Why Shona Sculpture?

Anyone fortunate enough to visit a gallery or art website displaying quality Shona sculpture is immediately struck by the beauty of the art form; the variety of colors, the sometimes strange and even exotic sculptural forms that are used to express Shona beliefs or comment on social issues of concern to the artist. Spend a bit more time investigating the art, studying the culture, examining the different styles and artists, and one begins to wonder why the art form is not more popular in the United States. All of these questions I have struggled with over the years as I have collected Shona sculpture. As a collector and artist, it was enough to simply have discovered the art form and personally own pieces. As a gallery owner, I now find myself promoting and explaining the art form and encouraging others to bear witness to this wonderful art. So the question remains; why buy Shona sculpture? What follows is my attempt to answer this question and, in the process, hopefully gain new adherents to this art. Whether you buy here or elsewhere, good Shona sculpture is well worth the effort and expense to acquire and understand. As an art form, it provides exceptional value, particularly when compared to the cost of a comparable piece of art produced in the west. As a decorative element, the display of Shona sculpture in a modest or well appointed home makes a striking and unique statement.

Quality

As with any other art, the quality of Shona sculpture varies widely according to the artist, source of purchase, personal taste and understanding of the art form. There is plenty of so called “airport art” available. It is highly affordable, usually reflects the most common or generic themes expected of Shona sculpture and, is poorly executed. This is not to say that your first purchase should not be sculpture of this type. If it leads to a greater appreciation and exploration of the art, it is a good thing. If the buyer assumes this is a real representation of the art, it is not so good. Practically every dealer will have a selection that includes art that falls into this category. Reputable dealers however, will not represent these pieces as “real” Shona sculpture with any intrinsic value. Unfortunately, much of what is being called Shona sculpture here in the United States falls into this category.


When examining Shona sculpture, the first thing I look at other than its appeal as a piece of art; what the artist is attempting to convey, is the quality of the finish. I have personally owned and seen sculptures where the finish is secondary to the effort to sell it to a buyer. Zimbabwe is an extraordinarily poor country. The political turmoil has effectively isolated and made destitute its population. You can not fault someone for selling one of the few commodities that will produce sufficient income to feed the family. It is also important to understand that not every artist has access to appropriate tools. The process of completing a sculpture out of remarkably hard and dense stone is arduous. Using hand and/or power tools to carve and polish verdite, springstone, butterjade or serpentine stone takes real endurance and skill. With that being said however, that is precisely what one is looking for. Attention to detail says a great deal about the carver and his/her dedication to the art.

Part of the quality equation is proportion and balance in a work. If it is a bust, are the features appropriately balanced and in proportion to the rest of the head? Is adequate attention paid to detail such as features, hair or clothing? Does the artist demonstrate a mastery of the form with regard to execution? If it is a more abstract piece, does it convey what the subject matter suggest, even if the proportions are twisted and stretched in such a manner as to render the figure almost alien? The astonishing and beautiful sculptures of Nicholas Mukomberanwa are excellent examples of the abstract form by a master artist. The symmetry and flowing lines of his sculptures convey an idea, concept and/or emotion with extraordinary skill. The viewer does not have to understand the sculptor's message in order to appreciate the art. The art stands on its own and creates a unique message relevant to the experiences of each viewer. Much of Shona sculpture, even when portraying a human or animal figure, is meant to be suggestive, expressing a concept, spiritual or social matter that is grounded in Shona beliefs and society. There are dominant themes in Shona culture such as kinship, spiritual matters, character and mythology that regularly find their way into the sculpture. If you understand the underlying theme or message, it becomes apparent why the sculptor chose to render his/her work in such a fashion. It is a reflection of the balance between art and life. It is part of the beauty and uniqueness of African art. The real difficulty in appreciating Shona sculpture lies in developing an understanding and knowledge of Shona culture. 

Value

The best way of approaching value in art is to counsel buyers to buy only what they truly like. The real value of a piece or collection can only be predicted to the degree that the buyer is educated about the artist, his/her popularity and public demand. With that being said, I firmly believe that some of the best values in world art can be found in Shona sculpture. Given the quality of the product, it is rare to find a better value. I can not imagine the work of a Western artist of similar quality selling in the same price range. If cultural ignorance and economic factors were otherwise, good Shona sculpture would not be so affordable. I do not expect it to remain as affordable.

Shona sculpture is an evolving art form. Some of the first generation artists have died and their works have vastly appreciated in value. Recently, with the death of Nicholas Mukomberanwa, I watched prices on his work dramatically increase. Works that were previously selling at a reasonable price increased over tenfold within months of his death. I anticipate other first generation names will rapidly see an escalation in the value of their works. There are many other up and coming sculptors that demonstrate real talent and proficiency in the art. Shona sculpture is here to stay and I expect these artists will also be highly collectable. 

Pricing

Even with the modest cost of Shona sculpture, I have had individuals question the expense associated with acquiring this art. There is no doubt that every party involved in the creation and selling of Shona sculpture exacts a profit. But what every customers need to truly understand is the cost of shipping stone sculptures from Africa to Europe or the United States. Perhaps the best way to appreciate this is to imagine shipping an eighty pound package from New York to California through UPS air freight or ground service. Now imagine a similar package shipping by air freight from Africa. Of course, the cost of importing Shona sculpture can be somewhat controlled by importing in volume (crates or containers) and shipping through ocean freight. Like everything else in a market economy, purchasing in quantity has a tendency to spread the cost of transportation and thereby reduce the cost to the individual buyer. Even with more economical shipping methods such as ocean freight, the real cost of importing Shona sculpture must also take into account lengthy shipping delays, uncertain customs inspections and delays, damages incurred in shipping and, the volatile and high risk gamble of importing goods from a politically, socially and economically unstable country. The current situation in Zimbabwe makes importing goods from this country a very high risk venture. 

Realistic Verses Traditional or Abstract Shona Sculpture

As a dealer and collector of Shona sculpture and someone involved in the arts for much of his life, I have found it interesting that a dialogue has emerged within the ranks of Shona “collectors” and “authorities” regarding the authenticity of the sculpture and its adherence to a particular tradition or form. Specifically, the dialogue has centered on the merits of “realistic” verses “abstract” forms of Shona sculpture and whether one is more authentic than the other. In other words, what constitutes Shona sculpture and can it be narrowly defined by a specific form or tradition. My own opinion of this discussion is that one might have his/her own preferences, but it is ultimately the Shona artists and their public that will decide this question. I do find it interesting however, that when a European or American artist borrows from another ‘non-western” tradition, there is no question of it authenticity and adherence to a particular tradition within the western world. That an artist from Zimbabwe, who happens to be Shona, decides that his greatest artistic expression can be found in the carving of busts or animals is a natural and healthy evolution of the art. I personally do not think there is a question regarding its authenticity. A more relevant question might be “is it good art.”

Certainly, much of what I have seen in realistic sculptures is neither good art nor decent sculpting. There are however, sculptors that elevate this form to a true art and are very accomplished in their chosen field. Realistic sculptors such as Everisto Kakweza and Peter Chikumbirike are two that come to mind among many others. Kakweza, when he is at his best, has an uncanny ability to convey emotion and feeling in his sculptures. The stone exudes humanity and transcends the hard unyielding surface that is springstone or verdite. Perhaps a reflection of life in Zimbabwe, many of the faces appear tinged with sadness which gives eloquent testimony to the difficulties of life in modern Africa. There is no idealized or stereotypical portrayal of the Zimbabwean condition in his faces. They are lined and aged with a life of hardship and survival. At the same time, they are remarkably soft and beautiful, which reflects a true spirit of hope and humanity.

Peter Chikumbirike is a technical master of the art. The symmetry of his sculptures; their balance and proportion are a thing of beauty. Usually carving in verdite, Peter’s handling of the human form is impeccable. From the graceful twist of a well carved hand to an expressive, demure face with a teasing smile, he is capable of capturing with great skill the beauty of the female form. With a profound understanding of the human body, he elevates his sculptures to the level of true art.

In the area of wildlife sculptures, one of the best I have seen is J. Jonasi. Unlike many of the sculptors of the animal form, he seems to have a true understanding of the animals. He not only has an excellent understanding of the relationship between muscle groups, but also characteristically captures the animal exhibiting behaviors that show a real understanding of his subject. When a sculptor exhibits this level of skill and understanding, he has exceeded the limits of craft and created art.

One aspect of realistic Shona sculptures is that they are perhaps more accessible to the traditions and history of western art and therefore more easily assessed in terms of quality. For a true understanding and appreciation of the abstract forms of Shona sculpture, one must understand Shona culture, society, belief systems and the artist. I will be the first to admit that this lies outside my range of expertise. I am aware of only one book by author Celia Winter-Irving “Stone Sculpture in Zimbabwe Context, Content & Form” that does a credible job in examining and explaining Shona sculpture, which is well worth reading. A true understanding however, requires the knowledge and insights of someone deeply vested in the art form. One such individual is Roy Cook, Managing Director of Matombo Gallery in Zimbabwe who has championed the cause of Shona sculpture and artists through promotion and exhibits for many years. I am taking the liberty of directly quoting Roy because I do not think there is a more eloquent or passionate spokesman.

“Africa is often portrayed as the ‘dark continent’, a continent trapped in the past, the land of King Solomon’s mines, of Tarzan, of ‘primitive natives’ and ‘primitive art’. Such an image may perhaps boost tourism but it is patently a false image.

Africa does have its jungles, its wildlife, its mud huts and people living in rural areas at a subsistence level. But that is an incomplete picture. Africa also has modern cities, commercial farms and an increasingly urbanized, educated population.

The art of today’s Africa comes out of this environment. Shona sculpture, and other forms of contemporary African artistic expression, are a response to this new, changing Africa. Such art is not ‘primitive.’ It is contemporary. It is not purely tribal in the manner of Africa’s traditional art. The Shona sculptors may well be influenced by their culture, beliefs and environment, but they are just as much individuals in terms of their creativity and ability as are their Western counterparts.

To understand and appreciate Shona sculpture requires more than just knowing its Shona or tribal origin. The works of Nicholas Mukomberanwa, Henry Munyaradzi, Damian Manhuwa or Norbert Shamuyarira, for example, are very distinctive in style. Each is a Shona but their personal backgrounds and life experiences are as different as is their art”. 

Conclusion

Shona sculpture is a contemporary and evolving art form that can not be defined by a single voice, style or message. It is as complex and diverse as the many fine artists of Zimbabwe involved in its creation who, with few exceptions, rely on a common history, tradition and culture for its foundation. That it is recognizable as an art form largely rests on this shared foundation. What raises it to the realm of art are the highly individual and personal experiences of each artist. It would be a great disservice to the art and artists to ascribe a monolithic point of view, which does not exist. It only serves to misinform and ultimately destroy because those in a position to support its development stifle individual creativity and the need to evolve. I think one of the tragedies of the documented history of this art is that no concerted effort has been made to document what the artists have to say about their creations. Without this information, much of what is ascribed to Shona sculpture (meaning) is no more than commercialized promotion by those in a position to profit from its creation. I can not imagine a similar situation being accepted in western art. Can one imagine a non-western point of view being allowed the liberty to define and ultimately dictate the meaning of Symbolist poetry? How can that be done without the appropriate context and understanding to interpret the art form. The American public and those interested in the art form must become more demanding and educated in their views and seriously question much of the literature and promotion surrounding the art. Due diligence is required by the public and, those in the business of selling and promoting Shona sculpture must be more honest and discriminating in the selection and promotion of their products. If this particular form of African art is to achieve its true potential, both the artists and their public must set a high standard that does not accept mediocrity. Equally important, we must resist the impulse to narrowly define and make pronouncements with regard to what truly constitutes Shona sculpture. After all, only the artists themselves can truly make that determination. The history of most African and other colonized societies is rife with examples of this kind of cultural exploitation that redefines and usurps the true meaning of a culture’ s art and history.