Is the City of Bulawayo Killing Visual Arts Development?

 A Call to Rethink and Recommit to the Creative Economy.

Author: Cliford Zulu | Date: 30 May 2025 | Bulawayo Zimbabwe

1. Introduction

At the heart of Bulawayo’s cultural and artistic heritage sits a once-thriving institution: Mzilikazi Art and Craft Centre. For decades, this public facility stood as a beacon of skills development, artistic mentorship, and creative expression. Today, however, it lies in a state of disrepair, dysfunction, and disregard. No relevant lessons are being conducted, no artist residencies are supported, no meaningful public programs are visible. It appears, part of the Centre is being repurposed, effectively shutting out the very community it was meant to serve.

The City of Bulawayo’s inflexibility, is not just negligence — it is tantamount to cultural erasure.

2. The Situation at Mzilikazi Art and Craft Centre

• The Centre is dilapidating, with critical infrastructure in disuse.

• No meaningful or relevant educational programs or studio support is currently offered.

• Artists, mentors, and organizations willing to volunteer are not supported.

• Offers for partnership, leasing, or public-private collaboration have been repeatedly rejected by the City.

• Meanwhile, other public spaces (like beerhalls and recreation halls) are quietly leased out to non-cultural ventures, often to people not native to Bulawayo.

3. A City Turning Its Back on the Arts?

Is the City of Bulawayo deliberately dismantling its own visual arts sector, or has it simply lost the political will and vision to support creative development?

Elected councilors — many from wards where artists reside — seem to be silent or uninformed. Bureaucratic gatekeeping and opaque municipal processes have led to a breakdown of trust between the city and the creative community.

4. Impacts of Neglect

• Loss of Youth Engagement Opportunities: At-risk youth who could benefit from creative mentorship and skill development are left behind.

• Stifled Talent: With no access to studios or training, young artists are trapped in precarity.

• Brain Drain: Talented creatives leave Bulawayo or give up entirely, weakening the city’s cultural capital.

• Economic Stagnation: Visual arts and crafts are not just cultural, they are economic drivers. The neglect of arts infrastructure directly undermines Bulawayo’s potential for cultural tourism, creative jobs, and international funding.

• Community Disempowerment: Public assets like Mzilikazi Centre are being withheld from public benefit, while unaudited decisions hand space to ventures that are commercial or unrelated to community development.

5. The Ask

I am looking to engage like mind citizens to:

• The establishment of an open leasing/partnership model for creatives and organizations willing to rejuvenate the Centre.

• Inclusion of artists in municipal planning on the use of community youth centres and cultural spaces.

• A City Arts Policy Framework that clearly outlines how Bulawayo supports, funds, and protects its cultural sector.

• Public forums to gather community views on creative infrastructure priorities.

6. What’s at Stake

This is not just about one building or sector. It is about whether Bulawayo still values its artistic soul, what is the role of the Arts Culture and Heritage Department.

Mzilikazi Art and Craft Centre is symbolic of a broader failure. With dozens of unemployed yet talented creatives, and hundreds of young people needing inspiration and purpose, now is not the time for silence or sabotage.

I am urging councilors and municipal officials take responsibility — or be held accountable at the next ballot.

7. Policy Blind Spots: Are we still aligned?

Should  we start interrogating if the city's existing policies on arts and culture are still relevant:

• When were they last reviewed?

• Do they still reflect the needs of today’s creative community?

• Are they inclusive of contemporary art practices and youth innovation?

• Is the Department of Arts, Culture, and Heritage actively engaging artists in shaping these policies?

8. A Way ForwardI propose a multi-stakeholder rescue plan for Mzilikazi Art and Craft Centre led by:

• Independent curators and educators.

• Local artists and arts collectives.

• Community leaders and youth groups.

• Cultural development partners and NGOs.

• The City (as facilitator, not gatekeeper).

This approach can turn a dying institution into a model of urban creative renewal. What happened to the plan of turning Mzilikazi Art and Craft into a university?

9. Conclusion: A Call to Debate

Calling on:

• Ward councillors to speak publicly on this matter.

• The Mayor to convene a roundtable with artists.

• The public and press to hold the city accountable.

Bulawayo cannot speak of heritage, pride, and progress if it buries its artists and kills its institutions.

Let the public debate begin. Khuluma lawe.

About the author: Cliford Zulu is a multifaceted sculptor, carver, and arts administrator based in Bulawayo, Zimbabwe. With a career deeply rooted in the local arts scene, Zulu has participated in numerous exhibitions that have shaped his artistic practice and expanded his creative vision.

A staunch advocate for the visual arts in Bulawayo, Zulu plays a pivotal role in elevating the profile of local artists and fostering a vibrant and collaborative arts community. His dedication to a contemporary curatorial practice has enabled him to bring diverse artistic perspectives to Zimbabwe while positioning Bulawayo as a vital hub for contemporary art.

As a leading figure in Zimbabwean art Development, Zulu has been instrumental in celebrating and preserving traditional art forms, blending them seamlessly with modern aesthetics bridging cultural heritage with contemporary innovation, fostering creativity, and enhancing community pride.

Zulu has curated numerous exhibitions locally and internationally, consistently creating platforms for both emerging and established artists to connect with broader audiences. His work extends to his current role as the founder/ Curator of the Centre for Contemporary Art Bulawayo (CCAB). At CCAB, Zulu champions initiatives that promote green art practices, embrace technological integration in the arts, and elevate the visibility of Zimbabwean contemporary art on global platforms. Cliford Zulu continues to inspire a new generation of creatives while strengthening the cultural identity of his community.

Wena Uthini

Disclaimer
This is a personal campaign initiated and authored in my individual capacity. The views, concerns, and convictions expressed herein are based on my personal experience, observation, and commitment to the development of the visual arts in Bulawayo. They do not represent any institution, organization, or collective unless otherwise stated. This effort is driven solely by my passion for the revival and sustainable future of the Arts in Bulawayo and Mzilikazi Art and Craft Centre and should be understood as a call to constructive dialogue and collective responsibility, Ngiyabonga. 

M: +263772896508

E: cliffzuluus@gmail.com

Exhibition Review: *Imaginary Trip Part II* by Gosette Lubondo at Alliance Française de Bulawayo

On Friday, 4 April, I had the privilege of previewing Imaginary Trip Part II, an itinerant solo exhibition by Congolese photographer Gosette Lubondo. Hosted on its final leg at the Alliance Française de Bulawayo, the show—presented in collaboration with the Musée du Quai Branly - Jacques Chirac in Paris—offered a striking visual narrative that blurred the lines between memory, imagination, and historical documentation.

Lubondo’s work is deeply rooted in the exploration of collective memory, particularly in relation to colonial and post-colonial histories in Central Africa. Experiencing this exhibition transported me back to childhood reflections, making me think of how so many buildings and social activities in Bulawayo have lost their original meaning and purpose.

Imaginary Trip Part II continues Lubondo’s signature style of staged photography. She reanimates abandoned spaces—such as schools, railway stations, and colonial-era buildings—by placing solitary figures within them, often young women dressed in school uniforms. These hauntingly beautiful images evoke a profound sense of nostalgia while interrogating the enduring weight of history on contemporary identity.

The title itself suggests a voyage—not only geographical but also temporal. Through her lens, Lubondo guides viewers into liminal spaces where the past lingers and the future remains uncertain. Her use of natural light and muted tones enhances the dreamlike quality of each scene, making the images feel like fragments of a half-remembered dream.

The collaboration with the Musée du Quai Branly - Jacques Chirac underscores the global relevance of her exploration into cultural heritage, memory, and displacement. It also affirms the importance of platforms that amplify African voices in photography and contemporary art.

The success of this event was made possible through the generous contributions of the Embassy of Switzerland to Malawi, Zambia, and Zimbabwe, the French Embassy in Zimbabwe, and the Alliance Française de Harare. Their support reflects a growing recognition of the value of contemporary art in Bulawayo. Alliance Française de Bulawayo remains one of the few cultural spaces consistently promoting visual artists in the city by hosting travelling exhibitions and international collaborations.

Imaginary Trip Part II is more than just an exhibition—it is a meditation on time, place, and the ghosts of history that continue to shape our present. Lubondo’s ability to transform neglected spaces into poetic reflections on memory positions her as one of the most compelling voices in African photography today.

For those who missed the show in Bulawayo, one hopes this powerful itinerant exhibition will continue its journey, allowing more audiences across the continent and beyond to experience Lubondo’s evocative visual storytelling.

This was a thought-provoking and visually stunning exhibition. Please check with the Alliance Française de Bulawayo for future programming. Special thanks to the Director of the Alliance Francaise of Bulawayo Guillaume Ripoud for sharing this important show with our city. Check with Alliance first before visiting.

Response to the Challenges of Art Marketing in Bulawayo, Zimbabwe

 

The Visual Arts Indaba 2024 brought to light the pressing challenges faced by artists in Bulawayo, particularly in accessing sustainable markets for their work. As artists and stakeholders deliberated on actionable solutions, one key resolution emerged: leveraging digital platforms to bridge the gap between artists and collectors. In response, we have taken a significant step by creating an online platform to facilitate art sales for local artists, extending our reach to both local and international buyers.

The Launch of Bulawayo Art and Craft Online

On March 31, 2025, we will officially launch the Bulawayo Art and Craft Online—a digital marketplace on WhatsApp that allows art lovers and collectors in Bulawayo, Zimbabwe and worldwide to purchase artworks securely. This initiative marks a transformative moment in the way Bulawayo artists connect with their audiences, offering a simple, more inclusive and accessible model of engagement. The platform will debut with 10 carefully selected artworks, showcasing the diverse talents of our artists. Some pieces will be available for direct sales, while others will be open for bidding, giving buyers the opportunity to engage in a dynamic purchasing experience.

One of the biggest obstacles to art marketing in Bulawayo has been the lack of exposure to a broader market. Many artists rely on walk-in clients to their studios, local exhibitions and word-of-mouth sales, limiting their potential growth. By shifting to a digital marketplace, we can:

• Expand Market Reach: Collectors from across the globe can now access and purchase Bulawayo art with ease.

• Offer Secure Transactions: Buyers can confidently invest in artworks through a structured and transparent platform.

• Create Sustainable Sales Channels: Unlike sporadic exhibitions, this online platform provides a continuous avenue for sales and artist promotion.

• Empower Artists: By giving artists direct access to buyers, we reduce barriers and enhance their earnings.

How to Join and Participate

Joining the Bulawayo Art and Craft Online is simple. Art lovers, collectors, and supporters can become part of the platform by:

1. Requesting access via an official WhatsApp invite here

2. Browsing featured artworks and engaging directly with the artists.

3. Purchasing artwork either through direct sales or participating in live bidding sessions.

4. Receiving their purchased pieces through secure delivery arrangements.

The launch of this online platform is just the beginning of a larger vision. Moving forward, we aim to integrate more artists, expand the range of artworks available, and develop partnerships with international galleries and collectors. This initiative is a stepping stone toward placing Bulawayo’s vibrant art scene on the global map while ensuring that artists receive the recognition and financial stability they deserve.

By embracing digital transformation, we are turning the challenges of art marketing into opportunities. We invite all artists, collectors, and art enthusiasts to be part of this journey as we redefine the future of art sales in Bulawayo. Together, we can build a thriving, sustainable art market that benefits both creators and collectors alike.

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. 

Read more: here

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

The City Has a Role to Play in Building an Art Scene in Bulawayo: A Call to Action

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