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Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Come learn to make Native American Regalia while listening to story telling.

* Bead or loom
* Make a ribbon skirt or shirt
* Make a pair of moccasins
* The variety is open if we have the materials!

Everyone is welcome!!

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Across Mexico, mask-making is a vibrant and playful artform with roots in the celebration of religious holidays. Worn by dancers in rollicking performances known as danzas, the masks depict devils and holy men; celebrities from media and politics, and other known individuals who personify sinners and false idols.

In contextualizing masks and the expressive art forms through the life and work of contemporary Mexican mask artists, the exhibition dispels the common notion that masks and danzas are “archaic” Indigenous customs that are disappearing in the face of encroaching modernity. Instead, they are presented as expressions of contemporary living culture in which symbols and scripts from pop culture and religious narratives are combined to communicate about spiritual matters, political issues, and community life.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.

Ubuhle Women: Beadwork and the Art of Independence showcases a new form of bead art, the ndwango, developed by a community of women living and working together in rural KwaZulu-Natal, South Africa. The six artists featured in the exhibition call their paintings in beads ndwangos, which translates as “cloth” or “rag.” The black fabric on which the Ubuhle women work is reminiscent of the Xhosa headscarves and skirts which many of them grew up wearing. By stretching this textile like a canvas, the artists transform the flat cloth into a contemporary art form colored with Czech glass beads.

Using skills handed down through generations and working in their own unique style “directly from the soul,” according to artist Ntombephi Ntobela, the women create abstract as well as figurative subjects for their ndwangos.