HomeOld_PostsIndigenous approaches to art education

Indigenous approaches to art education

Published on

By Dr Tony Mhonda

THE visual arts heritage in Zimbabwe began long ago and is known the world over; its history stretches since the 1950s and more significantly since our independence in 1980.
Our first generation of sculptors namely, Joram Mariga, Nicholas Mukomberanwa, John Takawira, Joseph Ndandarika, Sylvester Mubayi, Fanizani Akuda, Henri Mudzengerere Munyaradzi, Bernard Matemera, Bernard Manyandure, Boira Mteki, Tubayi Dube, Cornelius Sinyoro, and Chrispen Chakanyuka, were largely self-taught in terms of stone sculpting.
However, the factor that is often omitted in records of these artists is that many of them had inherent psychomotor and design skills that were passed on generationally.
While in most records Scotsman Frank McEwen O.B.E., (1907 – 1994), former director of the British Council and the first director of Rhodes National Gallery (1956), is often accredited for initiating contemporary stone art in (Rhodesia) Zimbabwe, the impetus and creativity of the first generation should really be accredited to the grandfathers and grandmothers who were blacksmiths, potters, designers, basket weavers, and traditional jewellers.
The concept of ‘Humhizha’ in Zimbabwe embodied a genealogical idea of transmitting and awakening latent inherent skills in one’s progeny.
This Afro-centric concept is often overlooked by occidental writers when discussing contemporary African art.
One must also acknowledge that the Japanese potters and printmakers followed a similar system of education.
The British had ‘Guilds’, the French ‘Ateliers’, Italians had ‘Rinascita’; a term used to describe the organic development of art through a system of apprenticeship which then led to the Renaissance (1400 to 1600), where they then perfected the cannons of harmony and proportion, mastery of technique and the new found freedom of invention in the 1550s
It is therefore important to formerly recognise our traditional African methods of art education and incorporate them within our inherited Western-based contemporary academia.
There was an internal connectedness between the first generation of sculptors who were often direct or distant relatives.
Some were related by inter-marriage and others were within the proximity of where sculpting activities were taking place.
It stands to reason then, that our institutions of higher and tertiary education should recall this system of apprenticeship; which will not only enlighten the artist’s perceptions of self and nationhood, but will inform and empower them with traditional knowledge as well as the contemporary thought processes involved in the creation of art.
A combination of traditional knowledge, innate psychomotor skills, and inherited cultural wisdom could endow Zimbabwe with a new post-colonial aesthetic.
This is a system that was adopted in Nigeria via the Oshogbo School, Margaret Trowell’s Makerere Schools of Art in Uganda and other African schools of art in the 1950s and 1960s which flourished and created the basis of a body of knowledge from their culture, and was adopted in these African art university systems.
Western art education has culturally and cognitively disempowered the African artiste, in its limitations in medium, linguistic visualisation, African indigenous philosophy and its exclusion of African inherited skills.
It is pointless and foolhardy to ignore the root and traditions of our forefathers from which our culture and sense of being emanates and which gives us our sense of identity and belonging, than to emulate Western art concepts which are alien to us.
One is not advocating the complete obliteration of Western art education, but for a more comprehensive and holistic understanding of self and the creative processes of our forefathers in tandem and on equal footing with that of the West.
Art education is an important pillar of sustainable development for a country; but with it should come a strong identity and cultural anchor, which gives a nation its face and identity.
Zimbabwe will have to invest in traditional knowledge systems such as art apprenticeship in our tertiary educational institutions and universities in order that academic programmes are developed and implemented in the challenging fields of visual arts and culture meaningfully and relevant to our uniqueness as a people.
The Government, especially the Ministry of Education, Art, Sports and Culture have failed to take the imaginative leap embraced by South-east Asian nations in their pursuit for progressive ‘mega urban’ cultural developmental initiatives where their national cultural idiosyncrasies and visual heritage of the East have been branded on every product they create.
Education in the arts promotes a population’s participation in developing citizenship practices and identifiable nationhood.
Zimbabwe can thus also enjoy the same revival of the visual arts sector and restore its true aesthetic and fiscal value if the authorities responsible make a determined effort to improve the education, training and promotion of dedicated young Zimbabwean artistes.
Art and culture can deliver the much needed economic stimulus at a time when trust and confidence have been eroded in many other sub-sectors of our economy.
Significant efforts must be made into nurturing long-term investment and development of pertinent art education as catalysts for building the cultural economy and creating sustainable employment for cultural workers.
The main beneficiaries of such development will be the nation’s image and boost to cultural tourism.
The prospect of secondary tourism from art and culture will give Zimbabwe a chance to revitalise the confidence in its rich tourism and cultural industry. Zimbabwe can rightfully take its place among the world’s leading cultural nations once again.
It is essential to bequeath to future generations, not only with viable economic structures, but a sense of visual identity and a cultural heritage that allows them to anchor themselves in space and time through the appropriate education.
Dr. Tony Monda holds a PhD. in Art Theory and Philosophy and a Doctorate in Business Administration (DBA) in Post- Colonial Art and Heritage Studies. He studied law and photography at the Corcoran School of Art, Washington and holds a Law and Art Diploma from Georgetown University, Washington DC. He worked with WALA – (Washington Area Lawyers Association. He is an author, art critic, art consultant and a practising visual artist. He is also a musician, and corporate image consultant.

LEAVE A REPLY

Please enter your comment!
Please enter your name here

Latest articles

Kariba Municipality commits to President’s service delivery blueprint

By Kundai Marunya IT is rare to find opposition-controlled urban councils throwing their weight on...

The resurgence of Theileriosis in 2024 

THE issues of global changes, climate change and tick-borne diseases cannot be ignored, given...

Britain haunted by its hostile policy on Zimbabwe

TWO critical lessons drawn from the recent debate on Zimbabwe in the British House...

The contentious issue of race

 By Nthungo YaAfrika AS much as Africans would want to have closure to many of...

More like this

Kariba Municipality commits to President’s service delivery blueprint

By Kundai Marunya IT is rare to find opposition-controlled urban councils throwing their weight on...

The resurgence of Theileriosis in 2024 

THE issues of global changes, climate change and tick-borne diseases cannot be ignored, given...

Britain haunted by its hostile policy on Zimbabwe

TWO critical lessons drawn from the recent debate on Zimbabwe in the British House...

Discover more from Celebrating Being Zimbabwean

Subscribe now to keep reading and get access to the full archive.

Continue reading