Xibhelane cloth of the Vatsonga becomes modern art piece right in the heart of capitalism -Johannesburg Stock Exchange
That is when multi-disciplinary artist Khanyisa Agnes Brancon won the Blessing Ngobeni Art Prize 2025 in Sandton for her sculptural work.
By Edward Tsumele, CITYLIFE/ARTS Editor
Her art work is a multi-disciplinary presentation, a sculpture that takes centre stage as you enter the reception area of the Johannesburg Stock Exchange on 2 Gwen Lane in Sandton. It is a sculptural figure that in a majestical posture, exuding both grace and dignity with the right hand raised in the air above her hear, is aesthetically tasteful. The figure is female. However, there is one thing on this figure that looks familiar. You might not recognize this the first time you look at it, but as its magic connects with your senses -your eyes, your feelings and tickles your brains in a manner that pushes your brains to think and contemplate about this piece of art work, something strikes you in a powerful way that you dare not dare ignore.
You will not be able to anyway. As your gaze this time lingers much longer in a thoughtful and imaginative way, you then realise that you and this figure are familiar. It is as if you have met before. You just cannot immediately figure out where and what those circumstances were. This is the power in good art.
But then, the revelation happens. It is the familiar dress that you often notice women wearing in the streets of Johannesburg, who proudly dress in the famous Xibhelane skirt. Worn by Tsonga women from Limpopo, but now increasingly getting attention from far and wide of South Africa’s diverse cultural groups, Xibhlelane is indeed going mainstream.
This is a piece of dress that for the longest of time, some of us born into that culture have always taken for granted.Having seen this dress from birth, it never occurred that one day, the same ordinary skirt that our mothers, aunts and grandmothers have always worn, will find its place of pride in spaces of power. Even where money is made and sometimes lost by those who trade in money to make money-at the Johannesburg Stock Exchange in Sandton. This is after all a place that boasts of being the richest Square Mile in Africa.
But on Tuesday, May, 6, 2025, I and a number of artists, academics, media and of course the suits, including the JSE’s Chief Executive Officer Leila Fourie, found ourselves congregating around this Xibhelane adorned mystical figure. And, ofcourse taking turns to congratulate its creator, Limpopo born, but Johannesburg based multi-disciplinary artist Khanyisa Agnes Brancon. To much appreciation from the crowd, Khanyisa was crowned the winner of the increasingly prestigious Blessing Ngobeni Art Prize, being recognized precisely for creating this Xibhelane adorned sculptural work.
She was part of the 11 finalists for the Blessing Ngobeni Art Prize, which was started by well-respected artist Blessing Ngobeni and is annually organized by The Blessing Ngobeni Foundation and its partners that include the Everard Read Gallery and for the second year running the Johannesburg Stock Exchange. In its 11th year, the Blessing Ngobeni Art Prize this year has gone continental, as attested to by the fact that among the 11 finalists, all of whom received certificates among other prizes, had participants from as far as Nigeria, Mauritius and Madagascar, making this art prize one of the most prestigious in South Africa.
The event was praised by those who attended for taking fineness to another level when it comes to organizing events. It was sleek, short and ran smoothly. No long boring speeches. Everything was organized to the finest details. It is therefore understandable when the organisers proudly sent out the following media statement following the event’s hosting the following day:
“The BNAP Foundation, in collaboration with the Johannesburg Stock Exchange (JSE), proudly
hosted the 2025 Blessing Ngobeni Art Prize Awards at the JSE’s prestigious offices in Sandton.
The event celebrated eleven outstanding emerging artists, whose works were unveiled in a
group exhibition titled “The Cartography of Dreams.”
Curated by Palesa Suthane, The Cartography of Dreams explores the role of memory and
emotion in documenting history and envisioning the future. The exhibition presents “dream
cartography” as a metaphorical method of mapping personal memories and subconscious
experiences, offering a reflective lens on how we process lived realities. Through this
conceptual framework, memory becomes a tool for understanding our individual histories,
while dreams illuminate deeply held emotions.
Each of the selected artists approaches the exhibition theme with a unique conceptual lens,
integrating culture, nature, and aesthetic inquiry in their interpretations of lived experience and
aspiration. Together, their works highlight the emotional and psychological terrains we navigate
as we grow through what we go through.
This year’s finalists include:
Emmanuel Odogwu (Nigeria), Given Muronga (South Africa), Itumeleng Mtshali (South
Africa), Joy Mwali (South Africa), Julien Oozeeraully (Mauritius), Keonah Nyembe (South
Africa), Khanyisa Agnes Brancon (South Africa), Miangaly Elia Andrianstoa (Madagascar),
Nathaniel Sheppard III (South Africa), Kimberly SiphenathiMduli (South Africa), and
Siyabonga Mtshali (South Africa).
The Blessing Ngobeni Art Prize is proudly supported by Art Angels, Everard Read Cape Town
and the Johannesburg Stock Exchange.
The founder of the arts Ngobeni himself exuded exuberance during the event, clear;ly a man satisfied with what he started and what it has become on the South African art ecosystem.
“When I started the Blessing Ngobeni Art Prize, it was never about me, but about us. This is to recognize talent among artists, who would not have an opportunity to create work because of the constraints of their backgrounds. For example, when I started art, myself while in prison, it was never about money, but simply to survive. I then conceived of this idea of the art prize to assist other artists, especially talented and emerging artists,” Ngobeni said.
The Blessing Ngobeni Art Prize is aimed at assisting young and emerging visual artists to launch their careers in the art industry. The award acknowledges excellence in emerging artists (under 35) specializing in either sculpture, drawing and painting, performance or mixed media and provides an opportunity to showcase their talents to a broader audience. The artist is provided with studio space,materials budget, a stipend through-out the term of their residencies, guided workshops and a funded solo exhibition after the residency ends.
And therefore, Khanyisa will enjoy these benefits later this year, and will have an opportunity to have a solo exhibition at the Everard Read Gallery in Cape Town later this year, further exposing her and her art practice to a wide art market. Everard Read Gallery is the oldest gallery in southern Africa, having been founded in 1913.
Back to the art work that has won Khanyisa the judges’ nod and is set to win the young artist more accolades by an art community thirsty for new innovative ideas of telling African stories to the world, this piece represents a conceptually powerful way of representing a marginal culture, bringing it into the contemporary modern world.The wearing of Xibhelane is widely practised in the rural areas of Limpopo wherever Tsonga women are found. Therefore, Khanyisa is an artist who saw the possibility that exists of extending the meaning of this ordinary skirt into the mainstream by looking at Xibhelane as more than just a dress to cover one’s torso by the rural women folk. Through creating this piece of art, Khanyisa has reimaginedXibhelane as more than just a piece of skirt and widened its meaning in society. Under her conceptual imagination and her crafty hands, she reimagined this piece of fabric as a carrier of the rich cultural history of the VaTsonga in general, and the mystery and the sacredness that is hidden under the veil of the Xibhelane as worn by the Vatsonga women in particular.
However, this artwork has many layers. One layer is that of turning a traditional cloth into a modern practical piece of artwork that could also easily pass off as a fashion item that modern women would die for to wear. Especially when attending events. And therefore, under her able hands this artwork could also be utilitarian without losing its art quality. But also looking closely at the artwork, it dawned on me that this piece of work could even be a wedding dress worn by those who look beyond the traditional wedding dress as dictated to by Western traditions and wedding etiquette.
Khanyisa therefore is an artist to look out for. She has arrived, and has done so in a particularly spectacular way on the mainstream art scene by turning Xibhelane into a beautiful art work that has now won her one of the most sought-after art prizes in South Africa – and now on the African continent. And the spectacular event happened right in the heart of the country’s fiancé centre – the Johannesburg’s stock exchange. CITYLIFE/ARTS congratulates her on her way to the big leg of art making and art practice.
But who is Khanyisa?
Khanyisa Agnes Branconis a Johannesburg-based multidisciplinary artist who explores printmaking, photography, and installation through an interdisciplinary approach. Her work prioritizes materiality, often using textiles, and addresses themes such as labor, leisure, maternal lineage, and the black experience. Brancon’s art engages with contemporary feminist perspectives, focusing on the intersection of representation for black women reflecting on personal and family histories. Spirituality also plays a significant role in her practice, shaping her exploration of life experiences.
Her practice traces genealogy, blending spiritual heritage and personal understanding. Brancon’s art is an ongoing process of discovery, with each memory and story adding layers to a fabric of intimacy and storytelling, as seen in works like The Tablecloth, which serves as both a map and a mirror.
And therefore, meet the 2025 Blessing Ngobeni Art Prize winner Khanyisa Agnes Branco.