story we don’t tell often enough — the interweaving of cultures, the inevitable fusion of identities. I missed Molefe at the opening but I reached out to him later. On the phone, his voice carries the rich inflections of both Sotho and Zulu. Often used as an affirmation of belonging, it is a powerful statement in a country where language and lineage can still act as dividing lines. “I grew up in KwaZulu-Natal, in a place called Nquthu,” he explains. “People assumed I was Zulu because I spoke the language fluently. But I am Sotho.” This assumption led him to question the fluidity of identity. What does it mean to belong? Is it language, lineage or location that determines it? “Using my photography, I wanted to show that many Sotho people live in deep rural KZN and still practise their culture and heritage within a Zulu-dominated space,” he says. He says his research shows there are very few other places in the province that have cultures coexisting as Sotho and Zulu people do in Nquthu. His work does not attempt to erase differences but rather highlights the beauty in their coexistence. I grew up in Tembisa, and I recognise the nuances Molefe speaks of. Our townships are mapped by cultural enclaves — Isithame has a large Tsonga community, Mashimong is known for its Pedi residents, Ndulweni is predominantly Zulu and Khalambazo home to Ndebele people. Despite these divisions, multilingualism thrives. Moving between sections requires linguistic dexterity — not just for convenience but for safety, respect and a sense of belonging. Similar to what Molefe experienced in Nquthu. Over generations, this constant interaction has led to a blending of culture
Simphiwe Fuwe Molefe Photography South African Art Identity Culture Zulu Sotho Constitution Hill Johannesburg Of Soul And Joy
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