The Medicine Chest

Items

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  Chest: a botanical ecology

  Illness and disease affect us all. The treatment of these conditions however, has been vast and varied, depending on the historical periods and the cultural context in and during which they are practiced. Situated in the rock art gallery, where healing power is expressed in San paintings, this mobile set of cabinets explores a rich complex of healing practices through the display of a medicine chest which was donated to the university of Cape Town in 1978. This chest belonged to a British dentist, who practiced in Cape Town from 1904, and who bought the chest for a hunting trip he undertook in 1913 to (then) Northern Rhodesia. The idea of the chest then gives rise to a variety of forms of healing: from instruments used to exorcise evil spirits and children's letters written to celebrate a heart transplant; to medicinal flowers bought at the Adderley Street flower market. The exhibition aims to visualise and materialise illness and its treatment from historical, cultural and disciplinary perspectives. Drawing on well-established historical and contemporary connections between the disciplines of Botany, Medicine and Pharmacology, the exhibits also suggest latent links which are at times political, at times whimsical.
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  Isigubu through Gqom

  "In 2018, the Zulu drum alleged to have been played during the 1906 Bambatha rebellion against British rule and unfair taxation in the colony of Natal (discussed by Nixon) became the focus of Amogelang Maledu’s Honours research project. In ‘Isigubu through gqom: The sound of defiance and Black joy’, Maledu (who has an undergraduate degree in Anthropology and Visual Culture) used the drum’s history of colonial resistance and contextualised it through the contemporary musical genre of gqom, showing music as both an act and celebration of joy and freedom and of defiance against the limitations of township life. Through her ‘speculative and imagined interconnectedness’ of the isigubu and gqom, Maledu appropriated the limited information available about the former and expanded it by reinventing new historical pathways that reframed colonial narrations and aesthetics (Maledu 2018: 29–30). Her curation broke the silence of the Kirby instruments and liberated the isigubu from its ethnomusicological framework through a juxtaposition that spoke back to history and the contemporary moment. In addition, a website provides a framework for historicising gqom and encouraged the growth of its archive through viewer engagement, also highlighting the speculative and stagnant colonial archive in which the isigubu is situated (Maledu 2018: 29–30)" (Liebenberg 2021: 211 - 212).
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  Iroko

  Structurally, 'Chest: a botanical ecology' consisted of 15 modular interlocking cabinets of differing sizes which rested on top of one another, making up the front of the display. These were constructed from two types of wood, the darker iroko wood, and a lighter ash wood – with the iroko originating from the repurposed cabinets used for Curiosity CLXXV in 2004. The Iroko tree is a large hardwood tree from the west coast of tropical Africa, known by the Yoruba as ìrókò, logo or loko. Believed to have supernatural properties, it can live up to 500 years. Yoruba people believe that a spirit inhabits the tree, and anybody who sees the Iroko-man face to face becomes insane and dies. According to the Yoruba, any man who cuts down any Iroko tree causes devastating misfortune on himself and all of his family. In West Africa, the iroko wood is also used to make the djembe drum. If they however, need to cut down the tree, they can make a prayer afterwards to protect themselves. Used for a variety of purposes including boat-building, domestic flooring, furniture and outdoor gates, from the late 1990s, it was also used as part of the txalaparta, a Basque musical instrument constructed of wooden boards, due to its lively sound and classified as an idiophone (a percussion instrument) (Ogumfe 1929: online)).