By Fidelis Manyange
ART has always played a vital role in our society not just as a form of expression, but as a powerful medium for education, motivation and remembrance. During Zimbabwe’s war of liberation and in the years following independence, music, dance, poetry, sculpture, painting and literature became critical tools for telling our story, inspiring resistance and preserving history for future generations.
In the thick of the liberation struggle, art became a weapon of morale, a unifying force that encouraged freedom fighters to persevere despite unimaginable hardships. Today, the same creative expressions continue to educate, commemorate, and connect Zimbabweans to their heroic past.
Artists across various genres have kept the memory of the liberation struggle alive through sculpture, literature, paintings, music and performance. Their work is visible in public institutions, Government offices, public spaces and homes, acting as constant reminders of the sacrifices made to secure the freedom we now celebrate.
Monuments and sculptures across the country highlight the legacy of the First and Second Chimurenga. These artistic works bring to life the stories of our heroes and heroines, ensuring they remain part of our national consciousness.
One of the most iconic examples is the statue of Mbuya Nehanda Charwe Nyakasikana, heroine of the First Chimurenga, prominently erected at the intersection of Samora Machel Avenue and Julius Nyerere Way in Harare. Roads named after two of Africa’s founding fathers of independence frame this powerful monument, itself a tribute to the strength and resistance of a woman who refused to denounce her beliefs, even in the face of death. Mbuya Nehanda declined baptism by Fr. Richertz before her execution, standing firm in her convictions. Her legacy endures, inspiring generations of Zimbabweans a testament to the prophecy, “my bones shall rise”.
Another symbolic statue is that of the late Vice President and nationalist Dr Joshua Nkomo, known as ‘Father Zimbabwe’, located at the intersection of Joshua Nkomo Street and Eighth Avenue in Bulawayo. This bronze sculpture reminds us of his integral role in the liberation struggle and the fulfilment of the promise made by Mbuya Nehanda’s spirit that her bones would rise and spark the fight for freedom.
At the National Heroes Acre, sculpture again plays a dominant role in narrating the story of our independence. Visitors are welcomed by the Tomb of the Unknown Soldier, which honours those who perished in the liberation war, especially those whose remains remain unidentified or scattered across the region. A bronze statue of three guerrillas, one woman and two men, stands tall, accompanied by murals chronicling the country’s journey from pre-colonial times through colonisation, resistance and eventual independence.
Most people are unaware that the monument’s architecture is inspired by a bisected AK-47 rifle, the weapon that symbolised freedom for many guerrilla fighters. The graves represent the rifle’s magazine, continuously ‘fed’ with the remains of national heroes. The terraces and tomb mirror parts of the weapon, while the eternal flame stands as the bayonet’s tip, a powerful piece of symbolism carved in art.
In Uzumba, former Member of Parliament Simbaneuta Mudarikwa worked with a mixed-media sculptor from Murehwa to create roadside statues of guerrillas, mujibhas and chimbwidos, near the Kangara base where over 30 people were bombed. The sculptures made from recycled iron honour those massacred at Kangara and Chikuhwa bases, preserving their memory for all who travel the road between Nhakiwa and Nyadire. These works remind us that freedom was neither easily won nor freely given.
Writers and authors also play a pivotal role in documenting our liberation story. Books have been written and continue to be produced that detail the organisation, sacrifice and determination behind the fight for independence. They provide context and clarity for the younger generation, ensuring they understand why Independence Day matters.
Notable contributions include Elias Machemedze’s biography of Herbert Chitepo and Charles Makari’s biography of his uncle, Cde Josiah Tungamirai (real name Thomas Mberikwazvo). Gonzo Habakkuk’s Zvairwadza Vasara, a former O-Level set book and now part of A-Level Shona studies, is a compelling novel about the struggle. Vitalis Nyawaranda’s Mutunhu Unemago gives insight into the suffering endured by villagers in Mashonaland East during the war.
Legendary freedom fighter and author Cde Alexander Kanengoni (war name Cde Gora) immortalised wartime trauma and heroism in literary form. His poetic novel Echoing Silences and the gripping When the Rainbird Cries provide a unique, first-hand account of the mental and emotional toll of war. As journalist Beaven Tapureta noted, “Kanengoni went to war and returned with stories and images, which he loaded onto waiting pages.”
Other works, like David Martin’s books on guerrilla warfare, provide rich visual and narrative accounts of how the Rhodesian regime was dismantled and replaced with democratic governance. His documentation helped demystify the strategy and sacrifice behind the liberation movement.
Photography was another powerful medium in the war. Armed with both guns and cameras, courageous photographers captured iconic moments of Zimbabwe’s fight. Images of Cde Josiah Tongogara, Cde Rex Nhongo, Cde Perrance Shiri, and the late Paradzai Zimondi (Cde Tonderai Nyika) survive thanks to these wartime photographers. These images serve as visual anchors in our collective memory.
Poetry, music, and dance also played indispensable roles not only as entertainment but as cultural expressions of resistance and survival. The late Freedom Nyamubaya was both a poet and guerrilla commander a rare blend of fighter and artiste. Her published poetry collections continue to capture the spirit and trauma of war. Fellow fighter Dr Irene Mahamba (Cde Ropa Rinopfuka) has also contributed to literature with a uniquely Zimbabwean perspective, cautioning future generations against forgetting the cost of freedom.
Pungwes (all-night political gatherings) were central to morale and mobilisation. Songs and dances like kongonya, skokochi, zungura, bump jive, and mujibha energised both fighters and villagers. In Zvairwadza Vasara, Habakkuk Musengezi vividly recalls Cde Chipikiri dancing during a pungwe, a memory etched in song and movement, a joyful defiance in the face of death.
Music became the heartbeat of the revolution. Artistes such as Cde Chinx, Cde Vhuu, Kassongo Band, and the ZANU PF People’s Choir captured the liberation message in lyrics and rhythms that stirred national pride. These songs remain part of our identity. The continuation of this tradition can be seen in events like the annual Uhuru musical gala, a celebration of independence through music, held this year at Nembudziya Growth Point.
Even our national flag is a work of art with liberation symbolism. The red stripe represents the blood shed during the struggle, while the black stripe honours the black majority, the rightful heirs of Zimbabwe.
Murals, paintings and portraits across the country serve as visual history lessons. These artistic depictions of revolutionary moments inspire, educate, and ensure that our liberation story is not forgotten or distorted. They remind us that art is not just decoration, it is declaration, preservation, and celebration.
As we commemorate another year of independence, let us honour not only the warriors and politicians but also the artists, the sculptors, authors, musicians, poets, dancers, and photographers, who have shaped and safeguarded our national story. Through them, the spirit of liberation lives on. A luta continua!
