Zimbabwe has within the last 30 years become renowned worldwide for its stone sculpture. As a result, increasing interest is now being shown in its many types of indigenous art. In the early fifties, Rhodesia as it was known then was described as "artistically barren". So what has happened in the last three decades to bring about one of the most successful contemporary art movements in the world, as well as a healthy commercial industry in art?In 1956 it was decided that a National Gallery be built, designed to exhibit the art treasures of the 'developed' world. However, its first director, Frank McEwen, soon recognised the importance of bringing its services to a wider audience and started a workshop school within the grounds of the Gallery. It was from these simple beginnings that the extraordinary story of Shona sculpture emerged. After several prestigious exhibitions in London and Paris, the discerning interest of an international audience was aroused. In a period of time considered extraordinarily short in art-history terms the world has witnessed many highly successful group and one-man exhibitions in major galleries overseas as well as the award of important prizes such as the New Delhi Biennale (1989) to Zimbabwe's top artists.
One of the benefits of this remarkable success story has been renewed interest in the many other forms of Zimbabwean creativity. The country has always been rich in pottery and basketware. With increased commercial success these fields are now becoming more experimental and varied, meeting the demands of a sophisticated market. Even the tourist-oriented curio market reveals a natural technical ability and imagination difficult to compare with anything else in the world.
Many gallery owners and dealers are travelling to Zimbabwe and establishing successful trade relations with local galleries and craft suppliers. The country is justifiably proud of the ingenuity and innovation of its artists who have put Zimbabwe on the art map of the world.
There is also a general move towards preserving cultural history and recording the development of this remarkable explosion of artistic talent. Organisations such as the National Gallery of Zimbabwe and Chapungu Sculpture Park (both in Harare) have recognised the importance of retaining major works of art - especially its internationally-renowned stone sculpture - as well as craft work, for permanent collection and display. The National Gallery mounts impressive exhibitions throughout the year and exhibits many important works in its grounds. The Gallery also operates a market place where work by well-known and up-and-coming artists can be purchased.
The Chapungu Sculpture Park houses possibly the largest permanent collection of Zimbabwean stone sculpture. It also runs several large sales galleries and supplies overseas museums, galleries and private collectors with work for temporary exhibition, sale and permanent collections. Other centres of serious work include the National Handicraft Centre in Harare and the Tengenenge Sculpture Community at Guruve in north-eastern Zimbabwe. The National Handicraft Centre offers for sale an impressive selection of indigenous crafts collected from all over Zimbabwe. The work is suitable for serious collectors and casual visitors alike. The Tengenenge Sculpture Community has an important place in the history of the stone sculpture movement. It is still the home of many successful artists. Visitors can buy individual pieces directly from Tengenenge but the different work, unique to this community, is almost always present at major international exhibitions and has become famous in its own right.
The message being sent out is that Zimbabwe's art and crafts are alive and thriving and, more importantly, have a contemporary relevance to audiences in many different cultures and societies. The people of Zimbabwe have always had a great natural ability to work with their hands, creating objects vital to their culture. These range from exquisite musical instruments to daily utensils and fabrics, as well as beautiful sculpture and paintings that can match contemporary art in any international gallery. In other words, the artistic expression of this extraordinary people has come of age.
A most significant aspect of the art and craft of Zimbabwe is that it originates from every corner of the country; from the cities to remote rural areas. Its artists and artisans range from elderly men and women (Kakoma Kweli of Tengenenge is 89 years old) to boys and girls helping their parents prepare baskets or carvings for the market.
This activity allows rural and urban people - many lacking opportunities for education - to express themselves creatively, to talk about their own culture. This important social aspect has been fostered and encouraged by investment in the art and craft industry of Zimbabwe.