Sculpture and in particularstone sculpture is an art for whichZimbabwe is well known around the world.
Central Zimbabwe contains the "Great Dyke" – a source ofserpentine rocks of many types including a hard variety locally calledspringstone. An early precolonial culture ofShona peoples settled the high plateau around 900 AD and “Great Zimbabwe”, which dates from about 1250–1450 AD, was a stone-walled town showing evidence in its archaeology of skilled stone working. The walls were made of a local granite and no mortar was used in their construction.[1] When excavated,six soapstone birds and asoapstone bowl were found in the eastern enclosure of the monument, so art forms in soapstone were part of that early culture and local inhabitants were already artistically predisposed, fashioning works from various natural materials such as fibres, wood, clay, and stone for functional, aesthetic, and ritual purposes.[2] However, stone carving as art had no direct lineage to the present day and it was only in 1954 that its modern renaissance began. This was whenFrank McEwen became advisor to the newRhodes National Gallery to be built inHarare and from 1955 to 1973 was its founding director (it opened in 1957). He met withThomas Mukarobgwa, a young indigenous artist steeped in rural knowledge and spirituality, and offered him an opportunity to pursue a career in art. Mukarobgwa became "the perfect mentor to guide the director of the new gallery into the ways and mores of the African people."[3]: 34 It was an introduction to local artistJoram Mariga and his early soft stone carvings that prompted McEwen to encourage early soapstone carvers to create works that reflected their culture. The Workshop School established by the gallery soon attracted more artists, many of whom had already been exposed to some form of art training from early mission schools and were established art practitioners.[3]: 38 These includedJoseph Ndandarika,John Takawira andKingsley Sambo.[4][5] The budding art movement was relatively slow to develop but was given massive impetus in 1966 byTom Blomefield, a white South-African-born farmer of tobacco whose farm atTengenenge nearGuruve had extensive deposits of serpentine stone suitable for carving. A sculptor in stone himself, Blomefield wanted to diversify the use of his land and welcomed new sculptors onto it to form a community of working artists. This was in part because at that time there were international sanctions against Rhodesia’s white government, then led by Ian Smith, who had declaredUnilateral Declaration of Independence in 1965, and tobacco was no longer able to generate sufficient income. Appropriately, Tengenenge means "The Beginning of the Beginning" — in this case of a significant new enterprise.
Further details of the establishment of the "first generation" of newShona sculptors are given in the individual biographies of its leading members:Bernard Matemera,Sylvester Mubayi,Henry Mukarobgwa,Thomas Mukarobgwa,Henry Munyaradzi,Joram Mariga,Joseph Ndandarika,Bernard Takawira and his brotherJohn. This group also includes theMukomberanwa family (Nicholas Mukomberanwa and his protegeesAnderson Mukomberanwa,Lawrence Mukomberanwa,Taguma Mukomberanwa,Netsai Mukomberanwa,Ennica Mukomberanwa, andNesbert Mukomberanwa). All these artists have created works that have been exhibited worldwide and several of are now included in the McEwen bequest to theBritish Museum.[6][7]
During its early years of growth, the nascent "Shona sculpture movement" was described as an art renaissance, an art phenomenon and a miracle. Critics and collectors could not understand how an art genre had developed with such vigor, spontaneity, and originality in an area of Africa which had none of the great sculptural heritage of West Africa and had previously been described in terms of the visual arts as artistically barren.[8][9][10][11]
Fifteen years of sanctions against Rhodesia limited the international exposure of the sculpture. Nevertheless, owing mainly to the efforts ofFrank McEwen, the work was shown in several international exhibitions, some of which are listed below. This pre-independence period witnessed the honing of technical skills, the deepening of expressive power, use of harder and different types of stones, and the creation of many outstanding works. The "Shona sculpture movement" was well underway and had many patrons and advocates.
Since independence in 1980, the sculpture has continued to be exhibited in the art capitals of the world and great acclaim has accrued to contemporary artists such asDominic Benhura andTapfuma Gutsa[12] and the art form itself.
Support and encouragement has come from many sources.
Roy Guthrie quoted a 1991 article inThe Sunday Telegraph in his introduction to an exhibition in South Africa[16] to remind art lovers that
"There is a widespread assumption today that art must necessarily be international.... But against this trend one finds isolated pockets of resistance, which suggest that good art can (and perhaps must) be a local affair – the product of a particular place and culture. And one of the most remarkable in the contemporary world is the school of sculptors that has flourished among the Shona tribe of Zimbabwe in the last 30 years... placed beside the dismal stuff so beloved of the international art bureaucracy – as they were in the 1990 Biennale – these African carvings shine out in a desolate world."
In spite of increasing worldwide demand for the sculptures, as yet little of what McEwen feared might just be an "airport art" style of commercialization has occurred. The most dedicated of artists display a high degree of integrity, never copying and still working entirely by hand, with spontaneity and a confidence in their skills, unrestricted by externally imposed ideas of what their "art" should be. Now, over fifty years on from the first tentative steps towards a new sculptural tradition, many Zimbabwean artists make their living from full-time sculpting and the very best can stand comparison with contemporary sculptors anywhere else. The sculpture they produce speaks of fundamental human experiences - experiences such as grief, elation, humor, anxiety, and spiritual search - and has always managed to communicate these in a profoundly simple and direct way that is both rare and extremely refreshing. The artist 'works' together with his stone, and it is believed that 'nothing which exists naturally is inanimate' - it has a spirit and life of its own. One is always aware of the stone's contribution in the finished sculpture and it is indeed fortunate that in Zimbabwe a magnificent range of stones are available from which to choose: hard black springstone, richly coloredserpentine andsoapstones, firm greylimestone and semi-preciousVerdite andLepidolite.[17][18][19][20]
Jonathan Zilberg has pointed out that there is a parallel market within Zimbabwe for what he callsflow sculptures – whose subject matter is the family (ukama in Shona) – and which are produced throughout the country, from suburban Harare to Guruve in the northeast and Mutare in the east. These readily available and inexpensive forms of sculpture are, he believes, of more interest to local black Zimbabweans than the semi-abstract figurative sculptures of the type mainly seen in museums and exported to overseas destinations. The flow sculptures are still capable of demonstrating innovation in art and most are individually carved, in styles that are characteristic of the individual artists.[21]
Another artist, Bryn Taurai Mteki, created a large sculpture titled “Chippi”, which was unveiled during the sixthAll-Africa Games, hosted in Zimbabwe in September 1995. This sculpture also served as the games mascot. It is 2.5 meters high and is now displayed at theNational Sports Stadium in Harare alongside the Games' Flame, as a part of the permanent collection. In 1996 Mteki, now living in Europe, was honoured with silver medals from Oelsnitz, Auerbach and Adorf in Germany.[22][3]: 32
Some sculptors in Zimbabwe work in media other than stone. For example, at Zimbabwe Heritage 1988, Paul Machowani won an Award of Distinction for his metal piece "Ngozi" and in 1992 Joseph Chanota’s metal piece "Thinking of the Drought" won the same award. Bulawayo has been a center for metal sculpture, with artists such as David Ndlovu and Adam Madebele. Arthur Azevedo, who works in Harare and creates welded metal sculptures, won the President’s Award of Honour at the First Mobil Zimbabwe Heritage Biennale in 1998.[23] Wood carving has a long history in Zimbabwe and some of its leading exponents are Zephania Tshuma and Morris Tendai.[9]
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In 2017 computerised sculpting was introduced by the visual artistBoarding Dzinotizei. His digital Shona sculptures comment on the Zimbabwean society through3D printing. The message conveyed represents a loss in the significance oftotems in Shona culture. This is being portrayed, in this case, through simplified forms and missing body parts.[28]
The current poor economic conditions in Zimbabwe and recent hyper-inflation means that it is increasingly difficult for its artists to prosper and make a living from full-time sculpting.[29]
