Navigating Identity and Belonging in the Face of Xenophobia in South Africa
By Editor • August 28, 2026 • 2 min read
In South Africa, the complex interplay of art, identity, and race is vividly highlighted through the lens of xenophobia, especially in light of the recent tensions surrounding foreign nationals. The upcoming Contra.Joburg arts festival, themed "Different Is Good," aims to explore these issues, prompting conversations about the value placed on different identities.
One artist at the forefront of this dialogue is Bekezela Nkomo Mabena, who operates out of a rooftop studio in Johannesburg's August House. On June 30, a day that has come to symbolize exclusion for many foreigners, he witnessed a march aimed at driving foreign nationals from the streets below. As the crowd mobilized, Bekezela found himself grappling with the duality of his own existence—part artist, part foreigner.
Bekezela, who crossed the Limpopo River from Zimbabwe at a young age, reflects on the moment as a transformative baptism. Despite his undocumented status for much of his life, he navigated through challenges until he was able to regularize his papers. Yet, the journey has left him pondering the essence of identity. "Somehow we needed that 30 June deadline to really understand why we are here and where we are going," he muses, suggesting that adversity has catalyzed a deeper exploration of self.
In contrast, Daria Tchapanova, a Bulgarian artist living in Vienna, highlights the disparities in perceptions of foreignness. Her entry into South Africa was uncomplicated, requiring no visa or validation, while Bekezela’s existence has been punctuated by a need to prove his worth constantly. She notes that her foreignness is often associated with opportunity and wealth, whereas individuals from neighboring African countries often face undue scrutiny and suspicion.
This stark contrast raises critical questions about societal perceptions of value, especially in the arts. As Bekezela creates art that incorporates elements of nature, reflecting his own journey, he embraces the notion of fluidity in identity. He describes his artistic process as allowing time and weather to alter his works, symbolizing a broader commentary on belonging and acceptance.
Art, as both Bekezela and Daria suggest, possesses the unique capability to bridge divides. Bekezela asserts, "Art includes everyone," acknowledging its potential to create connections in a landscape marked by division. Yet, the reality remains that even within artistic circles, issues of exclusion persist, as Daria points out. The systems governing artistic mobility often favor those with specific backgrounds, leaving others marginalized.
As the festival approaches, the conversations ignited by these artists raise awareness of the subtle yet profound ways that documents and racial perceptions shape identity in South Africa. As Bekezela navigates his dual existence, he embodies the resilience necessary to challenge stereotypes and redefine what it means to belong.
Source: www.dailymaverick.co.za
