Will there be a fourth generation of stone artists?

artists in Zimbabwe?” The question was very crucial, timely and insightful, I thought.
Never before had that question been raised as far as I could tell. This was much so because over the past years the generations seemed to find their way and place with ease and artists would fit just like in a jigsaw puzzle.
Why ask the question now was my first thought. Is there any threat to the future generations?
For the past five decades Zimbabwe stone artists have been categorised into generations not mainly according to one’s age but solely on the basis of the period one started working with stone.
This can best be explained by the fact that Kakoma Kweli belonged to the second generation yet he was born in 1928 and Fanizani Akuda belonged to the first generation yet he was born in 1932.
The simple fact that Fanizani started sculpting in 1967 and Kakoma 20 years later in 1988 makes a very big difference and that difference is best explained by these generations.
Another example can be that of Thomas and Dominic Benhura. Thomas was born in 1948 and Dominic in 1968 yet Dominic belongs to the second generation and his elder brother belongs to the third generation. Again this is so because Dominic started working with stone in the early 80s before his brother became an artist.
The list goes on, interestingly with emphasis being put on the period the work was started rather than on one’s age and this makes everything so beautiful and meaningful.
Without doubt these generations are the vital centre if ever one is trying to write down the history of stone art and artists in Zimbabwe, be they anthropologists, art critics, collectors, historians or students of art.
A generation roughly covers a period between 10-25 years. So the first generation covers roughly from 1950-1970s, the second from about 1980-1990 and the third from about 1991-2000.
With the history of these past generations clearly recorded we always refer to them time and again because they have been correctly recorded. We don’t argue whether Lazarus Takawira or Tapfuma Gutsa belong to the first or second generation because that history clearly shows that they belong to the second.
We know that Henry Munyaradzi, Bernard Matemera, Nicholas Mukomberanwa, Fanizani Akuda, Joram Mariga, Edward Chiwawa, Boira and Richard Mteki and others belonged to the first generation.
Artists who were enthusiastic and experimental graced the second generation.
These were the artists who took a different way from the usual by introducing a lot of movement and mixed media. The artists who were very patient and worked very hard to attain everything they have. These are the same artists who finished their works with the highest degree and precision. We can talk of Dominic Benhura, Gideon and Agnes Nyanhongo, Anderson Mukomberanwa, Fabian Madamombe, Eddie Masaya, Mike Munyaradzi, Joe Mutasa, Tapfuma Gutsa, the late Colleen Madamombe and others.
The third generation followed with some vigour but not with the same impact as the second generation. Artists like Lawrence Mukomberanwa, Vengai Chiwawa, Euwitt and Wellington Nyanhongo, Perlagia Mutyavaviri, George Mubayi, Daniel Baradza, Elvis Mamvura, Samkele Mhlaba, Godfrey Kututwa and others graced the generation.
Generations have without doubt played a crucial row and we just wish they shall continue to do so, but the crucial question still standing is: “Is there going to be a fourth generation?”
The fourth generation is supposed to be somewhere between 2001 and 2010. Eleven solid years have now gone and things are not yet very clear as to the identity of this generation. The most interesting yet so funny fact about all this is that the artists who are supposed to occupy this generation are out there working very hard. Evidence to suggest that artists who are supposed to take the lead in this fourth generation are out there is that new artists are introduced to this trade each year.
The actual fact is that there is something hindering the identification and recognition of the fourth generation and that has to be identified. Let us discuss some of those things and let us also take the opportunity to identify attributes that can make a generation take its stand.
This will work as a litmus test in helping us understand if ever we are going to have a fourth generation and its history recorded and if ever we are going to secure the future generations too.
To be continued next week