Sonke Artists Work Camp 2025

Sonke is a self-funded work camp. Participants are expected to Arrive at Maleme Dam, (55km from Bulawayo) set up camp on by 4pm.

Mobility: 

• Maleme Dam is accessible by private car, hired car/ bicycle. 

• CCAB can organize a local kombi that operates between Bulawayo and Kezi, minimum 18 people with a trailer.  A return trip is $15

Accommodation: 

• Maleme Camp site is situated at Rhodes Matobo National Park next to the Maleme Dam, with ablution facilities and running water (not safe for drinking). 

• Participants must bring their own tents, cheaper 4men dome tents can be bought for USD 20 available.  

• Participant must bring their sleeping bags and mosquito repellants or Mosquito nets also available in the city.

Meals

• Participants must bring their meals cutlery, drinks to cover the duration of the work camp. Gas stoves can help in preparing meals, fire pits are also available but fire wood is for sale. 

• It’s cost-effective to work in groups of 4 or 6.

Art Materials

• Participants must bring their art materials to the work camp

• Artworks can be brought to be completed, or work from scratch during the 5 working camp days.

Open Day

• One of the objectives of the work camp is to interact and engage with local communities through a public exhibition.

• Artists can sell the artworks and donate a percentage to the CCAB to cover costs and plan the 2026 work camp.

• Although there in no pressure in presenting finished artworks, artists are strongly encouraged to have artworks ready for display for the open day on Saturday 27 September. 

Health and safety

• Participants are encouraged to bring along medication for common outdoor ailments like headaches, stomach aches, and allergies. Medication can be bought over the counter in most pharmacies in Bulawayo.  The closest medical facility is in Bulawayo for emergencies. 

• One of the camp objectives is to provide a conducive environment for artistic experimentation, collaboration, reflection, are responsible for good behaviour. 

Art and Climate: 

• Matobo Park is a world heritage site as such artists are encouraged to think and work green with the environment in mind. The park is home to animals and the camp must respect nature and abide by the rules of the park. Any violation will result in expulsion from the camp.

Extras: Village and Game park tours, participants are free to organize private tours prior or after the camp, CCAB can help facilitate.

Tips; Its more economical to group in 4 or six for mobility accommodation and meals.

There are Challets and lodges available for artists who cannot camp for medical and other reasons.

Expected Outcomes

1. Strengthened networks among local, regional, and international artists.

2. Enhanced visibility of Zimbabwean contemporary art on the global stage.

3. Artworks inspired by the rich cultural and natural heritage of Matobo National Park.

4. A dynamic public show exhibiting diverse artistic outputs.

5. Insights to inform future international artistic initiatives in Zimbabwe.

The Sonke Work Camp 2025 is a unique opportunity to position Bulawayo as a hub for artistic innovation and collaboration. This initiative promises to contribute significantly to the growth of contemporary art in Zimbabwe while enabling meaningful cultural exchanges. We invite stakeholders and funders to support this visionary project and help make a lasting impact on the local and global art community.

For registration and information Contact click here for the online Sonke Registration Form or scan here

Project Lead: Cliford Zulu                                                                                

Email: cliffzuluus@gmail.com

Phone: +263772896508

Is It Time to Talk About Public Art and Bring Back "Looking to the Future"?

Public art is the heartbeat of a city — it sparks conversation, tells our stories, and challenges us to think bigger. In Bulawayo, one of the most iconic examples was "Looking to the Future" by veteran sculptor Adam Madebe — a masterwork shaped from thousands of metal coins, reminding us that our true wealth lies not just in money, but in vision, creativity, and shared cultural heritage. For years, it stood proudly in the  Gallery, its gaze fixed forward — a symbol of progress and hope. But it was removed after numerous debates over nudity in public art, and the city has been poorer for it.

Kodwa, nudity in art is not alien to us as Zimbabweans. In our traditional sculptures, ceremonial carvings, the human body — often unclothed — was celebrated as a natural, God-given form. Our ancestors did not see shame in the body; they saw dignity, fertility, and life. In Christian teaching, too, Adam and Eve were created naked in God’s image. Purity is defined by intent, not by concealment. This sculpture was never about obscenity — it was about vision, about looking beyond the present into a better future.

Bringing back "Looking to the Future" is about more than reinstating a piece of art. It’s about whether Bulawayo will continue to lead in openness, dialogue, and creative freedom. It’s about recognising that faith, culture, and art can coexist — and even enrich one another. If we truly believe in looking forward, then perhaps the first step is to restore the work that dared us to imagine tomorrow.

Cliford Zulu

Independent Curator 

https://www.tate.org.uk/whats-on/tate-modern/tate-intensive-art-matters

http://www.tortoisebox.org/studio/echoingsilences/

https://gabarron.org/LAB/Newsletters/2012/The-Spirit-of-Friendship

https://www.arebyte.com/publications

https://curatorsintl.org/learning/13893-curatorial-intensive-marrakech-2015

https://www.ghat-art.org.uk/wp-content/uploads/2018/09/Buladeen-Exhibition-Handout.pdf

Is it time for a Conversation on the Role of NACZ in Visual Arts Development?

 

As I continue to reflect on the Visual Arts Indaba held in November 2024, today I want to focus on the agencies mandated by the government to administer the visual arts in Bulawayo. 

As an artist, independent curator and advocate for the growth of our city’s creative sector, I believe the visual arts in Bulawayo have reached a point where deeper engagement with the agencies especially the National Arts Council of Zimbabwe (NACZ) can help shape a stronger, more sustainable future for the sector. 

In many countries, arts councils don’t just regulate the arts — they fund them. They invest in artists, build infrastructure, and grow creative economies.  In Zimbabwe, the National Arts Council plays an important role in coordination and licensing, but direct funding for visual arts remains limited. This leaves our artists and institutions relying heavily on donors and external partners to keep creativity alive.

If we do not have these conversations about our institutions, the sector may never fully grow into an industry with a viable, sustainable arts scene. Bulawayo’s visual arts have the talent and ambition to shine globally — but we need stronger local investment, long-term strategies, and genuine collaboration between National, local authorities, independent spaces, and the private sector.

The NACZ has a national mandate to coordinate and promote the arts. This position gives it the potential to play a pivotal role in creating opportunities, building infrastructure, and facilitating platforms for artists to thrive. While much of its work focuses on regulation and coordination, there is scope for more targeted involvement in visual arts development — particularly here in Bulawayo, where our creative community has consistently shown talent, resilience, and innovation.

Another twist, is some degree of  confusion about the distinct roles of NACZ and the National Gallery of Zimbabwe (NGZ). Both are national-level institutions established by an act of parliament, working in the arts space, yet their mandates, functions, and areas of focus are not always clearly communicated to practitioners. This lack of clarity can result in missed opportunities for collaboration, duplication of effort, or under-utilisation of available support from the government.

The question for us, as a sector, is: How do we effectively engage and work with agencies so that visual arts can grow into a viable cultural industry, let's start with the review of the NACZ and the NGZ Acts.

Some constructive starting points could include:

Dialogue Forums: Establishing regular conversations between visual artists, curators, NACZ, and NGZ to share priorities, clarify roles, and identify joint development strategies.

Collaborative Programs: Co-designing projects and exhibitions that highlight Bulawayo artists locally, nationally, and internationally.

Funding Conversations: Exploring ways NACZ can leverage partnerships, public-private initiatives, and policy advocacy to unlock more resources for visual arts.

Policy Input: Ensuring the voices of practicing artists are included in arts policy reviews and strategic planning, with clear differentiation of institutional mandates.

This is about building stronger bridges between the creative community and the institutions that exist to support it. If we open these channels and clarify roles, we can co-create a thriving arts ecosystem where Bulawayo’s visual artists are not only celebrated, but also supported with the tools, resources, and platforms they need to succeed.

Wena ubusithini.

Disclaimer: The views expressed here are my personal observations as an independent curator and do not represent the official position of any organisation or institution I am affiliated with.

Cliford Zulu

Independent Curator & Visual Arts Advocate

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