Page 45 - Demo

In Singer’s African textile design quest, she learned that its origins lie in the ancient Indonesian batik technique. It was introduced to Africa via Dutch colonialists, who produced cheap versions of batik that were sold in the African market.[3]
The intercultural transition from “center” to “periphery”, between “first” and “third” worlds, and between economic forces annexing local cultural codes and assets affected Singer’s memory-art creative process, steering her inner contradiction and distancing her from the intuitive feelings that those fabric designs had inspired in her.
Halfway across the world, in search of her childhood memories, Singer realized that her “fabric memory” and her family history share a common root: alienation: her grandparents were Jewish immigrants who had arrived in South Africa from Germany and Lithuania—a reflection of the “African fabrics” voyage. Could it be that the fabrics are nothing but a fantasy and not an actual childhood memory? Is it legitimate to appropriate these fabrics into her artistic practise? These unanswered questions are a solid example that “true” and “false” are diffusive concepts that can coexist while being contradictory.
[3] Clare Spencer, "Wax Print: Africa's Pride or Colonial Legacy?", BBC NEWS, June 2020.
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