Philippa Hobbs
Biographic Data
| ID | 5226849 |
|---|---|
| NAME | Philippa Hobbs |
| GIVEN NAMES | Philippa |
| FAMILY NAME | Hobbs |
| SIGNATURE | HOBBS P |
| AFFILIATIONS | Research Centre: Visual Identities in Art and Design, at the University of Johannesburg. Nessa Leibhammer is also the current Curator of Traditional Southern African Art at the Johannesburg Art Gallery. |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Panoramas from the Periphery: Women's History Tapestries at Rorke's Drift
It is widely appreciated that printmakers at the Evangelical Lutheran Church Art and Craft Centre, Rorke's Drift, in KwaZulu-Natal, South Africa,1 referenced Zulu history in the prints they made here. As early as 1962, a year before the formal inception of the Centre, a young Azaria Mbatha (1941-2018) had produced Dingane, a linocut referencing the Zulu king Dingane's victory over the White settlers at his headquarters at Mgungundlovu in 1838.2 A…
The Mantis Wedding: Performing Power in the Loom
In 1980 the South African tapestry artist, Allina Khumalo Ndebele (Fig. 1), sat down at her loom to weave The Mantis Wedding (Fig. 2).1 She had recently left the relative security of her job as a weaving trainer at the Evangelical Lutheran Church Art and Craft Centre at Rorke's Drift, in what is now KwaZulu-Natal. Her departure from the center would gain her a form of freedom she had not previously known: the option to weave tapestries of her own…
Allina Ndebele's The Tree of Life: Tapestry, text andlessons from the loom
By reconstructing the context and symbolic language of artist-weaver Allina Ndebele's little-known allegorical tapestry, The Tree of Life (1986–87), this article investigates the didactic strategies in her tapestries and the texts she writes to accompany them. Based largely on a series of recent interviews with Ndebele about this work, the essay considers the roles that animals, humans and spiritual forces play in an invented tapestry story that …
Water and space: Unraveling meaning in the weavings of Allina Ndebele
For more than three decades, artist-weaver Allina Ndebele has drawn on traditional Zulu symbolism and thought systems as inspiration for her work. She began her career as a trainee nurse in a Swedish mission environment at Ceza, KwaZulu-Natal, in the early 1960s, during an era when restrictions on traditional African beliefs and practices were being challenged by some enlightened missionaries. Ndebele then learned weaving from Ulla Gowenius, a Sw…
Corporate art collections
Water and space: Unraveling meaning in the weavings of Allina Ndebele
For more than three decades, artist-weaver Allina Ndebele has drawn on traditional Zulu symbolism and thought systems as inspiration for her work. She began her career as a trainee nurse in a Swedish mission environment at Ceza, KwaZulu-Natal, in the early 1960s, during an era when restrictions on traditional African beliefs and practices were being challenged by some enlightened missionaries. Ndebele then learned weaving from Ulla Gowenius, a Sw…
Corporate art collections
Water and space: Unraveling meaning in the weavings of Allina Ndebele
For more than three decades, artist-weaver Allina Ndebele has drawn on traditional Zulu symbolism and thought systems as inspiration for her work. She began her career as a trainee nurse in a Swedish mission environment at Ceza, KwaZulu-Natal, in the early 1960s, during an era when restrictions on traditional African beliefs and practices were being challenged by some enlightened missionaries. Ndebele then learned weaving from Ulla Gowenius, a Sw…
Allina Ndebele's The Tree of Life: Tapestry, text andlessons from the loom
By reconstructing the context and symbolic language of artist-weaver Allina Ndebele's little-known allegorical tapestry, The Tree of Life (1986–87), this article investigates the didactic strategies in her tapestries and the texts she writes to accompany them. Based largely on a series of recent interviews with Ndebele about this work, the essay considers the roles that animals, humans and spiritual forces play in an invented tapestry story that …
The Mantis Wedding: Performing Power in the Loom
In 1980 the South African tapestry artist, Allina Khumalo Ndebele (Fig. 1), sat down at her loom to weave The Mantis Wedding (Fig. 2).1 She had recently left the relative security of her job as a weaving trainer at the Evangelical Lutheran Church Art and Craft Centre at Rorke's Drift, in what is now KwaZulu-Natal. Her departure from the center would gain her a form of freedom she had not previously known: the option to weave tapestries of her own…
Panoramas from the Periphery: Women's History Tapestries at Rorke's Drift
It is widely appreciated that printmakers at the Evangelical Lutheran Church Art and Craft Centre, Rorke's Drift, in KwaZulu-Natal, South Africa,1 referenced Zulu history in the prints they made here. As early as 1962, a year before the formal inception of the Centre, a young Azaria Mbatha (1941-2018) had produced Dingane, a linocut referencing the Zulu king Dingane's victory over the White settlers at his headquarters at Mgungundlovu in 1838.2 A…
Art (3 works) · Aesthetics (2 works) · Epistemology (2 works) · History (2 works) · Linguistics (2 works) · Literature (2 works) · Meaning (existential) (2 works) · Narrative (2 works) · Philosophy (2 works) · Sociology (2 works)