We Didn't Choose to be Born Here

  • Dates
    2019 - 2022
  • Author
  • Topics Archive, Contemporary Issues, Documentary, Fine Art, Landscape, Photobooks, Portrait, Social Issues, War & Conflicts
  • Locations Johannesburg, Cape Town, Gaborone, Robben Island

This body of work is an exploration of Botswana and South Africa’s socio-political fabric through a personal lens. Blending staged portraiture, documentary images and re-enactments, Makepe weaves personal family stories with national history.

These images are part of a photobook that addresses the history of musicality and activism in my family lineage.

In 1958, my grandfather, Hippolytus Mothopeng, fled South Africa to escape racist Apartheid law. He went to Botswana, a far more peaceful country under British protection that eventually achieved independence in 1966. He worked as a town clerk in Francistown and Gaborone and as a hobbyist jazz musician.

In contrast, my grandfather’s uncle, Zephaniah Mothopeng, a teacher by profession, became an activist and joined the Pan-African Congress of Azania (PAC), eventually becoming the president of this political party. As a prominent leader of the struggle against Apartheid, my great-uncle Zephania Mothopeng served two separate jail sentences on Robben Island – the latter in 1979 for threatening to overthrow the government – for which he was sentenced to 15 years.

The title of the project, “We Didn’t Choose to be Born Here”, is a phrase explored in the minds of different family members during crises, separation, and ennui. In my photobook, I also write about my own experiences with activism during the #FeesMustFall protests that took place at the University of Cape Town in 2016, fighting for free, decolonized education across all South African universities.

Using various photographic languages, I have attempted to construct a non-linear narrative that shows my maternal family’s lasting kindredship despite all the effects of politics, resistance, history, migration, loss and separation they have endured for over half a century. Despite all these adversities, I also want the viewer or audience to take away a sense of hope, celebration, and triumphant accomplishment.

© Thero Makepe - Re A Hlopela (Tombstone Unveiling), 2019
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Re A Hlopela (Tombstone Unveiling), 2019

© Thero Makepe - Robben Island University, 2020
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Robben Island University, 2020

© Thero Makepe - Come What May, 2022
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Come What May, 2022

© Thero Makepe - Under Surveillance II, 2021
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Under Surveillance II, 2021

© Thero Makepe - Monna Wa Mmino III, 2020
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Monna Wa Mmino III, 2020

© Thero Makepe - Kalamore, 2022
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Kalamore, 2022

© Thero Makepe - Kgomo Tsaka Deile Kae? V, 2019
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Kgomo Tsaka Deile Kae? V, 2019

© Thero Makepe - Martha II, 2021
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Martha II, 2021

© Thero Makepe - Kgomo Tsaka Deile Kae? IV , 2019
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Kgomo Tsaka Deile Kae? IV , 2019

© Thero Makepe - The Night of Ruins (a reenactment), 2019
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The Night of Ruins (a reenactment), 2019

© Thero Makepe - The Morning of Ruins, 2020
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The Morning of Ruins, 2020

© Thero Makepe - Sharpeville, 2020
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Sharpeville, 2020

© Thero Makepe - Father and Daughter, 2023
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Father and Daughter, 2023

© Thero Makepe - Mama Mo Metsi, 2019
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Mama Mo Metsi, 2019

© Thero Makepe - Kereke II, 2022
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Kereke II, 2022