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Stellenbosch University Museum invites you to a free film screening of The Black Christ, a documentary film produced by Damian Samuels and directed by Jean-Paul Moodie.
The details are as follows:
Date: Wednesday, 26 August 2015
Venue: University Museum, 52 Ryneveld Street, Stellenbosch
Time: 18:00–20:00
RSVP to Elvandre Galant: elvandre@sun.ac.za
The film screening will be followed by a Q&A session with the film director and some refreshments.
The Black Christ: The painting that shook a regime
In 1962, a young South African artist, Ronald Harrison, passionately sought a way to contribute to the struggle for political freedom by leveraging his passion for art. Consequently, he produced a painting destined to become world renowned as the 'Black Christ.' The painting's metaphoric depiction of the suffering of the various oppressed black racial groups during apartheid is ingenious. To this end, the painting depicts a Christ-like crucified figure being tormented by two centurions. The face of the crucified man is that of Albert Luthuli, the President of the ANC at the time and the first African recipient of a Nobel Peace Prize (1961).
The faces of the two 'centurions' are that of Hendrik Verwoerd, then Prime Minister of South Africa and one of the main architects of apartheid, and B.J. Voster, Verwoerd's ruthless Minister of Justice and Police. The unveiling of the painting caused a furore, as it instantly became a powerful symbol of defiance against the prevailing harsh and unjust political system in the country.
At the same time, the painting was interpreted by various sects of the white ruling class as both blasphemous and subversive, as it managed to foreground the social paradox of a racist state purporting to hold Christian values. As a result, the apartheid authorities banned the work from any public exhibition, and attempted to seize and destroy the canvas. However, a London-based anti-apartheid organisation, Defence and Aid, smuggled it out of South Africa in 1962, where for the following six years the painting travelled through Europe. During that period, it is claimed to have raised hundreds of thousands of pounds sterling for the legal and financial aid of political prisoners and their families in South Africa.
After its European tour, the painting vanished and Harrison lost all contact with his creation. Subsequent to the painting's exile from South Africa and Ronald Harrison's personal meeting with Luthuli, he was persistently harassed by the South African Security Police. These arrests culminated in brutal physical torture, which affected him in very real ways, while he also endured sadistic threats against his family. In the ensuing years his personal suffering was exacerbated by the violent events unfolding in South Africa, his reluctant separation from the Black Christ painting and the uncertainty regarding the painting's whereabouts.
Through unrelenting political pressure, the country eventually changed – formal apartheid was dismantled, political organisations fighting for liberation and democracy were unbanned, Nelson Mandela and others political leaders were released, and in 1994 a joyous population partook in the country's first democratic elections. The search for the Black Christ painting intensified, and in 1997, after a series of remarkably coincidental events, the canvas was found in London, where a self-exiled South African human rights lawyer, Julius Baker, stored it safely for the preceding 30 years. Amid intense international and local media coverage, the painting was returned to South Africa in 1997, bought by the South African National Gallery in 1998, where it now rests – its work done, but its influence and message as relevant as ever.
Ronald Harrison was born on 18 March 1940 in the suburb of Athlone, Cape Town, but lived the first four years of his life in Kimberley. Ronald described his childhood as 'nomadic' – his family often moved from place to place and he lived in many different Cape Town communities, including District Six, Ottery and Salt River. Despite Ronald excelling at art and being a top-grade student in primary and high school, he could not pursue fine arts as a profession due to being classified as 'coloured', which deprived him of this opportunity. His family could also not afford a privileged education. Ronald often lamented the way in which the absurdity of apartheid-racialised identities entered his intimate family life and tore his family apart. As a young adult, he wound up earning a meagre living working in a factory, despite his artistic talents, intelligence and political astuteness.
Ronald was committed to his Christian values and to the struggle against apartheid. It made sense that he revered Luthuli, who represented for him the embodiment of a noble cause, both Christian and liberatory. Frustrated with the oppressive state violence, angered by the 1960 Sharpeville massacre, the unfair restriction on his personal growth, and on Luthuli's banning orders, Ronald began to find his voice and political expression through critical art. The Black Christ painting is his most renowned work, for which he endured serial torture at the hands of the apartheid security police, leaving him to live with life-long physical and psychological scars.
After acquiring international recognition for creating the Black Christ painting and transcending what he called 'the stigma of being considered a second-class citizen', he was offered a scholarship to study fine arts in America. However, the apartheid government would only grant him an exit permit. Having also been threatened with his life and that of his family, he declined the offer and abstained from exhibiting his work in public, but there are literally hundreds of homes in Cape Town decorated with his art. Ronald Harrison was an artist of the people and for the people and generously gifted his talent to his community.
With the advent of democracy, Ronald was offered a prestigious position in the office of the provincial government. True to his character, he responded by saying his role as an artist was to hold power accountable and not to hold power per se. In 2005 Ronald was one of the recipients of a prestigious Arts and Culture Award in the category of Visual Arts, granted by the Western Cape provincial government, along with other notable stalwarts of the arts. He resumed serious work in 2006, when he painted a series of paintings dedicated to Albert Luthuli. These paintings were in exhibition at the Nelson Mandela Foundation for a number of years after finding their resting place at the Luthuli Museum in Groutville, KwaDukuza. In the same year he wrote his memoirs, which is a heartfelt account of some of the most significant experiences in his life. His book, The Black Christ: My Journey to Freedom, is available from New Africa Books. In 2008 Ronald was once again honoured and acknowledged by the Western Cape provincial government for his contribution to the liberation struggle when he received an Order of the Disa for services rendered to his country.
Ronald Harrison had a special strength, one that speaks against the silence of many anti-apartheid activists to protect themselves from the shame and disgrace they endured for challenging the apartheid regime. Ronald never married and fathered children of his own. It is speculated that what had happened during his interrogations may have affected him so much that he passed up the opportunity to marry and become a parent, although he was the proverbial father to many young men and women. Ronald Harrison passed away of a heart attack at the age of 71 on 28 June 2011, after beating cancer, which is believed to have emanated from the injuries he suffered at the hands of the apartheid security police. He was honoured with a requiem funeral service at St Luke Anglican Church in Salt River. His funeral was attended by hundreds of friends, family and those who venerate him. Some of the noteworthy guests at his funeral were Cape Town Major Patria de Lille, Dr Albertina Luthuli and Archbishop Njongonkulu Ndungane, among many.