Banji Chona is an artist, researcher and curator. Her current artistic practice is expressed through both earth-based alchemy, which involves using natural materials and visual poetry, expressed as digital collages which use anthropological photographs alongside personal objects, images and histories. These artistic offerings are grounded in the telluric and often spiritual practices of baTonga. Chona combines this with research and curation which allow the exploration of themes of identity, memory, and history grounded in a sense of storytelling and healing through alternative mediums. This act of reflection uses the self-composed methodology of Radical Zambezian Reimagination.
This notion is used by Chona as a portal leading to the creation of alternative and critical historiographies that challenge and repair pre-existing asymmetries in history. These deeply inform the present and the future. The use of the term Zambezia instead of Zambia is a clear example of this methodology, in that it is founded on the idea of imagining or reimagining an ancestral land that is not constrained by the limitations of colonial impositions, such as borders. This allows for a greater scope for connection and healing outside of the imagined nation-state of Zambia.
Chona’s works manifest in the visual, written and aural realm as experimental performance pieces, installations and dialogue.
PROJECT SYNOPSIS
cisita (jhi-si-tah) is an on-going project (est. 2020) based on the exploration of baTonga corporeal expressions. The project follows the methodology of Radical Zambezian Reimaginings. It is rooted in the belief that ancestral buTonga personhood and methodologies hold immense intrinsic value which are yet to be recognised and given space within postcolonial imaginations. This approach challenges the hegemonic notion that baTonga are merely subjects and appendages of Western histories, imaginations and enquiries.
Existing research and archives on baTonga are mostly rooted in asymmetrical projections and narratives that have been conceived and published within and through oppressive frameworks and institutions. I counter this through actively positioning myself as a muTonga in the field of research and archival practice as being central to constructing a counter-narrative which seeks to heal historic and present day wounds through community. Through research and artistic production,
cisita aims to explore, rework and critique contemporary narratives around baTonga corporeal expressions as well as centre the reclamation of the connection to nature and the botanical world as a way to heal and critique the asymmetries and violent projection encased within many expressions of the post-colonial imagination.
Corporeal expressions, body modifications and adornments were part of spheres of expression central to buTonga personhood. Like many other baTonga markers of identity, they were heavily impacted and to many degrees phased out during periods of external socio-cultural intervention.
During colonial rule, baTonga adornment and body modification practices, such as
Kubangwa, the knocking out of the six front incisors and canines, of mainly girls and women, were forbidden by law and were fineable through systemised subjugation of the practices by ‘native authority law’.
This further cemented the process of the diminishing of the practice(s). Inversely, little to no documentation exists, without violence and bias, in mainstream the archive and in collective memory.
The last two years of the project have been focused on refining the research element of the project. The research, in part, is centred around exploring and unearthing the archive of various natural or botanical processes of baTonga knowledge, technique and ritual that surround cisita, a septum piercing often donned by baTonga women. The second part of the research project is centred around challenging and reimagining the position that Anthropology, Botany, Phrenology and Museology as Western schools of thoughts occupy in the post-colonial imagination.
The residency programme will launch the project into the next stage of production, a point where the project is opened up to a community of baTonga women in the Gwembe Valley. Through collaborative workshops and continuous research this phase of cisita will yield artistic and medicinal outputs such as septum jewellery made from natural materials, like reed and antimicrobial oils made from the seeds of the castor plant.
PROJECT EVOLUTION
The last six months in residence with African Digital Heritage as part of the Historians in Residence project have been a pivotal period in my practice as an artist, researcher, and curator working to further integrate digital technologies into the project cisita, which has been living and breathing in the world since 2020.
The residency provided me with the space and resources to actualize some of my daydreams or production outputs. New, experimental designs of the cisita ornament were crafted using digital tools such as Ancestral Intelligence (AI*) and brought into the material world through a collaboration with Senegalese silversmith turned friend Aliou Thiam.
Aliou and I spent three weeks going back and forth around the practicality of the cisita we were designing together. I remember on one of the first days of working together, he said to me, “You’re a crazy lady, with crazy ideas.” To this, I replied, “I absolutely have to be. That’s where the magic lies.” At the end of my time in Toubab Diallaw, we had managed to bring to life four different cisita ornaments in silver. Although it’s been three months since our meeting, we are in continuous discussion around our shared passion, which is sure to grow into something even more remarkable.
During the residency sessions, alongside dear Wairimu and Evans, I learned—or rather nurtured—the ability to share openly and listen deeply to my colleagues in the space. This practice of mutual openness is paramount to living in and building healthy communities of collaboration. It fostered an environment where ideas could flow freely and where each person’s voice was valued and respected. Additionally, I learned the importance of continually exercising more care for the people around me. This care extended beyond professional interactions, encompassing a more holistic understanding of well-being, empathy, and support within the community. By being more attuned to the needs and emotions of those I worked with, I was able to contribute to a more compassionate and cohesive environment, one that not only prioritised collective growth but also individual well-being.
These experiences have deeply impacted my approach to art and curation, challenging me to rethink the ways I engage with both technology and community. The conversations, collaborations, and shared learning during this residency have become an integral part of my journey. They’ve reaffirmed my belief in the power of art as a tool for connection and transformation—a belief that will continue to guide cisita and my broader practice in the years to come.
As I reflect on these past months, I realise that the residency also provided an invaluable opportunity to explore the intersections of tradition and modernity within my work. The cisita project, which draws deeply from ancestral knowledge, became a living dialogue between the past and the present, facilitated by cutting-edge technology. This fusion of old and new, of physical craftsmanship and digital innovation, is where I find the most fertile ground for creativity. It’s in this space that I feel the heartbeat of cisita, a project that continues to evolve and grow as I do.
One of the most significant realisations during this period was how digital tools like AI* can serve as bridges between generations and cultures. By integrating these technologies into cisita, I’m not only preserving the rich heritage of my ancestors but also reimagining it for contemporary and future contexts. This process of reimagining has allowed me to challenge conventional narratives and create new ones, offering alternative ways of understanding and engaging with cultural heritage.
Moreover, the residency underscored the importance of collaboration in my practice. Working with Aliou, Wairimu, and Evans was more than just a professional partnership; it was a shared journey of learning and discovery. We pushed each other to think beyond our usual boundaries, to question and refine our approaches. The creative synergy that emerged from these collaborations was a testament to the power of collective effort and the magic that can happen when diverse perspectives converge.
As I move forward, the lessons from this residency will continue to influence my work. I’m more committed than ever to exploring how digital technologies can be harnessed to honour and expand our understanding of cultural heritage. The connections I’ve made, the knowledge I’ve gained, and the experiences I’ve had during this time have all become integral to the way I approach my art, research, and curatorial practice. Cisita is not just a project; it’s a living, breathing entity that embodies the continuous dialogue between the past, present, and future—a dialogue that I am excited to keep nurturing and sharing with the world.
