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Postcolonial Monuments and Public Sculpture In POSTCOLONIAL MONUMENTS AND PUBLIC SCULPTURE IN ZIMBABWE A Thesis Submitted In Fulfilment Of The Requirement Of The Degree Of DOCTOR OF PHILOSOPHY Of RHODES UNIVERSITY By BIGGIE SAMWANDA January 2013 Supervisor: Professor Brenda Schmahmann i Abstract The study critically examines public art in postcolonial Zimbabwe‘s cities of Harare and Bulawayo. In a case by case approach, I analyse the National Heroes Acre and Old Bulawayo monuments, and three contemporary sculptures – Dominic Benhura‘s Leapfrog (1993) and Adam Madebe‘s Ploughman (1987) and Looking into the future (1985). I used a qualitative research methodology to collect and analyse data. My research design utilised in-depth interviews, observation, content and document analysis, and photography to gather nuanced data and these methods ensured that data collected is validated and/or triangulated. I argue that in Zimbabwe, monuments and public sculpture serve as the necessary interface of the visual, cultural and political discourse of a postcolonial nation that is constantly in transition and dialogue with the everyday realities of trying to understand and construct a national identity from a nest of sub-cultures. I further argue that monuments and public sculpture in Zimbabwe abound with political imperatives given that, as visual artefacts that interlace with ritual performance, they are conscious creations of society and are therefore constitutive of that society‘s heritage and social memory. Since independence in 1980, monuments and public sculpture have helped to open up discursive space and dialogue on national issues and myths. Such discursive spaces and dialogues, I also argue, have been particularly animated from the late 1990s to the present, a period in which the nation has engaged in self-introspection in the face of socio-political change and challenges in the continual process of imagining the Zimbabwean nation. Little research focusing on postcolonial public art in Zimbabwe has hitherto been undertaken. This study addresses gaps in this literature while also providing a spring board from which future studies may emerge. ii Declaration of Originality I declare that this thesis is my own work and that all the sources that I have used have been acknowledged by complete references. This thesis is being submitted in fulfilment of the requirements of the Doctor of Philosophy at Rhodes University. I declare that it has not been submitted before for any degree or examination at another university. .............................................. Biggie Samwanda January 2013, Grahamstown. South Africa. iii TABLE OF CONTENTS TOPIC PAGE Abstract Declaration Acknowledgements................................................................................................................. ii List Of Illustrations...................................................................................................................iii List of Abbreviations Used in Thesis......................................................................................xiii INTRODUCTION......................................................................................................................1 CHAPTER 1: The public, public art and its history................................................................23 CHAPTER 2: National Heroes‘ Acre: Chimurenga monument in symbolic conflict.............43 CHAPTER 3: Old Bulawayo: A cultural monument‘s performance of history.......................99 CHAPTER 4: Leap Frog: Play-children and street kids........................................................136 CHAPTER 5: The Ploughman: A sculpture‘s significations of the peasant in the land struggles of Zimbabwe...........................................................................................................153 CHAPTER 6: Adam Madebe‘s Looking into the future: A controversy in public art........176 CHAPTER 7: Conclusion......................................................................................................201 REFERENCES.......................................................................................................................211 ILLUSTRATIONS.................................................................................................................242 APPENDICES........................................................................................................................323 APPENDIX 1: A brief political history of Zimbabwe from 1980 to 2012............................323 APPENDIX 2: A trace of the binaries in Zimbabwe‘s socio-political community...............326 APPENDIX 3: Historical background on the land issue ......................................................330 i Acknowledgements I am grateful and indebted to my supervisor, Professor Brenda Schmahmann for her invaluable guidance, advice and encouragement, to Professor Fred Hendricks (Dean, Faculty of Humanities) for the workstation in the Humanities Laboratory, to Professor Dominic Thorburn (HoD, Fine Art), Professor Ruth Simbao (HoD Art History), to all lecturers and postgraduate students in the Department of Fine Art (2008-2012), to Dr G. Mahachi (Executive Director, National Museums and Monuments of Zimbabwe), to Mr. Maboreke (the Deputy Director, National Archives of Zimbabwe), to Voti Thebe (Acting Director of the National Gallery of Zimbabwe in Bulawayo), to the artists Dominic Benhura, Adam Madebe, and Yun Kyong Chol, and to all those who took part in my fieldwork without whom I could not have written this thesis. Funding for my studies by Dr E. Tuomey in 2008, the Wurth Bursary in 2010, Chinhoyi University of Technology in 2010 and 2011, and the B Bursary in 2012 are hereby acknowledged. Opinions expressed and conclusions arrived at in this thesis are those of the author and are not necessarily to be attributed to the funders hereby mentioned. I would like to also acknowledge the unquantifiable moral, material and financial sacrifice and unconditional support that I received from family and friends throughout my studies. My wife, Eunifer Rose Samwanda, mhai wangu Florence Muzama, baba wangu Tapera ‗SaJikinya‘ Chakupa, my in-laws sekuru Eden Mhandu namagogo Kina Mhandu, and my sisters - Marita ‗maMalvern‘,Hamufari ‗maRutendo‘, Hatina ‗maTalent‘, naMary ‗maAnesu‘. My friends; Charles and Jacqueline Zanza, Isaac Matanda Gundhla, Munyaradzi Andrew Chinzvende, Shepard and Shay Chandomba, and Cryton Zazu. My former-students from Chinhoyi University of Technology‘s Creative Art and Design Department; Knowledge Mushohwe, Resta Nyamwanza-Chikomo, Kudzai Chikomo, Munyaradzi Mashamaire. The elders; Dr Hilton Chikuya, Mr Phebion P. Kangai, Mr Phillip Njanji Sithole and Mrs Sian Newsome Magadza. The visionary staff members of Gatsi Government Secondary School, Honde Valley in 1987: Mr Francis B. Kwari (Head), Mr John Ngirande (D/Head) & Mrs Ngirande, Mai Audrey Chatora, Ms Precious Guramatunhu, Mr Cheatley N. Dzinduwa (A Second Chimurenga/liberation war veteran), Mr J. Sithole, Mr Charles Mudiwa, Ms Jennifer King, Mr Enda Tuomey and Mr Michael Rupapa. Opinions expressed and conclusions arrived at in this thesis are those of the author and are not necessarily to be attributed to the above mentioned family members and friends Last but not least, this dissertation would not have been possible without the diligent editing by Irene Bronner and Libby Lamour. Nyatene ngaakukomborerenyi mwese! May God bless you all! All photographs used in this thesis, unless mentioned, were taken by the author with the kind permission of either the National Museums and Monuments of Zimbabwe (NMMZ) or the National Archives of Zimbabwe (NAC). ii LIST OF ILLUSTRATIONS Please note that all photographs were taken by the author unless otherwise indicated. Figure 1: Map showing the research focus areas of Bulawayo and Harare, Zimbabwe. (Reproduction taken from https://maps.google.com/maps?hl=en&tab=ml/zimbabwe/100mi/200km). Figure 2: John Tweed, Cecil John Rhodes, 1904. Bronze. Approximately 250 x 100 x 60cm. National Archives of Zimbabwe, Harare.Photographed in September 2012. Courtesy of the National Archives of Zimbabwe. Figure 3: John Tweed. Sir Alfred Beit, 1906. Bronze. Approximately 150 x 170 x 65cm. National Archives of Zimbabwe, Harare. Photographed in September 2012 with permission of the National Archives of Zimbabwe. Figure 4a: E. Armstrong. The Shangani Memorial, 1935. Bronze on cement bricks pier. Approximately 180 x 310 x 30cm. Photographed in August 2012 with permission of the of the NMMZ. Figure 4b: E. Armstrong. The Shangani Memorial detail, 1935. Bronze on cement bricks pier. Artwork approximately 180 x 310 x 30cm. Photograph in August 2012 with permission of the National Archives of Zimbabwe. Figure 5: E. Armstrong. The Indaba, c1935. Approximately 600 x 140cm. Bronze bas relief plaque. Bulawayo city Hall. Photographed by Resta Nyamwanza Chikomo in October 2011. (Reproduction courtesy of Resta Nyamwanza Chikomo.) Figure 6: William Reid Dick. David Livingstone, c1930s. Bronze. Approximately 400 x 600 x 60cm. Photograph by Tim Rogers, 5 October 2000. (Reproduction taken from http://upload.wikimedia.org/Wikipedia/commons/c/c8/David_Livingstone_memorial_at_Vict oria_falls,_Zimbabwe.jpg). Figure 7: Google map‘s location of the National Heroes Acre, Harare. Zimbabwe. (Reproduction taken from https://maps.google.com/maps?hl=en&tab=ml ). Figure 8: Google-earth satellite map of the National Heroes Acre, Harare, Zimbabwe. (Reproduction taken from https://maps.google.com/maps?hl=en&tab=ml ). Figure 9: The National
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