adminneed to redress inherited colonial systems of promoting and curating Zimbabwean art which have had a detrimental impact on indigenous patronage and scholarship of the arts.
In an article entitled “The Need to Revamp our Crafts” (March 17, 2012) I looked at ways of re-introducing, preserving and conserving our visual culture, and tangible heritage for posterity.
I also looked at a number of marginalised artists particularly those that are mentally, physically or cognitively challenged.
Prior to our 32nd independence celebrations, I examined the need for an archival artistic museum to document the liberation struggle in both visual and motion picture.
The article “Images of the Struggle” (April 19, 2012) analysed this national obligation.
“Art and Morality” looked at the debate around censorship in socially and culturally offensive imagery shown in Zimbabwe and called for arts administrators to be more discerning in their curatorship of such imagery.
I also looked at copyright loopholes using the example of a French art dealer who now claims ownership of Zimbabwean scrap metal art, who has barred its sale and/or reproduction in certain parts of France.
“The Golden Age of Animation”, an article published in June, was a discourse on Walt Disney’s initial conceptualisation of animation as a comparative study with the new African animation genre that is taking root in Zimbabwe today.
The article was written as a tool to promote and develop the potential of this electronic genre in Zimbabwe in conjunction with the burgeoning African Animation Group headed by Solomon Maramba.
The genre’s potential to become a billion- dollar enterprise and source of employment, cultural tourism, digital conservation and future educational tool cannot be ignored in our digital age.
“Indigenisation, Art and Culture” was an article published early in 2012, in an effort to encourage a Zimbabwean African Renaissance in the consumption, education and development of indigenous content and patronage in the visual arts.
These articles, and others were based on the need for critical development and are a clarion call for financial, technical, social and economic development of the visual arts as a whole.
I have navigated most aspects of the visual arts in my discourse, analysis and newspaper critiques on the state of the arts in Zimbabwe. A brief summary of other published articles in The Herald includes:
- Unravelling the threads of colonised a colonised craft — February, 2012
- Art and culture as indigenous development — March, 2012
- Images of the struggle — April, 2012
- The golden age of animation — June 2012
- The realities of an art career in Zimbabwe — June, 2012
- Art and morality — July, 2012
- Laws on copyright and tourism and touristic landmarks — August, 2012
- Post-colonial performance art — August, 2012
- A case for art studies in our schools — September, 2012
- National art patronage necessary for the survival of art — October, 2012
- The effects of colonialism on contemporary African art and self — November, 2012
- The African dream fulfilled? “A tribute to Nikos Kazantzakis (1883-1957)” — November, 2012
Moreover, during the year I gave several talks and hosted discussions with various groups of local and international art students, the diplomatic corps, law students, science scholars, anthropologists, film cadres, journalists, foreign TV stations and newspapers on various topics on the visual arts in Zimbabwe.
I trust the listing of my critical and developmental articles has contributed to the body of knowledge in the visual arts of Zimbabwe in the public forum of print journalism in the last 12 months.
This writer is, however, merely a conduit between the creators and consumers of the arts. Being a small contributor in a widely read publication, one can only reiterate that it is the artist and audiences who have created the column and added value to the development of the visual arts in Zimbabwe.
Thank you for your criticism, support and disputes.
It is through such discourse that art thrives. Through the efforts of Zimbabwe’s visual artists, known and unknown, the column Art Zone has been able to hold its own.
I am grateful, thus, and indebted, to the custodians of our culture for their support and contribution to the visual culture of the nation Zimbabwe, and to the editors who realised the need for its relevance in our society and published the work throughout the year.
One would wish to reiterate that visual artists and all artists for that matter, rely on the goodwill, support and patronage from the public and Government.
However, enlightened corporate patronage from Zimbabwean entrepreneurs and corporate holdings amongst other members of commerce, industry and society, who are in a position to patronise and promote the art should be more forthcoming in 2013; a development paramount for the development and growth of this important tangible heritage of our nation at a time when we will be in the world’s spotlight.
This writer wishes all readers, patrons and artists a prosperous, creative and fulfilling 2013.
Dr Tony Monda holds a PhD in Art Theory and Philosophy and a DBA (Doctorate of Business Administration) in Post-Colonial Heritage Studies. He is a writer, art critic, practising artist and corporate image consultant.
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