Kwantunthu Arts Magazine August 2012

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MUSIC - THEATRE - DANCE - FASHION - POETRY - VISUAL ARTS - LITERARY ARTS - FILM

AUGUST ISSUE 2012

49 DAYS

TO GO

WOMENBEHIND THE

FEATURES:

Books

Arts in Photos

Events

ZIM FASHION

Yvonne

Vera

SILVER SCREEN

fashion designers show that they

are not merely dressmakers

kwantuthuarts


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ByolifeStreets

Whats YourDestination?

Byolife Streets is a simple but yet comprehensive guide that makes it a breeze to book andmanage activities. Find hotels, restaurants, tours and attractions, event listing info

including photos about that area right from your smart phone. Each business entrydescribes the attraction with pictures, opening times and full contact details.

The app is integrated with maps showing directions to users about their current location.

Not all 3rd part applications make use of data connectivity. Some 3rd party applications might make use of the carrier's WAP service which could be chargeable.2012 Webloxion. All rights reserved. Byolife,Byolife Streets and related trademarks,names and logos are the property of Webloxion. All other trademarks are the property of their respective owners. E&OE

byolifebyo-life.com/streets

R

Skeem Sami


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kwantuthuartsAUGUST 2012 CONTENTSFeatures

YVONNE VERA

Vera was born and raised against the backdrop of faltering colonialism and

vicious guerilla warfare in 1970's Rhodesia, Southern Africa

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BEHIND THE SILVER SCREEN18

SPOTLIGHT

PLAN HIGH SCHOOL DRAMA COMPETITION

DESIGN EXCELLANCE IN ZIM FASHION INDUSTRY

The history of fashion designers show that they are not merely dressmakers,

but artists who apply natural beauty to clothing and accessories.

10

Mini proles of Zimbabwean women who are behind

the lm industry.


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CONTENT THIS MONTHS ISSUE

5 Arts in Photos

8 Books

9 Music Review

9 Spotlight The Fly By Mic Diaspora

Tour.

10 Fashion Design Excellance in

Zim fashion industry

14 Feature Yvonne Vera Biography

18 SpotlightWomen behind theSilver Screen.

20 Spotlight The Plan High Schools

Drama Competition.

21 Spotlight National Art Gallery

in Bulawayo.

23 Festival Workshops and Venues

On the cover: Yvonne Vera,Editor: Raisdon Baya

Production Coordinator: Ashton Z. Sobhuza

Copywrite: Runyararo Mutandi

Creative Director: Littchel N. Mathuthu, DSI

Information is correct at press time.

Check www.intwasa.org for updates.

Kwantuthu Arts is published monthly by

Intwasa Arts Festival at LAPF House, Suite 403,

8th Avenue & J. Moyo Avenue, Bulawayo

Zimbabwe. Signed articles do not necessarilyreect the ocial policy. 2012.

All rights reserved. Reproduction in part or

whole without permission is prohibited.

Editorial, publishing and advertising oces:

LAPF House, Suite 403, 8th Avenue & J. Moyo

Avenue, Bulawayo, Zimbabwe.

Womens Month

Lets Celebrate

womens month

kwantuthu Arts Team

The July issue is celebration of our female artists in all areas of arts within

of our nation. We celebrate the female artisitic expression in Film, Drama,Music, Fashion, Literary arts and Performing arts. This issue is dedicated to

all the women who have and are building our arts industry with in the

country and all over the world, through initiatives and events that have

been taking place all over the world, from the Fly by Mic tour, the design

excellance of the Zim fashion Industry and honouring the late Yvonne Vera.

We also celebrate the work plan has done with its schools drama

competition and its focus on the girl child. Also see the venues and festival

workshops so as to plan which ones to attend.


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ARTS IN PHOTOS

lan Schools Drama Competition


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ARTS IN PHOTOS

6POY Video shoot


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BOOKSLONG TIME COMING

Long Time Coming brings together short stories and poems from thirty-three writers

that provide snapshots of this turbulent period in Zimbabwes history. Snapshots ofliving in a country where basic services have crumbled: where shops have no food, taps

no water, banks no money, hospitals no drugs, bars no beer. Snapshots of characters

surviving against seemingly insurmountable odds. Horric snapshots of the abuse of

power, of violence and oppression, of the destruction of dreams.But this is Zimbabwe

there are lighter moments and moments of hope: in some of lifes simple pleasures,

in the coming of the rains, in the wink and the smile of a stranger, in a challenge to

patriarchy, in the inner strength of the people, in ghting back.

The writers are Raisedon Baya, Wim Boswinkel, Diana Charsley, Brian Chikwava, Julius

Chingono, Mathew Chokuwenga, Bhekilizwe Dube, John Eppel, Peter Finch, Petina

Gappah, David Goodwin, Anne Simone Hutton, Monireh Jassat, Ignatius Mabasa, Fungai

Rufaro Machirori, Judy Maposa, Deon Marcus, Christopher Mlalazi, Gothataone Moeng,

Wame Molefhe, Linda Msebele, Mzana Mthimkhulu, Peter Ncube, Thabisani Ndlovu,Pathisa Nyathi, Andrew Pocock, John S. Read, Bryony Rheam, Lloyd Robson, Ian Rowlands,

Owen Sheers, Chaltone Tshabangu and Sandisile Tshuma.

You dont have to be in Zimbabwe to

know or experience what is happening

in Zimbabwe. All you have to do is getyourself a copy of amaBooks Long Time

Coming. The book is about hope, about

resilience, and how the people have waited

for so long to be delivered from their

suering. A ne read.

The Zimbabwean

Woodrow Wilson Center Press, 2009

by Mary Johnson Osirim

ENTERPRISING

Long Time Coming: Short Writings from Zimbabwe, edited by Jane Morris, published in 2008

Mary Johnson Osirim investigates the

business and personal experiences of

women entrepreneurs in Harare and

Bulawayo, Zimbabwe, to understand their

successes, challenges, and contributionsto development. These businesswomen

work in the microenterprise sector -- which

is dened as businesses that employ ve

workers or fewer -- with many working as

market traders, crocheters, seamstresses,

and hairdressers.

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In a powerful and timely collection of

short stories and poems about Zimbabwe

by 33 writers, Long Time Coming oers

snapshots of life in a collapsed country.It is a collection straining with suspended

hope; change has taken too long to arrive.

Gemma Ware

The Africa Report

Long Time Coming: Short Writings

from Zimbabwe has been chosen by New

Internationalist as one of their two

'Best Books of 2009'. They commented that:'Each piece here and they are miniature

marvels, with no story longer than eight pages

vividly illuminates an aspect of what it is

actually like to live in a country that has been

systematically looted and stripped offunctioning organizations. From a

Zimbabwean publishing house, this books

very existence seems little short of a

miracle. '

The women who took part in Osirim's research during the 1990s pursued their businesses,

reinvested prots, engaged in innovation, and provided employment, and through their

work supported households and extended family and social networks. Osirim nds that,

despite major problems, the Zimbabwean businesswomen maintained their enterprises

and their households and managed to contribute in signicant ways to their communityand national development in the face of an economic structural adjustment program.

Osirim also explores the impact of state and non-governmental organizations on small

business operations. Enterprising Women in Urban Zimbabwe oers a comprehensive

study of women's role as entrepreneurs in the microeconomic sector that shows them as

agents during challenging political and economic times

GET LONG TIME COVER

WOMEN INURBAN

ZIMBABWE


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MUSIC

BLACK BIRD

RELEASES MIXTAPE

MEMOIRS

9

After the release of my debut album in October 2010, I receivedenormous amounts of support from the public and "Tha

Rappetizer" got excellent reviews in the press and on radio. While

marketing "Tha Rappetizer" I kept recording new material even

though I knew I didn't want to release another album too soon.

A lot of my fans and supporters kept asking when the next

product was coming out and people from all over the world

showed me how hungry they were for more of my music. The

mixtape is free for that very reason. It's for my fans to enjoy, share

and burn this project. I want them to bootleg my mixtape

because it's from me to them.

Production on the mixtape came primarily from Showtime

Records, with Reverb7 behind the Wheels of Steel. I also have

beats from Take Fizzo and K Dagger at That Squad Studios

(formerly Chamhembe), Mafana at FDK Records and on the track

"H-Town Hustler" I'm owing on a beat that was made by Jusa

Dementor. A familiar sounding track on my album is "Ten Years"

and that beat was recorded and produced by Hoodlum in

Johannesburg, SA. Me and Hoodlum used to be part of a team

called the Hip-Hop Intellectuals in 2009 and he's one of the cats

that I work with when I'm in Jozi.

In terms of featured artists, the mixtape has tracks with Tagz,

Dizzy Don & Ba Shupi, Mizchif, Tulk Money, Ish, Suplex, Mafana,

DJ Naida, Davina Green and Metaphor.

Check out this exclusive interview with one

of Zimbabwe's nest femcees as she let's us

in on what's really good with her current

oering Mixtape Memoirs. Black Bird has

landed...

Facebook/Twitter: theybymicdiasporatour.

THE

FLY BY MIC

DIASPORA

TOURThe Fly By Mic

Diaspora Tour Gives

Performance Poetry

Wings. Headliners

Miss Quote and

Emonie Love II

Embark on a Journey

to 57 Countries.

Los Angeles, C.A. ----Performance Poets & Spoken

Word Artists Miss Quote

& Emonie Love II will be

showcasing their talents in

an unprecedented, joint labor

of love through their

The Fly by Mic

Diaspora Tour

Both artists have years of experience in performance poetry, with

their talents reaching national and international audiences.

Stops for the Fly By Mic Include, but will not be limited to, the

following areas: India, Africa, Asia, Europe, Australia, the Caribbean,South America and The United States.


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FASHION

Zim Fashion Indust

DESIGN EXCELLENCE IN


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but will always be full of originality and may be characterized

by simplicity; somewhat like a mixture between luxury and

practicality. There was a time in Zimbabwe when fashion became

more compromising, aspiring to preserve the nations victoriesover social and developmental limitations. It was subtle and

assuring elegance and sophistication that reected the

Zimbabwean fashion culture. Regardless of the modern hurdles

the country has had to face, the future of fashion design like a

phoenix experienced rebirth. The growing interest of young people

heavily inuenced the launch of many designers. Having no

background indesign except what was in their heart and spirit, they

pushed forward to provide each other what few externally could

do. Quality fashion.The CEO of the ZimFashion Council remarks

The ower that blooms in adversity is the most rare and beautiful

of all. And it is true.Despite the limitations they had Zim fashion

designers have ourished.Farai Simoyi (NYFW), Maita

Marimo (AFW), Maureen Tsoka (Melbourne Motorola Fashion Show)and others. The future is bright for Zim Fashion.

The House of Alpha Rose is a fashion brand that specializes

in ready to wear, couture and bridal wear. The brand's

designs explore feminine cuts and a sophisticated elegancethat accentuates the female form.

The history of fashion designers show that they are not

merely dressmakers, but artists who apply natural beauty

to clothing andaccessories. Style is not always mainstream

The flower that blooms in

adversit is the most rare

and beautifl of allPlayful in colour,practical in

thought and

classic in cut.Ska, a self taught

designer,Zimbabwe has seen the growth of many

fashion designers, both in the country and

based internationally. Each designer is

uniqueand it shows in the quality of their work. Goddess

by Fatima Jeradi is a brand thatexpresses the inert and

unsurpassable drive to succeed among Zimbabweans.

Goddess by Fatima is bold and stylish. It brings together

women of all ages who have one thing in common,

femininity.

The grace and soft details in evidenced in

the superiority of her tailoring. Fatima has

become a maestro in applying art to fabric

and has much to give the international

fashion industry.

Zimbabwe

houses the

unique jewels

from the Ndau

Collection.

must see in

VictoriaFalls

Alpha Rose pieces are a celebration of womanhood.

Inspiration for the collections is drawn from the beautiful

side of nature, the designers heritage, her encounters with

various cultures and occasional inuences from previous

fashion eras.


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From Chic Afrique to Goddess Gaga Beryl thrives to

bring indulgence through quality and class. Based in a

home studio in Victoria Falls, The Ndau Collection is a

collective of designers from all over Southern Africa,

brought together by a love of African culture, history

and design. Each of their sterling silver, bronze or copper

beads and ttings are made using the centuries old African

lost-wax casting technique, handmade from beginning

to end, resulting in a beautifully soft, curvaceous nish to

their metal work that gives it the feel of the ages of history

it represents. They combine these cast pieces with a vast

collection of beautiful rare antique African Trade beads,

semi-precious and precious stones, natural horn and bone,

exotic leathers and treasures they nd in their travels, to

create their bespoke jewellery and accessories that are a

hallmark in design excellence.

Pieces from the collections are therefore a translation

of diverse cultures, a love for textiles infused with the

designersAfrican heritage. Founded by a self confessed

style addict,the birth of Beryl Rue Couture was a result

of a rebellion against following trends. It became the

mission of the brand to breed collections of statement,

dominance, having authority over clothes and accessories

that are distinctive and inimitable.

Trish Carmen Joseph An independent fashion house that oers

understated yet luxurious clothing pieces for both Men and

Women.TrishCarmen's designs lie in the ability to recognize and

assimulate the continuous change in fashion, constantly setting

the benchmark for the nest standards in quality

The Ndau Collection handmade om beginning

to end, resulting in a

beautiflly


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Y VeravonneBorn 1964), one of Africa's most esteemed writers, has been showeredwith awards and her work has landed on feminist and African studies

curriculums at universities across the world. Vera was born and raised

against the backdrop of faltering colonialism and vicious guerilla

warfare in 1970's Rhodesia, Southern Africa

er childhood was spent watching

men go o to war, many never toreturn, and watching women struggle

Ho survive in a society where being a womanmeant being a second-class citizen at best,

gnored and abused at worst. Vera was just

5 when the guerilla armies triumphed over

he colonialists, and Zimbabwe, declaring

ts independence, was born. As Vera nished

er secondary studies, Zimbabwe was tfully

earning how to be a post-colonial nation.

hough the country's white oppressors had

been shaken o and black men were enjoyingew freedoms, black women were learning

hat freedom would not yet be theirs.

raditional culture kept them down, in the

itchen, in the elds, in the bedroom, quiet

nd submissive. Paraphrasing the title of Vera's

997 book, Zimbabwean women were expected

o keep things "under the tongue," to suer in

ilence. These oppressions--colonialism, racism,

war, and sexism--have fueled Vera's writing.

DUCATED AMIDST REVOLUTION AND

EXISM

Vera was born in Bulawayo, Zimbabwe's second

argest city, on September 19, 1964. Her mother

was a schoolteacher and her father, unlike

many Zimbabwean men, supported his

aughter's education. Even as a schoolgirl, Vera

howed the promise of the future writer she

would become.

According to literature professor

Charles R. Larson writing in The Worldand I, "A love of books was established

before [Vera] began attending primary

school (she could read and

write before her formal education).

Perhaps more important, she began

writing when she was still a child. She

remembers leaving notes and poems

she often wrote for her mother. In

school, other students identied her

as 'the writer.'" Of her early education

Vera told The World and I, "I had anidyllic education in the sense of

landscape. I was rst educated in the

rural schools of Matabeleland. It was

marvelous. We ate, played, slept, and

read under the moon. We had wild fruit

and smoke from res. Then I came back

to the city and attended school in the

townships of Luveve and Mzilikazi." Vera

continued, "This oered a contrast and

introduced me more fully to the urban

African milieu, with all its contradictions

and spontaneity. This was in the seventies,

and all the rumblings of an armed struggle

were about." This contrast between the

beauty of the land and the horror of war

has also become a dominant theme in

Vera's writing.

BECAME A WRITER IN CANADA

Following her secondary education inZimbabwe, Vera traveled to Europe and

encountered Western art and culture.

Art galleries and the cosmopolitan lifestyle

of the cities impressed her. This

experience helped motivate her to apply

to York University in Toronto, Canada.

There she majored in lm criticism and

literature eventually earning a bachelor's

degree, a master's, and a doctorate. She

also penned her rst work, 1992's Why

Don't You Carve Other Animals", acollection of short stories. Of her segue

into the role of writer she told The World

and I, "Writing crept upon me and

surprised me, then I discovered that

I loved the process and art of writing.

It came by degrees, through my ngers to

my body....

I wanted to be a writer and could answer

at airports and immigration points and

borders that I was a writer."Vera was still

living in Toronto when she wrote her rst

novel, Nehanda, a historical novel based

on Mbuya Nehanda's struggle to lead

Zimbabwe out of the clutches of

colonialism.

FEATURE


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Writing crept uponme and surprisedme, then I discoveredthat I loved the

process


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rinda Bose wrote in World

terature Today that Nehanda "speaks to

oth post-colonialism and feminism in the

storical context of Zimbabwe. Nehanda

embodies] the essences of both the hope

nd the despair that mark the story of

mbabwean." Unlike her rst work, which

as published by a Toronto company,

ehanda was published by Baobab Books,

Zimbabwean publisher based in Harare.

his collaboration marked the beginningf a very close relationship between Vera

nd Baobab Books. The company has since

ublished all her works.

hough the loyaltyof this relationship has

lowed Vera to truly explore her themes,

ome critics noted that this same

elationship may have been what has

ept Vera from the international literary

adar for so long. Regardless, the literary

wards that have been heaped upon

er work have declared Vera one of theop African female writers. Nehanda

eceived Second Prize for the Zimbabwean

ublishers Literary Award for Fiction in

nglish and special mention for the

ommonwealth Writers Prize for Africa

egion.

POKE THE UNSPOKEN

With the 1994 publication of Without a

ame, Vera began to explore darker themes,

uch as the tragedies that eect women.

Without a Name details one woman'sruggle during the tumultuous war of

re-independence Zimbabwe. A victim

f rape caught between the ruthless,

acist regime of the colonialists and the

olent uprisings of guerilla ghters, she

ees escape and a new beginning far

om her rural home in the city of Harare.

owever, even worse consequences

wait her there and in desperation she

lls her newborn child and returns to

mourn in her hometown. This novel was

hort-listed for the CommonwealthWriters' Prize.

her third novel, Under

he Tongue (1996), Vera tackled another

aboo subject that gnaws at the hearts of

omen--incest and rape.

As in her previous

novel, Zimbabwe's war for independence

is a major character in the novel. Under the

Tongue won rst prize in the Zimbabwe

Publishers' Literary Awards, was awarded

the 1997 Commonwealth Writers' Prize

(Africa region), and two years later won the

prestigious Swedish literary award

"The Voice of Africa."

Buttery Burning waspublished in 1998 and set in a black township

of Southern Rhodesia in the late 1940s. It is

a bittersweet love story between a young

girl and her much older lover. As he spends

more and more time away on construction

projects, she begins to follow her own life

and is selected to train as one of the rst

black nurses in the country.

When an unwanted pregnancy jeopardizes

her training, she retreats alone to the harsh

land and, with the long thorn of a bush,

performs her own abortion. Of the recurrenceof normally private, painful themes in her

novels, Vera told The World and I, "The position

of women needs to be reexamined with

greater determination and a forceful idea for

change.

In Zimbabwe, as perhaps elsewhere

in the world, there is limited understanding of

each moment of a woman's worst tragedy or

her personal journey. Women have been

expected to be the custodians of our society

as well as its worst victims, carrying on nomatter how hemmed in they feel and how

abandoned in their need." By bringing the

shameful, hidden tragedies that mar women's

lives to the surface, Vera demanded that her

culture change.

BECAME DIRECTOR OF ART GALLERY

During these prolic years, Vera moved back

to Bulawayo. She told The World and I, "I

spent eight years in Toronto trying to grow up.

I nally realized the necessity of my return to

Zimbabwe and my hometown. I have never

regretted it." In 1997 she was appointed

Director of the National Gallery in Bulawayo.

Voicing the challenges of running a gallery in

her hometown, Vera told Radio Netherlands,

"There is no word for gallery in Ndebele, the

local language of Bulawayo.

A love of books was

established beforeVera] began attendingprimary school

The building used to be a huge, half

empty room with paintings. In a country

where as many as 17 people have to live

together in one room, which is maybe 3

meters by 3 meters, all that space was

senseless." With that in mind, Vera has

focused on making the gallery relevant to

the community and to the townships. She

has installed local folk and ne art and

instituted workshops for women and

children.

"The positionof women needs tobe reexamined with

greater determination


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FILM

BEHINDtheSILVER SCREEN

WOMENWOMEN


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w

PLAN HIGH

SCHOOLS DRAMA

COMPETITIONThe Plan High Schools Drama Competition is

arguably one the biggest drama competition

for Secondary and High Schools in Zimbabwe.

The competition seeks to identify and develop

theatrical talent among secondary and high

school students in Zimbabwe. The competition

is funded by Plan Zimbabwe, an organisation

keen on using drama as an advocacy tool for

childrens rights and their protection against

abuse.

THE KEY ELEMENTS OF THE COMPETITION

Student Participation

Student Engagement

Student Empowerment

Student Protection

Creating Stories or narratives relevant

to children and young people.

Creating space and time for play

Protecting the childs rights to createand to participate in cultural activities.

ABOUT THE THEME

Because I Am A Girl Campaign

Discrimination against women and girls is one of the main underlying

auses of child poverty. Both girls and boys have the same rights, but

hey face dierent challenges in accessing them. This lack of opportunitynd care is unfair and unjust.

The campaign supports the girls to get knowledge and skills they need

o earn a decent living to pull themselves and their families out of

poverty.

Child Marriages

Adolescent Pregnancy

Violence in the form of sexual, physical,emotional abuse in and around schools

and homes.

Burden of household chores robs of the

time to study and play like others.

Harmful cultural practices like Chiramu

BARRIERS TO GIRLS

EDUCATION

The feeling among both adjudicators and organisers of the competition is that there is need for schools, especially those that have

qualied for the nals, to revisit their presentations as most of them were found wanting in this area. The core theme was not adequately

ddressed. The bias should be towards the education of the girl child. Plots should explicitly address the barriers faced by the girl childs she tries to attain acceptable levels of education. Schools must also note that the campaign is not about girls ghting boys and men

but rather a ght against social and cultural norms that relegate girls to second and third class citizens. An improved treatment of the

heme is anticipated from all participating schools at the nals in September.

HOW THE SCHOOLS TREATED THE THEME

SPOTLIGHT


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SPOTLIGHT

THE NATIONAL GALLERY

It is also the Gallerys policy to collect and conserve, for the permanent collection, the nest works produced by artists of Zimbabwe

with a regional emphasis and to ensure that art education is encouraged and enhanced by bringing school children and students to

view the exhibition on display throughout each year.The Bulawayo Art Gallery was established in 1970 by a group of artists who

saw the need for an art gallery in Bulawayo. It operated from an old vegetable market at the corner of L. Takawira Avenue and

R. Mugabe Way. On February 4th 1994, the Gallery in Bulawayo ocially opened its newly renovated premises, Douslin House, a

classical example of colonial Edwardian architecture built in 1900. Its historical important to Bulawayo, also made it a tting home

of the Gallery, where valuable works of art are preserved together with the building itself.

After many years of reconstruction and renovation with assistance from National, International and Local sources, Zimbabwes

second Gallery came to being. It is interesting to note that the greatest thrust came from the Bulawayo community itself, which is a

clear indication that the community takes pride in preserving its historical and cultural heritage. The name was also changed to

National Gallery in Bulawayo

IN BULAWAYOThe National Gallery in Bulawayo is a parastatal institution, attached to the Ministry of Education Sport and Culture.The policy of the Gallery is laid down by Parliament in the promotion and encouragement of the visual arts of

Zimbabwe and abroad.

Galleries within the Gallery are named after patrons who pledged monetary support towards the renovation of the building into a

Gallery. The institution consists of ten Galleries with two large galleries being the Anglo - American and the Marshall Baron galleries

on the ground and rst oor respectively. Also on the rst oor are small intimate, inter-leading galleries: Basil Kaufman gallery,

Tirzah gallery, Annie McIntyre Gentile gallery and Cyril Rogers gallery, Marge Locke gallery, Martin Luther King Jnr gallery and the

Rhebe Tatz gallery. Aspects of the permanent collection may be viewed in the small galleries, which also, occasionally host smallscale exhibitions by local and foreign artists, while major exhibitions are mounted in the two large galleries. These spacious galleries

are capable of accommodating large format paintings and sculpture. They are mainly used for holding large one-person or group

exhibitions and these can be national or international.

Although the old wooden oor may creak a little underfoot, a quiet walk through the galleries that make up the National Gallery in

Bulawayo oers the opportunity for calm reection and soothing experience of ART THERAPY.

GALLERIES


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Situated o the main foyer is a well stocked Gallery shop. Its specialty is selling, promoting and marketing art and craft ware from

Matabeleland region. For many years, the Gallery shop has provided a platform where artists and interested parties can benet

from each others world. This is where the art enthusiast who truly appreciates and treasures the creative gift of the artist can realize

his or her dreams and become the owner of some exquisite works. The Gallery shop features works by many of the well-known

visual artists and also provides a platform for young up-coming artists to test public opinion. All works are sold on behalf of theartist. The selection of stone, wood, metal sculpture, wall hangings and paintings, among other items, is spectacular and should be

a must on every art lovers collection.

The shop also carries a broad selection of postcards, art books and journals. These items are hand picked for quality and the Gallery

sta is happy to supply visitors with information concerning items of interest.Village art and craft is a feature of life in all rural

communities throughout Matabeleland. A large selection of these works, pottery, baskets, textiles, jewellery, drums, stools, spears,

walking sticks and masks are always on display. These are representative of culture and tradition of the Matabele people. Every month,

artists and crafts people bring their work to the Gallery for selection. In addition to this, Gallery Ocers visit other Craft Centres

throughout Matabeleland and select the best, genuine and most authentic hand made, traditional works for the Gallery shop.

SABONA SALES SHOP

The National Gallery in Bulawayo oers facilities for holding workshops for both local and international artists. These workshops

provide a platform for artist to exchange and share ideas, techniques and experiences. These may be slide illustrated talks, lm,

video shows or practical workshops. Through these workshops, skills have been cultivated. Visiting and local artists are encouraged

to discuss their workshop ideas with the Gallery administration. This is in line with the Gallerys mission of oering world-class services

and operational services.

WORKSHOP SPACE

A unique feature of the National Gallery in Bulawayo is the artists studios situated along the northern side of the courtyard. The

studios aords visitors the opportunity to meet local artists, to discuss their works and perhaps to purchase a length of handpainted fabric or painting thus providing a platform for high quality visual activity. This enhances the galleries mission of fostering

talent and making it an interesting place to be for recreation. The National Gallery in Bulawayo is there to promote works of art,

be it hand painted fabric, calligraphy, metal sculpture, collage or any other forms of ne art

ARTISTS STUDIOS

The courtyard is the central feature of the gallery complex and the setting for the exhibition openings, concerts, tea or lunch at the

patio cafe. The courtyard doubles up as a sculpture garden, where major outdoor works carved by internationally recognized

Zimbabwean sculptors are on display. This attractive space is in general a wonderful place to meet friends and to relax and reect on

works seen in the galleries.

COURTYARD AND CAFE

It is true that a friend in need is a friend indeed, the friends of the National Gallery provide invaluable assistance to the Gallery

through their supportive programs of fundraising. It is through their eorts, commitment and support that so much development

has taken place in the Gallery. These include among others, computers, the installation of the P.A. systems and renovations. The

major role, which is played by the Friends of the Gallery, is that of being ambassadors of the National Gallery of Zimbabwe in Bulawayo

wherever they go. Friends receive a newsletter, invitation to all exhibition previews and they have free access to the Gallery.

FRIENDS OF THE GALLERY


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FESTIVAL WORKSHOPS & VENUES

This is the second edition of the workshop which started last year (2011).

The two day workshop will look at models of arts management and how

management can improve the running and organisation of the arts sector

n Zimbabwe. The workshop will be conducted by Mr Nicholas Moyo, the

Deputy Director of the National Arts Council of Zimbabwe (NACZ) and afellow at the American Kennedy Centre of the Arts.

Supported by the U.S Embassy the workshop will take place at the American

Corner (Bulawayo Public Library).

Registration fee is $10

ARTS MANAGEMENT WORKSHOP (20 & 21SEPTEMBER)

A one day workshop on the business of arts. The U.K based facilitator will focus on

he potential of the arts as a business, the business opportunities that exist in

Zimbabwe, Africa, Europe and globally. The workshop is supported by the British

Registration is free. (Only 50 participants will be registered for this workshop.)

OPEN DIALOGUE: CULTURAL CREATIVE ENTREPRENEURSHIP

(19 SEPTEMBER)

n conjunction with Amagugu Cultural Village Trust the festival will host a one day

workshop for Arts and Culture teachers. The workshop seeks to capacitate teachers

n ways of using cultural villages as resource tools for teaching purposes and using

an interdisciplinary approach. This will be facilitated by renowned historian and

cultural expertMrPathisa Nyathi.

Registration is $10

ARTS AND CULTURE WORKSHOP FOR TEACHERS

(20 SEPTEMBER)

Targeting young artists particularly students and out of school youths the

workshop will focus on physical theatre as a special genre of performing arts.

Lloyd Nyikadzino, recently returned from a years study in America will facilitate.

The workshop comes courtesy of the U.S Embassy.

Registration is free. (Limited spaces)

PHYSICAL THEATRE WORKSHOP (19 & 21SEPTEMBER)

A two day exploration of artistic trajectories, paths, subjects and content of

visual art works. Leading visual artists to lead the discussions.

VISUAL ARTS WORKSHOP

A talk and discussion on writing and getting published in Zimbabwe.

THE BUSINESS OF WRITING

with no taboos, but ultimately meant to bridge the generation gap.

Free and open to all artists.

THE HOT POT

The American Corner (Bulawayo Public Library)

Bulawayo City Hall Car Park

Rainbow Hotel, Bulawayo

Bulawayo Theatre

National Gallery in Bulawayo

Rainbow Elite 400


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Kwantunthu Arts Magazine August 2012

Documents

Transcript of Kwantunthu Arts Magazine August 2012