| dc.description.abstract | Zimbabwean art, particularly stone sculpture, has an international acclaim. While
contemporary stone sculpture ideally emerged in the 1950s with the advent of Frank Mc
Ewen, it has reached many European and Asian countries as well as the Americas. Since
then Zimbabwean art has evolved taking other dimensions and new art genres have
subsequently emerged. This study sought to interrogate visual expression among
Zimbabwean contemporary artists with the aim of proposing curricula reforms in art
education reflective of such contemporary practice.
The study used a hermeneutic ethnographic design to collect data from purposively
sampled artists, art lecturers and art teachers. Contemporary artists were interviewed and
observed as they worked in their ateliers. The observations made were complemented by
analyses of some of their artworks that epitomised contemporary practice. Focus group
discussions were held with art lecturers to ascertain the status and infusion of contemporary
art in college curricula. Data on infusion of contemporary art were also sought from
secondary school art teachers and analysis of curricula documents at primary, secondary and
college levels.
Contemporary Zimbabwean art was found to be significantly Westernised through
syncretism. Influence was noted in artistic approaches, sources of inspiration, iconography
and the use of non-indigenous media. The artists have adopted installations and
performances that were not traditionally in the realm of African art.Formal art training and attendance at workshops, seminars and symposiums influenced some
of the artists to incorporate modern Western ways of perceiving visual expression. Some
artists produced art with bicultural aesthetics as they used Western approaches to explore
Zimbabwean political, social, historical and economic issues.
It emerged that art lecturers and teachers were not quite conversant with
contemporary Zimbabwean art but satisfactorily informed about Western art and its
traditions. Furthermore, it was narrowly conceptualised as stone sculpture practised by the
first generation of sculptors such as Joramu Mariga, and art education in early mission
schools. Resultantly, they taught more Western art. Effective teaching of contemporary art
was marred by shortage of literature particularly by local writers, limited financial and
material resources, negative attitudes by some art lecturers and students, inadequate contact
time between lecturers and students, as well as limited knowledge by practitioners about
contemporary art, among others.
Implications drawn from the study that impinge on curricula innovations at primary
and secondary school levels and college level include the following: increasing interaction
between contemporary artists, schools and colleges; reviewing college and school curricula
to align it with contemporary practice; provision of more literature, particularly by local
writers on contemporary art and its practice; reflecting more contemporary art in studio
practice; and the need for a critical apprehension of the notion of contemporary art in
Zimbabwe by art lecturers and teachers. | en_US |
