kwantunthu arts magazine august 2012
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MUSIC - THEATRE - DANCE - FASHION - POETRY - VISUAL ARTS - LITERARY ARTS - FILM
AUGUST ISSUE 2012
49 DAYS
TO GO
WOMENBEHIND THE
FEATURES:
Books
Arts in Photos
Events
ZIM FASHION
Yvonne
Vera
SILVER SCREEN
fashion designers show that they
are not merely dressmakers
kwantuthuarts
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ByolifeStreets
Whats YourDestination?
Byolife Streets is a simple but yet comprehensive guide that makes it a breeze to book andmanage activities. Find hotels, restaurants, tours and attractions, event listing info
including photos about that area right from your smart phone. Each business entrydescribes the attraction with pictures, opening times and full contact details.
The app is integrated with maps showing directions to users about their current location.
Not all 3rd part applications make use of data connectivity. Some 3rd party applications might make use of the carrier's WAP service which could be chargeable.2012 Webloxion. All rights reserved. Byolife,Byolife Streets and related trademarks,names and logos are the property of Webloxion. All other trademarks are the property of their respective owners. E&OE
byolifebyo-life.com/streets
R
Skeem Sami
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kwantuthuartsAUGUST 2012 CONTENTSFeatures
YVONNE VERA
Vera was born and raised against the backdrop of faltering colonialism and
vicious guerilla warfare in 1970's Rhodesia, Southern Africa
14
BEHIND THE SILVER SCREEN18
SPOTLIGHT
PLAN HIGH SCHOOL DRAMA COMPETITION
DESIGN EXCELLANCE IN ZIM FASHION INDUSTRY
The history of fashion designers show that they are not merely dressmakers,
but artists who apply natural beauty to clothing and accessories.
10
Mini proles of Zimbabwean women who are behind
the lm industry.
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CONTENT THIS MONTHS ISSUE
5 Arts in Photos
8 Books
9 Music Review
9 Spotlight The Fly By Mic Diaspora
Tour.
10 Fashion Design Excellance in
Zim fashion industry
14 Feature Yvonne Vera Biography
18 SpotlightWomen behind theSilver Screen.
20 Spotlight The Plan High Schools
Drama Competition.
21 Spotlight National Art Gallery
in Bulawayo.
23 Festival Workshops and Venues
On the cover: Yvonne Vera,Editor: Raisdon Baya
Production Coordinator: Ashton Z. Sobhuza
Copywrite: Runyararo Mutandi
Creative Director: Littchel N. Mathuthu, DSI
Information is correct at press time.
Check www.intwasa.org for updates.
Kwantuthu Arts is published monthly by
Intwasa Arts Festival at LAPF House, Suite 403,
8th Avenue & J. Moyo Avenue, Bulawayo
Zimbabwe. Signed articles do not necessarilyreect the ocial policy. 2012.
All rights reserved. Reproduction in part or
whole without permission is prohibited.
Editorial, publishing and advertising oces:
LAPF House, Suite 403, 8th Avenue & J. Moyo
Avenue, Bulawayo, Zimbabwe.
Womens Month
Lets Celebrate
womens month
kwantuthu Arts Team
The July issue is celebration of our female artists in all areas of arts within
of our nation. We celebrate the female artisitic expression in Film, Drama,Music, Fashion, Literary arts and Performing arts. This issue is dedicated to
all the women who have and are building our arts industry with in the
country and all over the world, through initiatives and events that have
been taking place all over the world, from the Fly by Mic tour, the design
excellance of the Zim fashion Industry and honouring the late Yvonne Vera.
We also celebrate the work plan has done with its schools drama
competition and its focus on the girl child. Also see the venues and festival
workshops so as to plan which ones to attend.
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ARTS IN PHOTOS
lan Schools Drama Competition
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ARTS IN PHOTOS
6POY Video shoot
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BOOKSLONG TIME COMING
Long Time Coming brings together short stories and poems from thirty-three writers
that provide snapshots of this turbulent period in Zimbabwes history. Snapshots ofliving in a country where basic services have crumbled: where shops have no food, taps
no water, banks no money, hospitals no drugs, bars no beer. Snapshots of characters
surviving against seemingly insurmountable odds. Horric snapshots of the abuse of
power, of violence and oppression, of the destruction of dreams.But this is Zimbabwe
there are lighter moments and moments of hope: in some of lifes simple pleasures,
in the coming of the rains, in the wink and the smile of a stranger, in a challenge to
patriarchy, in the inner strength of the people, in ghting back.
The writers are Raisedon Baya, Wim Boswinkel, Diana Charsley, Brian Chikwava, Julius
Chingono, Mathew Chokuwenga, Bhekilizwe Dube, John Eppel, Peter Finch, Petina
Gappah, David Goodwin, Anne Simone Hutton, Monireh Jassat, Ignatius Mabasa, Fungai
Rufaro Machirori, Judy Maposa, Deon Marcus, Christopher Mlalazi, Gothataone Moeng,
Wame Molefhe, Linda Msebele, Mzana Mthimkhulu, Peter Ncube, Thabisani Ndlovu,Pathisa Nyathi, Andrew Pocock, John S. Read, Bryony Rheam, Lloyd Robson, Ian Rowlands,
Owen Sheers, Chaltone Tshabangu and Sandisile Tshuma.
You dont have to be in Zimbabwe to
know or experience what is happening
in Zimbabwe. All you have to do is getyourself a copy of amaBooks Long Time
Coming. The book is about hope, about
resilience, and how the people have waited
for so long to be delivered from their
suering. A ne read.
The Zimbabwean
Woodrow Wilson Center Press, 2009
by Mary Johnson Osirim
ENTERPRISING
Long Time Coming: Short Writings from Zimbabwe, edited by Jane Morris, published in 2008
Mary Johnson Osirim investigates the
business and personal experiences of
women entrepreneurs in Harare and
Bulawayo, Zimbabwe, to understand their
successes, challenges, and contributionsto development. These businesswomen
work in the microenterprise sector -- which
is dened as businesses that employ ve
workers or fewer -- with many working as
market traders, crocheters, seamstresses,
and hairdressers.
8
In a powerful and timely collection of
short stories and poems about Zimbabwe
by 33 writers, Long Time Coming oers
snapshots of life in a collapsed country.It is a collection straining with suspended
hope; change has taken too long to arrive.
Gemma Ware
The Africa Report
Long Time Coming: Short Writings
from Zimbabwe has been chosen by New
Internationalist as one of their two
'Best Books of 2009'. They commented that:'Each piece here and they are miniature
marvels, with no story longer than eight pages
vividly illuminates an aspect of what it is
actually like to live in a country that has been
systematically looted and stripped offunctioning organizations. From a
Zimbabwean publishing house, this books
very existence seems little short of a
miracle. '
The women who took part in Osirim's research during the 1990s pursued their businesses,
reinvested prots, engaged in innovation, and provided employment, and through their
work supported households and extended family and social networks. Osirim nds that,
despite major problems, the Zimbabwean businesswomen maintained their enterprises
and their households and managed to contribute in signicant ways to their communityand national development in the face of an economic structural adjustment program.
Osirim also explores the impact of state and non-governmental organizations on small
business operations. Enterprising Women in Urban Zimbabwe oers a comprehensive
study of women's role as entrepreneurs in the microeconomic sector that shows them as
agents during challenging political and economic times
GET LONG TIME COVER
WOMEN INURBAN
ZIMBABWE
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MUSIC
BLACK BIRD
RELEASES MIXTAPE
MEMOIRS
9
After the release of my debut album in October 2010, I receivedenormous amounts of support from the public and "Tha
Rappetizer" got excellent reviews in the press and on radio. While
marketing "Tha Rappetizer" I kept recording new material even
though I knew I didn't want to release another album too soon.
A lot of my fans and supporters kept asking when the next
product was coming out and people from all over the world
showed me how hungry they were for more of my music. The
mixtape is free for that very reason. It's for my fans to enjoy, share
and burn this project. I want them to bootleg my mixtape
because it's from me to them.
Production on the mixtape came primarily from Showtime
Records, with Reverb7 behind the Wheels of Steel. I also have
beats from Take Fizzo and K Dagger at That Squad Studios
(formerly Chamhembe), Mafana at FDK Records and on the track
"H-Town Hustler" I'm owing on a beat that was made by Jusa
Dementor. A familiar sounding track on my album is "Ten Years"
and that beat was recorded and produced by Hoodlum in
Johannesburg, SA. Me and Hoodlum used to be part of a team
called the Hip-Hop Intellectuals in 2009 and he's one of the cats
that I work with when I'm in Jozi.
In terms of featured artists, the mixtape has tracks with Tagz,
Dizzy Don & Ba Shupi, Mizchif, Tulk Money, Ish, Suplex, Mafana,
DJ Naida, Davina Green and Metaphor.
Check out this exclusive interview with one
of Zimbabwe's nest femcees as she let's us
in on what's really good with her current
oering Mixtape Memoirs. Black Bird has
landed...
Facebook/Twitter: theybymicdiasporatour.
THE
FLY BY MIC
DIASPORA
TOURThe Fly By Mic
Diaspora Tour Gives
Performance Poetry
Wings. Headliners
Miss Quote and
Emonie Love II
Embark on a Journey
to 57 Countries.
Los Angeles, C.A. ----Performance Poets & Spoken
Word Artists Miss Quote
& Emonie Love II will be
showcasing their talents in
an unprecedented, joint labor
of love through their
The Fly by Mic
Diaspora Tour
Both artists have years of experience in performance poetry, with
their talents reaching national and international audiences.
Stops for the Fly By Mic Include, but will not be limited to, the
following areas: India, Africa, Asia, Europe, Australia, the Caribbean,South America and The United States.
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FASHION
Zim Fashion Indust
DESIGN EXCELLENCE IN
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11
but will always be full of originality and may be characterized
by simplicity; somewhat like a mixture between luxury and
practicality. There was a time in Zimbabwe when fashion became
more compromising, aspiring to preserve the nations victoriesover social and developmental limitations. It was subtle and
assuring elegance and sophistication that reected the
Zimbabwean fashion culture. Regardless of the modern hurdles
the country has had to face, the future of fashion design like a
phoenix experienced rebirth. The growing interest of young people
heavily inuenced the launch of many designers. Having no
background indesign except what was in their heart and spirit, they
pushed forward to provide each other what few externally could
do. Quality fashion.The CEO of the ZimFashion Council remarks
The ower that blooms in adversity is the most rare and beautiful
of all. And it is true.Despite the limitations they had Zim fashion
designers have ourished.Farai Simoyi (NYFW), Maita
Marimo (AFW), Maureen Tsoka (Melbourne Motorola Fashion Show)and others. The future is bright for Zim Fashion.
The House of Alpha Rose is a fashion brand that specializes
in ready to wear, couture and bridal wear. The brand's
designs explore feminine cuts and a sophisticated elegancethat accentuates the female form.
The history of fashion designers show that they are not
merely dressmakers, but artists who apply natural beauty
to clothing andaccessories. Style is not always mainstream
The flower that blooms in
adversit is the most rare
and beautifl of allPlayful in colour,practical in
thought and
classic in cut.Ska, a self taught
designer,Zimbabwe has seen the growth of many
fashion designers, both in the country and
based internationally. Each designer is
uniqueand it shows in the quality of their work. Goddess
by Fatima Jeradi is a brand thatexpresses the inert and
unsurpassable drive to succeed among Zimbabweans.
Goddess by Fatima is bold and stylish. It brings together
women of all ages who have one thing in common,
femininity.
The grace and soft details in evidenced in
the superiority of her tailoring. Fatima has
become a maestro in applying art to fabric
and has much to give the international
fashion industry.
Zimbabwe
houses the
unique jewels
from the Ndau
Collection.
must see in
VictoriaFalls
Alpha Rose pieces are a celebration of womanhood.
Inspiration for the collections is drawn from the beautiful
side of nature, the designers heritage, her encounters with
various cultures and occasional inuences from previous
fashion eras.
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From Chic Afrique to Goddess Gaga Beryl thrives to
bring indulgence through quality and class. Based in a
home studio in Victoria Falls, The Ndau Collection is a
collective of designers from all over Southern Africa,
brought together by a love of African culture, history
and design. Each of their sterling silver, bronze or copper
beads and ttings are made using the centuries old African
lost-wax casting technique, handmade from beginning
to end, resulting in a beautifully soft, curvaceous nish to
their metal work that gives it the feel of the ages of history
it represents. They combine these cast pieces with a vast
collection of beautiful rare antique African Trade beads,
semi-precious and precious stones, natural horn and bone,
exotic leathers and treasures they nd in their travels, to
create their bespoke jewellery and accessories that are a
hallmark in design excellence.
Pieces from the collections are therefore a translation
of diverse cultures, a love for textiles infused with the
designersAfrican heritage. Founded by a self confessed
style addict,the birth of Beryl Rue Couture was a result
of a rebellion against following trends. It became the
mission of the brand to breed collections of statement,
dominance, having authority over clothes and accessories
that are distinctive and inimitable.
Trish Carmen Joseph An independent fashion house that oers
understated yet luxurious clothing pieces for both Men and
Women.TrishCarmen's designs lie in the ability to recognize and
assimulate the continuous change in fashion, constantly setting
the benchmark for the nest standards in quality
The Ndau Collection handmade om beginning
to end, resulting in a
beautiflly
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Y VeravonneBorn 1964), one of Africa's most esteemed writers, has been showeredwith awards and her work has landed on feminist and African studies
curriculums at universities across the world. Vera was born and raised
against the backdrop of faltering colonialism and vicious guerilla
warfare in 1970's Rhodesia, Southern Africa
er childhood was spent watching
men go o to war, many never toreturn, and watching women struggle
Ho survive in a society where being a womanmeant being a second-class citizen at best,
gnored and abused at worst. Vera was just
5 when the guerilla armies triumphed over
he colonialists, and Zimbabwe, declaring
ts independence, was born. As Vera nished
er secondary studies, Zimbabwe was tfully
earning how to be a post-colonial nation.
hough the country's white oppressors had
been shaken o and black men were enjoyingew freedoms, black women were learning
hat freedom would not yet be theirs.
raditional culture kept them down, in the
itchen, in the elds, in the bedroom, quiet
nd submissive. Paraphrasing the title of Vera's
997 book, Zimbabwean women were expected
o keep things "under the tongue," to suer in
ilence. These oppressions--colonialism, racism,
war, and sexism--have fueled Vera's writing.
DUCATED AMIDST REVOLUTION AND
EXISM
Vera was born in Bulawayo, Zimbabwe's second
argest city, on September 19, 1964. Her mother
was a schoolteacher and her father, unlike
many Zimbabwean men, supported his
aughter's education. Even as a schoolgirl, Vera
howed the promise of the future writer she
would become.
According to literature professor
Charles R. Larson writing in The Worldand I, "A love of books was established
before [Vera] began attending primary
school (she could read and
write before her formal education).
Perhaps more important, she began
writing when she was still a child. She
remembers leaving notes and poems
she often wrote for her mother. In
school, other students identied her
as 'the writer.'" Of her early education
Vera told The World and I, "I had anidyllic education in the sense of
landscape. I was rst educated in the
rural schools of Matabeleland. It was
marvelous. We ate, played, slept, and
read under the moon. We had wild fruit
and smoke from res. Then I came back
to the city and attended school in the
townships of Luveve and Mzilikazi." Vera
continued, "This oered a contrast and
introduced me more fully to the urban
African milieu, with all its contradictions
and spontaneity. This was in the seventies,
and all the rumblings of an armed struggle
were about." This contrast between the
beauty of the land and the horror of war
has also become a dominant theme in
Vera's writing.
BECAME A WRITER IN CANADA
Following her secondary education inZimbabwe, Vera traveled to Europe and
encountered Western art and culture.
Art galleries and the cosmopolitan lifestyle
of the cities impressed her. This
experience helped motivate her to apply
to York University in Toronto, Canada.
There she majored in lm criticism and
literature eventually earning a bachelor's
degree, a master's, and a doctorate. She
also penned her rst work, 1992's Why
Don't You Carve Other Animals", acollection of short stories. Of her segue
into the role of writer she told The World
and I, "Writing crept upon me and
surprised me, then I discovered that
I loved the process and art of writing.
It came by degrees, through my ngers to
my body....
I wanted to be a writer and could answer
at airports and immigration points and
borders that I was a writer."Vera was still
living in Toronto when she wrote her rst
novel, Nehanda, a historical novel based
on Mbuya Nehanda's struggle to lead
Zimbabwe out of the clutches of
colonialism.
FEATURE
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Writing crept uponme and surprisedme, then I discoveredthat I loved the
process
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rinda Bose wrote in World
terature Today that Nehanda "speaks to
oth post-colonialism and feminism in the
storical context of Zimbabwe. Nehanda
embodies] the essences of both the hope
nd the despair that mark the story of
mbabwean." Unlike her rst work, which
as published by a Toronto company,
ehanda was published by Baobab Books,
Zimbabwean publisher based in Harare.
his collaboration marked the beginningf a very close relationship between Vera
nd Baobab Books. The company has since
ublished all her works.
hough the loyaltyof this relationship has
lowed Vera to truly explore her themes,
ome critics noted that this same
elationship may have been what has
ept Vera from the international literary
adar for so long. Regardless, the literary
wards that have been heaped upon
er work have declared Vera one of theop African female writers. Nehanda
eceived Second Prize for the Zimbabwean
ublishers Literary Award for Fiction in
nglish and special mention for the
ommonwealth Writers Prize for Africa
egion.
POKE THE UNSPOKEN
With the 1994 publication of Without a
ame, Vera began to explore darker themes,
uch as the tragedies that eect women.
Without a Name details one woman'sruggle during the tumultuous war of
re-independence Zimbabwe. A victim
f rape caught between the ruthless,
acist regime of the colonialists and the
olent uprisings of guerilla ghters, she
ees escape and a new beginning far
om her rural home in the city of Harare.
owever, even worse consequences
wait her there and in desperation she
lls her newborn child and returns to
mourn in her hometown. This novel was
hort-listed for the CommonwealthWriters' Prize.
her third novel, Under
he Tongue (1996), Vera tackled another
aboo subject that gnaws at the hearts of
omen--incest and rape.
As in her previous
novel, Zimbabwe's war for independence
is a major character in the novel. Under the
Tongue won rst prize in the Zimbabwe
Publishers' Literary Awards, was awarded
the 1997 Commonwealth Writers' Prize
(Africa region), and two years later won the
prestigious Swedish literary award
"The Voice of Africa."
Buttery Burning waspublished in 1998 and set in a black township
of Southern Rhodesia in the late 1940s. It is
a bittersweet love story between a young
girl and her much older lover. As he spends
more and more time away on construction
projects, she begins to follow her own life
and is selected to train as one of the rst
black nurses in the country.
When an unwanted pregnancy jeopardizes
her training, she retreats alone to the harsh
land and, with the long thorn of a bush,
performs her own abortion. Of the recurrenceof normally private, painful themes in her
novels, Vera told The World and I, "The position
of women needs to be reexamined with
greater determination and a forceful idea for
change.
In Zimbabwe, as perhaps elsewhere
in the world, there is limited understanding of
each moment of a woman's worst tragedy or
her personal journey. Women have been
expected to be the custodians of our society
as well as its worst victims, carrying on nomatter how hemmed in they feel and how
abandoned in their need." By bringing the
shameful, hidden tragedies that mar women's
lives to the surface, Vera demanded that her
culture change.
BECAME DIRECTOR OF ART GALLERY
During these prolic years, Vera moved back
to Bulawayo. She told The World and I, "I
spent eight years in Toronto trying to grow up.
I nally realized the necessity of my return to
Zimbabwe and my hometown. I have never
regretted it." In 1997 she was appointed
Director of the National Gallery in Bulawayo.
Voicing the challenges of running a gallery in
her hometown, Vera told Radio Netherlands,
"There is no word for gallery in Ndebele, the
local language of Bulawayo.
A love of books was
established beforeVera] began attendingprimary school
The building used to be a huge, half
empty room with paintings. In a country
where as many as 17 people have to live
together in one room, which is maybe 3
meters by 3 meters, all that space was
senseless." With that in mind, Vera has
focused on making the gallery relevant to
the community and to the townships. She
has installed local folk and ne art and
instituted workshops for women and
children.
"The positionof women needs tobe reexamined with
greater determination
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FILM
BEHINDtheSILVER SCREEN
WOMENWOMEN
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w
PLAN HIGH
SCHOOLS DRAMA
COMPETITIONThe Plan High Schools Drama Competition is
arguably one the biggest drama competition
for Secondary and High Schools in Zimbabwe.
The competition seeks to identify and develop
theatrical talent among secondary and high
school students in Zimbabwe. The competition
is funded by Plan Zimbabwe, an organisation
keen on using drama as an advocacy tool for
childrens rights and their protection against
abuse.
THE KEY ELEMENTS OF THE COMPETITION
Student Participation
Student Engagement
Student Empowerment
Student Protection
Creating Stories or narratives relevant
to children and young people.
Creating space and time for play
Protecting the childs rights to createand to participate in cultural activities.
ABOUT THE THEME
Because I Am A Girl Campaign
Discrimination against women and girls is one of the main underlying
auses of child poverty. Both girls and boys have the same rights, but
hey face dierent challenges in accessing them. This lack of opportunitynd care is unfair and unjust.
The campaign supports the girls to get knowledge and skills they need
o earn a decent living to pull themselves and their families out of
poverty.
Child Marriages
Adolescent Pregnancy
Violence in the form of sexual, physical,emotional abuse in and around schools
and homes.
Burden of household chores robs of the
time to study and play like others.
Harmful cultural practices like Chiramu
BARRIERS TO GIRLS
EDUCATION
The feeling among both adjudicators and organisers of the competition is that there is need for schools, especially those that have
qualied for the nals, to revisit their presentations as most of them were found wanting in this area. The core theme was not adequately
ddressed. The bias should be towards the education of the girl child. Plots should explicitly address the barriers faced by the girl childs she tries to attain acceptable levels of education. Schools must also note that the campaign is not about girls ghting boys and men
but rather a ght against social and cultural norms that relegate girls to second and third class citizens. An improved treatment of the
heme is anticipated from all participating schools at the nals in September.
HOW THE SCHOOLS TREATED THE THEME
SPOTLIGHT
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SPOTLIGHT
THE NATIONAL GALLERY
It is also the Gallerys policy to collect and conserve, for the permanent collection, the nest works produced by artists of Zimbabwe
with a regional emphasis and to ensure that art education is encouraged and enhanced by bringing school children and students to
view the exhibition on display throughout each year.The Bulawayo Art Gallery was established in 1970 by a group of artists who
saw the need for an art gallery in Bulawayo. It operated from an old vegetable market at the corner of L. Takawira Avenue and
R. Mugabe Way. On February 4th 1994, the Gallery in Bulawayo ocially opened its newly renovated premises, Douslin House, a
classical example of colonial Edwardian architecture built in 1900. Its historical important to Bulawayo, also made it a tting home
of the Gallery, where valuable works of art are preserved together with the building itself.
After many years of reconstruction and renovation with assistance from National, International and Local sources, Zimbabwes
second Gallery came to being. It is interesting to note that the greatest thrust came from the Bulawayo community itself, which is a
clear indication that the community takes pride in preserving its historical and cultural heritage. The name was also changed to
National Gallery in Bulawayo
IN BULAWAYOThe National Gallery in Bulawayo is a parastatal institution, attached to the Ministry of Education Sport and Culture.The policy of the Gallery is laid down by Parliament in the promotion and encouragement of the visual arts of
Zimbabwe and abroad.
Galleries within the Gallery are named after patrons who pledged monetary support towards the renovation of the building into a
Gallery. The institution consists of ten Galleries with two large galleries being the Anglo - American and the Marshall Baron galleries
on the ground and rst oor respectively. Also on the rst oor are small intimate, inter-leading galleries: Basil Kaufman gallery,
Tirzah gallery, Annie McIntyre Gentile gallery and Cyril Rogers gallery, Marge Locke gallery, Martin Luther King Jnr gallery and the
Rhebe Tatz gallery. Aspects of the permanent collection may be viewed in the small galleries, which also, occasionally host smallscale exhibitions by local and foreign artists, while major exhibitions are mounted in the two large galleries. These spacious galleries
are capable of accommodating large format paintings and sculpture. They are mainly used for holding large one-person or group
exhibitions and these can be national or international.
Although the old wooden oor may creak a little underfoot, a quiet walk through the galleries that make up the National Gallery in
Bulawayo oers the opportunity for calm reection and soothing experience of ART THERAPY.
GALLERIES
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Situated o the main foyer is a well stocked Gallery shop. Its specialty is selling, promoting and marketing art and craft ware from
Matabeleland region. For many years, the Gallery shop has provided a platform where artists and interested parties can benet
from each others world. This is where the art enthusiast who truly appreciates and treasures the creative gift of the artist can realize
his or her dreams and become the owner of some exquisite works. The Gallery shop features works by many of the well-known
visual artists and also provides a platform for young up-coming artists to test public opinion. All works are sold on behalf of theartist. The selection of stone, wood, metal sculpture, wall hangings and paintings, among other items, is spectacular and should be
a must on every art lovers collection.
The shop also carries a broad selection of postcards, art books and journals. These items are hand picked for quality and the Gallery
sta is happy to supply visitors with information concerning items of interest.Village art and craft is a feature of life in all rural
communities throughout Matabeleland. A large selection of these works, pottery, baskets, textiles, jewellery, drums, stools, spears,
walking sticks and masks are always on display. These are representative of culture and tradition of the Matabele people. Every month,
artists and crafts people bring their work to the Gallery for selection. In addition to this, Gallery Ocers visit other Craft Centres
throughout Matabeleland and select the best, genuine and most authentic hand made, traditional works for the Gallery shop.
SABONA SALES SHOP
The National Gallery in Bulawayo oers facilities for holding workshops for both local and international artists. These workshops
provide a platform for artist to exchange and share ideas, techniques and experiences. These may be slide illustrated talks, lm,
video shows or practical workshops. Through these workshops, skills have been cultivated. Visiting and local artists are encouraged
to discuss their workshop ideas with the Gallery administration. This is in line with the Gallerys mission of oering world-class services
and operational services.
WORKSHOP SPACE
A unique feature of the National Gallery in Bulawayo is the artists studios situated along the northern side of the courtyard. The
studios aords visitors the opportunity to meet local artists, to discuss their works and perhaps to purchase a length of handpainted fabric or painting thus providing a platform for high quality visual activity. This enhances the galleries mission of fostering
talent and making it an interesting place to be for recreation. The National Gallery in Bulawayo is there to promote works of art,
be it hand painted fabric, calligraphy, metal sculpture, collage or any other forms of ne art
ARTISTS STUDIOS
The courtyard is the central feature of the gallery complex and the setting for the exhibition openings, concerts, tea or lunch at the
patio cafe. The courtyard doubles up as a sculpture garden, where major outdoor works carved by internationally recognized
Zimbabwean sculptors are on display. This attractive space is in general a wonderful place to meet friends and to relax and reect on
works seen in the galleries.
COURTYARD AND CAFE
It is true that a friend in need is a friend indeed, the friends of the National Gallery provide invaluable assistance to the Gallery
through their supportive programs of fundraising. It is through their eorts, commitment and support that so much development
has taken place in the Gallery. These include among others, computers, the installation of the P.A. systems and renovations. The
major role, which is played by the Friends of the Gallery, is that of being ambassadors of the National Gallery of Zimbabwe in Bulawayo
wherever they go. Friends receive a newsletter, invitation to all exhibition previews and they have free access to the Gallery.
FRIENDS OF THE GALLERY
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FESTIVAL WORKSHOPS & VENUES
This is the second edition of the workshop which started last year (2011).
The two day workshop will look at models of arts management and how
management can improve the running and organisation of the arts sector
n Zimbabwe. The workshop will be conducted by Mr Nicholas Moyo, the
Deputy Director of the National Arts Council of Zimbabwe (NACZ) and afellow at the American Kennedy Centre of the Arts.
Supported by the U.S Embassy the workshop will take place at the American
Corner (Bulawayo Public Library).
Registration fee is $10
ARTS MANAGEMENT WORKSHOP (20 & 21SEPTEMBER)
A one day workshop on the business of arts. The U.K based facilitator will focus on
he potential of the arts as a business, the business opportunities that exist in
Zimbabwe, Africa, Europe and globally. The workshop is supported by the British
Registration is free. (Only 50 participants will be registered for this workshop.)
OPEN DIALOGUE: CULTURAL CREATIVE ENTREPRENEURSHIP
(19 SEPTEMBER)
n conjunction with Amagugu Cultural Village Trust the festival will host a one day
workshop for Arts and Culture teachers. The workshop seeks to capacitate teachers
n ways of using cultural villages as resource tools for teaching purposes and using
an interdisciplinary approach. This will be facilitated by renowned historian and
cultural expertMrPathisa Nyathi.
Registration is $10
ARTS AND CULTURE WORKSHOP FOR TEACHERS
(20 SEPTEMBER)
Targeting young artists particularly students and out of school youths the
workshop will focus on physical theatre as a special genre of performing arts.
Lloyd Nyikadzino, recently returned from a years study in America will facilitate.
The workshop comes courtesy of the U.S Embassy.
Registration is free. (Limited spaces)
PHYSICAL THEATRE WORKSHOP (19 & 21SEPTEMBER)
A two day exploration of artistic trajectories, paths, subjects and content of
visual art works. Leading visual artists to lead the discussions.
VISUAL ARTS WORKSHOP
A talk and discussion on writing and getting published in Zimbabwe.
THE BUSINESS OF WRITING
with no taboos, but ultimately meant to bridge the generation gap.
Free and open to all artists.
THE HOT POT
The American Corner (Bulawayo Public Library)
Bulawayo City Hall Car Park
Rainbow Hotel, Bulawayo
Bulawayo Theatre
National Gallery in Bulawayo
Rainbow Elite 400
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