Luvuyo Equiano Nywawose, the ‘liquid photographer’, is immersed in the motion, connection and tenderness of Black familial life beside the seas of eThekwini.
, Luvuyo Equiano Nyawose explains the etymology further, saying “the word endle presupposes that which cannot be contained or controlled … ” Jack Halberstam, in parallel, frames “wildness” as an epistemological opportunity; “a form of disorder that will not submit to rule, a mode of unknowing, a resistant ontology and a fantasy of life beyond the human.”
I’ve been interested for some time in matter and matters, like ulwandle, that are characterised by their bigness, their vagueness, their insistence on holding far more space than content; matter and matters that refuse to commit to differentiation and sustain unspoken potential through opacity and openness.
In such legislatory instances, we recognise the colonised body — the Black body, collective — as historically and ideologically relegated to the underbelly of capitalist reproduction, as the labouring body. Women’s bodies, particularly those racialised as black under apartheid law, have not only taken on this racial-symbolic status as labouring bodies, but legally, domestically, privately and familially have been constructed as ownable bodies, without themselves possessing the capacity to own.
In my view, when we go ebhish’, it’s spirituality in motion. When we congregate in groups emanzini there is an interplay of leisure and metaphysical reignition: black people collectively traversing physical and spiritual terrain. This is a spatial-temporal dynamic force in action, enjoyment and fun underlaced by spiritual reconfiguration. To the common eye this looks like leisure, but there is an unnameable, finer evocation.
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