Online Reporter
Trust Khosa-Zimpapers Arts and Entertainment Hub
Hordes of visual artists, curators and learners recently gathered at the National Gallery of Zimbabwe in Harare, enriched by an impactful presentation on the restoration of historical artefacts delivered by University of Zimbabwe art and design lecturer Njabulo Mpofu.
Titled “The Role of War Liberation Images as Postcolonial Narratives: Silent Voices from Zimbabwe and Beyond”, Mpofu’s presentation not only captivated the audience but also addressed significant flaws in the way history has been told.
His insights shed light on the importance of accurately representing historical narratives, particularly those related to war liberation.
This event highlighted the critical role that visual arts play in preserving and interpreting history, encouraging attendees to reflect on their own work and its impact on cultural narratives.
The presentation is courtesy of “Beyond Mayibuye”, a regional initiative by UNESCO and its partners, including the National Gallery of Zimbabwe and Javett-UP, to preserve the Southern African Liberation War Heritage.
The project aims to re-imagine museums and cultural centres as active spaces for learning, dialogue and connection, involving communities, educators, and youth in co-creating and safeguarding their history. It includes developing educational tools, engaging communities, and promoting a deeper understanding of the regional impact of the liberation struggle.
Breaking down the presentation, Mpofu noted that there is a need for engagement among creatives and researchers to address these imbalances.
“The decolonisation of Africa was a multifaceted process, as there was a transition from European-ruled African territories into sovereign states. Similarly, Zimbabwe followed suit by gaining independence from white control.
“The Front Line States (Tanzania, Zambia, Mozambique, Botswana and Angola) provided training bases for Zimbabwean fighters,” Mpofu noted.
In his framework analysis, he focused on how knowledge was produced and disseminated — one that perpetuated Eurocentric viewpoints under postcolonial theory.
“Post-colonial theory aims to create space for alternative epistemologies because marginalised groups’ voices and experiences are excluded from dominant historical narratives.
“The discourse advocates for hybridity, the new cultural identities that emerge from the mixing of coloniser and colonised cultures.”
Mpofu also highlighted challenges caused by the rigid binaries of colonial thought, where images and artworks as visuals will be under the spotlight.
“War and liberation images are narratives, visual records, and interpretive lenses for Africa’s independence.
“They are active participants in shaping collective memory and national identity.
“African artists actively engage with and reinterpret these colonial visual narratives. Artists use art genres to invite reflection on the histories that challenge conventional narratives,” he stated.
He also shared the power of how artistic expressions contribute to a nuanced understanding of post-colonialism through his presentation.
“They celebrate the moments of independence (The Year of Africa) in 1960, when 17 countries gained independence.
“In West Africa, artistic expressions of liberation utilise symbols and motifs from textiles like Kente cloth. In Nigeria, the Benin Bronzes, created by the Edo people, served as powerful symbols of royal authority. These artistic endeavours aim to dismantle the visual world order narrative that perpetuates stereotypical images of Africa. Visual narratives also serve as a powerful tool for giving voice to marginalised groups whose experiences are silenced in historical accounts,” he added.
In the Zimbabwean context, he highlighted how these artistic expressions reflect the nation’s struggle for independence. “These works often convey themes of identity, resistance, and the human condition during periods of profound social and political change.
“Several visual artists have played a crucial role in documenting, interpreting, and influencing this period through their creative expressions. The liberation artworks capture the spirit, experiences, and aspirations tied to the struggle against colonial rule.”
He further cited the images of the Mbuya Nehanda statue as an example of a critical war liberation narrative artwork, commemorating a heroine of the 1896/97 First Chimurenga War.
“She is revered for her role in mobilising communities and influencing the early liberation struggle. Thus, her declaration that ‘her bones would rise again’ became a powerful symbol of rebirth and resistance, inspiring the later Second Chimurenga.”
