adminactors and musicians to the HIV and Aids pandemic in Harare alone in less than a decade (1994-2000). That was my last head count, but sadly we know that there are more unrecorded cases.
But while the number may appear small in comparison to the entire population of 11,4 million (2009 census), for the arts fraternity this loss represents a stupendous blow to the small burgeoning cultural resource base.
The fact that many of these deceased artists would have otherwise made a significant contribution to the arts sector in Zimbabwe today is lamentable.
Art Teachers On HIV And Aids
Ironically, despite lessons and warnings from the artists themselves in songs, books, paintings and sculptures on the fatal consequences of promiscuity and indulging in unprotected sex and the social and mental strain of HIV and Aids pandemic – there is glaring evidence that many visual and performing artists may not have heeded the call to adopt a culture of monogamy (which is normal and decreed by God).
Nor have they embraced sexual behavioural change, which has and is published and broadcast daily in both, print and electronic media by the NAC, WHO, PSI and other concerned anti-Aids lobbyists.
Artists Against Aids
“Musicians Against Aids Zimbabwe” sang “Chenjerai”. Chimurenga music maestro Thomas Tafirenyika Mapfumo prophetically sang “Hecho chauya chirwere chiye – Mukondombera”. Sculptor Dominic Benhura gave a sympathetic ear to socially ostracised HIV and Aids patients in his famous
award-winning stone sculpture “Our HIV Friend”.
The late master sculptor Nicholas Mukomberanwa exhibited a powerful sculpture entitled “Spirit of Illness” © 1995 at his 21 March, 1995 “My Spirit and I” Retrospective Exhibition of his works (1992-1995).
It was a picassoesque-cubist double-faced female’s head, pretty vivacious and innocent on one side and devilishly contorted on the opposite side.
Similarly, the late visual artist Ishmael Wilfred of Tafara painted “Ghosts in My Flesh – The Illness” © 1994, in haunting primary colours – alluding to HIV and Aids. Even more poignant was the painting “Born to Die” © 1995, by Richard Malangala, which makes reference to infant mortality and the mother to child transmission of the disease.
His startling print work was a lamentation and warning to artists and peers on the dangers of the Aids pandemic.
The incredibly gifted and prolific painter and colleague, the late Luis Meque painted a work entitled “Sandrock II” © 1995 (NGZ). The painting depicted a notorious Harare city café in the 1990s where many “ladies of the night” pretending to be patrons prowled and preyed on successful young and rich artists who sold well during art exhibition sales in during those times.
Luis, himself was a victim of the scourge in pre-ARV (anti- retroviral) medication days – DEATH WAS SWIFT. Lee Ann Dixon’s photographic art “Stop the Rot” © 1994, showed an Aids patient with the upper back speckled with kaporsis sarcoma – a cancerous tumour and opportunistic disease linked to HIV and Aids.
More notably, the Zimbabwe International Film Festival produced a series of short film projects screened on ZTV.
One of the films starred actor, novelist, director and playwright Walter Mparutsa as an ailing father whose daughter (a young secretary) paints the town red in order to raise money for the family. Tragically, the daughter becomes a sacrificial lamb and dies of Aids.
Lastly, a print etched by a 26-year-old art student entitled “Fast Love in the Avenues” (2010) is a graphic illustration of the “oldest profession” – showing ladies of the night stripping to lure client traffic in Harare’s Avenues.
The work of art is ironic and has a double-entendre – it depicts a member of the police force in the act of “pimping” and receiving “protection money” from a prostitute.
The work of art was denied public exhibition because of its controversial content – THE TRUTH HURTS!
These artistic works are proof of the artists’ role in community development, education, improving health awareness and the awareness of the consequences of contracting HIV/Aids.
The works prove that art can be intrinsically functional as a public educational tool to influence behaviour change and curb promiscuity in our society.
The latest HIV/Aids statistics show that the 15 to 24 age group accounts for 41 percent of new HIV and Aids infections, and that Zimbabwe has a 14,6 percent HIV and Aids prevalent rate.
It is therefore pertinent for both, visual and performing artists to take heed of this pandemic and prevent further spread and contraction of the disease.
The old sayings “Stick to one partner”; “Life is precious”; “Stay focused” still apply to us all.
- Dr Tony Monda holds a PhD in Art Theory and Philosophy and a Doctorate in Business Administration (DBA) in Post-Colonial Heritage Studies. He is an author, art critic, and art consultant and practising visual artist.
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