From re-enactment battlefields to community museums, Twin Mawela Mosia has dedicated his life to restoring dignity, truth, and inclusion to South Africa’s historical narrative. Driven by love for tradition and community, the Free State-based curator is redefining how heritage is preserved, shared and valued.
Twin Mawela Mosia, a museum curator and cultural activist from the Free State, has emerged as one of the country’s most compelling voices in reshaping how South African history is presented and remembered. Rooted in a deep love for tradition, his work challenges historical exclusion while advocating for inclusive narratives that reflect community memory, identity, and lived experience.
Mosia’s fascination with history began long before museum halls and heritage councils became part of his daily life. Born on a farm just outside Petrus Steyn, he grew up listening to stories shared by his grandparents who reflected on accounts of wars, displacement, and survival that were passed down through generations. At the time, he admits, these stories felt distant. “I guess it has always been in me. Those stories only began to make sense later,” he reflects.
After relocating to Mamafubedu (Petrus Steyn), Mosia’s curiosity found direction in the classroom. Under the guidance of his history teacher, Mr Moloedi, he became deeply invested in understanding South Africa’s past. “I remember having to know the dates of important events by heart. That discipline shaped how I understood history not just as facts, but as stories that needed to be remembered accurately.”
That foundation would later propel Mosia into uncharted territory. One of his most significant milestones was when he became the first black South African to participate in the re-enactments of the Anglo-Boer War (1899–1902) and the Basotho Wars, spaces historically reserved for a narrow narrative of the past. While his participation drew national attention, it was not without resistance.
“At first, I was called all sorts of funny names. What people didn’t understand was that I was telling the story of more than 140 000 black men who were part and parcel of the Anglo-Boer War, also known as the South African War. My aim was to make sure their stories were remembered and that they received the honour they deserved. It was also about educating others.”
His journey into historical re-enactments began in 2013 after an encounter with Dr Johan van Zyl at the Anglo-Boer War Museum in Bloemfontein, a meeting Mosia describes as a turning point. He also credits the role of mentorship in sustaining him through challenges. “I must mention a friend and colleague, Piet Lombard, who took me under his wing when things were tough. Mentorship is crucial in every field.”
Today, Mosia extends that same guidance to young people who visit his museum or engage with heritage institutions. “I always try to help them gain knowledge, expand their networks and unlock their creativity.”
Over the years, Mosia’s work has evolved beyond re-enactments to documentaries, digital exhibitions, and community-driven heritage initiatives. His efforts have earned international recognition, with his work showcased in countries such as the Netherlands, Belgium and Kenya. Yet, despite this global acclaim, he says recognition at home remains limited.
“I have never been acknowledged locally, not even in the Free State. I’ve never received funding. But I’m grateful that my work is valued overseas. Heritage is taken seriously there – politicians and wealthy people will travel to see the Eiffel Tower or the Leaning Tower of Pisa, yet they won’t visit Mapikela House or the Oliewenhuis Art Museum.”
In 2024, Mosia was appointed to the Free State Provincial Heritage Resources Authority (PHRA) council, a role that has sharpened his focus on overlooked, community-based heritage sites. “Every community has history and heritage. That heritage must be monetised, especially when you consider youth unemployment.” He believes cultural tourism offers powerful economic opportunities, from guided tours and crafts to digital storytelling, film, fashion, and heritage-inspired products. “These initiatives can create jobs and stimulate local economies.”
Mosia is equally vocal about preserving architectural and natural heritage. “We are surrounded by abandoned buildings that vandals destroy. The same neglect applies to natural heritage like mountains, rivers, dams, many of which are polluted by sewage.”
For Mosia, heritage preservation is deeply tied to justice and sustainability. “Heritage is a non-renewable resource. Once it is destroyed, neglected or forgotten, it cannot be replaced. Protecting it is essential not only for history, but for identity, education, and social justice.”
As he reflects on his journey, Mosia hopes to be remembered as someone who challenged distorted narratives and pioneered community-based museum work. “The heritage, arts, and culture sectors need the voices of young people, their vision and their truth, to remain relevant.
“I will be happy if I can leave behind a well-established community museum and a manual on how to start a museum with no funding,” Mosia concludes.
Text and photographs: CLEMENT MATROOS
