Resistance is inherent to artistic contributions to culture, just as celebration is. South African multi-talented literary producer Zukiswa Wanner has exemplified this by taking a bold stand against genocidal actions in Palestine involving the Federal Republic of Germany. As the first African woman to receive the Goethe-Medaille für Kunst und Wissenschaft (Goethe Medal for Art and Science) since its establishment in 1932, Wanner’s credentials resonate strongly on both pan-African and international platforms. In early March 2024, the author of “London Cape Town Joburg” and “The Madams” publicly returned the medal as a gesture of solidarity with the people of Palestine.
The Medaille is considered one of the most prestigious and rarest honours from Germany and is conferred by the Goethe Institute – a non-profit German cultural association operational worldwide with 159 institutes. It was developed to celebrate and draw attention to the works of non-Germans who have performed outstanding service for international cultural relations. With the position taken by the Federal Republic of Germany in relation to the current war in Gaza, Wanner – who was awarded alongside Bolivian artist and Museum Director, Elvira Espejo Ayca, and fellow writer, Ian McEwan from the United Kingdom – has opted to relieve herself of the award.
In her statement, Wanner cites that her “actions are not a critique of the cultural institution but rather of the government.” The writer’s statements do not exist in a cavity, however. The high-ranking staff of both the international and Sub-Saharan African offices have made pronouncements that showcase their acknowledgements of the war as an abhorrent event. Wanner declares her appreciation that Goethe-Institut President Carola Lentz went on record in January 2024 in the German publication, Der Spiegel, saying: “longstanding partners in the international cultural world are losing trust in the liberality of Germany’s democracy” continuing by questioning “should the Aaswartige Kultur und Bildungspolitik (AKPB) support only persons or groups who accommodate the political/moral agenda of the respective German government?” While some may view these critical positions as severe, Lentz warns that organisations like that which she heads must not become the extended arm of the government, particularly in difficult political times.
With the conflict notably gaining international attention due to social media publishing, there have been substantial pockets of public figures using their positions to draw attention to the plight of Palestinians. Wanner’s recent history with the region and its creative practitioners saw her attending the 2023 Palestine Festival of Literature mere months before the onset of the siege. Having travelled to places whose names now appear frequently on global headlines, the South African elaborates that “coming from a country with a history of apartheid, what I experienced shook me and resulted in my writing a long essay [titled] Vignettes of a People in an Apartheid State.” Wanner additionally used the moment to draw attention to Germany’s cutback of support offered to artists who have been critical of Israel, along with reminding her audience that Germany is yet to take responsibility for its role in Namibia with the Herero-Nama genocide and for the genocide during the Maji Maji Rebellion in Tanzania.
More than drawing attention to the mortal costs of the war, Wanner’s surrendering of the medallion honours the cultural burden imposed by the conflict. According to preliminary findings by Spain-based non-governmental organization, Heritage for Peace, the bombardment of the Gaza Strip has seen over 100 heritage sites destroyed. In a message to world leaders, Ban Ki-moon – former United Nations Secretary General – along with the Elders note the need for “decision-makers who have the moral strength to address both current concerns and long-term risks, often at the expense of their own vested interests.” This call to all levels of society continues to echo through actions such as Wanner’s and the director duo behind the award-winning documentary, No Other Lands. Palestinian filmmaker, Basel Adra, and Israeli journalist, Yuval Abraham, have used their collaboration as a symbol of unity in the face of unrelenting turmoil.
Audre Lorde once wrote about the power of using one’s voice, stating, “My silences had not protected me. Your silence will not protect you.” Zukiswa Wanner’s intervention aligns with this sentiment and adds to a narrative that will undoubtedly be remembered in the future—a narrative of artists as champions of resistance, of women refusing invisibility, and of Africans transcending the limitations of the Western gaze. Wanner’s courageous act, akin to the moon landing, reverberates far beyond the moment of its occurrence, leaving an indelible mark on history.