“This is the Spirit of the Rhino, it is protecting the girl because it is grateful that she loves it and has taken care of him (Sylvester Mubayi),” this is the kind of sentiment expressed by most of today’s Zimbabwean sculptors when asked to talk about their work.  Nothing flashy or political, just moments in time reflecting a warm regard for spirit, harmony, and family.  Colleen Madamombe, speaking in loving, soft tones, says, “Stay cool my Daughter,” referring to one of her original pieces depicting a mother and child.  She believes that the two figures are speaking to one another.  According to sculptor Luckmore Joseph, “I would…like to ferment unity between all races, as well as between the rich and the poor of societies. As I believe we are all equal.”
    This is different, perhaps, than what you thought you knew about Zimbabwe.  Most people in the United States are more likely to think of Zimbabwe in terms of violence and turmoil – or perhaps economic ruin - than as being a dynamic, creative center pushing on the boundaries of the world’s fine art community.  But this is in fact what sculptors in Zimbabwe have been doing for centuries – it is just that nobody outside of southern Africa seems to have known this until the 1950’s.
    Stone carvings from Zimbabwe are frequently referred to as ‘Shona’ sculpture.  There are many different tribes in Zimbabwe, but the Shona people are by far the largest, comprising 80-84% of the nation’s population.  So despite the fact that there are Ndebele – and carvers from other Bantu speaking tribes – who are accomplished artists and artisans, this art form is mostly associated with the Shona.  The Shona are the largest tribe in Zimbabwe, and Zimbabwe contains deposits of Serpentine stone that are not prevalent elsewhere on the African continent.  The name ‘Zimbabwe’ itself is derived from a Shona word dzimbadzamabwe meaning ‘house of stone’.
    Since the late 1950’s there has been much discussion in some circles regarding the influence of missionaries on artistic expression and art forms in southern Africa, and the extent to which sculpture was introduced or taught to native peoples by colonists.  Sculptors themselves will tell you that people in Zimbabwe have always been stone workers and sculptors.  It is just that it was not until the early 1960’s that white people in Zimbabwe began telling the rest of the world about it.  The Great Zimbabwe settlement – a World Heritage Site – was built sometime between the 11th and 15th centuries.  This archaeological site is known for the incredible, hand-hewn granite blocks that were used to construct it without the use of mortar.  So it is clear that this region contained a rich tradition of stone working skills long before any Europeans arrived, even if some forms of expression have changed since the colonial period.
The 1950’s come up repeatedly as a turning point in the evolution of Shona sculpture largely due to the activities of a man named Frank McEwen, who was the founding curator of Southern Rhodesia’s (now Zimbabwe’s) National Gallery.  Mr. McEwen recognized and appreciated the significance of the region’s indigenous art, and actively encouraged artists to mentor young, aspiring sculptors, while at the same time promoting Zimbabwean art abroad.  McEwen stated, “This art is imbued with extraordinary, intense spirituality. It will get in you and work on you forever.”  At the time, critics were amazed to see aesthetics and emotive forms that were said to rival the likes of Picasso and Modigliani emanating from so-called ‘primitive’ people.  Now we know better, and the work of artists such as Henry Munyaradzi and Nicholas Mukomberanwa are much sought after by collectors.  
    Zimbabwean sculptors refer to stone using terms that do not match any scientific taxonomy, the most common being ‘springstone’, ‘opalstone’, and ‘leopard rock’.  Most of these words refer to forms of Serpentine Stone (hydrous silicate of magnesium) - so-called because the patterns and colors that can be seen in this type of rock often resemble those found in snake skins - and are harder than the rock referred to by many people as ‘soapstone’.  This stone can be green, brown, pink, variegated, dotted, or many things in between.  The Shona use at least 200 different words to describe types of stone in their region.  Still more evidence of how closely native peoples here are tied to stonecraft.
    But please, come judge for yourself!  Apart from traveling to Zimbabwe I cannot think of a better setting in which to learn about and enjoy Shona sculpture than the garden at Ashford Manor in Watkinsville, GA.  Mbare Ltd. – a company in Athens, GA that imports art from Zimbabwe – and Ashford Manor are co-sponsoring a self-guided exhibit of original Shona pieces Sept. 30th through Oct. 31st.  The opening reception will be on Sept. 30th 6-8pm.  There will be music, light refreshments, and Robbie Stewart - the owner of Mbare, Ltd. - will be on site to walk the grounds, tell stories, and answer questions.  Robbie was born in Zimbabwe and personally knows most of the artists that he buys from.  “I am excited about the opportunity to exhibit the works of a younger generation of sculptors at Ashford Manor.  It’s the perfect outdoor setting and something I’ve wanted to do for a number of years.  The works of the artists I have developed relationships with (Rufaro NgomaCephas Mashaya, Ambrose Marasha, Benjamin Mashaya, Tinei Mashaya and others) inspire me and I want to share their work, their talent and my inspiration with others.”

The sculptures are for sale, and a portion of the proceeds from the exhibit will be divided between OCAF (Oconee Cultural Arts Foundation) and the artists who created the pieces sold.  This exhibit is FREE and open to the public.  We strongly encourage families to bring their children and to invite their friends.  For more information, call Ashford Manor (706.769.2633) Mbare, Ltd (706.354.1445) or go to www.mbare.com.