THE SHONA SCULPTURE MOVEMENT

Hard facts about the precise order of the events are difficult to place, but it is suggested in discussions with the earliest artists that Frank McEwen encouraged the techniques of sculpture after seeing early work by men such as Joram Mariga who, at that time, had broken away from the use of soft stones and was experimenting with harder materials and more individualistic expression and themes. It must be remembered that there was already carving of a sort in Zimbabwe in the Fifties and Sixties.

As is true now, there was stone work for sale to tourists realistic interpretations of the wildlife, mainly produced in soft soapstone. Concurrent with the arrival of McEwen to the country's new National Gallery, it seems that a handful of carvers were independently breaking away from the established forms of carving and experimenting on their own. This new work seems to have ignited McEwen's enthusiasm and imagination and led to his assuming the role of encourager and "director".

Such artists initially brought their work to the National Gallery for selection and sale, and McEwen would often visit their "studios" to guide, comment and initiate the relationships from which the movement was to be born (...)

A discussion with one of the founding sculptors will reveal the difficulties faced by McEwen and his artists: the lack of space and the basic equipment with which they worked. Progress was slow and, in the beginning, uninspiring. In a room allocated for storage at the back of the new National Gallery, McEwen supplied interested artists with materials that were available and encouraged them to experiment - in most cases with painting.

Despite the difficulties, McEwen quickly knew that here was enormous potential. Word spread amongst the local people and within a few years increasing numbers attended the Workshop School, or brought their own work from areas such as Nyanga and Bulawayo. There is now much debate about Frank McEwen's precise role within this informal "school". He defends his position using the theories of Moreau, in which he strongly believed.

"Finally, up to 75 artists would come and go as and when they could. There was not a trace of art school mentality. No teaching but an atmosphere of individual drawing out as Gustave Moreau had propounded and Henri Matisse and others had explained to me. Obviously, there must be an aura of vibrant art content to be drawn out."

In 1958 the National Gallery hosted its First Annual Federal Art Exhibition. Work from all over Rhodesia was submitted for selection, including painting, sculpture, design and objects d'art. The resulting exhibition of some 150 pieces set the foundations for an annual showcase of local talent. It became an important tool with which McEwen defended his belief in involving local people and encouraging local artistic abilities.

As the years passed, stone sculpture assumed an increasingly strong presence in the exhibitions and significant purchases were made for the Gallery's permanent collection as well as for international exhibitions. Catalogues from these early exhibitions show McEwen arguing for the work to be taken seriously - not so much with an international audience, but with the national establishment.

International interest grew, and art experts such as Alfred Barr, Tristan Tzara, Michel Leiris, John Russell, Roland Penrose and William Fagg began to visit Rhodesia. In 1971, McEwen organised a critical exhibition in the Musèe Rodin, Paris. Virtually every piece was bought by collectors. The sculpture was finally respected and acclaimed.

Other important exhibitions followed, including Shona Sculptures of Rhodesia (ICA Gallery, London, 1972) and a major exhibition at MoMA, New York (1972). These marked the beginning of international recognition of the sculpture as a serious genre.

McEwen's role as spiritual leader continued until 1973. Soon after, he sought a new venue for the Workshop School, establishing a rural community in the Eastern Highlands - Vukutu - with sculptor Sylvester Mubayi.

"In Vukutu, an ancient sanctuary of great beauty and complete isolation, surrounded by sculpture-like rocks, our best artists came to live in an art community... It was the best move we ever made."

Another community, Tengenenge, was founded by Tom Blomefield in the late sixties. Blomefield, a tobacco farmer affected by sanctions, encouraged his workers to turn to sculpture. The land contained rich deposits of Serpentine, and the community became known for stone carving.

Blomefield encouraged artists such as Lemon Moses, Bernard Matemera, Josiah Manzi, Wazi Maicolo, Amali Malola, Henry Munyaradzi, Sylvester Mubayi, Fanizani Akuda.

Difficulties in the country increased during the war leading to Independence in 1980. Many sculptors abandoned their art. Private promoters such as Roy Guthrie supported artists by purchasing works for future exhibitions.

Important exhibitions in the recovery years included:

Shona Sculpture, Zimbabwe House, London (1981)

Stein Skulpturen Aus Zimbabwe, Frankfurt (1983-85)

Contemporary Stone Sculpture from Zimbabwe, Sydney

Stone Sculpture from Zimbabwe, Wales (1986)

Guthrie's Gallery Shona Sculpture (later Chapungu Sculpture Park) became central to international exposure and documentation of the movement.

Today, younger generations of sculptors continue the movement, taking new directions and addressing new issues. The future of the Shona sculpture movement lies with them.

Breaking free from accepted images of ancient tribal African art, audiences are invited to view this work with an open heart and mind. Surely this is the purpose of Art?