In order for the concept, “recognition,” to play a critical role in social theory, it must be possible to draw a distinction between due recognition and failures of recognition.
Theorist Axel Honneth argues that this distinction can be preserved only if we presuppose that due recognition involves a rational response to “evaluative qualities” that can be rightly perceived in the context of social interaction.
This reality is ubiquitous in the modelling industry. While scores of female models have become household names and built powerful brands, the majority of male models have yet to achieve name recognition at all, let alone first name only status. For the most part, a male model has two roles. It is either to act as a background prop, a pillar of muscle supporting a better paid, better lit female counterpart, or to model underwear.
It is so undeniably pellucid that many men face a glass ceiling in terms of their earning ability and career progression.
The following body of work represents the struggle of an independent 19-year-old model Omar Qassim Kaisi in an industry he feels like he’s not seen or given the credit and support he thinks he deserves.
Many a time, it has been made clear to him that his style of work – the YingYang – is not apparent in Zimbabwe.
To those who are not acquainted with the term, Yin is a symbol of earth, femaleness, darkness, passivity, and absorption. It is present in even numbers, in valleys and streams, and is represented by the tiger, the colour orange, and a broken line. Yang is conceived of as heaven, maleness, light, activity, and penetration. It is present in odd numbers, in mountains, and is represented by the dragon, the colour of azure, and an unbroken line.
In my understanding, YingYang basically means balance and it is something that has been applied in everyday lifestyles. Black and white. Good and bad. Dark and light. Do you get the idea?
As for Omar’s body of work, the black and white photos represent the struggle of an artist in his early stages. The reason why they’re mainly black and white and you can’t see his face is that he is trying to show the journey and struggle of climbing to the top not being seen and heard.
Perhaps the black and white are trying to show the independence and pursuit of acceptance in the art industry.
And yet he is changing as he grows. I like to call this process metamorphosis.
On the second batch, we see Omar emerging in plain colour. He’s not hiding anymore and you get to see the strong focal points of his full body.
This shows light. He finds light in everything he does because he believes God has bigger plans for him. The confidence, the faith is all shown in his postures and that explains a lot about how much he puts his all into his firm sense of personal style. That’s something you can’t take away from him.
The strong aerial view is of him looking down at everything he has been through so far and he knows damn sure that he has a long way to go and the road will never end. It might be bumpy and slippery but he stands tall high above the clouds to reach the beyond.
There’s a phrase in Arabic he uses a lot “أنا لم أنتهي هنا سأشرق أكثر من الشمس” meaning he’s not done here and he will shine brighter than the Sun.
Take a gallery tour of the balance and story of Omar Qassim Kaisi.
The Ying
The Yang
This story was written by Lennox Tatenda Makurumidze. He is Spoken Word Artist, Writer, Page Poet and Photographer. The work he writes seeks to tell the hidden stories of people and to create a better world by opening the eyes of people to different worlds. His debut anthology Sowing Kit and Building Blocks hit the market in late 2019 and was launched at the Litfest Festival.
Photography: Lennox Tatenda Makurumidze
