Ndebele art and pop art are two very different forms of art, yet they share a common thread in their relationship to pop culture and the imperialist narratives that surround it. Ndebele art is a traditional form of African art that has been passed down for generations, characterized by vibrant geometric patterns and colors. Pop art, on the other hand, emerged in the mid-20th century as a reaction to the dominant consumer culture of the time, characterized by bright colors, bold shapes, and a focus on popular culture.

In this essay, we will explore the relationship between Ndebele art and pop art, focusing on how they intersect with pop culture and imperialist narratives. We will also examine the damage that has been caused by these narratives, particularly in terms of the cultural appropriation and exploitation of indigenous cultures.

While Ndebele art and pop art may seem like very different forms of art, they share a common thread in their relationship to pop culture. Both forms of art are deeply rooted in popular culture and are shaped by the cultural and social contexts in which they were created.

Ndebele art, for example, is deeply rooted in the cultural traditions of the Ndebele people of southern Africa. This art form emerged as a way for the Ndebele people to express themselves and communicate their identity and culture through their art. The geometric patterns and bright colors that characterize Ndebele art are not just decorative elements but carry deep symbolic meaning and cultural significance.

Pop art, on the other hand, emerged in the mid-20th century as a reaction to the dominant consumer culture of the time. Artists like Andy Warhol and Roy Lichtenstein sought to explore the cultural landscape of their time and reflect the mass-produced nature of consumer culture through their art. They used bold colors, comic book-inspired imagery, and popular icons like Marilyn Monroe and Campbell's soup cans to create art that was both accessible and critical of the society in which it was created.

Despite their differences, Ndebele art and pop art are both subject to imperialist narratives and cultural appropriation. These narratives are rooted in the colonial history of Africa and the global domination of Western cultures and ideas.

For centuries, Western imperial powers have sought to dominate and exploit the cultures and resources of Africa. This has often been done through the erasure and appropriation of indigenous cultures, including their art and other forms of cultural expression. In the case of Ndebele art, for example, Western art collectors and museums have often appropriated Ndebele art without proper acknowledgement or compensation, perpetuating the colonial legacy of cultural exploitation and erasure.

Similarly, pop art has also been subject to cultural appropriation and imperialist narratives. While pop art was initially a reaction to the dominant consumer culture of the West, it has since been co-opted by corporations and mainstream culture as a way to sell products and commodify popular culture. This has resulted in the erasure of the critical and subversive elements of pop art, turning it into a shallow and consumerist form of expression.

In pop art, the process of borrowing and re-appropriating images and symbols from popular culture bears a striking resemblance to the imperialist project of appropriating and exploiting the cultures and resources of colonized peoples. In the context of Ndebele art, the borrowing of traditional designs and motifs by Western artists and designers can be seen as a continuation of colonialist narratives that seek to exploit the cultural heritage of colonized peoples for the profit and pleasure of the colonizers.

One example of this can be seen in the work of British fashion designer Paul Smith, who in 2012 released a line of clothing and accessories inspired by Ndebele art. While Smith claimed to be paying homage to the "vibrancy and positivity" of Ndebele culture, the appropriation of Ndebele designs for a Western fashion line is a clear example of cultural exploitation, as the profits from the sale of these items do not go towards supporting the Ndebele people or preserving their cultural heritage.

Furthermore, the commodification of Ndebele art and culture can have negative effects on the community itself. As noted by art historian Anitra Nettleton, the rise of the global market for Ndebele art has led to a shift away from traditional mural painting towards more commercial forms of art such as beadwork and embroidery. While these forms of art are valuable in their own right, they lack the cultural significance and communal spirit of traditional Ndebele mural painting.

In conclusion, the history and contemporary status of Ndebele mural painting reflects a complex and ongoing dialogue between tradition and modernity, between colonialism and resistance, and between the local and the global. As a form of public art that is intimately tied to the social and cultural fabric of the Ndebele community, mural painting serves not only as a means of artistic expression but also as a way of asserting cultural identity and resisting colonialism.

However, the impact of colonialism and globalization on Ndebele art cannot be ignored. From the violent suppression of indigenous art forms by colonial authorities to the contemporary commodification of Ndebele designs by Western fashion houses, the legacy of colonialism continues to shape the production and reception of Ndebele art.

As we look towards the future, it is crucial to find ways of supporting and preserving traditional Ndebele mural painting while also allowing for innovation and adaptation to changing social and economic circumstances. This requires a nuanced understanding of the cultural and political context of Ndebele art and a commitment to respecting the agency and autonomy of the Ndebele people in the production and circulation of their cultural heritage.

Decolonizing the Gaze: Ndebele Mural Art, Pop Culture, and the Imperialist Narrative