The Sunday Mail
Andrew Moyo
ZIMBABWEAN visual art has over the years developed significantly with many local artistes gaining global recognition in the process.
Success stories in the sector have contributed to the rise in the number of students pursuing creative arts at various educational institutions around the country, thus an increase in the demand for research material.
While it is important to capture the history, development and current status of local art in text, this task has usually been undertaken by foreign authors who sometimes distort facts.
During a recent visit to the National Gallery of Zimbabwe, I came across a book titled “Mawonero/Umbono”, which shares insights on the state of art in Zimbabwe. It was good to note that there are local players in the arts industry who are willing to dedicate their time to share their knowledge of Zimbabwean art with the rest of the world.
This book is interesting in many ways as it explores the local visual arts sector from five different perspectives. The contributors to this publication who include Doreen Sibanda, Raphael Chikukwa, Farai Chabata, Tashinga Matindike-Gondo and Zvikomborero Mandangu, are active in various sections of the industry.
From exploring missionary and non-missionary interventions in the development of local art during the colonial era to shedding light on the contemporary movement, this book is a total package.
It starts by looking at some of the individuals and institutions that inspired the development art in the country. Chikukwa shows his vast knowledge of the historical background of local art.
Some of the significant figures mentioned include Canon Ned Paterson of Cyrene Mission, Father Hans Groeber of Serima Mission, Frank McEwen of the National Gallery and Tom Blomefield of Tengenenge Arts Centre.
These personalities are still celebrated both locally and internationally as arts educators. They were responsible for teaching students whose work changed the Zimbabwean image. Chikukwa highlights how these educators used the resources and space at their disposal to influence and cultivate artistic talent.
Sibanda goes on to discuss the main drivers for the growth and development of the sculpture movement in Zimbabwe.
She highlights that long before whites came to invade, the fashioning of artistic objects and creative expression had been practiced for many years.
“Earlier hunters and gatherers left their footprints across the country in the form of countless cave paintings that not only reveal their consummate artistic skills, but also provide an insight into the importance of imagination in the exercise of control over the natural environment.”
She also dwells on the development of early artistes and arts centres that played a pivotal role in paving the way for future generations. There are many other aspects that are explored in this particular chapter, which is laden with details ranging from the early days of the stone movement to the birth of contemporary Zimbabwean art.
There are many other interesting topics that are brought up, with all the writers displaying their vast knowledge base in issues to do with local art. The fusion of both experienced and relatively new players in the industry gives this book an element of balance in terms of perspective.
The use of illustrations adds life and colour as readers get to see some of the artworks and personalities being discussed.
This is definitely an interesting read that even non-academics can enjoy as it is loaded with many captivating historical and current tales of the country’s visual arts movement.
