Art Review: Matobo Goes Fashion… and Beyond Exhibition A Journey of Heritage and Innovation

The Matobo Goes Fashion… and Beyond exhibition, launched on January 17, 2025, at the National Gallery of Zimbabwe in Bulawayo, is a resounding testament to the ingenuity and cultural wealth of the Matobo District. This groundbreaking showcase marks the culmination of over a decade of efforts to preserve, celebrate, and modernize the artistic traditions of the region, particularly through the work of its women artists. From painted huts to fashion collections, this exhibition tells a powerful story of transformation, resilience, and creative evolution.

 A Historical Canvas The roots of this vibrant initiative trace back to 2010 when the National Gallery of Zimbabwe’s Outreach Program launched the "Gudula" project in Filabusi, Matabeleland South, under the guidance of the late Chief Maduna. This project was the precursor to the celebrated My Beautiful Home brand, which began in 2014 and was led by Veronique Atala founder of EKhaya Gaia Trust brought together a team comprised of Prof. John Knight (Architectural Advisor and Graphics/Writer), Violette Keetui (Writer/Editor), Dr Andre F. Van Rooyen (Environmental Advisor and Photographer), Pathisa Nyathi (Historian, Cultural Advisor, and Writer), Butholezi Nyathi (Workshops Coordinator and Field Researcher), Cliford Zulu (Art Advisor and Curator) to spearheaded the competition in partnerships with key stakeholders, including the National Gallery of Zimbabwe in Bulawayo (NGZB), Amagugu International Heritage Centre (AIHC with backing from local and international sponsors.

Organized annually in Matobo District, the competition has given women a platform to express their creativity, drawing inspiration from traditional motifs. The project’s impact expanded over the years, leading to the preservation and reinterpretation of these designs in other mediums. The initiative’s milestones include: The launch of Preservation of Ndebele Art and Architecture, a publication documenting the region’s rich artistic traditions supported by the US Embassy Ambassadors Fund for Cultural Preservation (AFCP) in 2018, The From Huts to Pots program, supported by the German Embassy, which spotlighted pottery inspired by traditional hut designs in 2023, and now 2025: Matobo Goes Fashion… and Beyond – a landmark exhibition showcasing the transformation of traditional patterns into modern artistic expressions. Matobo Goes Fashion… and Beyond presents a dynamic array of artistic creations inspired by the women of Matobo. The exhibition features: Artworks, Fabric, Fashion and homeware: Intricate designs echoing traditional hut paintings are reimagined in contemporary garments and textiles. 

The use of vibrant colours and bold patterns reflects the cultural legacy of Matobo while positioning it as a contender in the global African print market. Locally the fabric can now be part of identity for the people of Zimbabwe. 

• Pottery and Homeware: Pieces such as flower pots bring traditional artistry into everyday utility, bridging the gap between heritage and modern lifestyles. 

• Furniture and Murals: Architectural elements and furniture designs infused with traditional motifs showcase the adaptability of these patterns across mediums. 

This evolution from huts to homes and beyond symbolizes not only a creative journey but also a deep cultural and economic transformation. Mastery and Community Impact Over the years, the women of Matobo have honed their artistic skills, embracing new forms such as pottery, fashion, and furniture. Their designs now have the potential to compete alongside established African prints while remaining firmly rooted in their Zimbabwean heritage. Beyond aesthetics, this initiative has had profound socio-economic impacts. 

The annual My Beautiful Home competition and subsequent projects have empowered women, providing them with platforms for artistic expression and hopefully, opportunities to earn a livelihood. The exhibition also highlights the importance of community development by ensuring the younger generation is inspired to continue this legacy. As The Collection takes Matobo artistry to new heights, it also raises critical questions about cultural appropriation, copyright, and equitable royalties. Ensuring that the women artists and their communities benefit fairly from their work is paramount to the sustainability of this movement. 

The journey of Matobo artistry, from painted huts to fashion collections, is a testament to the enduring relevance and adaptability of cultural heritage. As commerce and artistry intersect, this exhibition exemplifies how traditional designs can find new expressions, enriching lives and attracting global attention and appreciation for Zimbabwean Cultural and Creative Industries. Matobo Goes Fashion… and Beyond is not merely an exhibition but a celebration of heritage, creativity, and resilience—a tribute to the women of Matobo who continue to inspire the world with their art. It’s a vivid reminder of how deeply rooted traditions can blossom into modern masterpieces, leaving a lasting legacy for future generations. 

Cliford Zulu is an Independent Curator and art critic who works in Bulawayo. As one of the founding members of the MBHand resident of Matobo district, he emphasizes the importance of balancing tradition with innovation. He envisions a future where Matobo designs are celebrated globally while remaining deeply connected to their origins. 

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Exhibition Review: Digital Sphere by Talent Kapadza

Talent Kapadza, a celebrated visual artist based in Bulawayo, embodies a dynamic blend of creativity, ambition, and relentless innovation. Affectionately known as "Pollock" among his peers for the stylistic resemblance of his early works to the iconic Jackson Pollock, Kapadza has steadily carved out a distinctive identity within Zimbabwe’s contemporary art scene.

Kapadza is deeply admired for his fearless experimentation. His work pushes boundaries, exploring new mediums and techniques that set him apart as a trailblazer in Bulawayo’s art community. His dedication to his craft is particularly notable through the installations and by the amount of time he invests in researching his subjects, materials, and artistic influences, elevating his work with depth and meaning. As an artist, Kapadza is not just creating; he is setting the pace for many visual artists in Bulawayo. His ability to embrace challenges is an inspiration for a new generation of like-minded creatives, paving the way for Bulawayo’s contemporary art scene to reach new heights. Beyond traditional canvases, Kapadza ventures boldly into installation art, demonstrating remarkable versatility and comfort with various materials. This fearlessness makes him a daring and unconventional painter unafraid to price his work on the high value and explore new artistic methods. Kapadza appears to be moving beyond the Pollock-inspired abstract expressionism of his earlier years, evolving into an artist with a distinctly original voice. 

His recent exhibition, Digital Spheres, exemplifies his efforts to remain contemporary by integrating digital technology into his work. While this evolution is commendable, the Pollock influence should not be entirely discarded—it serves as a foundational element upon which he builds his unique visual language. Although this review emphasizes the artist’s character, Kapadza’s exhibitions also reflect his bold personality. That said, the current self-curated show under review, diverges from his established identity and style. But practicing in Zimbabwe requires artists to remain innovative and inventive, weaving compelling narratives through cutting-edge artistic expression to stay relevant locally and visible internationally.

Looking ahead, Kapadza shows no signs of slowing down. His ambition to redefine the boundaries of contemporary art promises a future filled with groundbreaking work. It may now be the right time for him to engage more actively with the international art scene, bringing his vision to a global audience. Cliford Zulu’s review captures not only Kapadza’s art but also the essence of the artist himself—ambitious, daring, and deeply committed to his craft. Kapadza represents the spirit of innovation and resilience that is redefining Bulawayo’s contemporary art landscape. The exhibition runs at the National Gallery in Bulawayo until early 2025.

About Cliford Zulu Cliford Zulu is an independent curator based in Bulawayo with over a decade of experience curating contemporary art and design both locally and internationally.

Exhibition Review: Sibambe Ngamazinyo VAAB annual exhibition 2024

Venue: Amakhosi Gallery Curator: Owen Maseko The 35th VAAB group exhibition Sibambe Ngamazinyo, opened on the 21st of December 2024 making the launch of the newly established Amakhosi Gallery. 

While the space itself is a welcome addition to Bulawayo’s art scene, providing a much-needed platform for creative expression, the promising premise fell short in its execution and exposed significant areas for improvement. Curated by Owen Maseko, his multiple roles as VAAB chairman, exhibition curator, and participating artist raise critical questions about the potential for conflict of interest and divided focus. 

The short timeline between open call submissions and the exhibition, left many Bulawayo Visual Artists left out hence the display felt rushed, with little room for refinement. Moreover, the exhibition statement lacked clarity, judging by the exhibited artworks leaving some participating artists uncertain about the central theme and intended narrative. This lack of coherence further created a gap in the audience's engagement with the artwork. The curatorial work suffered from several logistical oversights, leaving visitors without essential context. The lighting was inadequate for a “Gallery-in-making”, with some works poorly illuminated, which detracted from their impact. Such lapses signaled a lack of preparation and attention to detail. The marketing of the Gallery and exhibition was minimal, and it affected the attendance. 

This was a missed opportunity to showcase the new gallery and the emerging artists to a broader audience. For institutions like Amakhosi and the VAAB, an improved marketing strategy would be crucial for future events to ensure higher visibility and community engagement. The trajectory of the annual VAAB exhibitions standards does not appear to be consistently upheld, raising questions about its structure, planning and long-term commitment to its membership. Establishing consistency will be vital for building a recognisable and reliable Association and platform for artists and audiences. While a few seasoned artists participated, the exhibition primarily showcased emerging names. This highlighted the need for more robust curatorial work and mentorship to elevate participation and the overall quality of the exhibition. The absence of 3D works was a noticeable gap, emphasising the need for broader artist engagement to fully represent the diversity of Bulawayo’s artistic community. Since its inception, the annual showcase has historically been a source of inspiration, confidence, and opportunity for many artists in the city. 

Expanding participation to include a wider range of mediums and styles would help maintain its relevance and impact. A Trigger for Freedom of Expression, Amakhosi Gallery will have to offer more than just a physical space—its presence triggers new opportunities for freedom of expression for artists in the region. By breaking away from historical censorship and creating an environment where artistic voices can thrive, the gallery may represent a vital step forward for the visual arts in Bulawayo and beyond.

Despite these shortcomings, Sibambe Ngamazinyo underscores the challenges in VAAB to me the exhibition title translates to “we are hanging by the thread” 

The space is an exciting addition to Bulawayo’s creative landscape, with the capacity to host significant visual arts events. Congratulations are due to the Amakhosi Cultural Centre team for their effort in bringing this vision to life and the VAAB for keeping the artist's dream alive despite the challenges. With better planning, clearer communication, and a commitment to professional standards, future exhibitions at the Amakhosi Gallery can become transformative moments for Bulawayo’s visual arts community. This inaugural effort may have stumbled, but it marks the beginning of what could become a vibrant and influential platform for the city’s artists. 

Cliford Zulu is an Independent Curator working and based in Bulawayo.

Understanding Cultural appropriation in the context of Zimbabwean art and designs

Research project: Understanding Cultural appropriation in the context of Zimbabwean art and designs refers to using elements of one culture by members of another culture, usually without permission or understanding of the original context. In art, this concept has sparked significant debate, particularly regarding issues of power dynamics, respect, and creativity. Appropriation often involves borrowing symbols, motifs, styles, or practices from a marginalised culture, by artists who do not belong to that culture. Some examples include incorporating Indigenous designs, traditional patterns, or spiritual practices into artworks or performances. Historically, art has been influenced by cross-cultural interactions. However, appropriation becomes problematic when it prospers without acknowledgement or respect.

IMG: Andre Van Rooyen

 Key Discussions in Art 

1. Ethics and Power Imbalance:  Critics argue that cultural appropriation reinforces systemic inequalities. Dominant cultures often benefit economically and socially by using elements from marginalized groups, while the originating cultures may face stereotyping or erasure here I am looking at the Njelele shrine for example. 

2. Respect vs. Exploitation:  When cultural symbols carry sacred or significant meanings, using them in art without understanding can be seen as disrespectful.  An artist might view it as a homage, but members of the originating culture may perceive it as theft or trivialization, the rock painting is another example. 

3. Originality and Influence:  Defenders of cultural borrowing such as Galleries etc. suggest that all art draws inspiration from diverse sources and that cross-cultural exchange enriches artistic expression. The distinction between respectful inspiration and exploitative appropriation is a nuanced and a subjective debate. 

4. Representation and Voice:  Another critique is that appropriation can silence voices from the originating culture. For example, when a non-Indigenous artist profits from Indigenous art styles, they may overshadow Indigenous artists working within their own traditions. 

5. Economic Implications:  The economic gains often flow disproportionately to those outside the culture. 

For instance, major fashion brands have been criticized for copying traditional designs without compensating the communities they derive from. Examples in Art and Controversy 

• Fashion: Designers using Indigenous beadwork or Designs from painted huts. 

• Visual Art: Artists incorporating tribal or spiritual iconography without crediting its source. 

 Moving Toward Ethical Art Practices 

1. Collaboration: To avoid this, institutions through their curators and artists need to engage and compensate members of the source culture can lead to respectful and authentic representations. 

2. Acknowledgment:  Giving credit to cultural inspirations and learning their significance reduces harm. 3. Empowerment: Highlighting and supporting artists from the culture being borrowed fosters equity and representation. 

Conclusion: Cultural appropriation in art is a deeply complex issue involving respect, creativity, and power dynamics. While cultural exchange is intrinsic to human expression, it is crucial to navigate these interactions ethically to honour the origins and voices of the cultures involved.

Cliford Zulu is an Independent Curator working and based in Bulawayo, Zimbabwe.

Responding to the BAA statement on the 7th Roil awards 2023

The announcement of the Bulawayo Arts Awards (BAA) for its 7th edition has sparked widespread discussion, particularly concerning the lack of nominees in the visual arts category. As a visual artist and art administrator deeply invested in the growth and recognition of the arts in Bulawayo, I felt compelled to explore this issue further. The BAA’s mission to honour outstanding artistic contributions in Bulawayo and the surrounding regions is commendable. However, the absence of visual artists—a key segment of the creative community—raises significant questions about the inclusivity and efficacy of the nomination process.

I am not sure why the visual artists are not participating in or being represented at the BAAs. Unlike other art forms such as music or performance, visual arts encompass diverse disciplines—including painting, sculpture, photography, and digital art—each requiring distinct recognition. The broad categorization under "visual arts" may inadvertently marginalize these varied practices. Moreover, there seems to be a lack of clarity regarding the nomination process, eligibility criteria, and the role of institutional support from bodies like the National Arts Council of Zimbabwe NACZ/ NGZ and local artist associations. Addressing these concerns is a critical component to broader participation and ensuring that the visual arts are celebrated alongside other creative disciplines.

Awards hold profound significance in the artistic world. Beyond serving as a mark of excellence, they validate the dedication and hard work of artists. Recognition through awards can elevate an artist’s profile, opening doors to new opportunities and inspiring others within the community. Furthermore, awards ceremonies contribute to a sense of unity and pride, strengthening the local artistic ecosystem.

Businesses that partner with such initiatives also play a crucial role. Their involvement not only provides essential financial and logistical support but also offers them exposure and networking opportunities. This synergy between commerce and creativity can significantly benefit both parties, driving cultural and economic growth in the region.

Recommendations for the BAA

To address the gaps and enhance the representation of visual artists, I propose the following: 

Revise the Visual Arts Category: Consider breaking down the visual arts category into subcategories that reflect the diversity of practices, such as painting, digital art, sculpture, and photography. This would ensure that each discipline receives the recognition it deserves.

Clarify Processes and Criteria: Transparency in the nomination and judging processes is essential. Clearly defined eligibility criteria, communicated well in advance, would encourage more artists to participate.

Engage with Stakeholders: Collaborate with institutions like the NACZ, artist associations, and independent curators who already hold data of visual artists to identify and nominate deserving candidates. Stakeholder involvement can enhance credibility and inclusivity.

Promote Participation: Actively reach out to the visual arts community through workshops, information sessions, and social media campaigns. Building awareness and trust is crucial to increasing engagement.

Develop Networking Opportunities: Beyond the awards ceremony, create spaces for artists to connect, collaborate, and exchange ideas. This could include panel discussions, exhibitions, and post-award networking sessions.

Conclusion: The absence of visual artists at the 7th Roil Awards highlights the need for introspection and dialogue. By addressing the structural and procedural gaps, the BAA can become a truly inclusive platform that celebrates the full spectrum of artistic talent in Bulawayo. As an independent curator and art critic, I believe that constructive discussions and collaborative efforts can lead to meaningful improvements in the awards process, ultimately benefiting the entire artistic community.

It is my hope that these insights will contribute to a more inclusive and supportive environment for visual artists in Bulawayo, ensuring that their contributions are recognized and celebrated alongside their peers in other creative disciplines.

Cliford Zulu Independent Curator and Art Administrator, Bulawayo

Ish "The Artist" Marimirofa returns to Bulawayo

Ish Marimirofa is an upcycling artist and craft producer who lives and works in Harare Zimbabwe. Known for his miniature/ assemblage sculptures, that are responding to topical issues affecting Zimbabweans on a daily bases, the versatile artist is showing his mixed media collection of art and crafts. Ish has this lovely technique of using wire as a line on a painted surface and the finish is unique because of its 2D with rich texture, his use of wire extends to sculptures combined with various materials like wood glass and plastic. Ish Returns to Bulawayo to showcase Once-Upon-A-Time: A Nostalgic Feeling an exhibition pushing new narratives and imagining upcycling and assemblage work as futuristic, anthropomorphic miniature forms of art made from wood, wire and plastics. In October 2022, Ish took a bold step in his practice by participating in the Hlanganani/ Sanganai Expo at the Zimbabwe International Trade fair and he walked away with an award affirming his practice in the big stages of Zimbabwean markets. In 2023, Ish "The Artist" is presenting a solo exhibition, and launching his professional career as one of the artists making use of discarded material into aesthetic works of art by repurposing and extending the life of materials creating worthwhile, which will be cared for and admired by many. The exhibition is an ongoing series or works under the Once Upon A Time theme and his understanding of Martials, and a great degree of skill and imagination makes him one of the assemblage artists to lookout for in this country. His Harare home studio/ gallery is a great starting point to understand his thought process which amplifies the Climate Change discourse with an interesting and careful depiction of political social issues in the country.

IMG: Investing into eternity- found objects Art has the power to inspire action. I’m glad to see Environmental Management Agency (EMA) and other business establishments supporting this exhibition which is taking us to a place and time we once was and at the same time damaging action to the issues to do with the environment highlight the problem and open conversations to bring about change. His work is intricate with many artworks pieces assembled to create unique pieces. Ish began exploring art while he was in formal employment with a big retailer in the country, and developed a passion for up-cycling experimenting with various materials with incredible skill that has turned discarded everyday metal items into the most breath-taking sculptures of, people, musical instruments and more. I particularly love his work titled “Investing into eternity”, and “I second the motion” which focused topical political issues that are current in Zimbabwe. Ish says “The last few years have taught me that when it is our time to leave this world no one can stop it. We have one life to live. The material things we invest in are left behind only to be discarded. Memories are important to me. Follow his work on https://www.instagram.com/once_upon_a_time_ish/ Marimirofa’s work is like a sing along song, colourful and eye-catching one can relate to each artwork, hence the exhibition title. A Nostalgic Feeling. the exhibition is showing at the 22 September to 22 October 2023. Cliford Zulu is an independent Curator who works in Bulawayo

In the contemporary landscape of urban living, art has evolved far beyond mere aesthetics; it has become an essential part of communal expression, identity, and societal growth. For cities like Bulawayo, this role is even more critical. However, the lack of robust support for artists and cultural initiatives poses a significant threat to creativity and cultural vitality in the region.

Art serves as a conduit for connection, enabling diverse communities to engage, reflect, and navigate complex social and political issues. Despite its historical significance as a cultural hub, Bulawayo faces challenges that hinder the integration of art into its future vision. Over the past two decades, cultural spaces that once thrived have fallen into disrepair. Public art initiatives and artist-led projects have been sparse, and the absence of consistent municipal support has left creative voices underserved.

While some progress has been made—notably, the renovations at Bulawayo Home Industries and Stanley Hall—questions linger about the sustainability and long-term relevance of these efforts. The establishment of an office for Art, Culture, and Heritage administration is a positive step, yet the city’s artistic community needs a dedicated department with the resources and expertise to nurture the arts comprehensively.

Why Art Matters for Bulawayo

Art is not just a cultural asset; it is also an economic driver. Cities that prioritize art and culture see tangible benefits: increased tourism, thriving local businesses, and enriched community life. Art transforms spaces, making them more vibrant and appealing, and creates opportunities for local talent to flourish. By setting platforms for artistic expression, Bulawayo can elevate its cultural profile nationally and internationally.

Art also acts as a universal language, bridging divides and preserving collective memory. In a city as diverse as Bulawayo, it provides a powerful means to foster inclusivity, understanding, and solidarity. Yet, artists from marginalized communities often face systemic barriers, including limited access to resources and opportunities for civic engagement. These obstacles prevent their representation on broader stages and stifle their ability to contribute meaningfully to the city’s cultural narrative.

The Role of Civic Support

To truly harness the transformative power of art, the city must take an active role in supporting its artists and cultural spaces. This involves:

1. Expand the current Cultural Office to a Department: A department focused on arts and culture would centralize efforts to support artists, organize events, and maintain public art spaces.

2. Providing Financial Support: Grants, sponsorships, and public-private partnerships can fund artist projects and maintain cultural venues.

3. Integrating Artists into Civic Engagement: Involving artists in planning processes, community development projects, and public dialogues can promote inclusivity and innovation.

4. Revitalizing Cultural Spaces: Investing in the restoration and modernization of venues like theatres, galleries, and community halls can create vibrant hubs for artistic activity.

A Call to Action

Bulawayo has the potential to become a beacon of creativity and cultural expression. To achieve this, both the city and its residents must commit to supporting the arts. This includes policymakers prioritizing cultural funding, businesses investing in local artists, and citizens attending exhibitions, performances, and workshops.

Moreover, the city should actively seek to incorporate marginalized voices into the cultural conversation. When artists are empowered to tell their stories and shape public spaces, they contribute to a richer, more inclusive cultural landscape that benefits everyone.

By recognizing the transformative role of art and taking deliberate steps to support its growth, Bulawayo can reclaim its status as a cultural capital. Together, the city and its residents can build a thriving art scene that reflects the spirit, resilience, and creativity of its people. This is not just an opportunity—it is an imperative for the city’s future.

Cliford Zulu is an Independent Curator and Artist working in Bulawayo

Bulawayo Emerging Artist Spotlight: Langelihle Buhle

In April, I had the pleasure of chatting with a dynamic young creative in Bulawayo who is making waves with her groundbreaking project. Langelihle Buhle, a proud multidisciplinary artist from Nketa, “elokishini,” is steadily carving a name for herself in the city’s vibrant art scene. As a fashion designer, author, and visual artist, Buhle embodies the spirit of innovation and resilience. Her journey began at the tender age of six when a friend introduced her to drawing. That early encouragement blossomed into a lifelong passion for art. By 14, she was exploring various materials under the mentorship of Dumisani Ndlovu, a veteran printmaker and resident artist at the National Gallery of Zimbabwe in Bulawayo. Ndlovu introduced her to painting, and his guidance helped shape her artistic foundation. Though often questioned for her multidisciplinary approach, Buhle found her unique voice by merging her talents. Her work on fabric has become a cornerstone of her practice, bridging her interests in visual arts and fashion design. Her medium of choice includes acrylics and oils on hard-to-absorb fabrics like Ankara and animal skin. These materials, rich in texture, provide an ideal canvas for her experimentation. Buhle draws inspiration from the sun—a fitting muse, as her name, Langelihle, means "Beautiful Sun." The sun's changing shades infuse her work with light, warmth, and vibrancy, evoking powerful emotions. On April 26, 2023, Buhle showcased her artistic versatility with Ignite the Light in You, a creative project that highlighted her diverse talents. This ambitious event, supported by the Alliance Française de Bulawayo, included the launch of her book A Resolute Dynamite, a collection of her latest paintings, and a fashion show. The well-attended event left audiences mesmerized by her multifaceted artistry. Beyond her work, Buhle finds joy in sharing her creations with those who support her journey. She thrives on curiosity, constantly seeking knowledge and embracing growth. Her addiction to multitasking reflects her relentless drive to explore the depths of her creativity. As an architect by profession and a relentless innovator at heart, Langelihle Buhle is a rising star whose light promises to shine far beyond Bulawayo. Her story is one of courage, versatility, and the transformative power of art. Cliford Zulu is an independent Curator working in Bulawayo

Bulawayo Arts Awards 2021 - Bekumnandi

It was clear that that the Bulawayo Arts Awards (BAA) were determined to push ahead and worked around hosting the 5th Bulawayo Arts Awards ceremony in the middle of a pandemic and the economic challenges that the city of Bulawayo continues to experience. By staging a multi-level awards ceremony, sponsored by United Refineries using its Roil brand. Guests came through in support of the 2021 edition. Arriving at the large city hall the traditional venue of the awards, it was another usual Saturday evening in Bulawayo as people went about their business.

With very little public performances in 2020 and 2021, it was mind-boggling to me how the decision to host the awards was arrived at. Could this have been a business decision or a Bulawayo creatives decision?   How “Bulawayo” are the Bulawayo Arts Awards for who by who?

Entry to the venue was simple and easy, the red carpet event hosted by Red Carpet team of Farie Jules Calvin Madula and Spanchie Omnyama mirrored an opulent time and space, as Bulawayo people dressed by local designers and self-styled guest, nominees, and sponsors posed for photos and interviews. So why “red” and who is supposed to walk on the "red carpet" could this be the best time our weavers start designing our Bulawayo carpet? 

The sitting arrangement was relaxed enabling interaction with sponsors, partners, paying guests and nominees. It was a good networking space across the creative sector in Zimbabwe and beyond the borders. Our city fathers enjoyed the event high up from the comfort of the interior balcony. It is a commendable and well-deserved gesture from the City of Bulawayo to avail the Large City Hall for this event. The poor lightning at the back of the hall and the dark parquet floors and a flooded men’s toilet signaled that it’s time to look into a contemporary space.

     

The main stage host Q. Dube, together with Charmaine Mudau kept the event flowing smoothly capturing the attention of the guests, and coordinating well with back stage. The choice jokes from the comedian could have been well thought, especially for an all-inclusive event like the BAA, kodwa they were both on point. I had a bit of a challenge with names of the great performers. 

The technical team managing audio visuals and sound were equally on point with a well sychronised script with the performances and award presenters. It’s time that our talented graphic designers develop home grown visuals to compliment events of this nature, I suppose it’s a question of quotations not matching the budget. For an indoor event the combinations of Lekos, PAR and Intelligent Lighting could be toned down since it was a multi-performance event, however the lights were professionally controlled sharp and crisp. 

We were informed that the 2021 event was organized in 3 parts allowing the organisers to compress the whole presentation and conform to the COVID-19 curfew, seeing uniformed low enforcement agents on stage in the previous edition was disturbing and crushing for everyone. The downside for me on the 3 part event was balancing the prominence of the nominees. Managing practitioners in that manner may have serious consequences to the future.

A well-presented live performance and encompassing new talent on stage was beautifully choreographed and the live band was amazing. Certainly, Bulawayo has talent but lacked originality that Bulawayo touch, perhaps a challenge to content creators. Surely, we can’t be reminiscing on the music of Lovemore Majaivana, Ilanga, Dorothy Masuku we need new legends. I must say Skhosana is the new “Bulawayo” dude, I have not had a chance to listen to his music but from what I read from Zenzele Ndebele’s FB page, and yesterday’s performance of Intethe song, I am keen to read more about him. So ngubani uSkhosana?

The actual presentation of awards was marvelous and energetic the list of nominees and eventual winners will take another review. There is so much happening in Bulawayo in terms of the Arts, Culture and Heritage. My understanding of ama awards   is that it’s a ceremony like BAA should make creative people feel that their work is valued. Like, some kind of approval and validation for a good job, and it makes people aware that good work can be rewarded. I think that recognition motivates people to support talent, what I witnessed is that the "people" were missing even though the event was streamed live. Bulawayo artists seem to be very supportive of each others acts, so much that they make up 60% of nonpaying audiences. We may need to find other ways of presenting our productions. I have noticed recently that street performances in Bulawayo generate a lot of street audiences and they do offer cash on the go. Now, how do we move forward in building up on these new audiences? 

Any way here is a full list of Roil Bulawayo Arts Awards 2021 Winners 

Outstanding Song of the Year: ‘For Me’ – DJ Zandimaz

Newcomer of the Year (All Genres) : Sandra Sibanda

Outstanding Male Artist of the Year : Msizkay

Outstanding Female Artist of the Year : Vuyo Brown

Outstanding Hip Hop Artist/Act : Awa

Outstanding Kwaito/House/Gqom Act : Mawiza

Outstanding Alternative Music : Thandy Dlana

Outstanding Gospel Artist/Act : Mai Mwamuka

Outstanding Imbube/Acapella Group/Act : Focus Accapella

Outstanding Tshibilika/Rhumba Act : Insimbi Zezhwane

Outstanding Music Producer : Nashville 

Outstanding Music Video : ‘Induku Enhle’ – X Mile

Outstanding Radio DJ : Nomalanga Nyathi – ZIFM

Outstanding Club DJ : DJ Mzoe

Outstanding Dance Ensemble : Geek Twins

Outstanding Female Dancer : Dorcas Ngwenya

Outstanding Male Dancer : Hebson Ncube

Outstanding Arts Journalist : Mthabisi Tshuma – The Chronicle

Outstanding Arts Photographer : Sadee LensWorks

Outstanding Online Media : Ekasi Magazine

Outstanding Theatre Actress : Musawenkosi Sibanda

Outstanding Theatre Actor : Cadrick Msongelwa

Outstanding Theatre Production : Bhalagwe Is Burning by Victory Siyanqoba

Outstanding Comedian : Zwe Hlabangana

Outstanding Poet : Desire Moyo

Outstanding Literary Work – Fiction : All Come To Dust by Bryony Rheam

Outstanding Literary Work – Non-Fiction : Our Food, Our Heritage, Our Culture by Makhosi Mahlangu

Outstanding Ndebele Literary Work : Ngubani Owabulalala uDube by Mihla Sitsha

Outstanding Fashion Designer/House : A Tribe Called Zimbabwe

Outstanding Model : Ben Chest

Outstanding Ambassador (worldwide) : Vusa Mkhaya

Outstanding TV Production/Programme : Mjolo FM – Byo Memes

Outstanding Short Film : Figure It Out – Nkosilesisa Ncube

Outstanding Film/TV Actress : Lee Mchoney – Wadiwa Wepamoyo

 Outstanding Film/TV Actor : Leroy Mthulisi Ndlovu – Figure it Out

Life Achievement Award : Ebba Chitambo

People's Choice Award : Mai Mwamuka

Source BAA FB page #RoilBAA21

Until the awards statement are redefined, it is my personal view that they are not inclusive, multi-disciplinary arts awards that recognise and honour exceptional individuals and collaborative artistic efforts in the city of Bulawayo. However they are the best awards organized in the southern part of the country to date, stimulating conversations about the arts in Bulawayo. To get there, it will take everyone to come to the table.

For me it was good to be out again, and I am looking forward to reviewing, documenting and archiving Arts and Cultural events. Please note that I am writing in my personal capacity with a visual arts background (feel free to edit the text), people love that.

Cliford Zulu

Independent Curator

7 November 2021

Reloaded and Moving on

Dear Friend, 2020 was a pivotal year, not just for me, but for many in the Culture and Creative Industry (CCIs). Zimbabwe's challenging economic and political climate, coupled with the decline of our tourism sector, has made it increasingly difficult for artists to thrive. For those of us who rely on our artwork as a primary income source, this has been a stark reality. As I navigated these turbulent times, both as an employee of the National Gallery of Zimbabwe and as an artist, the onset of COVID-19 unexpectedly reignited hope. Digital platforms became a lifeline, offering new avenues to reach clients and audiences. It’s incredible to reflect on how technology has opened up opportunities to connect with buyers and enthusiasts globally, even when local markets dwindled. Like many artists in Bulawayo, my training was tailored to serve a thriving tourist market. When that market collapsed in the early 2000s, it forced many of my peers to emigrate or abandon their craft altogether. My own journey took a different turn. In 2006, I was invited to join the Friends of the National Gallery of Zimbabwe in Bulawayo, leading the Visual Arts Development and Outreach Program supported by HIVOS. This role allowed me to nurture my passion for art while finding ways to sustain myself. Platforms like Facebook, Twitter, and Instagram have been instrumental in reconnecting me with the global art community. They’ve also revitalized my practice, inspiring me to chart new paths forward. Today, I’m excited to share two projects that have become central to my creative journey: Centre for Contemporary Arts Bulawayo (CCAB): This initiative embodies my work as a curator and arts administrator, fostering collaboration and innovation in Bulawayo’s vibrant art scene. Zulunlimitedart: This is my personal studio project where I showcase my work as a sculptor, carver, and scrimshaw artist. It’s a space where my artistic voice truly comes alive. The past five years have been a period of immense growth. While being an institutional curator was a role I deeply cherished, my dismissal in June 2021 became a turning point, prompting me to refocus on my independent projects. I’m thrilled to be dedicating my energy to CCAB and Zulunlimitedart, both of which reflect my evolving identity as an artist and curator. I’ll continue to share updates on these projects here, but I also invite you to follow my journey on Facebook, where I share more about my work and experiences. Let’s stay connected and keep the conversation going. Warm regards, Cliford Zulu

Echoing Silences by Andreas Wutz

Zimbabwe as a metaphor

Echoing Silences is an interdisciplinary art and exhibition project on the history of violence using the example of the Zimbabwean Liberation War and its traumatic aftermath on a postcolonial African society. The project examines and mirrors this history of violence, such as the Crocodile Gang guerrilla attack, through image and text materials from the fields of botany, geology, paleontology, and archeology of everyday private objects. The exhibition includes photographs and texts, film and video projections, a library, a film program and introductory artist talk with Cliford Zulu, the curator of the National Gallery of Zimbabwe, who has been a guest at the Ebenböckhaus in Munich for a month.

Artist Andreas Wutz, working between Munich and Bilbao.