An Educator's Resource Guide

Total Page:16

File Type:pdf, Size:1020Kb

An Educator's Resource Guide April 28 to October 31, 2007 An Educator’s Resource Guide 4344 Shaw Boulevard, St. Louis, MO 63110 · www.mobot.org Animals, families, and creatures of legend spring to life in these monumental hand-carved sculptures from Zimbabwe. Carved from opal stone, cobalt, and springstone, the statues depict their African creators’ traditional close bond to nature and the environment. Children will love the new animals and creatures—and the stories they tell. 23 monumental sculptures of animals, legendary creatures, and humans—all new work One special statue on display the tropical rain forest inside the Climatron® conservatory Small original sculptures available for purchase at the Chapungu Gallery and Gift Shop Chapungu artists made their U.S. debut at the Missouri Botanical Garden in 2001, and we are pleased to welcome this new exhibit in 2007. Tips for the Best Experience • Pre-register your school group online at www.mobot.org/education or call (314) 577-5140. 2 educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN Table of Contents Preparing for your Chapungu Experience............................................4 The Garden and Africa............................................................................8 Where is Zimbabwe? .............................................................................10 The Shona Culture ................................................................................11 What is Chapungu?.................................................................................12 Guide to the Stone and Rock...............................................................14 Chapungu: Nature, Man, and Myth Exhibition ...................................16 Artists Bios...............................................................................................22 Educational Activities..............................................................................29 Table of Contents · 3 Preparing for your Chapungu Experience Registration: All school groups, whether garden-led or self-guided by a teacher, must register their visit to the Garden either online at www.mobot.org or by calling (314) 577-5140. Chaperones are required. Please observe the following student/ chaperone ratio. Grades PK–3: 1 adult per 5 students Grades 4 and up: 1 adult per 8 students The Garden asks that chaperones remain with their assigned group throughout their visit to ensure that student behavior is appropriate for the Garden setting. Due to the amount and value of the artwork in this Garden Manners: exhibition, please ensure that all students are accompanied by a These rules help protect chaperone at all times. Please advise chaperones of these expectations. nature, the art, and you. YOU ARE RESPONSIBLE! YOU ARE RESPONSIBLE! Any damage caused by your Any damage caused by your group will be charged to the school. group will be charged to your It is imperative that you advise chaperones of the importance of school. managing their assigned students at all times. Stay on the designated pathways. Divide your Students: Before coming to the Garden, divide students Stepping on or digging in the into groups based on the above student/chaperone ratio. mulched areas is not permitted. Prepare your Students: Your students may enjoy the CHAPUNGU: Do not pick live plants. You may collect plant parts that have fallen Nature, Man, and Myth exhibition in the outdoor display gardens. on the ground. A successful Garden visit to experience CHAPUNGU: Nature, Man, and Stay with your group. Be ready Myth starts well before your students arrive. Please acquaint your to look carefully and think about students with the “Garden Manners” and increase their interest by what you see. engaging them in pre-visit activities. Visitors may only touch the sculptures in the exhibit area By preparing your students in advance, they will be less distracted by RESPECTFULLY. Climbing, sitting, the novelty of a new environment. They will feel confident and assured and other similar behaviors are by knowing what to expect and what is expected of them during their not permitted. visit. Do not run through the exhibit areas. We do not want you or Photography: Visitors to the Garden are welcomed to take photos the art to get hurt. and shoot videos for personal use. PLEASE be aware of other Garden visitors. Ask your students to allow room on paths and to keep their voices down. 4 educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN Arriving at the Garden: In order to ensure the best possible Outside food and drinks experience for your students, chaperones, and drivers, we ask that you are NOT permitted in the follow the drop-off and pick up procedures. Garden. Bus Parking: Please review directions and bus parking guidelines with The Garden offers three your driver(s). A copy of “Bus Parking at the Missouri Botanical suggestions for lunch: Garden” is included in your packet. Do not unload students in Lunch at Sassafras. View the front of the Ridgway Center. current menu online at www.mobot.org/shop/ Check-in and Admission: Bring your confirmation with you to the sassafras.asp. Garden! All groups, whether arriving by bus or car, must check in at the Linnean Plaza ticket booth. Check-in information and directions to the Call (314) 577–5196 two Linnean Plaza will be included with your confirmation pack upon making weeks prior to your visit. a reservation for your group. Sack lunches are also provided by Catering St. Safety: We ask that you and your chaperones take an active role in the Louis. For a current menu, safety of your students. Be especially attentive during arrival and pricing, and ordering, please departure when students are on the parking lots. Remind bus drivers to call (314) 577-9530. be watchful before moving buses. Picnic in Tower Grove Park. Restrooms and water fountains are located on both levels of Call (314) 771–2679 to Ridgway. reserve a pavilion. The park is adjacent to the Garden. Make sure to arrange a place to meet when your group is finished. You may wish to gather as a class and discuss your group’s experience. Departure: Meet your bus in the same area that your group was unloaded. Bus drivers will not be permitted to pick up students in the front of the Ridgway Center. Preparing for Your Chapungu Experience 5 BUS PARKING AT THE MISSOURI BOTANICAL GARDEN (please give a copy to all bus drivers) Dear Tour Operators, DMOs, Group Organizers, and Educators, Thank you for bringing your group to visit the Missouri Botanical Garden. In order to ensure the best possible experience for your passengers, students, and drivers, we ask that you follow the drop-off and pick-up procedures detailed below. As before, thank you for choosing the Garden! School Bus and Motor Coach Drop-off Pick-up 1 Enter via the main Garden entrance on Shaw Boulevard. 4 Proceed straight on DeTonty Street to Thurman Turn left, toward the upper east parking lot. Avenue. Turn right onto Thurman Avenue and travel one block Make the first right and park parallel to the wide to Shaw Boulevard. sidewalk. Turn right onto Shaw Boulevard, cross Tower Grove 2 Drop off passengers here. Avenue Turn left into the main Garden entrance and follow the Exiting and Parking directions for passenger drop-off. Pull forward and make a left turn. Proceed straight to the upper east parking lot gate, which is designated exit only. 3 Turn left onto Tower Grove Avenue; continue north crossing Shaw Boulevard. 4344 Shaw Boulevard · Saint Louis, MO 63110 Turn right onto DeTonty Street and park your vehicle. (314) 577-9400 · www.mobot.org Tourism: (314) 577-0275 · Education: (314) 577-5140 Drivers are welcome to return to the Garden for a complimentary beverage. 6 educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN DRIVING DIRECTIONS The Missouri Botanical Garden is easily accessible from the major highways in the area. From I-44, exit at Vandeventer south. Turn left onto Shaw From I-64/40, exit at Kingshighway south. Turn left onto Vandeventer. Turn Right onto Shaw and proceed to 4344 Shaw. 7 The Garden and Africa The Missouri Botanical Garden has strong ties with Africa. With nearly 800,000 specimens from Africa in the herbarium, the Garden is the recognized U.S. center for the study of African botany. Recently, the Garden has completed digitization of the entire type collection of African plant specimens located in the research center (one block west of the Garden) Garden researcher Corneille Ewango, of the Democratic Republic of Congo, was awarded the Goldman Prize in 2005, considered the “Nobel Prize for the environment.” In Ghana, Kenya, Zambia, Cameroon, Malawi, and South Africa, Garden researchers lead training, research, and field work projects, as well as botanical inventories to help guide conservation decisions. During one of his visits to Africa, Dr. Peter Raven, the President of the Missouri Botanical Garden, saw an exhibit of Chapungu sculpture and decided to bring it to St. Louis. With tremendous effort the exhibit sculptures were wrapped and shipped by sea to both New York and Chicago. From these cities, the work was moved by train to St. Louis and then by truck to the Garden. Thanks to Dr. Raven this wonderful sculpture has been touring North America since it arrived in early 2001. For more information about the Garden’s Research Projects in Africa, visit us online at http://www.mobot.org/MOBOT/Research/africaprojects.shtml 8 educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Recommended publications
  • Africa Digests the West: a Review of Modernism and the Influence of Patrons-Cum Brokers on the Style and Form of Southern Eastern and Central African Art
    ISSN-L: 2223-9553, ISSN: 2223-9944 Part-I: Social Sciences and Humanities Vol. 4 No. 1 January 2013 AFRICA DIGESTS THE WEST: A REVIEW OF MODERNISM AND THE INFLUENCE OF PATRONS-CUM BROKERS ON THE STYLE AND FORM OF SOUTHERN EASTERN AND CENTRAL AFRICAN ART Phibion Kangai 1, Joseph George Mupondi 2 1Department of Teacher Education, University of Zimbabwe, 2Curriculum Studies Department, Great Zimbabwe University, ZIMBABWE. 1 [email protected] , 2 [email protected] ABSTRACT Modern Africa Art did not appear from nowhere towards the end of the colonial era. It was a response to bombardment by foreign cultural forms. African art built itself through “bricolage” Modernism was designed to justify colonialism through the idea of progress, forcing the colonized to reject their past way of life. Vogel (1994) argues that because of Darwin’s theory of evolution and avant-garde ideology which rejected academic formulas of representation, colonialists forced restructuring of existing artistic practice in Africa. They introduced informal trainings and workshops. The workshop patrons-cum brokers did not teach the conventions of art. Philosophically the workshops’ purpose was to release the creative energies within Africans. This assumption was based on the Roseauian ideas integrated culture which is destroyed by the civilization process. Some workshop proponents discussed are Roman Desfosses, of colonial Belgian Congo, Skotness of Polly Street Johannesburg, McEwen National Art Gallery Salisbury and Bloemfield of Tengenenge. The entire workshop contributed to development of black art and the birth of genres like Township art, Zimbabwe stone sculpture and urban art etc. African art has the willingness to adopt new ideas and form; it has also long appreciation of innovation.
    [Show full text]
  • Chapungu Sculpture Park
    CHAPUNGU SCULPTURE PARK Do you Chapungu (CHA-poon-goo)? The real showcase within the Centerra community is the one-of-a-kind Chapungu Sculpture Park. Nestled in the foothills of the Rocky Mountains, this 26-acre outdoor cultural experience features more than 80 authentic stone sculptures carved by artisans from Zimbabwe displayed amongst beautiful natural and landscaped gardens. The entire walking park which is handicap accessible, orients visitors to eight universal themes, which include: Nature & Environment • Village Life • The Role of Women • The Elders • The Spirit World • The Family The Children • Custom & Legend. Whether you are an art enthusiast or just enjoy the outdoors, this serenity spot is worth checking out. Concrete and crushed rock used from the makings of the sculptures refine trails and lead you along the Greeley and Loveland Irrigation Canal and over bridges. Soak in the sounds of the birds perched high above in the cottonwood trees while resting on a park bench with a novel or newspaper in hand. Participate in Centerra’s annual summer concert series, enjoy a self guided tour, picnic in the park, or attend Visit Loveland’s Winter Wonderlights hosted F R E E A D M I S S I O N at the park and you are bound to have a great experience each time you visit. Tap Into Chapungu Park Hours: Daily from 6 A.M. to 10:30 P.M. Easily navigate all the different Chapungu Sculpture Park is conveniently located just east of the Promenade Shops at Centerra off Hwy. 34 and regions within Chapungu Located east of the Promenade Shops Centerra Parkway in Loveland, Colorado.
    [Show full text]
  • Culture and Customs of Zimbabwe 6596D FM UG 9/20/02 5:33 PM Page Ii
    6596D FM UG 9/20/02 5:33 PM Page i Culture and Customs of Zimbabwe 6596D FM UG 9/20/02 5:33 PM Page ii Recent Titles in Culture and Customs of Africa Culture and Customs of Nigeria Toyin Falola Culture and Customs of Somalia Mohamed Diriye Abdullahi Culture and Customs of the Congo Tshilemalema Mukenge Culture and Customs of Ghana Steven J. Salm and Toyin Falola Culture and Customs of Egypt Molefi Kete Asante 6596D FM UG 9/20/02 5:33 PM Page iii Culture and Customs of Zimbabwe Oyekan Owomoyela Culture and Customs of Africa Toyin Falola, Series Editor GREENWOOD PRESS Westport, Connecticut • London 6596D FM UG 9/20/02 5:33 PM Page iv Library of Congress Cataloging-in-Publication Data Owomoyela, Oyekan. Culture and customs of Zimbabwe / Oyekan Owomoyela. p. cm.—(Culture and customs of Africa, ISSN 1530–8367) Includes bibliographical references and index. ISBN 0–313–31583–3 (alk. paper) 1. Zimbabwe—Social life and customs. 2. Zimbabwe—Civilization. I. Title. II. Series. DT2908.O86 2002 968.91—dc21 2001055647 British Library Cataloguing in Publication Data is available. Copyright © 2002 by Oyekan Owomoyela All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2001055647 ISBN: 0–313–31583–3 ISSN: 1530–8367 First published in 2002 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984).
    [Show full text]
  • “CHAPUNGU: Nature, Man, and Myth” April 28 Through October 31, 2007 ABOUT the ARTISTS
    “CHAPUNGU: Nature, Man, and Myth” April 28 through October 31, 2007 ABOUT THE ARTISTS Dominic Benhura, b. 1968 in Murewa – “Who Is Strongest?”, “Zimbabwe Bird” At age 10 Benhura began to assist his cousin, sculptor Tapfuma Gutsa, spending many formative years at Chapungu Sculpture Park. Soon after he began to create his own works. Today he is regarded as the cutting edge of Zimbabwe sculpture. His extensive subject matter includes plants, trees, reptiles, animals and the gamut of human experience. Benhura has an exceptional ability to portray human feeling through form rather than facial expression. He leads by experimentation and innovation. Ephraim Chaurika, b. 1940 in Zimbabwe – “Horse” Before joining the Tengenenge Sculpture Community in 1966, Chaurika was a herdsman and a local watchmaker. He engraved the shape of watch springs and cog wheels in some of his early sculptures. His early works were often large and powerfully expressive, sometimes using geometric forms, while later works are more whimsical and stylistic. His sculptures are always skillful, superbly finished and immediately appealing. Sanwell Chirume, b. 1940 in Guruve – “Big Buck Surrendering” Chirume is a prominent Tengenenge artist and a relative of artist Bernard Matemura. He first visited Tengenenge in 1971 to help quarry stone. In 1976 he returned to become a full time sculptor. Largely unacknowledged, he nevertheless creates powerful large sculptures of considerable depth. His work has been in many major exhibitions, has won numerous awards in the National Gallery of Zimbabwe, and is featured in the Chapungu Sculpture Park’s permanent collection. Edward Chiwawa, b. 1935 northwest of Guruve – “Lake Bird” This first generation master sculptor learned to sculpt by working with his cousin, Henry Munyaradzi.
    [Show full text]
  • The Art Magazine from Gallery Delta
    Sponsoring art for Zimbabwe Gallery Delta, the publisher and the editor gratefully acknowledge the following sponsors who have contributed to the production of this issue of Gallery magazine: The Rio Tinto Foundation Colorscan (Pvt) Ltd. ^ jmz coBromATiOM or zimbabwx ldoted MEIKLES HOTEL CODE THE CANADIAN ORGANIZATION FOR DEVELOI'MKNI IHROUCH KDUCATION Contents June 1995 2 Artnotes Art about Zimbabwe by Pip Curlin 6 I have a gallery in Africa: the origins of Gallery Delta by Derek Huggins 10 A gift that was hiding: Job Kekana by Pip Curling 12 Living and working in the mission tradition: in memoham Job Kekana by Elizabeth Rankin » \ 13 Helen Lieros: an interview with Barbara Murray 19 Letters 20 Reviews of recent work and forthcoming exhibitions and events Cover: Helen Lieros, Cataclysm, 1994, 1 12 x 86cm, mixed media. Photo by Dani Deudney Left: Zephania Tshuma, No Way To Go, 1986, 75 x 10 x 10cm, painted wood © Gallery Publications Publisher: Derek Huggins. Editor: Barbara Murray. Design & typesetting: Myrtle Mallis. Origination & printing by AW. Bardwell & Co. Colour by Colourscan (Pvt) Ltd. Paper; Express from Graphtec Ltd, Contents are the copyright of Gallery Publications and may not be reproduced in any manner or form without permission. The views and opinions expressed in this magazine are those of the writers themselves and not necessarily those of Gallery Delta, the publisher or the editor. Subscriptions from Gallery Publications, 7^ Gallery Delta, 1 10 Livingstone Avenue, PO Box UA 373 Union Avenue, Harare. Tel: (14)792135. -i Artnotes In his last interview, Job Kekana said, "When you travel between people it makes your knowledge stronger," and, despite all the criticism levelled at the Johannesburg Biennale, it did offer opportunities to "travel Andries Botha, Dromedarls Donderl between people".
    [Show full text]
  • “CHAPUNGU: Nature, Man, and Myth” April 28 Through October 31, 2007 FREQUENTLY ASKED QUESTIONS
    “CHAPUNGU: Nature, Man, and Myth” April 28 through October 31, 2007 FREQUENTLY ASKED QUESTIONS “Chapungu: Nature, Man, and Myth” presents 23 monumental, hand-carved stone sculptures of people, animals, and creatures of legend created by artists from the African nation of Zimbabwe, many from the Shona tribe. The exhibition illustrates a traditional African family’s attitude and close bond to nature, illustrating their interdependence in an increasingly complex world and fragile environment. How does this exhibition differ from the one the Missouri Botanical Garden hosted in 2001? All but one of the sculptures in this exhibition have never been displayed at the Missouri Botanical Garden. “Chapungu: Custom and Legend, A Culture in Stone” made its U.S. debut here in 2001. Two large sculptures from that exhibition were acquired by the Garden: “Protecting the Eggs” by Damian Manuhwa, and the touching “Sole Provider” by Joe Mutasa. Both are located in the Azalea-Rhodendron Garden, near the tram shelter. “Sole Provider” was donated by the people of Zimbabwe and Chapungu Sculpture Park in memory of those who died during the September 11, 2001 tragedy. An opal stone sculpture from the 2001 exhibition – Biggie Kapeta’s “Chief Consults With Chapungu”– returns as a preview piece, installed outside the Ridgway Center in January. Many artists from the 2001 exhibition are represented by other works this time. How do you say Chapungu? What does it mean? Say “Cha-POONG-goo.” Chapungu is a metaphor for the Bateleur Eagle (Terathopius ecaudatus), a powerful bird of prey that can fly up to 300 miles in a day at 30 to 50 miles per hour.
    [Show full text]
  • Zimbabwe Mobilizes ICAC’S Shift from Coup De Grâce to Cultural Coup
    dialogue Zimbabwe Mobilizes ICAC’s Shift from Coup de Grâce to Cultural Coup Ruth Simbao, Raphael Chikukwa, Jimmy Ogonga, Berry Bickle, Marie Hélène Pereira, Dulcie Abrahams Altass, Mhoze Chikowero, and N’Goné Fall To whom does Africa belong? Whose Africa are we talking about? … R S is a Professor of Art History and Visual Culture and It’s time we control our narrative, and contemporary art is a medium the National Research Foundation/Department of Science and Tech- that can lead us to do this. nology SARChI Chair in the Geopolitics and the Arts of Africa in the National Gallery of Zimbabwe () Fine Art Department at Rhodes University, South Africa. r.simbao@ ru.ac.za Especially aer having taken Zimbabwe to Venice, we needed to bring R C is the Chief Curator at the National Gallery of the world to Zimbabwe to understand the context we are working in. Zimbabwe in Harare, and has been instrumental in establishing the Raphael Chikukwa (Zvomuya b) Zimbabwe Platform at the Venice Biennale. J O is an artist and producer based in Malindi, Kenya. he International Conference on African Cultures His work interweaves between artistic practice and curatorial strate- (ICAC) was held at the National Gallery of gies, and his curatorial projects include e Mombasa Billboard Proj- Zimbabwe in Harare from September –, ect (2002, Mombasa), and Amnesia (2006-2009, Nairobi). In 2001, . Eight delegates write their reections on he founded Nairobi Arts Trust/Centre of Contemporary Art, Nairobi (CCAEA), an organization that works as a catalyst for the visual arts the importance of this Africa-based event.
    [Show full text]
  • Misrepresentations of Zimbabwean Stone Sculpture: an Anthropological Approach
    "There is no such thing as a spirit in the stone!" Misrepresentations of Zimbabwean Stone Sculpture: An Anthropological Approach Olga Sicilia DISSERTATION.COM Boca Raton "There is no such thing as a spirit in the stone!" Misrepresentations of Zimbabwean Stone Sculpture: An Anthropological Approach Copyright © 1999 Olga Sicilia All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from the publisher. Dissertation.com Boca Raton, Florida USA • 2009 ISBN-10: 1-59942-711-7 ISBN-13: 978-1-59942-711-9 For my parents, my grandmother Heli, and Sergio Contents Acknowledgements ......................................................................................................... ii Introduction .....................................................................................................................1 1. Colonialism - The Context of Social Inequality and Racial Segregation...............6 1.1 In the Name of Civilisation: From the Settler Gold Rush and the Pioneer Invasions to the Founding of Southern Rhodesia.................................................6 1.2 The Policies of the Federation ............................................................................16 1.3 The UDI Terror ...................................................................................................19 1.4 The Policy on Black Education ..........................................................................27
    [Show full text]
  • Transforming African Modernism
    Transforming African Modernism 25 Years of Zimbabwe Stone Sculpture (1980–2005) Transforming African Modernism 25 Years of Zimbabwe Stone Sculpture (1980–2005) September 20–November 3, 2013 Opening Reception: September 20, 6–8 pm SOUTH SHORE ART CENTER Cohasset, MA, www.ssac.org 1 EXHIBITION SPONSORS CONTENTS Major support for this exhbition was generously provided by: Acknowledgments 4 Susan Dickie About the Exhibition 5 Transforming African Modernism: 25 Years of Zimbabwe Stone Sculpture (1980–2005) 6 BJ and Steve Andrus A Short History of Zimbabwe Stone Sculpture 8 About the Art Form 13 Art in the Exhibition 11 – 24 About the Stones 25 Sculpture on cover and title page: Women, Nicholas Mukomberanwa, The Tonga Spirit, Joseph Muzondo 2 3 ACKNOWLEDGMENTS ABOUT THE EXHIBITION Russell Schneider, Curator South Shore Art Center is pleased to present Transforming African Modernism: 25 After Zimbabwe achieved independence in 1980, the doors of the new country were Sculpture Artists Works on Paper Artists Years of Zimbabwe Stone Sculpture (1980-2005). When Russell Schneider proposed flung wide open to the art world. The First Generation artists (1940s and 1950s) Fanizani Akuda Chikonzero Chazunguza the exhibition, the Art Center’s exhibition committee was unanimous in its decision (those who were instrumental in the early development of the art form) became Dominic Benhura Peter Clarke to bring such outstanding international work to the South Shore community. As an ‘discovered’, subjected to critical acclaim, and thrust into art careers, some highly Lameck Bonjisi Azaria Mbatha educational organization, we are particularly pleased to show work from another successful. The “Second Generation” artists, inspired by the artworks and early suc- Arthur Fata John Muafangejo country and continent; enabling our students, members, and visitors to learn about cesses of their predecessors, continued to move the art form into new and excit- Tapfuma Gutsa Joseph Muzondo these artists who work in stone sculpture, as well as the tools and methods they use.
    [Show full text]
  • Agnes Nyanhongo Editorial
    IZIBONGO Celebrating Art in Africa and the Diaspora Issue 64 - 2018 Agnes Nyanhongo Editorial Everyone has their favourites and when it comes to Zimbabwean sculpture, the featured artist is one of mine. She comes from one of the great stone sculpting lineages – her father, brothers and son - as Bisi Fakeye, hails from one of the great wood sculpting families of Nigeria. Here's a few lines from the Gazzambo Gallery website... Born in Nyanga in the year 1960. This artist refers mainly to women in Zimbabwe's traditional society and to the role they play in their families. Her sculptures, often using Springstone and Leopard Rock, are often monumental, transmit great force and are characterized by a sense of peace, calm and dignity. This issue also contains a review - entitled 'Beautify The World With Stone' - of Zimbabwe Stone Sculpture, compiled by Doreen Sibanda and published by Weaver Press. From Zimbabwe, I am happy to present to you, AGNES NYANHONGO. Editor – Natty Mark Samuels – africanschool.weebly.com – An African School Production Cover sculpture ''Precious Gift'' – from Pinterest Beautify The World With Stone©Natty Mark Samuels, 2018 Song of the Barefoot Man©Natty Mark Samuels, 2011. https://reggaediscography.blogspot.co.uk/2018/01/izibongo-magazine-2018.html http://rastaites.com/izibongo-issues-49-56/ from Agnes Nyanhongo Sculpture Nyanga A native of Nyanga, Nyanhongo is the daughter of first-generation sculptor Claud Nyanhongo and sister of Gedion Nyanhongo, and spent much time helping in her father's studio as a girl. from Wikipedia Harare She began sculpting full time at an early age and in 1983 embarked on a three- year course at the B.A.T.
    [Show full text]
  • Friends Forever Zimbabwe
    FRIENDS FOREVER SUMMER EDITION 2021 FRIENDS FOREVER GALERIE Glinkastrasse 42 10117 Berlin Mitte KAULSDORF GALERIE Giesestrasse 34/Landréstraße 10 12621 Berlin FRIENDS FOREVER GERMANY GMBH Tel: +49 160 55 77 402 [email protected] www.friendsforeverzimbabwe.com Front Page Photo: »Guitarist« by Lawrence Mukomberanwa CONTENT / INHALT ANTONY MAKURIROFA . 5 SHELDON MUBAYI.................................. 64 ARTHUR FATA ...................................... 9 SHEPHARD MADZIKATIRE........................... 67 ENOS GUNJA ....................................... 13 SHORAYI MASAYA .................................. 70 ERNEST THOMAS ................................... 17 SQUARE CHIKWANDA............................... 74 FUNGAYI MWAROWA . 21 STEWART CHIKWANDA . 81 GODFREY KUTUTWA................................ 27 SYDNEY SAIZI ...................................... 85 KANANASI CHAPARADZA ........................... 34 SYLVESTER MUBAYI ................................ 88 LAWRENCE MUKOMBERANWA ...................... 38 TAGUMA MUKOMBERANWA ........................ 90 LEARNMORE MUBAYI ............................... 40 TENDAYI MUKOMBERANWA......................... 92 MARIAN NYANHONGO.............................. 41 TINASHE CHAWAIPIRA . 96 MIKE MUNYARADZI................................. 49 TITUS KASONGO.................................... 104 NETSAYI MUKOMBERANWA ......................... 51 VICTOR FIRE ........................................ 108 NORBERT SHAMUYARIRA . 54 WONDER LUKE ..................................... 114 SAMSON BABAMA.................................
    [Show full text]
  • Following the Stone: Zimbabwean Sculptors Carving a Place in 21St Century Art Worlds
    FOLLOWING THE STONE: ZIMBABWEAN SCULPTORS CARVING A PLACE IN 21ST CENTURY ART WORLDS BY LANCE L. LARKIN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Anthropology with a minor in African Studies with a minor in Museum Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Alma Gottlieb, Chair Professor Matti Bunzl Associate Professor Theresa Barnes Krannert Art Museum Curator Allyson Purpura ABSTRACT This dissertation follows the historical trajectory of the products of Zimbabwean stone sculptors to examine the interplay between international art markets and the agency of the artists themselves. Although this 1960s arts movement gained recognition within global art circuits during the colonial era – and greater acclaim following independence – by the turn of the 21st century only a few sculptors were able to maintain international success. Following the depreciation on the markets, I ask: (1) for what reasons do international art buyers now devalue Zimbabwean stone sculpture after having valorized it in the 1960s-80s? (2) How do Zimbabwean artists react to these vicissitudes of the international art markets? In the first half of the dissertation I examine how the stone sculpture was framed by European patrons as a Modernist art that valorized indigenous beliefs in contrast to the Rhodesian colonial regime’s oppression. Following independence in 1980, the movement continued to be framed as a link to pre-state carving traditions – solidifying links with “tradition” – while the political economic situation in Zimbabwe began to deteriorate by the end of the 1990s.
    [Show full text]