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