By Dr Tony Monda

THE invention of trains has been a source of fascination for children, men and artists alike.
Frequenting a number of art exhibitions in the past decade or more, I often encounter the train as an iconic subject for Zimbabwean artists, which prompted me to examine its symbolism, socio-cultural implications and political history in the making of our indigenous society in Zimbabwe.
The train became a metaphor for the entire African continent that even Cecil John Rhodes dreamt of building a railway line from Cape to Cairo.
Its steady churning and rhythm numbed the feelings and emotions of many African people.
The train evokes memories of nostalgia.
It is the symbol of progress for the whiteman, oppression and work for the black man; except when he is going ‘kumusha’.
Greedy Rhodes had a vision of a railway line from ‘Cape to Cairo’.
Part of this vision required a bridge to be built over the Zambezi gorge.
This was completed in 1905 after his death.
The train system crosses the Victoria Falls Bridge at Victoria Falls and links to Zambia Railways in the north.
The train was the most common form of travel during the 1940s, 50s and 60s.
For many, it symbolised the daily grind of work and for others, going to the rural areas during holidays.
Rolling over the landscape, instilling fear, then excitement and the freedom and possibility of escape, the train became a social symbol for the ordinary man.
The sounds of the moving trains became so familiar that children hummed them and musicians added them to the onomatopoeia of their music.
South African musician Hugh Masekela’s ‘Stimela’, Don Gumbo, Busi Ncube, Andy Brown and the Storm all sang about the ‘Chu-chu train’.
Lovemore ‘Majaivana’ Tshuma together with the Jobs Combination recorded a 1979 hit song entitled ‘Isitimela’, alluding to the train’s importance as a symbol to our society.
Oliver Mtukudzi sang ‘Mbombera’.
James Chimombe sang ‘Mbombera’ and Zahara in her most famous song ‘Loliwe’ sang of the stimela – the steam engine.
As an artistic symbol the train conjures up more than just a pretty picture of nostalgia; it was a symbol of our popular culture, history and the diasporic movement of Africans as labour to ‘Egoli’ (as Johannesburg was known).
It was a symbol of separation of families leaving loved ones behind, and a symbol of white racist separatist rule.
The train was a vehicle for the colonial separatist policies.
Mbombela, meaning the economy class where everybody sat in a communal situation was the reserve of the black man and the whiteman sat in separate compartments.
Unlike the Mbombela class, the first and second class were designed to be furthest away from the toxic fumes of the charcoal steam engines.
The railways, normally situated in the periphery of cities, also demarcated racial areas of business.
Hence all the African, Asian and Indian shops in Zimbabwe (then Rhodesia), were confined to the outskirts of the city, along Charter Road and Railway Avenue, (now Kenneth Kaunda Avenue).
The trajectory of the railway line is also very interesting in that all railway lines that lead out of major cities passed through industrial sites then through an African high-density suburb which supplied the workforce for the industries.
Starting on the west side of the city the line going to Bulawayo passes through Southerton’s industrial areas on to Highfield, Mufakose and Kambuzuma.
The line traversing east through Msasa on its way to Mutare and beyond to Mozambique pollutes and affects the predominantly African residences of the high density areas of Tafara and Mabvuku.
The Zimbabwe railway system was largely constructed during the time of British colonial rule, and part of it represents a segment of the Cape-Cairo railway.
In 1899 the railroad to Mutare was opened.
The Indian Ocean railway system links with the Beira Railroad Corporation in Mozambique; a second rail line reaches Maputo.
To the west, a connecting line links to Botswana Railways which ultimately reaches Durban and Cape Town in South Africa.
Meant to serve the industries the railway in Zimbabwe was a symbol of servitude for the indigenous people.
Until 1980 it was called Rhodesia Railways (RR).
In 1976 Rhodesia Railways had 100 heavy Garratt locomotives in use.
During the colonial era, RR was the state railway operator in both Southern Rhodesia and Northern Rhodesia (Zimbabwe and Zambia today).
Although Zambia gained independence in 1964, it was not until 1967 that RR surrendered the 1 300 kilometre of route and 80 – 90 locomotives to Zambia Railways.
Bulawayo an important trade route of Rhode’s vision of the ‘Cape-to-Cairo highway’, was an important transport hub, providing rail links between Botswana, South Africa and Zambia and promoting the city’s development as a major industrial centre.
The National Railway was well linked with neighbouring countries and had an important transit function in the southern part of Africa.
For those familiar with Bulawayo, the trains set a rhythm and a tone to the city; pronouncing growth, progress and new technology as railways have done the world over.
In the then, emerging black elite, the most enviable workers were employed by the railways.
In the 1970, the African shunters were the better paid and most charismatic of this urban class.
They were men pulsating with the entire spirit of the railways.
As an image, the symbol of the train reawakens history.
Its new-found possibilities, the churn and charm of the railways is an incontrovertible expression of freedom.
Dr Tony Monda holds a PhD. in Art Theory and Philosophy and a DBA (Doctorate in Business Administration) and Post-Colonial Heritage Studies. He is a writer, musician, art critic, practising artist and Corporate Image Consultant. He is also a specialist Art Consultant, Post-Colonial Scholar, Zimbabwean Socio-Economic analyst and researcher.
E-mail: tonym.MONDA@gmail.com