tag:blogger.com,1999:blog-19725535463030593732024-03-14T11:49:20.337-07:00Andrew Mulenga's Hole In The WallAndrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.comBlogger253125tag:blogger.com,1999:blog-1972553546303059373.post-39005676974927757942019-12-12T04:52:00.000-08:002019-12-12T04:52:20.898-08:00Remembering Simon Kasumba<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;"><span style="color: blue;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>By Andrew Mulenga</b></span></span> </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">Simon
Sela Kasumba (1960-2019) may not be a household name on the Zambian art scene
owing to the fact that he spent much of his professional life abroad, but he
unquestionably enjoyed an illustrious career as an artist and a teacher.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-9BFPqf13BnQ/XfI2AE1MfmI/AAAAAAAAEds/jp1Oan0BI2sDapurQhJRUlnBHp85tdCPwCLcBGAsYHQ/s1600/Simon%2BSela%2BKasumba%252C%2B1960-2019.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="373" data-original-width="274" height="320" src="https://1.bp.blogspot.com/-9BFPqf13BnQ/XfI2AE1MfmI/AAAAAAAAEds/jp1Oan0BI2sDapurQhJRUlnBHp85tdCPwCLcBGAsYHQ/s320/Simon%2BSela%2BKasumba%252C%2B1960-2019.jpg" width="235" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Simon Sela Kasumba, 1960-2019</b></span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">Born
in Chingola, Kasumba attended attended Chililabombwe Secondary School on the
Copperbelt until 1980 whereafter he attended the Evelyn Hone College in Lusaka
and graduated with an Art Teachers Diploma in 1985. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">Between
1996 and 2009, he joined Mabel Shaw Memorial Secondary School in Kazembe,
Kawambwa District in Luapula Province where he worked as a teacher of English
and Head of Department of Art. He also taught at Namununga Private School in
Lusaka for a year before he moved to Hillside High School in Manzini Swaziland
as a substitute teacher, then on to Pelaelo Community Junior Secondary School,
Makaleng, near Francistown, Botswana. He later moved to England where he ran
art workshops with children at several infant, primary and secondary schools
before he became Resident Artist at North Walsham High School, Norfolk. Prior
to his travels abroad Kasumba also worked as textile designer in Kabwe at the
Mulungushi Textiles which was one of the largest producers of Chitenge fabrics
in the 1980s.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-GuQotnFG46M/XfI2Y52pn1I/AAAAAAAAEd0/Xy3qgKZQ0kUW8-QWuUGM5nLEzNAlzAAeACLcBGAsYHQ/s1600/Simon%2BS.%2BKasumba%2B-%2BA%2BFace%2Bwith%2Ba%2Bdifference%252C%2B2005.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="612" data-original-width="486" height="320" src="https://1.bp.blogspot.com/-GuQotnFG46M/XfI2Y52pn1I/AAAAAAAAEd0/Xy3qgKZQ0kUW8-QWuUGM5nLEzNAlzAAeACLcBGAsYHQ/s320/Simon%2BS.%2BKasumba%2B-%2BA%2BFace%2Bwith%2Ba%2Bdifference%252C%2B2005.jpg" width="253" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Simon S. Kasumba - A Face with a difference, 2005</b></span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">In
2009 Kasumba moved back to Botswana with his British wife Evelyn they both
taught at a private school in Kanye. In 2015 the couple settled in Livingstone
where Kasumba, although battling with cancer, became very active on the
Livingstone art scene and was also involved in generously tutoring younger
artists.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">In
July 2019 he had an operation at the Livingston Hospital to remove a tumour
from the bowel, a month later (Aug-Sep) he was in Lusaka at the Cancer Diseases
Hospital for 8 weeks. Kasumba died on September 13<sup>th</sup> 2019. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">As
a couple, Simon and Evelyn were not gifted with biological offspring but
adopted five children at infancy, among them nephews and nieces the oldest of
whom are in their early teens. Evelyn who is still based in Livingston where
she is an educator at a local school describes her late husband as a very
special person who was not only a gifted artist and teacher, but was also a
deeply spiritual person who loved humanity.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-RC6PltcKAlk/XfI3VIO7MXI/AAAAAAAAEd8/cJ9hHkvALDYsTuZSHA1IpS7f1fWgrV2BgCLcBGAsYHQ/s1600/Simon%2BS.%2BKasumba%2B-%2Buntitled%252C%2B2018.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1598" data-original-width="1174" height="320" src="https://1.bp.blogspot.com/-RC6PltcKAlk/XfI3VIO7MXI/AAAAAAAAEd8/cJ9hHkvALDYsTuZSHA1IpS7f1fWgrV2BgCLcBGAsYHQ/s320/Simon%2BS.%2BKasumba%2B-%2Buntitled%252C%2B2018.jpg" width="235" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue;"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Simon S. Kasumba - untitled, 2018</b></span></span></td></tr>
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<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">These
are traits that are conceivably visible in his many pen and ink drawings that
are genre pieces of everyday life or a passionately painted “untitled” work
that depicts two girls plaiting hair, their blissful facial expressions perhaps
an ode to life.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">A
work titled “Old Boma” depicts a nostalgic township scene showing ordinary
people going about their daily lives. The painting is sketchily executed with
some of the subject’s heads appearing as mere blobs of earth coloured paint.
This is in stark contrast with the “untitled” painting of the two girls that features
one of the subjects wearing a meticulously detailed black and blue lace undergarment. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">Apart
from these two works, an earlier painting entitled “A face with a difference” portrays
a face broken up into geometric shapes in the manner of cubism. Analysed
together, Kasumba’s works suggest an artist who was quite versatile in his
style.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-ZA" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%;">To
see or purchase some of Kasumba’s work, visit the Livingston National Art
Gallery. His A4-sized, pen and ink sketches in particular are a bargain at
around K300 per piece. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-bv1K54dbMCQ/XfI3hQYmMrI/AAAAAAAAEeA/ugi4jbM5EAcuS41_rvjmbmPuZuj8m1oOQCLcBGAsYHQ/s1600/Simon%2BS.%2BKasumba%2B-%2Bpen%2Band%2Bink%2Bsketch%252C%2B2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1582" data-original-width="1132" height="320" src="https://1.bp.blogspot.com/-bv1K54dbMCQ/XfI3hQYmMrI/AAAAAAAAEeA/ugi4jbM5EAcuS41_rvjmbmPuZuj8m1oOQCLcBGAsYHQ/s320/Simon%2BS.%2BKasumba%2B-%2Bpen%2Band%2Bink%2Bsketch%252C%2B2019.jpg" width="228" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-g5Nv5Q_eWQ8/XfI3qe-YVJI/AAAAAAAAEeI/9LwT4CNTm5IroY10JdSGEQhvktcejG1yQCLcBGAsYHQ/s1600/Simon%2BS.%2BKasumba%2B-%2BDrummer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1157" height="320" src="https://1.bp.blogspot.com/-g5Nv5Q_eWQ8/XfI3qe-YVJI/AAAAAAAAEeI/9LwT4CNTm5IroY10JdSGEQhvktcejG1yQCLcBGAsYHQ/s320/Simon%2BS.%2BKasumba%2B-%2BDrummer.jpg" width="231" /></a></div>
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</div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com4tag:blogger.com,1999:blog-1972553546303059373.post-52268114612627192752019-11-11T09:32:00.003-08:002019-11-11T09:32:49.917-08:00Copperbelt Museum (Part 2): The Future<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">By Andrew Mulenga</span></b></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">As mentioned in the
last edition of “Mulling over Art”, the Copperbelt Museum, which was officially
opened on Buteko Avenue in the Central Business District of Ndola in in 1978, has
been earmarked for expansion for years.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-3n1Yruq2nVA/XcmYxxLEYOI/AAAAAAAAEb4/VqpY1ogtFMkNDLqgZ9LFbEzlIYtcBiEfACLcBGAsYHQ/s1600/Copperbelt%2BMuseum%2Bof%2BScience%2Band%2BTechnology.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="890" data-original-width="1600" height="177" src="https://1.bp.blogspot.com/-3n1Yruq2nVA/XcmYxxLEYOI/AAAAAAAAEb4/VqpY1ogtFMkNDLqgZ9LFbEzlIYtcBiEfACLcBGAsYHQ/s320/Copperbelt%2BMuseum%2Bof%2BScience%2Band%2BTechnology.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Copperbelt Museum of Science and Technology</b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">At the proposed new site
on plot/stand number 2865 near the Mufulira Roundabout in Ndola, will be called
the Copperbelt Museum of Science and Technology. It will comprise a large
complex of several structures including a five star hotel with a 300-bed space
capacity.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The facility will
feature a Science gallery, Technology Gallery, Walk through Mine Experience
Gallery, Outdoor exhibits, community interaction spaces, a food parlour that
exclusively serves traditional foods and refreshments from the 10 provinces as
well as a crafts market with handicraft personnel working on site.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">According to the Copperbelt
Museum Director, Victoria Chitungu the new museum is expected to host Zambia’s technical
and cultural heritage and serve as a nature conservation site. The museum is set
to give visitors hands on experience in both traditional and modern technology
heritage as well as provide educational tours. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-A31mfilGBbI/XcmY-gPSYBI/AAAAAAAAEb8/7Dm2z4k3EAEmVJFLOuLaG15bYSr8cWJogCLcBGAsYHQ/s1600/Copperbelt%2BMuseum%2BScience%2BCentre%2Bbuilding%2Bdesigned%2Bby%2BMinistry%2Bof%2BWorks%2Band%2BSupply.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="756" data-original-width="1449" height="166" src="https://1.bp.blogspot.com/-A31mfilGBbI/XcmY-gPSYBI/AAAAAAAAEb8/7Dm2z4k3EAEmVJFLOuLaG15bYSr8cWJogCLcBGAsYHQ/s320/Copperbelt%2BMuseum%2BScience%2BCentre%2Bbuilding%2Bdesigned%2Bby%2BMinistry%2Bof%2BWorks%2Band%2BSupply.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Copperbelt Museum Science Centre building <br />designed by Ministry of Works and Supply</b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Speaking in an interview
from her office in Ndola, Chitungu outlined the challenges of operating from the
current constrained space, and gave thoughts around the importance of museums,
highlighting the plans for the new museum. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“When we moved here in
the 1970s it was meant to be a temporal space, but to date we are still here,
so it is almost impossible to expand. Everything that we want to do hinges on
expansion. We have so many programmes on hold,” she explained.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Chitungu promptly went
on to explain the importance of museums, even in a fast changing world, with
emphasis that museums have more value now than ever before.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“The value of museums
in today’s society is twofold. First, Museums give you a sense of pride in that
they remind us about the positive side of our past. Second, Museums can give a
country direction, they are reference points. If you have no reference of the
past it is hard for you to make decisions for the future,” she contended.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-xwKthqN2HLU/XcmZRW1-zaI/AAAAAAAAEcI/U9AV9FU6ZDwyLRqe8v7ER_GJcUi0gpxxACLcBGAsYHQ/s1600/Copperbelt%2BMuseum%2BTraditional%2BFood%2BParlour%2Bdesigned%2Bby%2BMinistry%2Bof%2BWorks%2Band%2BSupply.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1600" height="153" src="https://1.bp.blogspot.com/-xwKthqN2HLU/XcmZRW1-zaI/AAAAAAAAEcI/U9AV9FU6ZDwyLRqe8v7ER_GJcUi0gpxxACLcBGAsYHQ/s320/Copperbelt%2BMuseum%2BTraditional%2BFood%2BParlour%2Bdesigned%2Bby%2BMinistry%2Bof%2BWorks%2Band%2BSupply.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Copperbelt Museum Traditional Food Parlour <br />designed by Ministry of Works and Supply</b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">In reference to the
current museum, Chitungu bemoaned the dwindling number of walk-in visitors and
researchers and appealed to the public to take an interest in learning more
about their heritage especially when the opportunity was at their doorstep. She
complained that although Zambian museums charge very little, they still do not
get enough visitors because perhaps the culture of visiting museums has not
been inculcated into Zambian society. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“We also need to see
more schools visiting museums. Why not use the (current) space as a classroom
outside the classroom. In fact, if the education structure of learning was
attached to museums, I think we would be doing much better,” she said “In most
countries, museums are directly attached to universities and other learning
institutions, but in Zambia this is not the case. I think this needs to
change”.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-WNzzbLl0K8I/XcmZe54lagI/AAAAAAAAEcM/fXP-B07O8i0BeOKeroRZERXc6jq39AsLgCLcBGAsYHQ/s1600/Indiginous%2BKnowledge%2BCentre.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="829" data-original-width="1600" height="165" src="https://1.bp.blogspot.com/-WNzzbLl0K8I/XcmZe54lagI/AAAAAAAAEcM/fXP-B07O8i0BeOKeroRZERXc6jq39AsLgCLcBGAsYHQ/s320/Indiginous%2BKnowledge%2BCentre.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Indigenous Knowledge Centre</b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">She reasoned that it
seems that museums are places where people go to pass time, but what they do
not know is that museums can also be seen as a sanctuary as they are not
political or religious spaces. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“We want members of the
public to use the space for their own exhibitions, like bankers, they can come
here and display a history of banking in Zambia and so on,” she said.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Although it happened 13
years before Chitungu’s tenure, a notable example of such an intervention is
the Lechwe Trust Collection exhibition in 2006. With much fanfare at the grand
opening, Lechwe Trust pitched a huge marquee (tent) blocking the traffic along
Buteko Avenue in what ended up to be a remarkably successful exhibition of <span style="mso-spacerun: yes;"> </span>modern and contemporary Zambian art. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-xB7B5wEaFMU/XcmZ9V0GFQI/AAAAAAAAEcY/2IEQlWdtpXIF-9e4M7CW9W6XRdsP_8pMQCLcBGAsYHQ/s1600/The%2BMuseum%2BHotel.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1461" data-original-width="1600" height="292" src="https://1.bp.blogspot.com/-xB7B5wEaFMU/XcmZ9V0GFQI/AAAAAAAAEcY/2IEQlWdtpXIF-9e4M7CW9W6XRdsP_8pMQCLcBGAsYHQ/s320/The%2BMuseum%2BHotel.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The Museum Hotel</b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The said event was
officiated by the Bank of Zambia Regional Deputy Governor. Such high profile
individuals and spectacle, Chitungu stressed, are important for bringing
awareness and to attract the public to museums. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“Let us say if people
who are high up in society like the Bank of Zambia Governor or even His
Excellency the President, if they visit the museums, it raises the profile of
the institutions, it puts value on them,” she suggested.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">And sifting through a
10-page document that was presented at a stakeholder and investors meeting
organised by the Copperbelt Investment Expo on June 12, Chitungu seemed
confident that on her teams part they had already set the ball rolling. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>“This year I asked the Ministry of Tourism to
help us with the construction of toilets because the artists (craftsmen) have
no problem working in the open. We just need two toilets for women and two for
men, just in case the project takes longer to kick off, these are not
expensive,” she said. “When it comes to the new museum, we want to look at
technology in broader terms, for instance, what technology goes into the
weaving of baskets or the making of clay pots”.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-F338qvTJ-X8/XcmaLg4nVUI/AAAAAAAAEcc/kbpJkl9Trsc549AntSfPKUpSCdCc0drJgCLcBGAsYHQ/s1600/The%2Bnew%2Bsite%2Bis%2Bnear%2BLevy%2BMwanawasa%2BStadium%2Balong%2Bthe%2BNdola%2BKitwe%2Bdual%2Bcarriage%2Bway.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-F338qvTJ-X8/XcmaLg4nVUI/AAAAAAAAEcc/kbpJkl9Trsc549AntSfPKUpSCdCc0drJgCLcBGAsYHQ/s320/The%2Bnew%2Bsite%2Bis%2Bnear%2BLevy%2BMwanawasa%2BStadium%2Balong%2Bthe%2BNdola%2BKitwe%2Bdual%2Bcarriage%2Bway.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The new site is near Levy Mwanawasa Stadium <br />along the Ndola-Kitwe dual carriage way</b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><b>“We also want something
that will reflect all </b>the provinces and we will be doing workshops to preserve
these indigenous skills. We want crafts that are unique and specific to the
various provinces. This will also curb the influx of crafts and curios from
neighbouring countries even from far-flung places like Kenya”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">A visit to the proposed
site with Chitungu revealed that truly, there was adequate space for craftsmen
to take up activities even before the first brick of the museum buildings are
laid. It is under the enjoyable shade of a large Mukuyu tree near the location
of the suggested ecological park that is also the source of the Kansenshi
stream.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-LB-a22TGv4k/XcmaoY7gQQI/AAAAAAAAEco/VH4hDi4YzIcAGMYnVAB3H6rgZI5yixY1QCLcBGAsYHQ/s1600/The%2Bsite%2Bfor%2Bthe%2Bproposed%2Becological%2Bgarden%2Bis%2Balso%2Bthe%2BKansenshi%2BStreem.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-LB-a22TGv4k/XcmaoY7gQQI/AAAAAAAAEco/VH4hDi4YzIcAGMYnVAB3H6rgZI5yixY1QCLcBGAsYHQ/s320/The%2Bsite%2Bfor%2Bthe%2Bproposed%2Becological%2Bgarden%2Bis%2Balso%2Bthe%2BKansenshi%2BStreem.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The site for the proposed ecological <br />garden is also the Kansenshi Stream</b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Speaking of the
ecological park, Chitungu asserted that when the Museum is operational, an
ecologist will be employed permanently and visitors will have the opportunity
to learn about the environment, ecosystems, biodiversity and conservation. The
park will comprise herbal plants, reptiles, fish species, antelope and
traditional resting spaces called “Insaka” in Bemba.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“It is now the Ministry
of Tourism’s baby, since the ministry is now talking about diversification,
diversification does not get better than this,” said Chitungu. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Chitungu announced that
the project was also available for Private Public Partnership (PPP) and that
that it was a bankable project on which investors, other than the line
ministries should come on board. She emphasised that the site is along a
touristic route, that incorporates the Levy Mwanawasa stadium and the new Ndola
Airport along the Ndola-Kitwe dual carriageway and that it was the fastest
growing side of the city.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-EcCXvPLPC90/Xcma-DAIBBI/AAAAAAAAEcw/HX4nh11kzJgzzc97X1n6BWC2-FqW2zz_wCLcBGAsYHQ/s1600/Acting%2Bdirector%2BVictoria%2BChitungu%2B%2528seeted%2529%2Bwith%2BAssistant%2BAdmin%2BOfficer%2BMartha%2BIkabongo-Kaira.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1238" height="320" src="https://1.bp.blogspot.com/-EcCXvPLPC90/Xcma-DAIBBI/AAAAAAAAEcw/HX4nh11kzJgzzc97X1n6BWC2-FqW2zz_wCLcBGAsYHQ/s320/Acting%2Bdirector%2BVictoria%2BChitungu%2B%2528seeted%2529%2Bwith%2BAssistant%2BAdmin%2BOfficer%2BMartha%2BIkabongo-Kaira.jpg" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Acting director Victoria Chitungu (seated) <br />with Assistant Admin Officer Martha Ikabongo-Kaira</b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">BRIEF
BACKGROUND<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">According to a document
made available by Chitungu and signed by former Director, Charity Salasini, the
designs for the new museum were produced by the Buildings Department of the
Ministry of Works and Supply, between April and October 2015. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">They are based on a
Conceptual Frame dated March 2015, derived from a Feasibility Study Report of
October 2006, which was conducted by a team of Museum Experts. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">In April 2015, a team
of experts from the Ministry of Works and Supply, Buildings Department
Headquarters also conducted a Feasibility Study and the new site was officially
granted by the Ndola City Council. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">It was later appealed
that the National Museums Board consider and approve the project in order to
set the pace for the commencement of the development of the Museum.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">OPINION
AND SUGGESTIONS<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The new museum project
sounds and looks brilliant; it is surely the way to go. One has to agree with
Chitungu that it is on a site with great potential, surrounded by shopping
malls, neighbourhoods, learning institutions, suburbs, hotels and an
international stadium.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">However, at this stage
we can only trust and obey that the project will be undertaken in our
lifetimes. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Nevertheless, apart
from the indigenous technology or knowledge systems often described as
witchcraft, Zambia has a very rich heritage in terms of science and technology;
hopefully it will be adequately documented in the new museum.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Take for instance the seemingly
unendorsed Zambian Space Project, considered comedic by a British ITN News crew
(1964) and some unenlightened Zambians; it is something that should not be
forgotten. If not for the boldness of its pioneer Mukuka Nkoloso, it is a
statement of fact; a Zambian did have the ambition of flying to the moon and Mars
competing with the USSR and the USA in the 1960s.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">In fact Nkoloso may
also be read as a champion of women empowerment in that his intention was to
send not a man but a young woman Martha Mwamba into space—well along with a
cat. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Whether he will be recognized
as an oddball or eccentric, one thing for sure is that he was a nonconformist.
At present, he has inspired a generation of Zambian creative practitioners whom
in recent times have continuously referenced him in their work. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Among them is the award
winning writer and academic Namwali Serpell who wrote of the Zambian Space
Programme for the New Yorker in 2017 as well as this year in her book entitled
“'The Old Drift”. Mwenya Kabwe, an academic and playwright, while teaching at
the Wits University in South Africa created a theatrical piece titled</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"> <i style="mso-bidi-font-style: normal;"><span lang="EN-US">Astronautus Afrikanus</span></i><span lang="EN-US">, inspred by
Nkoloso. Artist, </span></span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Stary Mwaba’s 2014/15 exhibition’s ‘Going
To Mars’ at the Lusaka National Museum and “Life on Mars” </span><span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">with KfW Stiftung at Künstlerhaus Bethanien, Berlin,
Germany were both inspired by Nkoloso. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">While still on Nkoloso, it is worth </span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">noting
that his visions put him in the spotlight even years after his attempted moon
mission. One such example of his recognition is a newspaper article published
as far away as Blytheville, Arkansas, (USA) in 1970. The “Courier News” a local
newspaper, ran a story titled “Support Your Witch Doctor, Zambian Says” by a
Kenneth L. Whiting. Whiting wrote: “Nkoloso recently submitted a report
suggesting witchcraft as an antidote to Christianity, which has debased
Africa’s medical skills. He also blamed British colonial rule for using
missionaries and the Bible to outflank witchcraft.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Other aspects of Zambia’s
technological advancement was the electric vehicle manufactured by ZESCO, a show
car at first, it could later be seen doing service rounds in the late 1980s. It
is only now that the in the so-called developed countries electric vehicles are
catching on, when apparently Zambians had been doing it in the 1980s. If it did
not end up on a pile of scrap metal, the ZESCO Electric car or at least its
blueprints should be displayed at the new museum. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Zambia’s rich
automotive engineering heritage, which also includes the assembly of Land
Rovers, Peugeots and Fiats, should also be featured. What’s more, the Fiat plant
once produced a car with two steering wheels that could drive both ways. Zambian
engineers at Phillips Electrical experimented with solar energy,—which is only
now becoming popular—in the early 1980s. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">As farfetched as it may
sound, last year, Sela Kasepa a 21-year-old Zambian Harvard undergraduate in
the field of “Computer-Aided Machine Design” organised and entered some Zambian
high-school learners into an international robotics competition, the first
Global annual student robotics Olympiad in the USA. She certainly deserves a
spot in the new museum, she is a pioneer and she is also from the Copperbelt in
ChaChaCha, Kitwe.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">All the above mentioned
and many more deserve their own corner to be remembered and studied in the
museum in any which way they can, whether through photographs, videos and sound
as modern museums do.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Then there is the issue
of modern and contemporary Zambian art, which seems to be overlooked in the new
museum project. Yes, the craftsmen have been considered and the designs show
what looks like a huge mural, but the Conceptual Frame of the museum does not
appear to incorporate a section specific to modern and contemporary Zambian
art. Not even the ecological park that would look great with a few stone
sculptures by talented artists appears to be on the cards. It is as if museum
authorities cannot distinguish between handicrafts and contemporary art. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The Copperbelt has
produced innumerable Zambian artists. Work by all these artists can be rotated
in a particular gallery with the latest works by upcoming artists. Especially
that the province does not have a decent gallery space. A section of this new
museum would be ideal as a space for a Copperbelt Museum of Contemporary art
that tackles technological themes.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br /></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com8tag:blogger.com,1999:blog-1972553546303059373.post-77169299169441394902019-11-11T09:07:00.002-08:002019-11-11T09:07:52.184-08:00Copperbelt Museum (Part 1): the past and present<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">By Andrew Mulenga</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Every
now and then, this column drifts from mulling over art to address or highlight broader
concerns with regards culture and heritage and this two-part article that highlights
the Copperbelt Museum does just that.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-9jH8ke1tTTQ/XcmSB2eFC5I/AAAAAAAAEao/XIb17WB44TgEjYT8toNQTO2GXacnsvjTgCLcBGAsYHQ/s1600/Minister%2Bof%2BInformation%2BUnia%2BMwila%2Bofficially%2Bopens%2Bthe%2Bmuseum%2Bin%2B1978.-%2BPhoto%2Bcourtesy%2Bof%2BCopperbelt%2BMuseum.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="283" data-original-width="252" src="https://1.bp.blogspot.com/-9jH8ke1tTTQ/XcmSB2eFC5I/AAAAAAAAEao/XIb17WB44TgEjYT8toNQTO2GXacnsvjTgCLcBGAsYHQ/s1600/Minister%2Bof%2BInformation%2BUnia%2BMwila%2Bofficially%2Bopens%2Bthe%2Bmuseum%2Bin%2B1978.-%2BPhoto%2Bcourtesy%2Bof%2BCopperbelt%2BMuseum.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif;"><b>Minister of Information Unia Mwila officially <br />opens the museum in 1978.- <br />Photo courtesy of Copperbelt Museum</b></span></td></tr>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Times, Times New Roman, serif;">Situated
in Ndola’s central business district, at plot No. </span><span style="font-family: Times New Roman, serif;">911 Buteko Avenue. The
Copperbelt Museum is quite easy to access but it is similarly easy to miss. The
inconspicuous museum can be described as very small and almost insignificant
but it is when you walk through the space that you appreciate how rich its
heritage is and to get you started is the rich information on the left side of
the entrance that provides a detailed history of the place. On display, the
museum displays an intimate but noteworthy collection of geological, historical
as well as ethnographic artefacts.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">As
you proceed past the introductory texts on the wall that highlight the history
of the museum and of the copperbelt, ignoring the corridor that leads to a
public restaurant and restrooms, you will find a flight of stairs, climbing
them you land at another wall with introductory maps of Zambia and its mineral
deposits. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">However,
straight ahead it gets more interesting. Here you find a wall that has text
with a title that reads “Derivation of towns of the Copperbelt” and below it,
you find the origins of every name of the province’s towns from Chambishi to
Chililabombwe, from Luanshya to Mufulira, the latter of which interestingly meant
“the place of forging” by the Lamba people long before the arrival of the
Europeans. Mufulira “came from the word ‘fula’ or ‘fulila’ meaning to forge
iron goods or blacksmithing”. That is just one of the many names that have been
explained.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-pQq6Ts3mJa4/XcmSkwtLcwI/AAAAAAAAEaw/DWawT-5Kh9QQFPGNkjbUIM0oF95kpw97wCLcBGAsYHQ/s1600/The%2BCopperbelt%2BMuseum%2Bon%2BButeko%2BAvenue%2Bin%2BNdola%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-pQq6Ts3mJa4/XcmSkwtLcwI/AAAAAAAAEaw/DWawT-5Kh9QQFPGNkjbUIM0oF95kpw97wCLcBGAsYHQ/s320/The%2BCopperbelt%2BMuseum%2Bon%2BButeko%2BAvenue%2Bin%2BNdola%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The Copperbelt Museum on Buteko Avenue <br />in Ndola - Photo by Andrew Mulenga</b></td></tr>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
next display does not comprise of text alone but also has actual artefacts
ranging from traditional basketry to pottery as well as an elaborate assortment
of musical instruments and smoking pipes along with a variety of tobaccos and
snuff holders. Next to this is an impressive collection of defused witchcraft
some of which were actually used to kill people or make some victims go insane
as the provided texts explain. This space also has an assortment of traditional
herbs including one little plastic bag with a frightful powder that “allows
‘everlasting’ erection in men”; imagine having to explain that to a group of
curious pupils on a school trip.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
next section on the same floor has a collection of butterflies and birds, among
them a vulture and a fish eagle. Although smaller than the vulture, the fish
eagle is surprisingly large and as a national emblem, the tiny depictions on
the coat of arms or Zambian flag do not give this noble bird justice. It is
huge, and something any Zambian should see at least once in their lifetime—not
just sing about it in national anthems—and the only place that can be done, is
in a museum, well unless you live in a game reserve. As much as it is a
national symbol, it is a very rare bird, people live entire lifetimes without
seeing one.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-DVDr7RUX7kE/XcmS36p7D3I/AAAAAAAAEa4/C04-EZ4_p6QWPCmJCoCYdPGw902joivYgCLcBGAsYHQ/s1600/The%2Bcrafts%2Band%2Bsouvenir%2Bshop%2Bis%2Bvisible%2Bfrom%2Bthe%2Bbusy%2Bstreet%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-DVDr7RUX7kE/XcmS36p7D3I/AAAAAAAAEa4/C04-EZ4_p6QWPCmJCoCYdPGw902joivYgCLcBGAsYHQ/s320/The%2Bcrafts%2Band%2Bsouvenir%2Bshop%2Bis%2Bvisible%2Bfrom%2Bthe%2Bbusy%2Bstreet%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The crafts and souvenir shop is visible from <br />the busy street - Photo by Andrew Mulenga</b></td></tr>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">After
the bird exhibit is a rather uncharacteristic display of posters that
commemorate the holocaust, important perhaps, but it does seem a tad bit out of
context amidst the other items on display. But then again the museum, although
a public exhibition space is open to ideas and displays of all sorts as long as
the idea is sold to the museum compellingly. Nevertheless, beyond the holocaust
display is a display of homemade toys, mostly made of wire, wood and other found
objects. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">At
this point, you find another flight of steps having gone round the top floor
almost full circle. Descending the stairs leads to a rather remarkable
geological exhibition that has on display some fossilized items, some sequences
of rock formation and uses of different types of gemstones and minerals, the
kind of information that learners would find particularly interesting. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-GjQP_Eb0474/XcmTOUJFDdI/AAAAAAAAEbA/_hOVhj5II54bjI0Utts-QrJ2posm0_E-ACLcBGAsYHQ/s1600/A%2Bcollection%2Bof%2Btraditional%2Binstruments%2B-%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-GjQP_Eb0474/XcmTOUJFDdI/AAAAAAAAEbA/_hOVhj5II54bjI0Utts-QrJ2posm0_E-ACLcBGAsYHQ/s320/A%2Bcollection%2Bof%2Btraditional%2Binstruments%2B-%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>A collection of traditional instruments - <br />Photo by Andrew Mulenga</b></td></tr>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">According
to the information made available by the museum and borrowed generously here,
the museum was founded in May 1962 when a steering committee of civic and mine
leaders from various districts on the Copperbelt met in Ndola to form the
Copperbelt Museum Association with the aim of establishing a museum of Natural
Resources with emphasis on ecology, geology, conservation, mining and local
history of the area. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">By
1963, the Association had acquired a substantial collection from the
Livingstone Museum and South Africa’s Natal Museum for temporal exhibitions at Caravelle
House, along Buteko Avenue, which would be its first home. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Ndola
was however in competition with other towns such as Luanshya and Kitwe as the
collection continued to grow, two years later, Ndola Municipal Council won as a
suitable site for the museum because of its centrality, with easy access by
road, air and rail. Since its inception in 1962 until 1968 the museum was owned
and administered by the Copperbelt Museum Association under the chairmanship of
a Mr. Willem Van Der Elst. From 1968 to 1973, it was under a Mr. Messiter-Tozze
and later on a Mr. James Moore. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-jOii_XqA3w4/XcmTg7J71bI/AAAAAAAAEbI/nhzP_VY_T-MPnqkh2n0fLogyrDamOFAmwCLcBGAsYHQ/s1600/A%2Bdisplay%2Bof%2Btraditional%2Bsmoking%2Bpipes.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1302" data-original-width="1600" height="260" src="https://1.bp.blogspot.com/-jOii_XqA3w4/XcmTg7J71bI/AAAAAAAAEbI/nhzP_VY_T-MPnqkh2n0fLogyrDamOFAmwCLcBGAsYHQ/s320/A%2Bdisplay%2Bof%2Btraditional%2Bsmoking%2Bpipes.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>A display of traditional smoking pipes</b></td></tr>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In
1968, the museum was incorporated as part of the National Museums Board of
Zambia (NMB). From 1973, the Copperbelt Museum Association ceased to function
and was replaced by Museum committees that provided administration for the
institution up to 1993. The Secretaries of the committees served as remunerated
administrators under Chairmen and Committee members who worked as volunteers.
In 1975, the National Museums Board employed a Zambian, Pythias A. Mbewe as
curator to work full time at the museum.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">As
the museum’s collections increased, it shifted its collections and activities
from Caravelle House to Bwafwano House until 1978 when the collections were
again moved to their present location. Speaking of the current location, for
those who are a bit more adventurous, the museum is right next door to a bar
and restaurant called “Mixed Doubles” which has a splendid display of well-aged
reed handicrafts on its walls.—these are definitely worth a look. You cannot
miss the place as it is slightly opposite ZESCO’s main offices which is also
stone throw away from the Savoy Hotel, a building once popularized by the singer
John Mwansa in his early 1980s hit song “Mukamfwilwa” alongside Falcon Bar (or Fakoni)
which is also just around the corner and not too far away. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--LEWSaaVS3Q/XcmTxeerXaI/AAAAAAAAEbQ/3SWwPQ74Hmgfdz84JsU4ERUDAHkrjeq4QCLcBGAsYHQ/s1600/Nsansakuwa%2Bexorcises%2BJ.S.%2BChichabo%2Band%2BNelson%2BKale%2Bwho%2Bwere%2Baccused%2Bof%2B%2Bbewitching%2Bbabies%2Bin%2Bmine%2Btownships%2B-%2BPhoto%2Bcourtesy%2Bof%2BCopperbelt%2BMuseum.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1216" height="320" src="https://1.bp.blogspot.com/--LEWSaaVS3Q/XcmTxeerXaI/AAAAAAAAEbQ/3SWwPQ74Hmgfdz84JsU4ERUDAHkrjeq4QCLcBGAsYHQ/s320/Nsansakuwa%2Bexorcises%2BJ.S.%2BChichabo%2Band%2BNelson%2BKale%2Bwho%2Bwere%2Baccused%2Bof%2B%2Bbewitching%2Bbabies%2Bin%2Bmine%2Btownships%2B-%2BPhoto%2Bcourtesy%2Bof%2BCopperbelt%2BMuseum.jpg" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Nsansakuwa exorcises J.S. Chichabo </b><br /><b>and Nelson Kale who were accused of </b><br /><b>bewitching babies in mine townships - </b><br /><b>Photo courtesy of Copperbelt Museum </b><br /><br /><div class="separator" style="clear: both; font-weight: bold; text-align: center;">
<a href="https://1.bp.blogspot.com/-SLY2-6rTfBE/XcmUP38nUJI/AAAAAAAAEbc/JK0bs4-hzYs_RROLqwlDPezkSpE0qE17ACEwYBhgL/s1600/The%2Bmuseum%2Bhas%2Ban%2Bimpressive%2Bcollection%2Bof%2Bdiffused%2Bwitchraft%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-SLY2-6rTfBE/XcmUP38nUJI/AAAAAAAAEbc/JK0bs4-hzYs_RROLqwlDPezkSpE0qE17ACEwYBhgL/s320/The%2Bmuseum%2Bhas%2Ban%2Bimpressive%2Bcollection%2Bof%2Bdiffused%2Bwitchraft%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" width="320" /></a></div>
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<span style="font-size: 12.8px;"><b>The museum has an impressive collection of </b></span></div>
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<span style="font-size: 12.8px;"><b>diffused witchraft - Photo by Andrew Mulenga</b></span></div>
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<a href="https://1.bp.blogspot.com/-CF8O6xG3jWs/XcmU2BuZzCI/AAAAAAAAEbk/bKzyev-jvmwKMYKGpeOWVOw3bx4rM_WBQCLcBGAsYHQ/s1600/A%2Bfish%2Beagle%2Bis%2Bone%2Bof%2Bthe%2Bmany%2Bbirds%2Bon%2Bdisplay.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1229" height="320" src="https://1.bp.blogspot.com/-CF8O6xG3jWs/XcmU2BuZzCI/AAAAAAAAEbk/bKzyev-jvmwKMYKGpeOWVOw3bx4rM_WBQCLcBGAsYHQ/s320/A%2Bfish%2Beagle%2Bis%2Bone%2Bof%2Bthe%2Bmany%2Bbirds%2Bon%2Bdisplay.jpg" width="245" /></a></div>
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<span style="font-size: 12.8px;"><b>A fish eagle is one of the many birds on display</b></span></div>
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<a href="https://1.bp.blogspot.com/-eiLUtrxKZe0/XcmVTNt2wSI/AAAAAAAAEbs/3anmFaOu3nsfTiUcMHFpylE7PaxImtRCwCLcBGAsYHQ/s1600/Part%2Bof%2Bthe%2Bgeological%2Bexhibtion%2Bcurrently%2Bon%2Bdisplay%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-eiLUtrxKZe0/XcmVTNt2wSI/AAAAAAAAEbs/3anmFaOu3nsfTiUcMHFpylE7PaxImtRCwCLcBGAsYHQ/s320/Part%2Bof%2Bthe%2Bgeological%2Bexhibtion%2Bcurrently%2Bon%2Bdisplay%2B-%2BPhoto%2Bby%2BAndrew%2BMulenga.jpg" width="320" /></a></div>
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<span style="font-size: 12.8px;"><b>Part of the geological exhibition currently </b></span></div>
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<span style="font-size: 12.8px;"><b>on display - Photo by Andrew Mulenga</b></span></div>
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<span style="font-family: "Times New Roman","serif";">Nevertheless,
before we end up rambling on about time-honoured bars, restaurants, hotels and
bands, at present, the major programmes of the Copperbelt museum still include acquisitions.
This is the collection of information, artefacts and specimens, which mainly
come through research, donations, purchases and exchanges. As small as it might
appear, the museum has over 3000 artefacts in its custody. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<span style="font-family: "Times New Roman","serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-ZA; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">However, it is only
able to display a fraction of its collection and the present small size of the
museum has been a hindrance to almost all public programs, this is why it has
for some years now been earmarked for expansion. Next week, read about the
plans to expand the Copperbelt Museum into the Copperbelt Museum of Science and
Technology. </span></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com22tag:blogger.com,1999:blog-1972553546303059373.post-31331615448132912942019-07-17T09:51:00.002-07:002019-07-17T09:55:11.482-07:00Maonde’s Utopia now showing at Zambia Ultra Art Gallery <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 12pt; line-height: 115%;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">By Andrew Mulenga</span></b></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">“Utopia” is the title
of Livingstone-based artist Alumedi Maonde’s ongoing solo exhibition opened at
the Zambia Ultra Art Gallery at Garden City Mall near airport roundabout in
Lusaka on Saturday the 13<sup>th</sup> of July and will run until the 19<sup>th</sup>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">According to several
dictionary explanations, the narrowest definition of “Utopia” is an imagined
place or state of things in which everything is perfect. However, if one were
tempted to broaden the definition by bringing it closer to home, beloved Zambia
is a “Utopia”, if the lyrics of our cherished National Anthem are anything to
go by that is.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-nrTLeImFjgw/XS9QDWrsmOI/AAAAAAAAEVg/guf9_6SNxAkoQeKO3G-YDOkPxC5jVhv3wCLcBGAs/s1600/Transformation%2Bof%2Bwomen%2Binto%2Bmasks%2B-%2Bacrylic%2Bon%2Bcanvas%2Bby%2BAlumedi%2BMaonde.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="768" height="320" src="https://1.bp.blogspot.com/-nrTLeImFjgw/XS9QDWrsmOI/AAAAAAAAEVg/guf9_6SNxAkoQeKO3G-YDOkPxC5jVhv3wCLcBGAs/s320/Transformation%2Bof%2Bwomen%2Binto%2Bmasks%2B-%2Bacrylic%2Bon%2Bcanvas%2Bby%2BAlumedi%2BMaonde.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Transformation of women into masks <br />- acrylic on canvas by Alumedi Maonde</span></b></td></tr>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">As citizens of this
dreamland do we not stand and sing that Zambia is a “Land of work and joy in
unity”, are we not “like a noble eagle in its flight” and are we not “All one
strong and free”? Surely that sounds like something people who live in a
blissful utopia may sing. But then again, perhaps the Zambian Utopia is a
figment of the imagination that only dwells in the lyrics of a national anthem?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">But then maybe Zambia
actually is a physical Utopia, albeit to a select few. It is a utopia if you
are a prominent politician who is flown abroad for medical treatment at the
expense of the underprivileged taxpayer who herself cannot access quality
healthcare. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Zambia is a utopia when
you are an underperforming member of parliament who is no longer appreciated by
her constituency but you enjoy the Utopian benefits of a member of parliament.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Correspondingly, Zambia
is not a utopia if you are among the innocent students at a leading public Zambian
university and a trigger-happy Minister of Higher Education has made the
indefinite shutting down of universities her favourite pastime at the slightest
student’s movement activity. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">It is not a utopia if
you are a trader whose stall was gutted at City Market two years ago and you
are still struggling to make ends meet as you wait for “Boma Ilanganepo”
(government to intervene). Neither is it a utopia if your small business relies
on electricity but you are constantly hit by what is now being called “load
management” and still the revenue authority still wants its share of your
money. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Zambia is not a utopia
if it is rife with a souring debt situation, that is seemingly becoming
uncontrollable, if freedom of speech and the press is perhaps on its lowest ebb
since independence or if political indifference is the order of the day.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-MAubDkhm9wM/XS9QWApWJKI/AAAAAAAAEVo/onHJeFfhmE8juSvzo2FkK8ZePp-_w9N4gCLcBGAs/s1600/Shadows%2Bof%2Bchildhood%2B-%2Bacrylic%2Bon%2Bcanvas%2Bby%2BAlumedi%2BMaonde.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="1024" height="240" src="https://1.bp.blogspot.com/-MAubDkhm9wM/XS9QWApWJKI/AAAAAAAAEVo/onHJeFfhmE8juSvzo2FkK8ZePp-_w9N4gCLcBGAs/s320/Shadows%2Bof%2Bchildhood%2B-%2Bacrylic%2Bon%2Bcanvas%2Bby%2BAlumedi%2BMaonde.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Shadows of childhood - acrylic on <br />canvas by Alumedi Maonde</span></b></td></tr>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Dear reader, please ignore
the last seven paragraphs. This article is about Maonde’s ongoing exhibition. It is not supposed to be about the author’s twisted ideas on
Zambia being a utopia based on the national anthem, or how he alleges that some
Zambians might be living a better life at the expense of others.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Nevertheless, maybe
Zambia is not a utopia after all, seeing utopia is synonymous with ideal place,
paradise, heaven, Eden, Shangri-La, Nirvana, Elysium, Bliss, Ichalo Chipya and
a host of other places that tend to exist only in fantasy, fables, poems,
hymns, Holy books and of course the National Anthems.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Maonde’s “utopia” however,
is a body of work that investigates different aspects of life as experienced on
the African continent and Zambia in particular. According to the artist, it
permeates a poetic interpretation of cultural and social experiences that are
not neutral to the influence of foreign, predominantly western ideas and
traditions. Most importantly, Maonde’s Utopia represents a journey into his own
subconscious and dreams, both of which heavily inspire his work. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">For this reason, the
work is intimate, in that it taps into the inner recesses of the artist’s instinct
by whatever means. Consequently, the work might be described as emotive and
intuitive, connected to its creators psyche. As such, the artworks are
therefore cathartic on the part of the artist, a tourniquet of creativity that
allows for an outpouring of his inner being, his dreams or nightmares. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Even so, the subject
matter in many of the works is not exclusive to the artist’s personal reflections
and dreams. They can easily be related to society’s everyday happenings. Take
for instance the painting “Transformation of women into masks”.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-7Q0UXOKlvqI/XS9RLa6eQAI/AAAAAAAAEV0/Huqlz7UwSMgaXuFGwwYMvbWfDcnw7mjRgCLcBGAs/s1600/Utopia%2B-%2Bacrylic%2Bon%2Bcanvas%2Bby%2BAlumedi%2BMaonde.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="861" data-original-width="397" height="320" src="https://1.bp.blogspot.com/-7Q0UXOKlvqI/XS9RLa6eQAI/AAAAAAAAEV0/Huqlz7UwSMgaXuFGwwYMvbWfDcnw7mjRgCLcBGAs/s320/Utopia%2B-%2Bacrylic%2Bon%2Bcanvas%2Bby%2BAlumedi%2BMaonde.jpg" width="147" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Utopia - acrylic on canvas <br />by Alumedi Maonde</span></b></td></tr>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: Times, Times New Roman, serif;">The painting outwardly has
a double meaning. It may refer to the masks of</span><span style="color: blue; font-family: Times, Times New Roman, serif;"> </span><span style="font-family: "times new roman" , serif;">heavy makeup that women wear on
a daily basis in order to beautify themselves, boost their confidence, support
the billion dollar cosmetic industry, or for whatever reason it is that make-up
is applied. Alternatively, it might be the transforming of recognisable facial
features into African masks. African masks being one of Maonde’s favorite
motifs. According to Maonde, for his abstraction, he borrows this style from the
Zambian modern master, Akwila Simpasa who used it frequently in his work
as can be seen in several of his works on display at the Lusaka National Museum
and some private collections.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">One good example of
Maonde’s reference to Simpasa is entitled “Utopia”, a work that shares its
title with the exhibition. The manner in which the panting is rendered is not
unlike Simpasa’s 1972 work entitled “Christiana Happy Face” that is on
permanent display at the Lechwe Trust Gallery in Lusaka. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Again, another subject
concerning everyday matters is the piece entitled “Shadows of childhood”. It is
a conversation around the slow-ticking time bomb of homeless children who sleep
under bridges by night and are found at traffic lights by day. The current
situation is that children are giving birth to children and raising families on
the streets right before our eyes. They are always intoxicated with the
makeshift glue and sewer (excrement) foam called jenkem that they sniff all
day.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">These children make one
ponder over societies shifting moral codes, a testament to the disintegration
of the extended family. A social problem that nobody—especially politicians and
ministries in charge of social welfare—seems to care about but hopes that one
day we will all wake up and find they have disappeared. For Maonde to place a
work such as this in the exhibition provides for an interesting rhetorical device
to reveal the paradox of homeless children, “Shadows of childhood” is an
oxymoron in an exhibition entitled “Utopia”.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Nevertheless, although
Maonde remains experimental in his art production and this is his first solo
exhibition, he has been practicing on the professional art circuit for over a
decade, possibly his entire adult life. Professionally, he sees himself as a
product of the defunct Art Academy without Walls where he used to participate in
the drawing and performance workshops programme from 2003. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-K2LLBWT-_pg/XS9RhlOYmBI/AAAAAAAAEWA/2Pn6OGfhj7IuLlOXiFla2BHiur_eLV2pgCLcBGAs/s1600/Patching%2Bup%2Ba%2Bmarriage%2B-%2Bacrylic%2Bon%2Bhessian%2Bby%2BAlumedi%2BMaonde.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="792" data-original-width="506" height="320" src="https://1.bp.blogspot.com/-K2LLBWT-_pg/XS9RhlOYmBI/AAAAAAAAEWA/2Pn6OGfhj7IuLlOXiFla2BHiur_eLV2pgCLcBGAs/s320/Patching%2Bup%2Ba%2Bmarriage%2B-%2Bacrylic%2Bon%2Bhessian%2Bby%2BAlumedi%2BMaonde.jpg" width="204" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Patching up a marriage - acrylic<br />on hessian by Alumedi Maonde</span></b></td></tr>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">If anything, he is
making something of a comeback. One of his most productive years was 2007, not
only was he a finalist for the once prestigious Ngoma Awards in the best
upcoming artist category, he was part of the 4<sup>th</sup> Insaka International Artists workshop
and took part in Zambezi Creations group show, featuring artists from
Livingstone, Choma and Monze at the Henry Tayali Gallery. Other group
exhibitions that he has featured in are Art In The Sun at the then Sun Hotel
and Zambia-China Afroriental, Beijing. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Currently he is
enrolled as a third-year BA Fine art student at the Zambian Open University (ZAOU)
where predictably he is one of the best in his intake. He is one of the few
artists of his generation that have decide to enrol in the university after already
wetting their beaks on the professional art scene. According to Maonde,
enrolling in ZAOU has helped sharpen his intellectual skills in the areas of
critical theory vis-à-vis art; he argues that artists who are known to
disparage the institution in comparison to universities abroad do not know what
they are missing.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Maonde’s show is
definitely a must see, either from an art lovers perspective or that of a
collector. Collectors should expect a moderate price bracket for an artist of
Maonde’s calibre, in fact now would be the best time to add him in your
collection. Visitors to the Zambia Ultra Art Gallery at Garden City Mall should
expect to see at least 30 of the 40 artworks that he has brought in from
Livingston. (This article was first published in The Mast newspaper's (Zambia) print edition).</span><br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-dtZgRNk7Jyc/XS9R3TYVfXI/AAAAAAAAEWI/tqmjplnC38g7UQrkvEFlLpyQnyVhiTwLQCLcBGAs/s1600/Although%2Bhe%2Bhas%2Bbeen%2Bactive%2Bfor%2Bover%2B10%2Byears%252C%2Bthis%2Bis%2BMaonde%2527s%2Bfirst%2Bsolo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="495" data-original-width="396" height="320" src="https://1.bp.blogspot.com/-dtZgRNk7Jyc/XS9R3TYVfXI/AAAAAAAAEWI/tqmjplnC38g7UQrkvEFlLpyQnyVhiTwLQCLcBGAs/s320/Although%2Bhe%2Bhas%2Bbeen%2Bactive%2Bfor%2Bover%2B10%2Byears%252C%2Bthis%2Bis%2BMaonde%2527s%2Bfirst%2Bsolo.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Although he has been active for <br />over 10 years, this is Maonde's first solo</span></b></td></tr>
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Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com2tag:blogger.com,1999:blog-1972553546303059373.post-23674324836138193232019-07-06T01:50:00.003-07:002019-07-06T01:52:38.878-07:00A confident, passionate, Alina returns with first solo<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>By Andrew Mulenga</b></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">She participated in her
first exhibition at the age of 11, but it is in 2013 that she captured media
attention as a bashful 17-year-old during the 20th UNWTO general assembly’s main
art exhibition at the Livingstone Museum; she was the youngest in the show.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The same year, she
announced her intention to study art and take it up professionally despite her
being a straight-A school leaver who managed to attain the much-coveted “six
points” that would be able to get her into the study of natural sciences.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Certainly, the
following year in 2014, she enrolled for a Bachelor of Arts Degree in Ceramics
Studies and Art for Advertising at the University of Namibia, the same year,
she was awarded a one-year cultural scholarship to study art at the then
Armstrong State University in Savannah, Georgia, in the United States. Her
studies culminated in a graduate exhibition at the National Art Gallery of
Namibia (NAGN) in Windhoek, Namibia.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Returning to her Livingstone
hometown after graduation, Alina Mateke or Lina as she is fondly called among
close friends and family, she shares her developmental trajectory over the last
four years, in an untitled homecoming solo exhibition, the first in her career.
The ongoing exhibition, which opened at the Livingstone National Gallery on
Friday 14<sup>th</sup> June and runs until the 15<sup>th</sup> July, features
work from 2015 to 2019. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">While her work offers a
wide range of techniques that she has explored over the years, as influenced by
her education as well as the artists she has met during her travels, perhaps the
most charming pieces in the body of work is the series entitled “I am a woman” which
comprises four pieces: “I am confident”, “I am passionate”, “I am brave” and “I
am free”, they are semi-autobiographical.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-rpOa74A2Qfw/XSBfNWRMiOI/AAAAAAAAEUo/ckdY_leReGcyQKaBmntab3f0sWqSHcj6ACLcBGAs/s1600/%25E2%2580%259CI%2Bam%2Bconfident%25E2%2580%259D%252C%2B2019%252C%2Bcharcoal%2Band%2Bacrylic%2Bon%2Bcanvas%2B%252860cm%2Bx%2B45cm%2529%2Bby%2BAlina%2BMateke.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="809" height="320" src="https://1.bp.blogspot.com/-rpOa74A2Qfw/XSBfNWRMiOI/AAAAAAAAEUo/ckdY_leReGcyQKaBmntab3f0sWqSHcj6ACLcBGAs/s320/%25E2%2580%259CI%2Bam%2Bconfident%25E2%2580%259D%252C%2B2019%252C%2Bcharcoal%2Band%2Bacrylic%2Bon%2Bcanvas%2B%252860cm%2Bx%2B45cm%2529%2Bby%2BAlina%2BMateke.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">“I am confident”, 2019, <br />charcoal and acrylic on canvas <br />(60cm x 45cm) by Alina Mateke</span></b></td></tr>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">According to the artist’s
statement provided by Mateke, these particular works “symbolize her journey
from adolescence into adulthood and her exploration of what it means to be a
woman. Having faced various pressures and the struggles life has to offer, such
as loss, loneliness, fear, inadequateness and instability resulting from her
frequent travels, she has come to learn that despite the struggles young women
face, they must remember their strengths as women; confidence, passion, bravery
and freedom.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">For these works, she
combines monochromatic portraits in charcoal embellished with colourful flowers
in acrylic to create an enchanting contrast. The works also draw inspiration
from her pencil portrait commissions and an orchid and sunflower tryptic that
are on display in the exhibition. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">However, while Mateke’s
artworks; particularly the hypnotizing “I am a woman” series may be captivating,
with their rich and elaborately painted flowers and subjects who’s stares look
out almost seductively to the viewer, a vibe imaginably enhanced by their lyrical
titles, one should be reminded here that the works speak to the artist’s
personal experiences; they cease therefore to be a mere bouquet of pretty
portraits. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Furthermore, although
they tell Mateke’s story, they also tell the story of many young women in that
they are not self-portraits, that is to say, it is not her in the portraits. The
portraits are composites, seamlessly fusing images from several models. They
comprise features from numerous young women, a nose from here combined with
eyes from there, lips from this one and cheeks from that one. Except, she does
it in such a genius way that you the viewer cannot tell.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">They are nice to look
at as they stare back at us with calm but intense gazes, they might even be
described as obsessive portrayals of beauty, but they have a much more
deep-seated meaning. It can be argued therefore, that these works lend
themselves to deeper theoretical conversations around the art of portraiture. Conversations
that should be encouraged among artists, art lovers, critics, students and
scholars, seeing that portraiture enjoys an exalted reputation on the Zambian
art scene.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-wOevgw7IeCI/XSBf7G3vKYI/AAAAAAAAEUw/NgRqbLh4vLoBtISo-_FF_V4gvNb7wvMJACLcBGAs/s1600/%25E2%2580%259CI%2Bam%2Bbrave%25E2%2580%259D%252C%2B2019%252C%2Bcharcoal%2Band%2Bacrylic%2Bon%2Bcanvas%252860cm%2Bx%2B45cm%2529%2Bby%2BAlina%2BMateke.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="802" height="320" src="https://1.bp.blogspot.com/-wOevgw7IeCI/XSBf7G3vKYI/AAAAAAAAEUw/NgRqbLh4vLoBtISo-_FF_V4gvNb7wvMJACLcBGAs/s320/%25E2%2580%259CI%2Bam%2Bbrave%25E2%2580%259D%252C%2B2019%252C%2Bcharcoal%2Band%2Bacrylic%2Bon%2Bcanvas%252860cm%2Bx%2B45cm%2529%2Bby%2BAlina%2BMateke.jpg" width="237" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">“I am brave”, 2019, charcoal and acrylic <br />on canvas (60cm x 45cm) <br />by Alina Mateke</span></b></td></tr>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Take for instance the National
Arts Council’s (NAC) prize-giving event that was hosted at the Bonanza Golf and
Housing Estate in Lusaka on Sunday 16<sup>th</sup> June, an occasion that
attracted an impressive number of senior government officials, the corporate
community, golfers, artists and the media. Near the entrance of the clubhouse
was a noteworthy display of paintings, sculptures and mixed media artworks by various
artists set up by the Visual Arts Council (VAC). <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">The featured artworks
were inspired by several themes ranging from traditional ceremonies to daily
life; it included both abstract and figurative works. Among the figurative pieces,
were elaborate portraits of President Edgar Chagwa Lungu, two of these later found
their way into the evening’s main event and were the highlight of an animated art
auction conducted by the Minister of Sport, Youth and Child Development, Moses
Mawere—whom it must be added, did a tremendous job that would leave any
professional art auctioneer from Sotheby’s or Christie’s green with envy. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">One was a drawing by
upcoming artist Laban Mwaba that sold for K10, 000 (ten thousand kwacha) and
the other was a painting by the well-known portrait artist Caleb Chisha of Iris
Kaingu and “Date My Family” fame which sold for K25, 000 (twenty-five thousand
kwacha). NAC and VAC must be commended for this pop-up gallery and auction effort,
hot on the heels of the inaugural Arts Business Forum it is surely the way to
go and truly articulates NAC’s “2019: Year of The Arts” and “Celebrating and
investing in the arts” slogans.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">So before we get back
to Mateke, why are we making mention of this event again? It is to stimulate debate
that the Zambian art consumer has an amplified liking for portraiture. If not, why
were portraits separated from other artworks? Within the Zambian context
regardless of one’s rank in the art consuming society, be it the casual, curious
or well-versed art enthusiast, many do not see art beyond the portrait. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Which is not a bad
thing, but this does border on banal insularity as artists are often belittled
and measured by how well they can replicate a photograph. The portrait is
everything, which is why the nonprofessional’s first question to an artist
remains, “so you are an artist, can you draw me?” On that score, you can ask
any artist, to be honest; most artists find the question annoying if not offensive
because they see themselves more than someone who just possesses the ability of
drawing people’s faces. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-lUDJlK1f3N0/XSBgXclpuRI/AAAAAAAAEU4/WZC8eVBum3oXrPRMfFCvk9fRuaFlhiDjwCLcBGAs/s1600/%25E2%2580%259CI%2Bam%2Bpassionate%25E2%2580%259D%252C%2B2019%2Bcharcoal%2Band%2Bacrylic%252C%2Bon%2Bcanvas%2Bby%2BAlina%2BMateke.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="802" height="320" src="https://1.bp.blogspot.com/-lUDJlK1f3N0/XSBgXclpuRI/AAAAAAAAEU4/WZC8eVBum3oXrPRMfFCvk9fRuaFlhiDjwCLcBGAs/s320/%25E2%2580%259CI%2Bam%2Bpassionate%25E2%2580%259D%252C%2B2019%2Bcharcoal%2Band%2Bacrylic%252C%2Bon%2Bcanvas%2Bby%2BAlina%2BMateke.jpg" width="237" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">“I am passionate”, 2019 <br />charcoal and acrylic, <br />on canvas by Alina Mateke</span></b></td></tr>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">It is no surprise
therefore, that figurative portraits of a head of state would be separated from
other works of art and auctioned off. However, we should ask what is it that
the Zambian art consumer sees in these portraits? We should also ask the
artist, what is it that inspires them to sit down and pour over their canvases
and pieces of papers for long lonely hours to depict—in many cases—the faces of
famous people they will never even meet. Whom does the portrait empower? The
person portrayed? the viewer? Or indeed the artist by lining a coin or two in
her or his pocket?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Mulling over all these
questions, we should try to move away from the analysis of likeness in
portraiture but also consider the cultural and socio-political implications of portrait
making. What are the power relations between the artist who has painted a
portrait, the viewer and the person within it? This is whether the portrait was
a commission or not. In addition, we should always interrogate the visual
agency of art and its ability to change the mentality of the populace.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Further readings of portraits
such as those in Mateke’s “I am a woman” series may subliminally speak to
several women’s empowerment movements that fall under the “feminism” umbrella, seeing
they are clearly sonnets that inspire confidence, passion, bravery and freedom
in young women. What is the deeper reading of portraits by other artists? Should
we not be reading them more than just portraits?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Nevertheless, this
year, Mateke has worked on over 20 commissioned portraits alongside an
interactive project called Project Nam through which she hopes to create a
dialogue between the Namibian Community and the Country’s Social Influencers. Some
of these and other private works can be viewed on her social media platforms.
But fortunately, alongside her “I am a woman” series, visitors to the
Livingstone National Gallery will have the opportunity to see what she calls
her “pencil sketches”, in essence these hyper-realistic portraits can be
described as photographs made using a pencil. Some of these portraits
constitute the 24 works that are on display. According to Mateke, she is
displaying 24 works because that will be her age at the close of the year 2019.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-TZSs5jn1GWQ/XSBgp8ig1KI/AAAAAAAAEVA/U4yKkV9_LCsvPqwi3cvIcjQp9X8GWBGIACLcBGAs/s1600/%25E2%2580%259CI%2Bam%2Bfree%25E2%2580%259D%252C%2B2019%252C%2Bcharcoal%2Band%2Bacrylic%252C%2Bon%2Bcanvas%2Bby%2BAlina%2BMateke.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="792" height="320" src="https://1.bp.blogspot.com/-TZSs5jn1GWQ/XSBgp8ig1KI/AAAAAAAAEVA/U4yKkV9_LCsvPqwi3cvIcjQp9X8GWBGIACLcBGAs/s320/%25E2%2580%259CI%2Bam%2Bfree%25E2%2580%259D%252C%2B2019%252C%2Bcharcoal%2Band%2Bacrylic%252C%2Bon%2Bcanvas%2Bby%2BAlina%2BMateke.jpg" width="234" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">“I am free”, 2019, charcoal and acrylic, <br />on canvas by Alina Mateke</span></b></td></tr>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Again Mateke is not all
about charcoal and pencil, during her studies, she discovered her love for
Ceramics and nurtured it alongside drawing. She has since undertaken four
internships, where she has worked under the mentorship of some internationally
acclaimed ceramists such as Sarie Maritz and Jacqui Van Vuuren as well as award
winning graphic designer Tanya Stroh and most recently ceramic jewellery
designer Elke Le Roux in Cape Town.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">In addition, she is not
all about globetrotting. During the course of her studies abroad, she was involved
in the local art scene, notably, in 2015, she participated in the “Insaka
International Artists Workshop” alongside other Zambian and international
artists in Livingstone.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Anyhow, Mateke’s
remains an inspirational story of how childhood dreams can be achieved with the
full support of parents, that is, parents who do not force careers on their
children. From the beginning of her
journey, she has had the full support of her parents, Vimbi Mateke, an
educationalist and Clare Mateke a Biologist and artist.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Being an artist, it
is her mother who encouraged her to start exhibiting at an early and being a
teacher, it is her father who inspired her to start teaching at Lubasi Hope
Orphanage, when she completed grade 12. Before she left for university, she helped
children in reading and maths, the work at the orphanage is what later got her a
teaching assistant position at Acacia International School in Livingstone. For
now, there is no telling whether what is next for Mat eke whether she will stay
home or return to Namibia where she already seems to be established. In any
case this is just the beginning of her story. </span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--Hqa6Lo52Ug/XSBhJemYD2I/AAAAAAAAEVI/0O8McY9478wZR5p8GUh-4OMYW1BULEDtQCLcBGAs/s1600/Artist%252C%2BAlina%2BMateke%2B-%2Bthe%2Bwork%2Bis%2Ban%2Bexploration%2Bof%2Bwhat%2Bit%2Bmeans%2Bto%2Bbe%2Ba%2Bwoman.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="851" data-original-width="518" height="320" src="https://1.bp.blogspot.com/--Hqa6Lo52Ug/XSBhJemYD2I/AAAAAAAAEVI/0O8McY9478wZR5p8GUh-4OMYW1BULEDtQCLcBGAs/s320/Artist%252C%2BAlina%2BMateke%2B-%2Bthe%2Bwork%2Bis%2Ban%2Bexploration%2Bof%2Bwhat%2Bit%2Bmeans%2Bto%2Bbe%2Ba%2Bwoman.jpg" width="194" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Artist, Alina Mateke - the work is <br />an exploration of what it <br />means to be a woman</span></b></span></td></tr>
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</div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com0tag:blogger.com,1999:blog-1972553546303059373.post-15927411699630321482018-11-23T14:51:00.001-08:002018-11-23T14:53:46.156-08:00Book Review: Eavesdropping<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "palatino linotype", serif;">Pages</span><b style="font-family: "palatino linotype", serif;">: </b><span style="font-family: "palatino linotype", serif;">84</span></div>
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<span style="font-family: "palatino linotype" , serif;">Publishers:
Zambia Women Writers Association</span></div>
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<span style="font-family: "palatino linotype" , serif;"><o:p></o:p></span><span style="font-family: "palatino linotype" , serif;">First published
by the Zambia Women Writers Association in 1997, <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Eavesdropping</i>, “<i style="mso-bidi-font-style: normal;">A collection of short stories on everyday
problems”</i></b> is no new book; however, edited by Monde Sifuniso this
entertaining anthology of 10 moving stories by some of Zambia’s top leisure writers
is without doubt an engaging collection of tales by local authors that you will
come across.<o:p></o:p></span></div>
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<a href="https://4.bp.blogspot.com/-pTV_MDuTwoc/W_iEPZJ63ZI/AAAAAAAAEL4/_D01-cVee1Q8bYDJOK7q5AM6zpfnSz4hwCLcBGAs/s1600/Eavesdropping.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="850" data-original-width="603" height="320" src="https://4.bp.blogspot.com/-pTV_MDuTwoc/W_iEPZJ63ZI/AAAAAAAAEL4/_D01-cVee1Q8bYDJOK7q5AM6zpfnSz4hwCLcBGAs/s320/Eavesdropping.jpg" width="227" /></a></div>
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<span style="font-family: "palatino linotype" , serif;">Featured
in the book is Samuel Kasankha who was once editor at the <i style="mso-bidi-font-style: normal;">University Press</i> and is also the author of over 100 plays and short
stories makes a contribution with <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Good People Live Here</i></b> a tragic story
about a man who loses his wife during childbirth and is left with a surviving
infant.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Kasankha
has two offerings in the book, his second being <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Glorious Aparthood</i></b> which
explores the complexities of an interracial love affair between a black Zambian
and an Indian girl that ends quite sourly as the girl is later forced into
marriage within her own race and religion to “rescue” her from marrying a black
African.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Milumbe
Haimbe, one of Zambia’s top visual artists puts aside her paint brushes to have
a go at creative writing and convincingly tells the story of a 13-year-old girl
who manages to resist the temptations of engaging in prostitution and instead
holds fast to her trading in groundnuts and maize at a roadside in a story
entitled <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Groundnuts and Maize</i></b>.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Lungowe
Sifuniso Chabala who’s contribution <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Shattered Dreams</i></b><i style="mso-bidi-font-style: normal;"> </i>is a short, but moving epic that touches on the loss of a loved
one is the next story in the book. Her first attempt at leisure writing, one
can safely say Chabala pulled it off quite well as it is short to the point and
easy to read. <o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">In <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The
Choice of a Name</i></b> Monde Sifuniso who has also published with Heinemann writes
a compelling story of a girl who is sent to jail for killing her own daughter
but is later released and, manages to get a university education about a decade
later. Sifuniso is also the editor of <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Eavesdropping</i>, “<i style="mso-bidi-font-style: normal;">A collection of short stories on everyday problems”.</i></b><i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
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<span style="font-family: "palatino linotype" , serif;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><br /></i></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "palatino linotype" , serif;">Free of Shame</span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-family: "palatino linotype" , serif;">
</span></i><span style="font-family: "palatino linotype" , serif;">is Florence
Chunga’s contribution. Her story tells the undulating tale of a failed marriage
that ends in heartache yet also observes the bitter-sweet emotional freedom
that can follow a divorce in certain instances. <o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Mulenga
Kapwepwe, an accomplished playwright who is also the chairperson of the
National Arts Council writes about an old chieftainess called <i style="mso-bidi-font-style: normal;">Namfumu Ngoshe </i>who was somewhat of a
heroin. <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The Fury of a Cobra</i></b> is set in a rural village situation and much
of Kapwepwe’s narrative nostalgically harkens back to the witty old tales
usually shared around the village campfires often told to children.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Cheela
F. K. Chilala also makes a contribution in the book with <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The Blind Alley</i></b>, the
story of a crooked young man called Mailosi whose dishonesty later catches up
with him after he unsuccessfully tries to swindle an elderly couple of their
money. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "palatino linotype" , serif;">Eavesdropping</span></i></b><b style="mso-bidi-font-weight: normal;"><span style="font-family: "palatino linotype" , serif;">,
“<i style="mso-bidi-font-style: normal;">A collection of short stories on
everyday problems” </i></span></b><span style="font-family: "palatino linotype" , serif;">is
a very entertaining read despite the fact that it does have quite a number of
sad stories, it is in a nutshell quite gripping and as the back-cover reads
“This collection <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Eavesdropping</i></b> brings you stories that will force you to listen”.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">The book
also has energetic illustrations by artist Thompson Namukaba who also did the
cover design. <o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">The book
was recently given away as copies to the visiting delegates at the 20<sup>th</sup>
Session of the United Nations World Tourism organisation general assembly in
Livingston recently- ENDS <o:p></o:p></span></div>
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Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com9tag:blogger.com,1999:blog-1972553546303059373.post-68569898023118053332018-10-12T05:53:00.000-07:002018-10-12T06:19:18.944-07:00At home with the Yombwes<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-EZEjj2C0s7w/W8CRtidRiZI/AAAAAAAAEBM/MXTzdjp3v189QbMceFWk_nqXzd9x7elxACLcBGAs/s1600/IMG_0865.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://2.bp.blogspot.com/-EZEjj2C0s7w/W8CRtidRiZI/AAAAAAAAEBM/MXTzdjp3v189QbMceFWk_nqXzd9x7elxACLcBGAs/s320/IMG_0865.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">The Yombwes at their home, studio, gallery, and cultural <br />centre in Livingstone, Zambia</span></b></td></tr>
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<span lang="EN-GB"><b><i><span style="font-family: "arial" , "helvetica" , sans-serif;">*</span><span style="font-family: "times" , "times new roman" , serif;">This article was first published in the Bulletin & Record Magazine, Zambia in 2012, since then, the Yombwes' Wayi Wayi Art Studio and Gallery has grown from strength to strength. It now runs an international artists residency and has received to Artists-in-residence from the USA so far. The art classes and educational tours are booming and it is a must see art spot when you are in the town of Livingston in Zambia.</span></i></b></span></div>
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<span lang="EN-GB"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">By
Andrew Mulenga</span></b><span style="font-family: "palatino linotype" , serif;"><o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">The
residency at Plot 2613/392 off Airport Road in Livingstone is not your average
household. The lady of the house, Agnes often carries a paintbrush in one hand,
a cooking stick and ledger book in the other. Husband, Lawrence, a philosophical
thinker, reluctant poet and prolific painter often spends long hours dabbling
paint on canvases. Daughter, Yande, a school-leaver, designs her own earrings
and has a passion for deejaying where as younger brother Kondwani likes fast
cars with loud stereos.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Meet
the Yombwes. A creative couple who form a husband and wife tag team of artists and
their equally creative 17-year-old daughter and 15-year-old son.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Having
lived and worked as art teachers in Botswana, they returned to Zambia five
years ago and decided to set up house in Livingstone calling their home and
business premises the Wayiwayi Art Studio & Gallery.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><u>The
Family Business</u><o:p></o:p></span></i></b></div>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Although,
still enthusiastic, the couple bemoans the seemingly feeble arts and crafts
market despite having settled in the country’s tourist capital. Not only do the
Yombwes use their home as a studio space to produce their own artistic work. It
is also the venue for arts workshops open to schools, colleges and the public,
which they say are not happening as frequently as they hoped for.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-eDVW3fwClTc/W8CSc0Jc-3I/AAAAAAAAEBY/ljRfeb9KyjY4EdimEerqEv5Matuf2we_wCLcBGAs/s1600/IMG_0762.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://3.bp.blogspot.com/-eDVW3fwClTc/W8CSc0Jc-3I/AAAAAAAAEBY/ljRfeb9KyjY4EdimEerqEv5Matuf2we_wCLcBGAs/s320/IMG_0762.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Agnes and Lawrence discuss the business of art in their office <br />where Agnes does most of the administrative work</span></b></td></tr>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">“In
Botswana we used to leave room for disappointment because as foreigners, you
cannot do as many things so freely. But when we came back home we were shocked
that there were probably more obstacles for us to develop here in Zambia than
we faced in a foreign land,” says Agnes <span style="mso-spacerun: yes;"> </span>“But instead of being miserable, sometimes I
stop painting when we are broke and concentrate on jewellery for a week or so.
Then, also the classes and workshops we conduct help put food on the table.” <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">The
couple intends to expand Wayiwayi by building a classroom, storage shed, a
pottery kiln and sleeping quarters for local and foreign visiting artists. However,
with sluggish business resources remain insufficient. They are reluctant to
approach the banks with fear of losing their property against a loan agreement,
and attempts to obtain foreign grants usually come with unfeasible terms of
disbursement.</span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-oqlBcUS5doI/W8CTpYV9ZII/AAAAAAAAEBk/hS2EhAcBLZkr7pKlMLCj68Th4V5eyebpwCLcBGAs/s1600/IMG_0825.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://1.bp.blogspot.com/-oqlBcUS5doI/W8CTpYV9ZII/AAAAAAAAEBk/hS2EhAcBLZkr7pKlMLCj68Th4V5eyebpwCLcBGAs/s320/IMG_0825.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">In the studio they are often locked into debates around art</span></b></td></tr>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><o:p></o:p></span><span lang="EN-GB" style="font-family: "palatino linotype" , serif;">“Donors
have the opinion that we are not ‘needy’ and so we do not need support. A Dutch
organisation visited and told us we have to be a cooperative or group of 10 to
be eligible for a grant,” adds Lawrence. In addition, he says although business
has been slow, it has been steady.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">“Right
now there is a school that will be coming for a tie-dye workshop. We have had students
from the UNZA School of Education, Mufilira College of Education and Acacia School
here in Livingstone. We have a rate sheet for studio tours and the various
skills we teach.” <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Agnes
agrees that while business is slow there is hope for growth despite imitations
of African crafts from China flooding the gift shops. She only hopes there
could be a way that such goods could be regulated because she creates earrings,
necklaces and beadwork to keep the family financially buoyant in between
contemporary art exhibitions and commissions. She says projects such as <i style="mso-bidi-font-style: normal;">Wayiwayi</i> do have a lot of potential with
proper public and private support and she feels it will be around for a long
time to come.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">“<i style="mso-bidi-font-style: normal;">Wayiwayi</i> is here to stay. I do hope it
is something that will continue with the kids. At least, Yande helps with the
workshops and she even had a division one in art. But I don’t know about Kondwani
when you ask him he jokingly says when his time comes I will break down a few
walls and turn the studio in to a car show room” she jokes.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><u>A normal
day</u><o:p></o:p></span></i></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">“I
don’t know what my normal day is like. <span style="mso-spacerun: yes;"> </span>I
wake up early start painting then go to bed after 24hrs. The kitchen is a no go
area, unless I’m helping out cooking <i style="mso-bidi-font-style: normal;">nshima</i>,
because if I’m cooking I can’t move until it’s done, so most of the time she
takes care of that” says Lawrence pointing to his wife with a smile “She also
handles the paper work and accounts, she does allot, she is practically everywhere;
in the kitchen one minute the next she can be in the living room, outside, in
the studio or helping with homework”<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-JzZkUQMP8Uk/W8CUCD4zjyI/AAAAAAAAEBs/ewNCrOnl5hU3UOJhvAoTzGGRUQL4MHPlgCLcBGAs/s1600/IMG_0815.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://1.bp.blogspot.com/-JzZkUQMP8Uk/W8CUCD4zjyI/AAAAAAAAEBs/ewNCrOnl5hU3UOJhvAoTzGGRUQL4MHPlgCLcBGAs/s320/IMG_0815.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Agnes adjusts some merchandise in the craft shop, <br />when she is not painting, she creates bea<br />dworks and ornamental house hold decor</span></b> </td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Slightly
bashful after her husband declares her ‘superwoman’, Agnes says like most women
she occasionally sits down to enjoy a good soap opera, and the beauty about
them is that they are easy to catch up with even after missing a few episodes.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">“As
a family we also sit together to sing, pray and share bible passages, at least once
a week. When we are not too busy we do it every day, “she says revealing the
family’s religious side.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">“Whoever
went to church on Sunday shares the day’s sermon with those who did not. We
also have another day where we all review the week,” interrupts Lawrence “I
cannot afford to give my children everything but I can afford to find time to at
least listen to them, even just for an hour”. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<i><span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><b><u>The art</u><o:p></o:p></b></span></i></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Little
did the couple know, that the rich, traditional marriage initiates’ rites of
the <i style="mso-bidi-font-style: normal;">Mbusa</i> ceremony that they
underwent the night before being pronounced husband and wife in 1991, were to
change not only their lives, but also their art forever.<b style="mso-bidi-font-weight: normal;"> <o:p></o:p></b></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-9Hyilxip2wM/W8CXEUNghLI/AAAAAAAAEB4/sQ8RWEgWA-4-zERxZ0q-sn_5uCJ9HGsSACLcBGAs/s1600/IMG_0754.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://3.bp.blogspot.com/-9Hyilxip2wM/W8CXEUNghLI/AAAAAAAAEB4/sQ8RWEgWA-4-zERxZ0q-sn_5uCJ9HGsSACLcBGAs/s320/IMG_0754.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Daughter and father conducting art <br />lessons for some young learners</span></b></td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Agnes
and Lawrence’s artistic styles vary significantly without one openly imitating
or influencing the other. And although traditionally they are not supposed to
share the secret symbols and hidden meanings of the <i style="mso-bidi-font-style: normal;">Mbusa</i> practiced by the Bemba in Northern Zambia, the couple have continuously
borrowed from it over the years.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Therefore,
the multi-coloured lines, dots, pottery and mixed media that weave a tapestry
of secret codes that help mould young men and women into responsible citizens
dealing with topics such as gender, respect, hygiene, tolerance and love manifest
in the works of <span style="mso-spacerun: yes;"> </span>both artists.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Where
Agnes is more of a gender and child rights activist in her works with titles
such as <i style="mso-bidi-font-style: normal;">“Stop Child Defilement” </i>and <i style="mso-bidi-font-style: normal;">“Polygamist”</i>, Lawrence often explores
political thoughts and social arguments and in his recent solo exhibition, he interrogated
homosexuality in his work from the ‘<i style="mso-bidi-font-style: normal;">corruption’
</i>series, a topic not too many Zambians are comfortable talking about.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Nevertheless,
the couple remain among the most emulated and prolific artists of their
generation.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-P0IaeomyF-8/W8CXgv94B-I/AAAAAAAAECA/9YHdJQyxVhECTK8HqNwmkuwjYtjtLhR5wCLcBGAs/s1600/IMG_0787.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://4.bp.blogspot.com/-P0IaeomyF-8/W8CXgv94B-I/AAAAAAAAECA/9YHdJQyxVhECTK8HqNwmkuwjYtjtLhR5wCLcBGAs/s320/IMG_0787.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Agnes
was born in Mazabuka in 1966, far from her Tumbuka homeland in the Eastern
Province. She obtained an Art Teachers Diploma from the Evelyn Hone College
where she met Lawrence in 1988. She also has a certificate of art and design
from the Wimbledon School of Art in London, attended residencies at the Edward
Munch Studio in Norway and the McColl Centre for Visual Art in the USA. Along
with her husband, she is a founder member of the Visual Arts Council and served
as treasurer and coordinator for women artists’ workshops.</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><o:p></o:p></span><span lang="EN-GB" style="font-family: "palatino linotype" , serif;">Lawrence
was born in Kalulushi, in 1958. He studied for an advanced certificate in Fine
Art from Croydon College, joined the Ndola Catholic Diocese as a graphic artist
and later attended Evelyn Hone College obtaining an Arts Teachers Diploma in
1990. He attended a short arts administration course the the USA before
establishing the documentation centre at the Henry Tayali Gallery, where he also
served as VAC vice-president.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;">As
a couple, Agnes and Lawrence take marriage as a very important component of
human development, and they believe in sound family values that are bound by
tradition, religion and love. They remain an inspiration not only to artists, but
also to others in the institution of marriage. - ENDS Follow the Yombwe's on Facebook at: https://www.facebook.com/wayiwayi/ and don't forget to add Andrew Mulenga for updates at: https://www.facebook.com/Andrew-Mulenga-402115859842643/ <o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-lsSxpMIK-1c/W8CXtMxoO8I/AAAAAAAAECE/QZJ13ZDQM_oKVfSD06g_MA0x55zilTjXQCLcBGAs/s1600/IMG_0798.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://2.bp.blogspot.com/-lsSxpMIK-1c/W8CXtMxoO8I/AAAAAAAAECE/QZJ13ZDQM_oKVfSD06g_MA0x55zilTjXQCLcBGAs/s320/IMG_0798.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-_tyHcUvTJ4o/W8CX5bOAaNI/AAAAAAAAECI/Jf9sjJ0ovTYspn8MA0rYgaqKPl1HSlxEACLcBGAs/s1600/IMG_0806.JPG" imageanchor="1" style="font-family: "Times New Roman"; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://3.bp.blogspot.com/-_tyHcUvTJ4o/W8CX5bOAaNI/AAAAAAAAECI/Jf9sjJ0ovTYspn8MA0rYgaqKPl1HSlxEACLcBGAs/s320/IMG_0806.JPG" width="320" /></a></div>
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Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com8tag:blogger.com,1999:blog-1972553546303059373.post-77234829425612742172018-09-21T08:47:00.002-07:002018-09-21T08:55:01.512-07:00Colourfully Zigzagging through social commentary, portraiture, landscapes and wildlife<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal">
<b><span style="font-family: "arial" , "helvetica" , sans-serif;">By
Andrew Mulenga</span></b></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span>
<span style="font-family: "palatino linotype" , serif;">(Story first published in The Bulletin & Record Magazine - Zambia - 2014)</span><br />
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">When he
was a teenager, his mother jokingly nicknamed him Zigzag, because of his
meandering personality. He was into everything; he was on his school’s football
team, basketball team, in swimming, as well as the drama and culture clubs.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-uuj2foiTOVQ/W6UQFdjUU5I/AAAAAAAAD-U/FnGk5zF4ycMzn-kvIsnrI-3KvgPWypmLwCLcBGAs/s1600/Mayo%2BMpapa%2B%2528coloured%2Bpencils%2Bon%2Bpaper%2529%2Bby%2BZigzag.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="720" height="320" src="https://4.bp.blogspot.com/-uuj2foiTOVQ/W6UQFdjUU5I/AAAAAAAAD-U/FnGk5zF4ycMzn-kvIsnrI-3KvgPWypmLwCLcBGAs/s320/Mayo%2BMpapa%2B%2528coloured%2Bpencils%2Bon%2Bpaper%2529%2Bby%2BZigzag.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Zigzag, 2014, <i>Mayo Mpapa</i> (coloured pencils on paper) </span></b></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">At some
point, he was even the leader of a reggae band, but it is in the visual arts
where Mr Samuel Nawa would seemingly settle his restless vitality. But even
here the character of his technique is still true to the nickname that stuck on
him by which everyone still calls him today.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">The
themes of Zigzag’s art meander from social commentary, portraiture, landscapes,
wildlife as well as none-representational abstract and political satire. But of
late his work has assumed a snapshot, spur of the moment signature. Notably in
works where he passionately depicts everyday street people, particularly
focusing on the vendors of such products as boiled eggs, plastic bags and roast
maize.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-FB6kXkkkhHA/W6UQjQue2vI/AAAAAAAAD-c/Tx6ODMfOSRYGz596LhbhSUoIGf0fvXfHgCLcBGAs/s1600/Masuku%2Bfor%2Bthe%2Bjourney%2B%2528watercolour%2Bpencil%2Bon%2Bpaper%2529%2Bby%2BZigzag.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="640" height="320" src="https://2.bp.blogspot.com/-FB6kXkkkhHA/W6UQjQue2vI/AAAAAAAAD-c/Tx6ODMfOSRYGz596LhbhSUoIGf0fvXfHgCLcBGAs/s320/Masuku%2Bfor%2Bthe%2Bjourney%2B%2528watercolour%2Bpencil%2Bon%2Bpaper%2529%2Bby%2BZigzag.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Zigzag, 2014 Masuku for the journey <br />(watercolour pencil on paper) </span></b></td></tr>
</tbody></table>
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<span style="font-family: "palatino linotype" , serif;">In
Livingstone, where he has established himself as the resident artist in a very
unusual setting at the Jolly Boys Backpackers, just next to the Livingston
Museum, he freely paints in full view of guests and restaurant patrons,
exchanging friendly chitchat while applies paints with to a canvas or doodles
in a note pad. He believes mixing with people while he works makes the people
part of the process, part of the art work, he is surely not the type of artist
that will lock himself in a confidential studio for long hours. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">No doubt
this positive energy provides an animated spontaneity that matches his snapshot
style whether he is painting from a previously sketched street scene or doing
something from the imagination or memory.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">These
friendly customer relations skills also help pull in the sales and he never
goes a day without a sale, the lodge’s gift shop too is filled with gift cards
and book page holders that he created, the rooms too are decorated with his
works and guests can purchase them upon request when they are checking out.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-ODfFaarUi4w/W6UQ41wSLyI/AAAAAAAAD-k/eVBv-T0epwchMnU1kdH4XLRoCSqRn1xCQCLcBGAs/s1600/Self%2Bportrait%2B%2528graphite%2Bon%2Bpaper%2529%2Bby%2BZigzag.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="586" height="320" src="https://2.bp.blogspot.com/-ODfFaarUi4w/W6UQ41wSLyI/AAAAAAAAD-k/eVBv-T0epwchMnU1kdH4XLRoCSqRn1xCQCLcBGAs/s320/Self%2Bportrait%2B%2528graphite%2Bon%2Bpaper%2529%2Bby%2BZigzag.jpg" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Self portrait </span></b></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">But this
is not his only point of sale, the tech-savvy artist also uses his Facebook
page to advertise his work and he even ships as far as New Zealand and Canada.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">But life
has not always been a joyful bliss for Zigzag, who is only in his late 20s, again
true to his nickname; it has had its fair share of ups and downs. Early in his
career as an artist he faced marginalization and subsequent rejection, but has
never given up.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">When he
was only 12 years old, he had a burning to desire to launch his career professionally
and his uncle took him to the Visual Art Council at the Henry Tayali Gallery in
the Lusaka Showgrounds.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">“I went
to see some art work with my uncle. I was inspired and wanted to join but they
told me I was too young. I was told I was good but I was a kid, at the time I
was at Jacaranda Basic School, I used to live at NIPA flats in the servant
quarters with my parents,” recalls Zigzag. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-y9FdOsu8WEw/W6UROX2d8RI/AAAAAAAAD-s/1v1kn89yiRUYpTfeR05vzu6PSAUgnPpIQCLcBGAs/s1600/Mandanda%2B%2528watercolour%2Bpencil%2Bon%2Bpaper%2529%2BZigzag.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="720" height="320" src="https://2.bp.blogspot.com/-y9FdOsu8WEw/W6UROX2d8RI/AAAAAAAAD-s/1v1kn89yiRUYpTfeR05vzu6PSAUgnPpIQCLcBGAs/s320/Mandanda%2B%2528watercolour%2Bpencil%2Bon%2Bpaper%2529%2BZigzag.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Zigzag, 2014, <i>Mandanda </i>(watercolour pencil on paper)</span></b></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">The
house was so cramped he would have to paint at night when everyone was sleeping
and at school during the day he <span style="mso-spacerun: yes;"> </span>used to
draw comic books in exchange for exercise books or lunch, among his bestsellers
were Duck Tales and the Ninja Turtles.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">“After a
few years I met a girl from Canada called Ashley who introduced me to Twaya Art
Gallery at the Intercontinental Hotel; they asked me for sketches and for my portfolio
but I was about 14 years old, come on I didn’t even know what a portfolio was”
he says.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">A year
later, still determined, he tried to establish himself with a slot at Arcades
Shopping Malls Sunday market, this is where he met the Lungu brothers from
Mtendere, Jeff and Jim. The brothers, although very active on the Lusaka art
scene would bend the highbrowed gallery etiquette and sell their works
curio-style in the mall parking lot.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-kIQ1Lwh3iXw/W6URhCHQqxI/AAAAAAAAD-4/ujeYu0th3vwJaLSn_Ajh7Ku-EPzKKdt5ACLcBGAs/s1600/Malonda%2B%2528Watercolour%2Bpencil%2Bon%2Bpaper%2529%2Bby%2BZig%2BZag.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="640" height="320" src="https://2.bp.blogspot.com/-kIQ1Lwh3iXw/W6URhCHQqxI/AAAAAAAAD-4/ujeYu0th3vwJaLSn_Ajh7Ku-EPzKKdt5ACLcBGAs/s320/Malonda%2B%2528Watercolour%2Bpencil%2Bon%2Bpaper%2529%2Bby%2BZig%2BZag.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Zigzag, Malonda (Watercolour pencil on paper)</span></b> </td></tr>
</tbody></table>
<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">As much
as the brothers inspired him, the young and restless Zigzag always dreamt of one
day packing a bag and heading to Livingstone, to have a shot at the tourist
capital. By the year 2000, he had already completed school and decided to travel;
he had nothing but a bus ticket and a few clothes to change.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">“I had
nowhere to sleep so I used to sleep on a bus, Bookers Express, so when the bus
doesn’t come that night, I was in problems, I will be stuck and have nowhere to
sleep,” he pays homage to the bus company in one of his recent works entitled <i style="mso-bidi-font-style: normal;">Masuku for your journey</i>, which depicts fruit
vendors raising their baskets to the passengers for a purchase.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">“I tried
to work with at the Mukuni Curio market but it didn’t work, I tried to work at
the falls with my friend Luka whom I came with from Lusaka but it was tuff and he
finally gave up and went back to Lusaka,” he says.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-5Z07-PZ-ie0/W6UR1YW0ZhI/AAAAAAAAD_A/4K53jLT9pnUlUEQjvoY514wSfJn4gEtiACLcBGAs/s1600/Zigzag%2Bposes%2Bwith%2Btwo%2Bsatisfied%2Bcustomers%2Bat%2Bthe%2BJolly%2BBoys%2Bbackpackers%2Bin%2BLivingstone.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="720" height="240" src="https://1.bp.blogspot.com/-5Z07-PZ-ie0/W6UR1YW0ZhI/AAAAAAAAD_A/4K53jLT9pnUlUEQjvoY514wSfJn4gEtiACLcBGAs/s320/Zigzag%2Bposes%2Bwith%2Btwo%2Bsatisfied%2Bcustomers%2Bat%2Bthe%2BJolly%2BBoys%2Bbackpackers%2Bin%2BLivingstone.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"><b>Zigzag poses with two satisfied customers at the <br />Jolly Boys backpackers in Livingstone</b></span></td></tr>
</tbody></table>
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<span style="font-family: "palatino linotype" , serif;">He says
at the time the Livingstone Visual Arts Council was very active, they had a lot
of paintings at the museum but were not selling.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">“I was
then given a chance at the Arts Café being operated by a foreign couple Bob and
Marylyn, and that is where I would end up spending most my time but they only
ran it for three months because they were discouraged that the tourism season
in Zambia is very short”.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">Luckily
he had a backup plan and arranged with the proprietors at Jolly Boys Backpackers,
where he still works at no charge. But it was while negotiating for space at Jolly
Boys Backpackers that he met the love of his life. A Norwegian volunteer named Silje
Pedersen who was still a college student back home in Europe.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-UhfAzoas8Rs/W6USJD1cGzI/AAAAAAAAD_I/8ALyyA56g1MtehaZ2QbG7JPoKEcu57TbgCLcBGAs/s1600/Chimanga%2B%2528watercolour%2Bpencils%2529%2Bby%2BZigzag.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="720" height="320" src="https://1.bp.blogspot.com/-UhfAzoas8Rs/W6USJD1cGzI/AAAAAAAAD_I/8ALyyA56g1MtehaZ2QbG7JPoKEcu57TbgCLcBGAs/s320/Chimanga%2B%2528watercolour%2Bpencils%2529%2Bby%2BZigzag.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Zigzag, 2014, Chimanga (watercolour pencils) </span></b></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">“From
the first time I saw her just sitting there it changed everything this was
after I hadn’t been with a girl for 9. I met her hear in 2010, but she later left
for Tanzania with her friends, and when I asked whether she will be back she
said she didn’t know,” he affectionately recalls with an broad smile on his
face “So I was forced to sell an artwork cheaply in order to follow her because
I could stop thinking about her after she left.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">Like he
left Lusaka, once again Zigzag found himself on a journey, a three day journey
to be specific. This time all he had was an address, two bottles of water, two
packets of biscuits and K2 loose change. Afraid to lose his sweetheart, he
embarked on the journey to search for her.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-vjrUnaaJtJg/W6USY2SoRdI/AAAAAAAAD_M/jHo6L0kjizMzZ94IBwjWqDS0onsRSdJJgCLcBGAs/s1600/Zigzag%2Band%2Bwife%2BSilje%2BPedersen.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="890" data-original-width="1287" height="221" src="https://2.bp.blogspot.com/-vjrUnaaJtJg/W6USY2SoRdI/AAAAAAAAD_M/jHo6L0kjizMzZ94IBwjWqDS0onsRSdJJgCLcBGAs/s320/Zigzag%2Band%2Bwife%2BSilje%2BPedersen.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Zigzag and wife Silje Pedersen</span></b></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">“ It was
the first time for me to travel for a woman in life, then I saw her and it was
nice just like the first time a saw her again we spent about a month in
Tanzania getting to know each other more but things didn’t worked out then I
came back to Zambia” he says.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">She too came
back to Zambia and stayed here for some social work with YWCA for 4 months. But
a few months later they would patch things up and head to Norway for a
colourful wedding.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">He came
back to Zambia while she had to take up work in Norway. But today, they are
expecting their first child and he has briefly abandoned his post at the Jolly
Boys Backpackers to be by her side during this blissful moment in the young
couples lives.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "palatino linotype" , serif;">So if
you intend to pass through the Jolly Boys Backpackers for one of his usually
reasonably priced works, you will have to wait a few months or look for him on
Facebook and order something from his page. - ENDS <o:p></o:p></span><br />
<span style="font-family: "palatino linotype" , serif;"><br /></span>
<span style="font-family: "palatino linotype" , serif;">(You can flow Zigzag on Facebook @ https://www.facebook.com/ZigArtLife/)</span></div>
<br /></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com6tag:blogger.com,1999:blog-1972553546303059373.post-52594306746711688862018-04-12T01:02:00.003-07:002018-04-12T01:02:58.979-07:00Don’t worry be happy – Kopeka’s "art populaire"<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="font-size: 12pt;"><span style="font-family: Arial, Helvetica, sans-serif;">By Andrew Mulenga</span></b></div>
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<b style="font-size: 12pt;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></b></div>
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<span style="font-size: 12pt;"><span style="font-family: Arial, Helvetica, sans-serif;">(First published in the Bulletin & Record Magazine, Zambia in 2013)</span></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">A week before the much hyped 20<sup>th</sup> UNWTO (2013)
general assembly artists and craftsmen – both government and self-sponsored – from
all across the country thronged Livingstone and worked around the clock anticipating
the estimated 5,000 (five thousand) delegates between the twin venues of Victoria
Falls Town in Zimbabwe and Livingstone in Zambia to disembark from aeroplanes
with sack loads of money to buy every trinket that they had to offer.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-FmGTIOWdXv8/Ws8PHDAbNpI/AAAAAAAAD08/9fKeB0fHZooBk1na4tGmZWJRskvmfPFMACLcBGAs/s1600/Don%2527t%2Bworry%2Bbe%2Bhappy%2Bby%2BBernard%2BKopeka.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="472" height="320" src="https://1.bp.blogspot.com/-FmGTIOWdXv8/Ws8PHDAbNpI/AAAAAAAAD08/9fKeB0fHZooBk1na4tGmZWJRskvmfPFMACLcBGAs/s320/Don%2527t%2Bworry%2Bbe%2Bhappy%2Bby%2BBernard%2BKopeka.jpg" width="177" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;"><b>Bernard Kopeka, Don't Worry Be Happy, 2013</b></span></td></tr>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">However, not everyone was excited at the rumoured prospects.
Bernard Kopeka, a 49-year-old artist who is one of five that run the
Mosi-Oa-Tunya Art Centre could not be bothered by neither the panic nor
hysteria brought about by this international event, for him, it was business as
usual.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">“Yes I am looking forward to the UNWTO, but what I
know is that we have been artists all along even before the UNWTO we were
artists. Yes maybe they (delegates and tourists) will buy our work but the idea
is just to work as we usually do, if we get sales then that will be a bonus,”
says Kopeka as he applies some final coats of PVA house paint to the portrait
of an elephant. He uses this kind of paint because unlike the professional
paints used by contemporary artists, it is inexpensive and also easier to come
by. Of course this does make his work lower in price, not to say that the
influential American abstract expressionist Jackson Pollock used house paints straight
from the tin but his works cost a fortune even before his death, but such is
the irony of art.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-KqB3B_dbZ34/Ws8PyNKWkmI/AAAAAAAAD1E/95ZWrbu9tnEfyVBEkz1oyY6KsbnsQHdtgCLcBGAs/s1600/30%2Byears%2Bof%2Bmarriage%252C%2Bby%2BBernard%2BLopeka.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="566" height="320" src="https://3.bp.blogspot.com/-KqB3B_dbZ34/Ws8PyNKWkmI/AAAAAAAAD1E/95ZWrbu9tnEfyVBEkz1oyY6KsbnsQHdtgCLcBGAs/s320/30%2Byears%2Bof%2Bmarriage%252C%2Bby%2BBernard%2BLopeka.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Bernard Kopeka, 30 years of marriage, 2013</span></b></td></tr>
</tbody></table>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">Kopeka paints on large format, stretched canvases
making his works that average two metres in height visible from the main road, the
Mosi-Oa-Tunya highway, these along with some anatomically inaccurate sculptures
– that are so unattractive one wishes there was a law against such art – easily
catch the eyes of passers-by, luring them into the art centre. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">Nevertheless, Kopeka is not responsible for the unsightly
statues; it is one of the four friends with whom he runs the centre. He is a
painter through and through having picked up the trade from a cousin as a young
boy in his home village in Mpulungu District in the early 1970s just before he
dropped out of school in Grade 7. In his early days, he started out drawing
cartoon strips on any paper he could lay his hands on but later developed his
skill into painting when he migrated to the Copperbelt.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">“</span><span class="st"><span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">In 1987 I left the village and went to Ndola, there I found an artist
who started coaching me in Chifubu Township near Fibobe Primary School, that’s when
I met Mr Rodgers Mushinki who was an artist with ZCBC departmental stores,” he
explains.<o:p></o:p></span></span></div>
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<span class="st"><span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;"><br /></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-bo8Jl0-IZnM/Ws8QKFfZ58I/AAAAAAAAD1I/wtxD0yhWZR0wKOVMmiW6OFTo1cJp0V_fgCLcBGAs/s1600/Akalindula%2Bby%2BBernard%2BKopeka.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="938" height="289" src="https://3.bp.blogspot.com/-bo8Jl0-IZnM/Ws8QKFfZ58I/AAAAAAAAD1I/wtxD0yhWZR0wKOVMmiW6OFTo1cJp0V_fgCLcBGAs/s320/Akalindula%2Bby%2BBernard%2BKopeka.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Bernard Kopeka, Akalindula, 2013</span></b></td></tr>
</tbody></table>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">Kopeka would work under </span><span class="st"><span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Mushinki’s </span></span><span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">apprenticeship for
the next five years until the road beckoned once again and he decided to migrate
to Zambia’s tourist capital in 1992 after a lot of encouragement from folks who
saw his work and advised him that Livingstone is where the money is because of
the many art and crafts collecting tourists that visit the city.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">But when he got to Livingstone, the beginning was
not as smooth as he anticipated. Sales were slow and the fact that he married
shortly after demanded for a larger income compelling him to seek employment as
a ‘<i style="mso-bidi-font-style: normal;">Chigayo</i> Boy’ or hammer mill
operator.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">However, Kopeka did not last long at the hammer
mill, his creative vocation continued to call and he found himself quitting
work to take up painting as a full time occupation once again. This time he was
even able to make his former monthly earnings in two days.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-TrK1bEyI-70/Ws8RZKSYSMI/AAAAAAAAD1Y/4C_0ta5FBKQMOUCRZ78d7Rq0owywlgylgCLcBGAs/s1600/The%2Bopen%2Bstudio%2Bof%2BMosi-oa-tunya%2Bart%2Bcentre%2Bin%2BLivingstone.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1034" data-original-width="1600" height="206" src="https://1.bp.blogspot.com/-TrK1bEyI-70/Ws8RZKSYSMI/AAAAAAAAD1Y/4C_0ta5FBKQMOUCRZ78d7Rq0owywlgylgCLcBGAs/s320/The%2Bopen%2Bstudio%2Bof%2BMosi-oa-tunya%2Bart%2Bcentre%2Bin%2BLivingstone.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">The open studio of Mosi-oa-tunya art centre in Livingstone</span></b></td></tr>
</tbody></table>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">“Ever since I got married there is nothing else that
I do. It is just art, sometimes I don’t sell anything for a month and we end up
doing some sign writing <span style="mso-spacerun: yes;"> </span>jobs here and
there, or even the small wall hangings keep us going because they only cost K50
(fifty Kwacha),” explains the artist who now has four children, the first born
being an eighteen year old.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">He openly cherishes the support that he now gets
from his wife who has set up a small cross boarder trading business that allows
her to operate a market stall whenever she returns from Zimbabwe to order goods.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">But, although in 1992 Kopeka spent time learning new
techniques with the acclaimed painter Vincent Maonde who was running an art
club at the Livingstone Museum at the time, Kopeka’s work is still considered <i style="mso-bidi-font-style: normal;">art populaire</i> (folk art) as the
Congolese would call it. </span></div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-vCegcagIWPw/Ws8RldxG00I/AAAAAAAAD1c/YBBVjqSA07U-fGZ82F2kIHUY9hcZHyn_gCLcBGAs/s1600/Mr%2BKopeka%2Buses%2Bwater-based%2BPVA%2Bpaints.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="585" height="320" src="https://2.bp.blogspot.com/-vCegcagIWPw/Ws8RldxG00I/AAAAAAAAD1c/YBBVjqSA07U-fGZ82F2kIHUY9hcZHyn_gCLcBGAs/s320/Mr%2BKopeka%2Buses%2Bwater-based%2BPVA%2Bpaints.jpg" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Mr Kopeka uses water-based PVA paints</span></b></td></tr>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">Not only because it is sold like a commodity in the
open air which qualifies it to be called <i style="mso-bidi-font-style: normal;">Jua
Kali</i> (hot sun) as the Swahilis will say, referring to the place where it is
manufactured but because of the seemingly repetitive and almost identical
subject matter the work possesses.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">Artists such as Maonde with their Evelyn Hone
training in the 1970’s and further exposure in the United Kingdom and the
United States practice contemporary art in the western idiom, producing what is
often termed as “high art” because it is sold mainly in galleries and on
commission.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">“I have come to learn in my years as an artist, that
even the environment in which we sell our art determines the final price of our
work,” says Kopeka “Someone will look around our ‘gallery’ and say ‘no reduce
the price, I can’t buy it for this price’, even when he likes the work,” his
large paintings go for anything between K1,000 (one thousand kwacha) to K2,000
(two thousand kwacha).<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; line-height: 115%;">As the UNWTO drew to a close, sales at the Mosi-Oa-Tunya
Art Centre were still very low but Kopeka could not be bothered, he was still
in the jovial spirit that is reflected in the colourful outbursts reflected in
the caricatures of carefree, dancing villagers in his paintings with aptly
titled labels as <i style="mso-bidi-font-style: normal;">Don’t Worry Be Happy</i>
and <i style="mso-bidi-font-style: normal;">Good Times</i>. It is business as
usual.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-xmiUaK6nQZc/Ws8SPYqvbsI/AAAAAAAAD1s/M5bo_vgdg4MGwnSiVDZMbhrdj-aY7zLSwCLcBGAs/s1600/Good%2BTimes%2BII%252C%2Bby%2BBernard%2BKopeka.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><b><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" data-original-height="850" data-original-width="456" height="320" src="https://3.bp.blogspot.com/-xmiUaK6nQZc/Ws8SPYqvbsI/AAAAAAAAD1s/M5bo_vgdg4MGwnSiVDZMbhrdj-aY7zLSwCLcBGAs/s320/Good%2BTimes%2BII%252C%2Bby%2BBernard%2BKopeka.jpg" width="171" /></span></b></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Bernard Kopeka, Good Times II, 2013</span></b></td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-sADGFVQMWy4/Ws8SB38oMQI/AAAAAAAAD1k/tjw5JvHIy1U7yRh4FO2-A2OJ2c_S3rBUACLcBGAs/s1600/Mosi-Oa-Tunya%2BArt%2BCentre%2B%2Bin%2BLivingstone.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="1276" height="213" src="https://2.bp.blogspot.com/-sADGFVQMWy4/Ws8SB38oMQI/AAAAAAAAD1k/tjw5JvHIy1U7yRh4FO2-A2OJ2c_S3rBUACLcBGAs/s320/Mosi-Oa-Tunya%2BArt%2BCentre%2B%2Bin%2BLivingstone.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Mosi-Oa-Tunya Art Centre in Livingstone</span></b></td></tr>
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Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com1tag:blogger.com,1999:blog-1972553546303059373.post-67309849227599139642018-03-05T05:26:00.002-08:002018-03-05T05:26:15.924-08:00Publications, art criticism, research may help ascribe value as demand for contemporary African art increases <div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="font-size: 12pt; line-height: 107%;"><b><span style="font-family: Arial, Helvetica, sans-serif;">By Andrew Mulenga</span></b></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><br /></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p></o:p></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">With what can be identified as an increasing demand
for modern and contemporary African art on the world stage, South African
artist and educator Annette Loubser suggests that if the continent is to
benefit more from this wave, there is need to intensify research<span style="mso-spacerun: yes;"> </span>and writing on individual artists.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">This was while addressing the audience during the
opening of <i style="mso-bidi-font-style: normal;">Signs of The Times</i>, a
group exhibition at Galerie NOKO in Port Elizabeth that opened on 28 February
and features photography, sculpture, painting and ceramics by Monique Willfen
Rorke, Qhama Maswana, Chantall Berise Martin, Mziwoxolo Makalima, Brunn Kramer,
Christian Arnold, Dorothy Barnes, Lee Hensberg and Suyabonga Ngaki. <span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p></o:p></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Loubser -- formerly a senior educator of the Iziko art
collections at the National Gallery in Cape Town stated that while South
Africa, Nigeria, Kenya and Morocco are essentially seen as the countries with
the best infrastructure for the growing art market; it is still important that
more research and writing is encouraged as she pointed out a few indicators
that were necessary to harness this global demand as well as continue to
ascribe financial value to the works of artists.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-l0dyt9XjF3E/Wp1FRR8sI_I/AAAAAAAADyI/Au4-OiMXCTAFUcLSWH6OX0S4t1aBlz7lgCLcBGAs/s1600/Loubser.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="694" height="320" src="https://4.bp.blogspot.com/-l0dyt9XjF3E/Wp1FRR8sI_I/AAAAAAAADyI/Au4-OiMXCTAFUcLSWH6OX0S4t1aBlz7lgCLcBGAs/s320/Loubser.JPG" width="138" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Loubser</span></b></td></tr>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">“There is a demand that has come from Europe,
particularly from Bonham’s because people are buying not only the work of
emerging young Africans but also more traditional and older artists that have
passed on like Irma Stern. Therefore, what are the indicators, how do you
ascribe value to artworks from this market,” she asked. “You have an artist
that might be a street artist, an artist who uses found objects and an artist
who has PhDs and things; or International exposure or one who is more
interested in Voodoo or something like that. Now how do you ascribe value?” </span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><br /></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p></o:p></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Loubser suggested that there are three indicators that
have been looked at by some contemporary art galleries. The first being publications,
the second being the amount of art criticism and research that has been done
around a particular artist, and the third thing is whether the artist has been
given a one-person exhibition in a gallery or an art museum. Concerning the
issue of research, she suggested this was of the utmost importance, and that it
really needed to be encouraged pointing out collections such as The
Contemporary South African Black Art Collection or the The De Beers Centenary
Collection at the University of Fort Hare, the oldest black university in the
country, founded in 1916. These collections which include works of icons such
as George Pemba, Gerald Sekoto and Dumile Feni also house a wide range of disciplines
such as etchings, woodcuts, wood blocks, linocuts, serigraphs, drawings,
paintings and sculpture representing more than 170 artists most of whom have
not been researched on in depth. Also within the Eastern Cape, she made mention
of the Nelson Mandela Metropolitan Art Museum, which houses work by Gladys Mgudlandlu
whose solo exhibition in Johannesburg in the early 1960s was reported as the first
for a black African woman during the apartheid era. Loubser stated not enough
has been written about Mgudlandlu and the work by others in the museum and that
there is much that upcoming researchers could work with despite the sometimes
restrictive nature of these institutions in terms of their archive
accessibility more so the Fort Hare collection. </span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><br /></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p></o:p></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Asked how she thought countries such as Zambia which
may not have the infrastructure of the countries she earlier mentioned would
benefit from a piece of the global pie concerning the demand for contemporary
African art, she suggested partnerships in terms of exhibitions and research
projects within the SADC region would be beneficial to start with.</span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><br /></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><o:p></o:p></span><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">This unprecedented demand for modern and contemporary
art from Africa is reflected not only by the likes of Bonham’s as Loubser
points out in May last year Sotheby’s London held an inaugural sale for its
Modern and Contemporary African Art department, with 115 works selling for a
total of<span style="mso-spacerun: yes;"> </span>$3.6 million. This year a
long-lost Nigerian masterpiece by Ben Enwonu that was found in a London apartment
set a record for Bonham’s at $1.67 million during Africa Now, the first-ever
evening sale of contemporary African art at the auction house and collectors
are also discovering works through ever growing fairs such as 1:54 Contemporary
African Art Fair, in London, New York and Marrakech.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">___________________________________________________________________________<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><i><span style="color: blue;">Annette Loubser graduated from Rhodes University in
Grahamstown, receiving a B.F.A. in painting in 1974. She later went on to
receive her M.F.A in painting, her B.A. Honors in Art History, and a
postgraduate diploma in Mural Painting and Stained Glass from various
institutions. She last showed her own artwork in Johannesburg three years ago,
but has not been engaged with her personal art practice since then. See: <a href="https://msusouthafricastudyabroad.wordpress.com/2013/07/11/interview-with-annette-loubser/">https://msusouthafricastudyabroad.wordpress.com/2013/07/11/interview-with-annette-loubser/</a><o:p></o:p></span></i></span></div>
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<span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"><i><span style="color: blue;">Galerie NOKO is housed in a landmark building that has
recently been renovated to contemporary values on one of Port Elizabeth’s main
route, Russell road.<span style="mso-spacerun: yes;"> </span>A uniquely
positioned building, it is bordered on the back by Campbell street as it faces
Russell road and on either sides by Bain and Moffat<span style="mso-spacerun: yes;"> </span>streets. See: <a href="http://galerienoko.com/">http://galerienoko.com/</a><o:p></o:p></span></i></span></div>
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Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com5tag:blogger.com,1999:blog-1972553546303059373.post-82591357593804124222017-06-21T04:04:00.000-07:002017-06-21T04:50:24.135-07:00Of Makishi Mona Lisas and Last Suppers<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="text-align: left;"><span style="font-family: "arial" , "helvetica" , sans-serif;">By Andrew Mulenga</span></b></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">(This article was first published in the Bulletin & Record Magazine - 2014 - under a different title)</span></b></div>
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<span style="font-family: "palatino linotype" , serif;">In 2011, a young artist, Ignatius Sampa created ripples on the Zambian art scene when he daringly introduced the public to radical images of characters from the <i>Makishi</i> masquerades and <i>Mukanda</i> initiation rites in caricatured portrayals and renderings of not only everyday life but of famous paintings by Leonardo Da Vinci like it had never seen before.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-zixJjnC4Nps/WUpG0gT4YOI/AAAAAAAADcY/HA84fig06eMTXDBHTlV-pV6Ys5jbNUELACLcBGAs/s1600/Mwana%2BPwo%2B%2528oil%2Bon%2Bcanvas%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1107" height="320" src="https://2.bp.blogspot.com/-zixJjnC4Nps/WUpG0gT4YOI/AAAAAAAADcY/HA84fig06eMTXDBHTlV-pV6Ys5jbNUELACLcBGAs/s320/Mwana%2BPwo%2B%2528oil%2Bon%2Bcanvas%2529.jpg" width="221" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Ignatius Sampa, 2013, <i>Mwana Pwo</i>, <br />oil on canvas</span></b></td></tr>
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<span style="font-family: "palatino linotype" , serif;">In fact, his <i>Makishi Last Supper</i> (after Leonardo Da Vinci) was bought by the Lechwe Art Trust, making him the youngest artist to have work included in the prestigious collection of Zambian art overseen by Cynthia Zukas at the age of 20. <o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">A time honoured, sacred custom the initiations rites of the top-secret <i>Mukanda</i> society and its masked characters are revered by the Luvale, Chokwe, Luchazi and Mbunda people of North Western and Western provinces of Zambia as custodians of male initiation.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">But about a year after his witty entrance onto the scene, Sampa vanished, casting aside his brushes and canvases falling completely off the visual arts radar. The rumours that he had quit art for good and either taken to the bottle or opened his own liquor retail business at the height of the infamous <i>Tujili jili</i> (bootleg spirit sachets) period were tossed here and there, and the young rogue artist was hard to trace having switched several mobile phone numbers.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-lFpxTiEMdK8/WUpHOvZEH6I/AAAAAAAADcc/YrjI9Lp_WswciAdkt1jrVHYI4nYmAztIgCLcBGAs/s1600/Culture%2Band%2Breligion%2B%2528oil%2Bon%2Bcanvas%2529.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="549" height="320" src="https://3.bp.blogspot.com/-lFpxTiEMdK8/WUpHOvZEH6I/AAAAAAAADcc/YrjI9Lp_WswciAdkt1jrVHYI4nYmAztIgCLcBGAs/s320/Culture%2Band%2Breligion%2B%2528oil%2Bon%2Bcanvas%2529.JPG" width="206" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"><b>Ignatius Sampa, 2014, <i>Culture and religion</i>, <br />oil on canvas</b></span></td></tr>
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<span style="font-family: "palatino linotype" , serif;">Last year, however, Sampa bounced back reappearing at the Art Academy Without Walls (AAWW) in the Lusaka Showgrounds where he had previously made friends. He set up studio space and started to work once again, all the more with a somewhat renewed enthusiasm.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">But again he became inconsistent sometimes disappearing for a week or longer as he had now landed a job as the resident graphic designer at the Food Lover’s Market in Levy Junction Mall. Even amidst these brash disappearing maneuvers, the artist remained busy in the background.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Sampa now has a huge body of work that could easily be ready for a solo exhibition, but he is in no hurry to show it.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Ignatius Sampa, 2013,<i> Makishi Last Supper</i>, oil on canvas</span></b></td></tr>
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<span style="font-family: "palatino linotype" , serif;">“Now I’m just painting because art is what I love doing. I’m not painting to sell at all, maybe later but not know, yes I will put a work in an exhibition now and then but I’m not really thirsty to sell. Sometimes people will offer me money for a work but I won’t sell it because I want to be looking at it myself”, he recently said with a slight air of narcissism.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Surely if you visit the one room space he has converted into living quarters in the Lusaka Showgrounds, just behind Riflemen -- the army run civilian’s pub -- you will find stacks of fascinating <i>Makishi</i> themed paintings regrettably hidden from public view and enjoyment.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-LFKMj1-1Xn0/WUpLIZFmylI/AAAAAAAADcs/xo7lH8hHCqIUeN4pDXeI73vp417hR9KFwCLcBGAs/s1600/Culture%2Blessons%2B%2528oil%2Bon%2Bcanvas%2529.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="851" data-original-width="1085" height="250" src="https://4.bp.blogspot.com/-LFKMj1-1Xn0/WUpLIZFmylI/AAAAAAAADcs/xo7lH8hHCqIUeN4pDXeI73vp417hR9KFwCLcBGAs/s320/Culture%2Blessons%2B%2528oil%2Bon%2Bcanvas%2529.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Ignatius Sampa, 2014, <i>Culture lessons</i>, oil on canvas</span></b></td></tr>
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<span style="font-family: "palatino linotype" , serif;">It is here you will find paintings such as <i>Mwana Pwo</i>, one of the most celebrated among the masked characters that represent the “ideal young woman” or “purest maiden”. Sampa portrays <i>Mwana Pwo</i> as the Mona Lisa. But the similarities between Sampa’s and Leonardo’s depiction of Lisa Del Giaconda ends at the posture, enigmatic smile and partially, the outer garment.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">He does not mimic the eerie background of the Italian master that depicts some imaginary landscape with glacial mountains, winding paths, and a bridge. In his version, the background undoubtedly shows the Mosi-Oa- Tunya (Victoria Falls) and a few shrubs. Most likely, the artist was trying to further “Zambianize” the portrait by giving it this backdrop.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Ignatius Sampa, 2014, Dinner, oil on canvas</span></b></td></tr>
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<span style="font-family: "palatino linotype" , serif;">By many western schools of artistic thought, the Mona Lisa is considered Da Vinci’s greatest work and a symbol of picture-perfect beauty, likewise, <i>Mwana Pwo</i> in the <i>Makishi</i> culture represents the ideal maiden and Sampa appears to be toying with this concept. <o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Another clever painting is <i>Culture and Religion</i>. It shows the Pope in a brotherly embrace with a <i>Likishi</i>, with one arm across the shoulder of the other, they face their backs towards the viewer while waving at a multitude from a balcony. <o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">As the title and the picture suggests, Sampa is proposing that “foreign” religion and “local” traditions should work hand in hand, one beside the other.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">In <i>Dinner</i>, he portrays a <i>Likishi</i> couple at a table having a western style candlelight dinner complete with a bottle of red wine and tall stemmed wine glasses. The candlelight bounces off the wall of the traditional mud hut in which the couple is dining providing <span class="ircsu">a dramatic visual effect of stark contrast between the dark and light areas of the painting.<o:p></o:p></span></span></div>
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<span class="ircsu"><i><span style="font-family: "palatino linotype" , serif;">Exchanging Culture</span></i></span><span class="ircsu"><span style="font-family: "palatino linotype" , serif;"> is a wedding scene. The blond, blue-eyed bride of European extraction is veiled in a frilly white wedding dress as per western tradition – or indeed the surrogate custom borrowed in present day Africa -- and the groom is the kind who’s mask faces the sky. The couple is being wed before a large crowd of Makishi and before the crowd is a large three tier wedding cake on the groom’s side while on the bride's side there appears to be a large batch of the Zambian polony-like vegetarian delicacy <i>Chikanda .</i><o:p></o:p></span></span></div>
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<span class="ircsu"><span style="font-family: "palatino linotype" , serif;">This the clever and often quirky way that Sampa plays around with clashing cultures and </span></span><span style="font-family: "palatino linotype" , serif;">dissimilar traditions, and as far as never being short of surprises goes, he does not disappoint. <o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Sampa’s choice of concept has not always sat well with everyone though. He once alluded to being harassed by artists whose traditional homeland is North Western province and regarded him as an outsider who has no right to dabble in the Luvale, Chokwe, Luchazi and Mbunda people’s sacred customs himself being a Northerner. <o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Sampa confesses that this intimidation is what partially led to him quitting the scene for a while, but then he remembered that he has the entire artistic license and every right as the next man to refer to use <i>Makishi</i> culture as reference material to inform his artwork.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">His ethos can be summed up in what he once said of his <i>Makishi Last Supper</i>, "All the last supper paintings I've seen have 'white' people in them, so I thought I should make one that is more African, in fact, more Zambian, and for me there is nothing that represents Zambia more strongly than the <i>Makishi</i>".<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Ignatius Sampa, 2014, <i>National team</i>, oil on canvas</span></b></td></tr>
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<span style="font-family: "palatino linotype" , serif;">The paintings mentioned here are just a handful of what he currently has in stock both at home and at the cubicle he used to occupy at the Art Academy Without Walls AAWW, so if his type of work tickles your fancy and you can find him in the right mood, he just might be able to let go of some of these fascinating paintings for a reasonable price while he still ponders what next to do with them.<o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">Apart from a residency at the AAW in 2010 when he joined the Visual Arts Council of Zambia (VAC) and the August Studio workshops for up-coming artists held in the Lusaka show grounds Sampa has had no formal training in art.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-obAyQ2lkuyk/WUpO_VOPfuI/AAAAAAAADdI/q8S9WqXRckg4Bx-jyPzxR4KwGOtxbBI3QCLcBGAs/s1600/Moving%2Bculture%2Bto%2Banother%2Blevel%2B%2528oil%2Bon%2Bcanvas%2529.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="666" height="320" src="https://2.bp.blogspot.com/-obAyQ2lkuyk/WUpO_VOPfuI/AAAAAAAADdI/q8S9WqXRckg4Bx-jyPzxR4KwGOtxbBI3QCLcBGAs/s320/Moving%2Bculture%2Bto%2Banother%2Blevel%2B%2528oil%2Bon%2Bcanvas%2529.JPG" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Ignatius Sampa,<i> 2014, Moving culture</i> to another level <br />(oil on canvas)</span></b></td></tr>
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<span style="font-family: "palatino linotype" , serif;">He first started experimenting with art when he observed his brothers and sisters working on their art projects for final secondary school examinations at their home in Chunga and during his early teens he received some guidance from Dominic Yombwe. He looks up to another young painter, Caleb Chisha, who showed him the ropes when he just joined the AAW but he says his use of colours is inspired by the palette of Lawrence Yombwe of Wayi Wayi Art Studio and Gallery in Livingstone. <o:p></o:p></span></div>
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<span style="font-family: "palatino linotype" , serif;">At 23 Sampa’s talent puts him in good stead; we can only hope he begins to treat art with the seriousness and commitment that deserves, hoping he can assume a more professional and less pastime type of approach. His potential is boundless. - ENDS<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Ignatius Sampa, 2014, <i>Family Portrait,</i> oil on canvas<br /></span></b><a href="https://3.bp.blogspot.com/-8iSxpC4pCPE/WUpSRXJpBwI/AAAAAAAADdg/QM-vgSEABBwHi1REvicwo1sSxO-7xmFnwCLcBGAs/s1600/Ignitius%2BSampa.JPG" imageanchor="1" style="font-size: medium; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1275" height="320" src="https://3.bp.blogspot.com/-8iSxpC4pCPE/WUpSRXJpBwI/AAAAAAAADdg/QM-vgSEABBwHi1REvicwo1sSxO-7xmFnwCLcBGAs/s320/Ignitius%2BSampa.JPG" width="255" /></a><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b><b style="font-size: 12.8px;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Ignatius Sampa</span></b><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"><br /><br /><br /></span></b></td></tr>
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Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com10tag:blogger.com,1999:blog-1972553546303059373.post-36113381362188818922017-06-19T11:19:00.000-07:002017-06-19T11:19:01.046-07:00Roy Jethro Phiri: Young Zambian artist builds miniature robocops and robodogs from scrap<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="font-family: Arial, Helvetica, sans-serif;">By Andrew Mulenga</span></b><span style="font-family: Palatino Linotype, serif;"><o:p></o:p></span></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;">(Story first published in the Bulletin & Record magazine 2013 October edition)</span></b></div>
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<span style="font-family: "Palatino Linotype",serif;">When most 17-year-old urban youths are not in school, they spend their recreational time ‘hanging out’ at shopping malls, watching movies, playing video games, fidgeting with their mobile phones or – whether we like it or not – indulging in alcohol abuse among other vice propelled activities.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-DpB6Wsi1rI8/WUgC__2cTTI/AAAAAAAADbk/-MSN-K6_nUAM_ERcI4nL3JDKMRkODO6PwCLcBGAs/s1600/A%2Brobotic%2Bpolice%2Bofficer%2Bby%2BRoy%2BPhiri.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="567" height="320" src="https://4.bp.blogspot.com/-DpB6Wsi1rI8/WUgC__2cTTI/AAAAAAAADbk/-MSN-K6_nUAM_ERcI4nL3JDKMRkODO6PwCLcBGAs/s320/A%2Brobotic%2Bpolice%2Bofficer%2Bby%2BRoy%2BPhiri.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">A robotic police officer by Roy J. Phiri</span></b></td></tr>
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<span style="font-family: "Palatino Linotype",serif;">But Roy Jethro Phiri, a grade 12 pupil at St. Raphael’s Secondary School in Livingstone, a young man who declares he has had his share of teenage mischief, spends long hours creating miniature sculptures you would expect to see on the set of a Hollywood science fiction movie.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">Using all types of miniscule, discarded material such as old cuff links, radio knobs and lighter switches, he creates convincing robotic dogs and police officers, and although they are inanimate, they give you the feeling that they might get up and start moving.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">“When I was young”, which ironically was only last year “I wanted to make a ring from my mother’s old glasses. But I ended up making a necklace instead. So sometimes I will start with one idea and end up making something else”, he says as he adds the last bit of adhesive to the breastplate of a robotic policeman. The breastplate is a former label from the protective casing of a ‘Police’ brand of sunglasses. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-Pxf-WwM9kcE/WUgDc1fMFWI/AAAAAAAADbo/QFFruBFitTod6COoKh0zfAkn78Vs7MHmQCLcBGAs/s1600/Robodog%252C%2B%2Ba%2Bminiature%2Brobotic%2Bdog%2Bby%2BRoy%2BPhiri.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="850" data-original-width="1276" height="213" src="https://4.bp.blogspot.com/-Pxf-WwM9kcE/WUgDc1fMFWI/AAAAAAAADbo/QFFruBFitTod6COoKh0zfAkn78Vs7MHmQCLcBGAs/s320/Robodog%252C%2B%2Ba%2Bminiature%2Brobotic%2Bdog%2Bby%2BRoy%2BPhiri.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Robodog, a miniature robotic dog by Roy J. Phiri</span></b></td></tr>
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<span style="font-family: "Palatino Linotype",serif;">“But the way it all started, is that I see shapes in the smallest things and then I think what if I stick this and that together what will I be able to create”, he says “I just throw pieces on the floor or on a table then I go to work”.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">Phiri believes God blessed him with a photographic memory which he says has been quite helpful when he is creating miniatures. Apart from robots, he is also a submarine, aviation, car and motorcycle enthusiast who is confident that he will someday design all of these things if he gets the proper motivation and education.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">A miniature chopper by Roy Phiri</span></b></td></tr>
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<span style="font-family: "Palatino Linotype",serif;">“I have pictures of motorbikes in my head, so when I saw the top of a used cigarette lighter I knew that this will be ideal for my motorbike’s fuel tank,” he says gesturing to a ‘chopper’ that he created as he went on to explain that the chopper which has a long front end with extended forks is often mistaken for a Harley Davidson.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">After he gave the author a brief lesson in various types of motorcycles, he explained that he was inspired after he rode one virtually while playing a round of the popular computer game <i>Grand Theft Auto</i>, which would imply that contrary to common belief computer games are not entirely a influence on youngsters, here is a teenager whose creativity has been triggered by one. He also gets inspiration from cartoons. <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">SUV by Roy J. Phiri</span></b></td></tr>
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<span style="font-family: "Palatino Linotype",serif;">“For this bike, I went to an old radio and got the knobs which I later used as the wheels, I also used some stuff from an old fishing rod,” he explains saying that he is in his comfort zone when he has all these bits and pieces in front of him.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">“I never get tired as long as I have my glue and my pieces in front of me. I use super glue as well as prime bond to stick my pieces together.”<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">Some of the pieces that he uses are in fact so miniscule one would think he uses a magnifying glass and can easily pass for a Swiss watch maker.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">Phiri has several boxes filled with the discarded trinkets that he collects in his backpack. For him every day is an adventure because he never knows what next he is going to make. He does not draw sophisticated sketches or blueprints but creates his works adlib or ‘freestyle’ as it were, and the does all this in a house that does not have electricity, often working under candle light at night.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Roy makes his miniature sculptures <br />from hundreds of used objects</span></b></td></tr>
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<span style="font-family: "Palatino Linotype",serif;">Fortunately, a friend of his, Mr Kondwani Yombwe is the son of the renowned Livingstone art couple, Mr Lawrence Yombwe and wife Mrs Agnes Buya Yombwe whom after being introduced to the boy and being moved by his work offered him space in their <i>Wayi Wayi</i> Art Studio. Mr Phiri can be found at the studio taking advantage of the well-lit space when he wants to work late; the reason why the house he lives in does not have electricity is due to some recent renovations he and his mother made to it. He says he and his mother did not even hire a brick layer to build the extension to the main house in which they are living, they did it all by themselves.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">He says his mother, Junita Heppletchwaite – who is of Lozi and Dutch heritage – is the most innovative person he knows, and it has not been easy for her to raise him as a single mother. His father, Jay Adolph Phiri once a famous Zambian musician and member of <i>The Rising Stars</i> a popular boy-band that took the country by storm in the 1970’s performing both locally and internationally, died when he was only four years old. However, owing to young Mr Phiri’s photographic memory he still remembers and cherishes the moments he spent with his father for the first few years of his life.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">But it is to his mother that he looks up to due to her perseverance in raising him and his siblings, which was not always easy as they had to move from town to town, Chingola, Ndola and finally Livingstone and he has vowed to make her proud by becoming a success in life. His dream is to acquire a scholarship that would enable him to study Robotics or Industrial Design after he completes his secondary school. A degree in Industrial Design would enable him to use both applied art to design as well as invent anything from household products to new types of vehicles.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">But among Phiri’s top aspirations is being able to design artificial limbs by the use of Cybernetics to assist amputees and accident victims.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">As much as his prodigious creative talent, is coupled with the advantage of youthful enthusiasm, the devoted young Christian believes in God’s grace and in September this year, he attended a deliverance sermon at Divine Fire Cathedral in Livingstone.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">“I met Christ, I was one person who never wanted to hear anything about God, but now I am a changed person”, says Mr Phiri. <o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif;">Zambia may not have the adequate infrastructure and mentoring routines to groom this future engineer, but it is exciting that the country has such animated brains and talent, and all we can do is watch and wish him all the best, he may just put the country on the map one day. - ENDS<o:p></o:p></span></div>
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Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com1tag:blogger.com,1999:blog-1972553546303059373.post-26410226330701996292017-06-19T05:44:00.003-07:002017-06-19T05:44:37.650-07:00The artist, the Makishi and the hit and run driver<div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="font-size: 9pt; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">By Andrew Mulenga</span></b></div>
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<span style="font-size: 9pt; line-height: 107%;"><b><span style="font-family: Arial, Helvetica, sans-serif;">(This article was first published in The Bulletin & Redord Magazine, February 2015 edition)</span></b></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">In 2014, through this writer,<i> The Bulletin & Record</i>, heralded Ignatius Sampa a 23 year old Lusaka-based painter as a creative prodigy, the next big thing on the Zambian art scene, and rightly so because the youngster created ripples when barely two years ago he adventurously introduced caricatured portrayals of the <i>Makishi </i>costumed figures from the <i>Mukanda</i> initiation masquerades of North Western Zambia.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: blue;">Ignatius Sampa, <i>Adventure</i>, 2014, acrylic on <br />canvas (Private collection, Lusaka)</span> </span></b></td></tr>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">Of course it could not be foretold that through a late night hit and run road accident in Lusaka, the same year will in fact claim the life of this young man who enjoyed perfect physical health and a lively social life.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">But the word that has been doing the rounds on the art scene since the fateful November day of is that the <i>Makishi</i> were finally fed up of Sampa’s shenanigans.They were tired of disrespectfully being portrayed in renditions of Da Vinci’s <i>Last Supper</i> and <i>Mona Lisa</i>, riding Harley Davidson motorcycles,doing the Salsa or playing the violin and so by otherworldly means claimed the artist’s life by physically manifesting the death in a fatal accident.<o:p></o:p></span></div>
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<i><span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">“Mudala mizimu za Makishi zina kwiya na ma paintingi”</span></i><span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;"> (big man, the spirits were not happy with the paintings) said a close friend and fellow artist who shied away from being mentioned but confirmed that he once warned his friend against going too far with the portrayals especially because he was not from the region and may have not have understood how respected the Makishi were.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">Sampa had made himself synonymous with these figures sacred to the Luvale, Chokwe, Luchazi, Lwena and Mbunda people so much that he was often called “<i>Mufana wa Makishi”</i>loosely translated as “<i>Makishi </i>boy”.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">Also known as the Akishi in Angola and the Democratic Republic of Congo they are believed to be spirits of the deceased.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">In the 1990 book <i>Makishi, Mask Characters of Zambia </i>by Manuel Jordan, John Picton from the University of London writes: “[…] they embody the spirits of important and memorable deceased individuals and as such they are treated with due reverence”.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">Nevertheless, about two years ago when the artist just burst on the scene confessed that he was approached by fellow artists from the North Western region who advised him to stop and warned him against the continuous adulteration of these sacred figures that are evoked by means of masks depending on which ritual or ceremony. The Makishi’s individual roles and hierarchy differ, some represent royalty, some are for protection, some are for fertility. For instance in the book “Ceremony!”, Tamara Guhrs writes: “Kayipu is the King of the Makishi, mask associated with the chief. If a chief’s son or nephew is being initiated, Kayipu must be made” and Chikishikishi is a likishi “with a pot of burning coals on his head. Disciplining function, supposed to eat up evil elements in society”. But Sampa represented them whichever way he wanted.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12.8px;">Ignatius Sampa, </span><i>Coat of Charms </i>2014, <br />oil on canvas</span></b> </td></tr>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">His very last painting is unfinished needless to say, but it ironically depicts a Likishi that appears to be running off with a painting and an easel. Is the painting a manifestation of the Makishi snatching the art from the artist but doing so by taking his life? Was Sampa’s hand possessed into painting a physical manifestation by means of a metaphor? Who knows?<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">But the chatter remains adamant the spirits did claim his life and as such, one may argue that no artist will be seen going down this experimental path any time soon. While the Makishi will remain a favourite subject among Zambian artists, there is doubt that anyone will attempt to depict them the way Sampa did.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">Whatever the case, his disturbing deathwill forever evoke deep reflection on the sheer futility of life, the loss of a young man with incredible promise who will remain one of the great young revolutionaries of the Zambian art scene. <o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">His professional art career only spanned 3 years including a long period in which he had disappeared from the scene altogether, only to return to his brushes early last year. In his last days he was working non-stop as if preparing for a solo exhibition. <o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">In his last interview when asked what he intended to do with all these paintings during an interview for the <i>Bulletin & Record</i> his response was: “Now I’m just painting because art is what I love doing. I’m not painting to sell at all, maybe later but not now, yes I will put a work in an exhibition now and then but I’m not really thirsty to sell. Sometimes people will offer me money for a work but I won’t sell it because I want to be looking at it myself”.<o:p></o:p></span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">On his <i>Makishi Last Supper</i> these were his words: "All the last supper paintings I've seen have 'white' people in them, so I thought I should make one that is more African, in fact more Zambian, and for me there is nothing that represents Zambia more strongly than the <i>Makishi</i>”.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Sampa's last work, a Likishi running <br />away with an artwork<br /><br /></span></b></td></tr>
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<span style="font-family: "Palatino Linotype",serif; font-size: 9.0pt; line-height: 107%;">Among his very last works are <i>Coat of Charms</i> a play on the Zambian Coat of Arms which he explained was almost rejected from showing in the Zambia Jubilee exhibition because it was considered too controversial, the work nonetheless is a good example of his boldness and Adventure, a painting that depicts a likishi on a motorcycle cruising the open road embodies the artists free spirit.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-QkYkxmgbY74/WUfGroEJZ2I/AAAAAAAADbU/9uJqehpblqsBmjL-GGOZxoHF0rN_XCOagCLcBGAs/s1600/Were%2Bthe%2Bspirits%2Bangry%2Bwith%2BSampa.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="604" data-original-width="453" height="320" src="https://2.bp.blogspot.com/-QkYkxmgbY74/WUfGroEJZ2I/AAAAAAAADbU/9uJqehpblqsBmjL-GGOZxoHF0rN_XCOagCLcBGAs/s320/Were%2Bthe%2Bspirits%2Bangry%2Bwith%2BSampa.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">The artist Ignatius Sampa</span></b></td></tr>
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<o:p></o:p></span></div>
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Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com2tag:blogger.com,1999:blog-1972553546303059373.post-44365812995469154282017-01-03T03:22:00.002-08:002018-03-23T13:17:11.358-07:00The Lechwe Trust: A collection of Zambia’s 52 year journey<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="font-size: 10pt; line-height: 107%;"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">By Andrew Mulenga</span></b><span style="font-family: "palatino linotype" , serif;"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">Rummaging through the relatively small collections of
contemporary art in Zambian museums it is difficult to pinpoint or rather,
establish a bird’s eye view of how thematic content and creative expression has
evolved in paintings over the past 50 years.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-yByqyWHAuYQ/WGuFu3QRe7I/AAAAAAAADLk/4OFOHZ70eJECmbQcqzoE1ElShG9ggzyrgCLcB/s1600/Henry%2BTayali%252C%2BDestiny%252C%2B1975-80%252C%2Boil%2Bon%2Bcanvas%252C%2B58cm%2Bx%2B89cm_%2Bdonated%2Bby%2Bthe%2BZukas%2Bfamily.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="237" src="https://1.bp.blogspot.com/-yByqyWHAuYQ/WGuFu3QRe7I/AAAAAAAADLk/4OFOHZ70eJECmbQcqzoE1ElShG9ggzyrgCLcB/s320/Henry%2BTayali%252C%2BDestiny%252C%2B1975-80%252C%2Boil%2Bon%2Bcanvas%252C%2B58cm%2Bx%2B89cm_%2Bdonated%2Bby%2Bthe%2BZukas%2Bfamily.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Henry Tayali, <i>Destiny</i>, </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: blue;">1964-65</span> </span></b><b style="font-size: 12.8px;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">oil on canvas, 58cm x 89cm, </span></b><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"><br />donated by the Zukas family - </span></b>©<b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"> Lechwe Trust</span></b></td></tr>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">Largely, because the museums are intentionally ethnographic
by blueprint, as leftovers of the country's colonial masters, the British,
their primary role remains that of providing a curious glimpse into local
cultures as a phenomenon, through the eyes of explorers, missionaries, settlers
– and in a nutshell colonizers.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">Most if not all the museums from the Moto Moto Museum
in Mbala to the Livingstone Museum in Southern Province are a display of collected
and often misunderstood and misrepresented data in the form of objects from
local ethnic groupings this is not to say the collections do not have important
specimens of scientific significance. Nevertheless, this remains the focus of
museums, the best place to at least view any meaningful trajectory in the
development of an artistic idiom in Zambia is within the older private
collections – long-standing collections in Lusaka -- such as the Namwandwe
Collection, Rossi Collection at Villa Lucia and the Garden Group of Hotels, The
Chaminuka Collection at the Chaminuka Luxury Lodge and Game Reserve and the
Lechwe Trust Collection.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-_uGPV4-a6UE/WGuGcERj_8I/AAAAAAAADLo/VR5-x_LzQfcU100F8Uwetp_jduG6ch8UACLcB/s1600/Akwila%2BSimpasa%252C%2BMother%2Band%2BChild%252C%2B1973%252C%2Bmixed%2Bmedia%2Bon%2Bpaper%252C%2B110cm%2Bx%2B60cm.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-_uGPV4-a6UE/WGuGcERj_8I/AAAAAAAADLo/VR5-x_LzQfcU100F8Uwetp_jduG6ch8UACLcB/s320/Akwila%2BSimpasa%252C%2BMother%2Band%2BChild%252C%2B1973%252C%2Bmixed%2Bmedia%2Bon%2Bpaper%252C%2B110cm%2Bx%2B60cm.JPG" width="171" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Akwila Simpasa, <i>Mother and Child</i>, 1973, <br />mixed media on paper, 110cm x 60cm </span></b><b style="font-size: 12.8px;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">- </span></b><span style="font-size: 12.8px;">©</span><b style="font-size: 12.8px;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"> Lechwe Trust</span></b></td></tr>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">Even though they are private, all save for the Lechwe
Trust Collection are on permanent display and open to the general public and they
all possess wide ranging varieties of work from the 1960s through to the
present.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">As much as the Lechwe Trust Collection is the only
“homeless” collection mentioned here, it has some of the most unique examples
of contemporary Zambian art that date back to the 1960s in a traceable path. It
has more than 300 paintings, prints, ceramics and sculptures and these are
works by not only the Zambian greats but by a younger generation of artists that
have shown exceptional talent that is worthy of display in a notable collection,
so you will find works from the likes of the legendary Akwila Simpasa to the young
and gifted Ignatius Sampa. Again what is significant about the collection is
that it’s underlying strength is that it demonstrates how Zambian artists have
sought to find their own visual voice over the years, they have been attempting
to break the yoke of an aesthetic that has appealed to a Euro-American
collector base and is characterized by paintings of wildlife and rural scenes
that evoke an idyllic, unadulterated Africa such as giraffe drinking water or
children drawing water from a stream. Images that had been popular since the
days of the defunct Lusaka Art Society and its successor the Art Centre
Foundation which through a collaboration between Anglo American and the
Department of Cultural Services occupied gallery space on the first floor of
the Anglo American building opposite the High Court. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-lfe1yNTwoig/WGuHTGYavqI/AAAAAAAADL4/bxwqSPoKzE4S7iDr39IehRj0Kg_0-g76gCLcB/s1600/Henry%2BMulenga%252C%2BLusaka%2BRail%2BStation%252C%2B1990-5%252C%2Bmixed%2Bmedia%252C%2B103cm%2Bx%2B82cm_%2Bdonated%2Bby%2BDiane%2BBouchard.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-lfe1yNTwoig/WGuHTGYavqI/AAAAAAAADL4/bxwqSPoKzE4S7iDr39IehRj0Kg_0-g76gCLcB/s320/Henry%2BMulenga%252C%2BLusaka%2BRail%2BStation%252C%2B1990-5%252C%2Bmixed%2Bmedia%252C%2B103cm%2Bx%2B82cm_%2Bdonated%2Bby%2BDiane%2BBouchard.JPG" width="244" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Henry Mulenga, <i>Lusaka Rail Station</i>, 1990-5, <br />mixed media, 103cm x 82cm, donated by Diane Bouchard </span></b><b style="font-size: 12.8px;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">- </span></b><span style="font-size: 12.8px;">©</span><b style="font-size: 12.8px;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"> Lechwe Trust</span></b></td></tr>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">Some works in the collection that can be said to have
broken the aesthetic yoke are Henry Tayali’s <i>The Irony of Destiny</i> or simply <i>Destiny</i>
done between 1960 – 1965, Akwila Simpasa’s <i>Mother
and Child</i>, 1973, Henry Mulenga’s, <i>Lusaka
Rail Station</i>, 1990-5 or Stephen Kappata’s, <i>UNIP and MMD Governments</i>, 1998 to name a few. Tayali and Mulenga’s
work are comments on urban life from an African perspective, Simpasa’s is a stylized
rendition of the popular mother and child theme in his own idiosyncratic style
that has Afro-futuristic nuances and Kappata’s is a caricature of the hardships
the electorate still faces whether they vote in a new government hoping for a
change for the better.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">Unfortunately, this remarkable collection remains sealed
in two forty-foot freight containers, just as it has been for just over twenty
years, only to be displayed occasionally in hired spaces such as the Lusaka
National Museum. As luck would have it,
after years of lobbying and fundraising the collection will soon be on
permanent display. A piece of land has already been allocated and the gallery
blue prints are all set. Scheduled for early 2017, construction of the building
which will have a gallery as the centre piece surrounded by offices and shop
spaces to let is dubbed “The Gallery Office Park”, it will be situated on Lagos
Road in between the Law Association of Zambia Offices and the Alymer May Cemetery
in Rhodes Park, Lusaka.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-3S1DzcnwVNA/WGuHsNmBIoI/AAAAAAAADL8/IA_iRM-r0p8lzGn5yO7oCpDcJKQi3frLwCLcB/s1600/Stephen%2BKappata%252C%2BUNIP%2Band%2BMMD%2BGovernments%252C%2B1998%252C%2Boil%2Bon%2Bcanvas%252C%2B75cm%2Bx%2B97cm.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="245" src="https://2.bp.blogspot.com/-3S1DzcnwVNA/WGuHsNmBIoI/AAAAAAAADL8/IA_iRM-r0p8lzGn5yO7oCpDcJKQi3frLwCLcB/s320/Stephen%2BKappata%252C%2BUNIP%2Band%2BMMD%2BGovernments%252C%2B1998%252C%2Boil%2Bon%2Bcanvas%252C%2B75cm%2Bx%2B97cm.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Stephen Kappata, UNIP and MMD Governments, 1998, <br />oil on canvas, 75cm x 97cm </span></b><b style="font-size: 12.8px;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">- </span></b><span style="font-size: 12.8px;">©</span><b style="font-size: 12.8px;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"> Lechwe Trust</span></b></td></tr>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">According to the Lechwe Trust, the space will not only
house and display the art collection for continuous public view but it will
provide a community outreach facility for art education and cultural exchange
programmes, preserve contemporary artistic heritage and contribute to
sustainable tourism, assist visual artists to access a more
professionally-managed space for display of their art, offer school children
and groups guided tours and video projections of Zambian art and ultimately provide
Zambia with a public visual art national gallery.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">Established by Cynthia Zukas MBE The Lechwe Trust is a
charitable trust for the Visual Arts in Zambia, started in 1986 with the
primary aim of collecting Zambian art that would potentially find itself abroad
at the hands of foreign collectors and members of the diplomatic core who
constitute the main collector base.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">Zukas an accomplished artist herself teamed up with
her two friends the late ceramist Bente Lorenz and Henry Tayali. Lechwe Trust
later broadened its scope and began providing scholarships to promising
artists; commissioning works of art for public display, supporting organizations
working for the promotion of the visual arts in Zambia such as Mpapa Gallery,
Zintu Arts and Crafts, Evelyn Hone College of Applied Arts and Commerce, Zambia
National Visual Arts Council, Choma Museum, Lusaka National Museum, Copperbelt
Museum, Mbile and Insaka International workshops. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "palatino linotype" , serif; font-size: 10.0pt; line-height: 107%;">Zukas settled in Zambia in
1964 when her husband Simon – a liberation hero who was exiled by the British
colonial government -- was invited to be part of the independence day
celebrations. Her contribution in promoting art in Zambia from the day she
arrived, has not gone unrecognized, as such in 2012 Queen Elizabeth II of
England has awarded an MBE to Zukas, in recognition of her services to visual
art and to charitable work in Zambia”.</span><br />
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-B_y3FgMgzek/WGuIEDRrs8I/AAAAAAAADMA/NCDZi5EelrANrcKLSPJ5evgLYi_TTu-QQCLcB/s1600/lechwe.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://3.bp.blogspot.com/-B_y3FgMgzek/WGuIEDRrs8I/AAAAAAAADMA/NCDZi5EelrANrcKLSPJ5evgLYi_TTu-QQCLcB/s320/lechwe.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Due to the lack of it's own gallery space, the collection is stored in cargo <br />containers and only exhibited occasionally</span></b></td></tr>
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Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com2tag:blogger.com,1999:blog-1972553546303059373.post-8048685898845127532016-12-27T02:39:00.000-08:002016-12-27T02:39:16.340-08:00Livingstone art gallery, two years down the line…<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US"><b><span style="font-family: Arial, Helvetica, sans-serif;">By Andrew
Mulenga</span></b><span style="font-family: Palatino Linotype, serif;"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">Two years
down the line the Livingstone Gallery, the first purpose built contemporary art
space in Zambia, nestled in the country’s tourist capital appears to be subsisting
albeit in a happy-go-lucky way.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">Much has
been said about the quality of the building itself and the hurried manner in
which it was constructed, but the gallery’s manager Chansa Chishimba a locally
respected multidisciplinary artist hints that all is well as he gives insights
on how the space has been getting by since its opening.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-cUg6sKNuU1k/WGJCT3QtwFI/AAAAAAAADKo/KFFCWqJTyrUWp14Sb8lZe-ThD4hOWwayQCLcB/s1600/Livingston%2BGallery%2Bmanager%2BChansa%2BChishimba.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://4.bp.blogspot.com/-cUg6sKNuU1k/WGJCT3QtwFI/AAAAAAAADKo/KFFCWqJTyrUWp14Sb8lZe-ThD4hOWwayQCLcB/s320/Livingston%2BGallery%2Bmanager%2BChansa%2BChishimba.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;"><b>Livingstone gallery manager Chansa Chishimba</b></span></td></tr>
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<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">“Always
when you have a new born baby the family members are apprehensive and ask, will
the child grow or not? but anyway slowly things have started improving. Of late
we have been receiving calls for bookings from as far as the Copper belt and
Europe where people will write you an e-mail in advance requesting a tour
booking for a specific day,” says the 60-year-old artist well-known for a
technique in which he processes traditional tree bark fiber cloths for his art
work.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">“On
average daily visits to the gallery are quite sporadic, there are times when we
have no visitor at all. Then all of a sudden we have a bus of over 60 people.
So we tally, I can say we receive a minimum of 8 people a day, we record, the
statistics, they are important because the National Arts Council (NAC) and the
ministry of tourism want to know these things,” he explains.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-1jCSosoPuDg/WGJChW4d6TI/AAAAAAAADKs/DXn6ccypcewBcgVfvxeKeig3vc-fBD6TQCLcB/s1600/IMG_6588.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://2.bp.blogspot.com/-1jCSosoPuDg/WGJChW4d6TI/AAAAAAAADKs/DXn6ccypcewBcgVfvxeKeig3vc-fBD6TQCLcB/s320/IMG_6588.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">The gallery's dirt track off Sichango Road lends <br />a Safari feel to the art space</span></b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">He
indicates that during this data collection the gallery identifies what type of
visitors are coming through whether male, female, adult, children or foreign. Chansa
says the money too is not coming as fast as he wished, but at least the gallery
is able to sell one piece every two months.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">“Sales
are very unpredictable, you can’t tell whether you are going to sell this month
or not, but since the opening in 2014 I remember the first exhibition we sold K41,070
(approx. US$ 3,700) that exhibition, we mounted a second show and sold 51,150 (approx.
US$ 4,700) – on average a show lasts 3 months he says.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">Since the
gallery opened it has only had three themed shows with what he called fillers
in between, exhibitions such as the one currently showing which is basically a mixture
of work in various media by artists at different career level from all corners
of the country are hung and placed randomly. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-XrcfIoFhmSM/WGJDTLwVFGI/AAAAAAAADK0/N2GMbejvfT8ym7JqsyqAq-rDJJjuxbAbQCLcB/s1600/The%2Bdisplay%2Bis%2Busually%2Ba%2Bmixture%2Bof%2Bwork%2Bin%2Bvarious%2Bmedia%2Bby%2Bartists%2Bat%2Bdifferent%2Bcareer%2Blevel%2Bfrom%2Ball%2Bcorners%2Bof%2Bthe%2Bcountry.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://2.bp.blogspot.com/-XrcfIoFhmSM/WGJDTLwVFGI/AAAAAAAADK0/N2GMbejvfT8ym7JqsyqAq-rDJJjuxbAbQCLcB/s320/The%2Bdisplay%2Bis%2Busually%2Ba%2Bmixture%2Bof%2Bwork%2Bin%2Bvarious%2Bmedia%2Bby%2Bartists%2Bat%2Bdifferent%2Bcareer%2Blevel%2Bfrom%2Ball%2Bcorners%2Bof%2Bthe%2Bcountry.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">The display is usually a mixture of work in various <br />media by artists at different career level from all <br />corners of the country</span></b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">“When we
mounted a filler in April this year we did not sell anything, but in May we
sold K11,700 this was for about five pieces (five works of art) so we hope June
being a peak period for the tourists who come here for their summer holidays, we
might be able to realize some sales,” he explains.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">He points
out that the gallery is able to remain operational because of the direct
support from NAC and the Ministry of tourism through the District Cultural Office
who cater for the monthly volunteer staff wages, and utilities.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">“Every
month we have something to pay for electricity, water that one is budgeted for,
government has put it as a priority. We are not complaining I’m paid under NAC.
Whoever comes to sit here NAC will find something to ‘wash their hands’ (pay
wages) according to the individual if the can agree to the terms. Already Kate
Naluyele and Gill Zulu as my assistants they have come with new ideas and I
think things will start moving,” he says.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-kHnwVlwXBnE/WGJDiHuM8mI/AAAAAAAADK4/cde_QjNtr0AveFTL9VXAzbIiAh4YSTVwACLcB/s1600/Chiato%252C%2BAcrylic%2Bon%2Bcanvas%2Bby%2BAbraham%2BBanda.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="216" src="https://4.bp.blogspot.com/-kHnwVlwXBnE/WGJDiHuM8mI/AAAAAAAADK4/cde_QjNtr0AveFTL9VXAzbIiAh4YSTVwACLcB/s320/Chiato%252C%2BAcrylic%2Bon%2Bcanvas%2Bby%2BAbraham%2BBanda.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Abraham Banda, <i>Chiato</i>, Acrylic on canvas </span></b> </td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">Naluyele
is the current Visual Arts Council (VAC) national vice chairperson, who has
relocated from Lusaka and Zulu runs Highlands Creative Academy while she is also
the Visual Arts Development manager for Elijah International Zambia, both are
working primarily as volunteers although they receive a stipend from NAC.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">Meanwhile,
Zulu who comes to the gallery once a week also echoed that the space is gaining
ground with regards group tours.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-f9InhNkzePg/WGJEUTNoJ-I/AAAAAAAADLE/oLc0pPG8m9wtO6l2IBM5a5k4wHokZW1jgCLcB/s1600/Burning%2BDesire%252C%2Bacrylic%2Bon%2Bcanvas%2Bby%2BIsaac%2BKalambata.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="201" src="https://2.bp.blogspot.com/-f9InhNkzePg/WGJEUTNoJ-I/AAAAAAAADLE/oLc0pPG8m9wtO6l2IBM5a5k4wHokZW1jgCLcB/s320/Burning%2BDesire%252C%2Bacrylic%2Bon%2Bcanvas%2Bby%2BIsaac%2BKalambata.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="color: blue; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12.8px;">Isaac Kalambata, </span><i>Burning Desire</i>, Acrylic on canvas</span></b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">“What we
really have to do is intensify our marketing strategy. We need to make the
gallery an active, not passive experience. We hope to have frequent
entertainment activities where creatives come for social events on a regular
basis and we are trying to get the venue promoted to the broader community, for
the Chinese exhibition project a shelter was built for artists to work in so we
can also continue using that,” says Zulu.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">The gallery
is on Sichango Road, behind Livingstone Showgrounds, you cannot miss the
elaborate roadside sign post which features two giraffe sculptures holding up a
wooden plaque that reads “art gallery”. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;">Nevertheless,
although there is still a lot of room for improvement with the Livingstone
Gallery, one can safely say Zambia finally has the semblance of a national art
gallery, but as to whether the space will take up the responsibility of
challenging the aesthetic, historical, cultural and socio-political implications
of art in Zambia or play the role of an elevated curio shop this is yet to be
seen. </span><span style="font-family: "Palatino Linotype",serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><i>Chishimba Chansa is a sculptor, ceramist, textile
designer and painter who holds diplomas from the Nkwame Nkrumah Teachers
College in Kabwe and Evelyn Hone College of applied Arts and Commerce in Lusaka
and the HDK School of Design and Crafts at the University of Gothenburg, Sweden.</i></span><o:p></o:p></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">Also
read:</span></b> <a href="http://andrewmulenga.blogspot.co.za/2014/07/zambia-national-art-gallery-are-we.html" style="font-family: "Palatino Linotype", serif;">http://andrewmulenga.blogspot.co.za/2014/07/zambia-national-art-gallery-are-we.html</a><span style="font-family: Palatino Linotype, serif;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "Palatino Linotype",serif; mso-ansi-language: EN-US;"><a href="http://andrewmulenga.blogspot.co.za/2015/10/50-years-of-contemporary-zambian-art.html">http://andrewmulenga.blogspot.co.za/2015/10/50-years-of-contemporary-zambian-art.html</a><o:p></o:p></span></div>
</div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com1tag:blogger.com,1999:blog-1972553546303059373.post-46809665846946295102016-12-06T00:17:00.004-08:002016-12-14T04:04:20.211-08:00Zambian artists gain ground in Barclays L’Atelier competition <div dir="ltr" style="text-align: left;" trbidi="on">
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">By Andrew
Mulenga</span></b><span style="font-family: "palatino linotype" , serif;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;">Participating
in the prestigious Barclays L’Atelier art competition for only the second time
since the South African founded awards were opened up to other African
countries namely Botswana, Ghana, Kenya, Uganda, Tanzania, Egypt, Mauritius and
the Seychelles; Zambian artists appear to be gaining ground and getting the
much needed international exposure that is important to upcoming creatives. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--nPy-VxjNlc/WEZz6QZQtkI/AAAAAAAADJ4/xnzxcrFrluQZcOCYO8BhERCkzv1WPA5UQCLcB/s1600/A%2Bhappy%2Bscary%2Bin%2Bthe%2Bcornfield%252C%2B2016%2Bcharcoal%2B81%2Bx%2B108%2Bcm%2Bby%2BNelson%2BMusa%2BMwengwe%252C%2BABSA%2BGallery%252C%2BJohannesburg.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="220" src="https://1.bp.blogspot.com/--nPy-VxjNlc/WEZz6QZQtkI/AAAAAAAADJ4/xnzxcrFrluQZcOCYO8BhERCkzv1WPA5UQCLcB/s320/A%2Bhappy%2Bscary%2Bin%2Bthe%2Bcornfield%252C%2B2016%2Bcharcoal%2B81%2Bx%2B108%2Bcm%2Bby%2BNelson%2BMusa%2BMwengwe%252C%2BABSA%2BGallery%252C%2BJohannesburg.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">A happy scary in the cornfield, 2016 charcoal 81 x 108 cm <br />by Nelson Musa Mwengwe, ABSA Gallery, Johannesburg</span></b></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;">Although
none of the seven Zambians made it into the final 10 to walk away with the top
5 awards that included a R260,000 cash prize and international artists
residencies in Paris and New York, they did make it into the correspondingly competitive
top 100 and have their work on display at the ABSA gallery in Johannesburg.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;">Comprising
a gender balanced list, Nukwase Tembo, Kelvin Zangata, Mulenga Mulenga, Caleb
Chisha, Sarah Chule, Mwamba Chikwemba and Aaron Mulenga are the artists that
made it through. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;">All the
artists exhibited exceptionally strong pieces, and it was interesting to see
viewers gather around the works of the Zambians with enthusiasm as they were on
display to be viewed by more than 800 onlookers during the awards gala event
held on 13 July. The work by the Zambians included paintings, drawings and
mixed media installations addressed universal stories that did not just reflect
an image of Zambian society. Their themes addressed issues surrounding cultural identity, hope, death, childhood, employment, poverty, fashion and faith. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US;">It must
be noted that for the Zambians to even get this far was no mean achievement
because they were pitted against competitors who have all had a university
education in art from respected institutions across the continent who may be
more adept in accompanying their displayed work with elaborately written
artiststs statements, something which is often a challenge among Zambian
artists due to a less developed academic art scene. The Barclays L’Atelier art
competition is ran annually in conjunction with our partner, the South African
National Association for the Visual Arts (SANAVA).<o:p></o:p></span></div>
</div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com3tag:blogger.com,1999:blog-1972553546303059373.post-34026435701343555562016-06-20T04:24:00.003-07:002016-06-20T05:39:37.577-07:00Upbraiding wigs and weaves<div dir="ltr" style="text-align: left;" trbidi="on">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span lang="EN-GB" style="font-size: 10pt; line-height: 115%;">By
Andrew Mulenga</span></b></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">There
seems to be something happening among a handful of artists on the Zambian art
scene. An all-female, revolution-like conscious movement albeit one without a
transcribed manifesto. Working separately two young artists have taken it upon
themselves to defend their femininity by questioning what they observe as
force-fed, western standards of beauty.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-79xJehWJq68/V2fR0apZDFI/AAAAAAAADDY/VWRs57NEnc0Kp9MoKQYpqCtMuWRRJezGgCLcB/s1600/Status%2BQuo%252C%2B2016%252C%2Bcollage%2Bby%2BNukwase%2BTembo.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="316" src="https://1.bp.blogspot.com/-79xJehWJq68/V2fR0apZDFI/AAAAAAAADDY/VWRs57NEnc0Kp9MoKQYpqCtMuWRRJezGgCLcB/s320/Status%2BQuo%252C%2B2016%252C%2Bcollage%2Bby%2BNukwase%2BTembo.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>Status Quo</i>, 2016, collage by Nukwase Tembo</b></span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">Through
their work, Nukwase Tembo and Mulenga Mulenga, 28 and 29 years-old respectively
are championing an interrogation of generally accepted notions of
attractiveness, a campaign that they hope will remind Zambian, and by
extension, African women to regain confidence in their unsullied beauty. A
beauty they believe, whose aesthetic has been hijacked as it is now dictated by
the modelling industry and mass media.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">Both
Lusa<span style="font-family: "times new roman" , serif;">k</span>a-based artists recently had their work selected for the finals of the 2016 Barclays
L'Atelier, one of Africa’s most prestigious art competitions that targets
visual artists aged 21 to 35. It is Tembo’s piece entitled <i style="mso-bidi-font-style: normal;">Status Quo</i> that got her nominated, whereas Mulenga had a double
entry with her works entitled <i style="mso-bidi-font-style: normal;">Self-portrait</i>
and <i style="mso-bidi-font-style: normal;">Possessed by disguise</i>
respectively.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">“My
work is addressing the status quo that the majority of black women follow in
order for us to fit into the standards of beauty that have been set for us. We
have been taught to disregard many things that make us who we are -- beautiful
black women -- and have instead taken up the Eurocentric idea of what beauty
should be. I feel that this has contributed to the escalating amount of
self-hate that is being practiced by the black race,” explains Tembo. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">The
focal point of her piece is a slender catwalk model strutting on stage in front
of an audience, but what is peculiar about her is the fact that while she is
black, she appears to have removed her head, carrying it in one hand replacing
it with a sniggering white one, the audience too – individually cut characters
from magazines – also appears all white.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">Tembo’s
image subtly camouflages several issues, on the one hand it can be read as a
critique of the international fashion and modelling industries along with their
consumers and audiences that often demand certain skin, body, and racial types
and on the other hand it can also be interpreted as a parody of predominantly
Eurocentric social behaviours that have steadily been globalized through mass
media.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">Just
like Tembo, Mulenga argues that her current body of work questions and
investigates female identity and heritage in post-colonial Zambia while
exploring her personal interactions with social aesthetics. Her work <i style="mso-bidi-font-style: normal;">Possessed by disguise</i> addresses similar issues
as that of Tembo’s. It is a mixed media painting that depicts a masked figure
as its main focal point and the character has actual hair extensions
meticulously woven into the canvas. With this work Mulenga alludes to notions
of lost identity and a devotion to superficial beauty.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-LZqLeJgy5nM/V2fSD76nbSI/AAAAAAAADDg/FeIEOW1E6x8R9zDIQeUh_bQ44Sqs5PORACLcB/s1600/Possessed%2Bby%2Bdisguise%252C%2B2016%2Bmixed%2Bmedia%2Bby%2BMulenga%2BMulenga.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-LZqLeJgy5nM/V2fSD76nbSI/AAAAAAAADDg/FeIEOW1E6x8R9zDIQeUh_bQ44Sqs5PORACLcB/s320/Possessed%2Bby%2Bdisguise%252C%2B2016%2Bmixed%2Bmedia%2Bby%2BMulenga%2BMulenga.jpg" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>Possessed by disguise</i>, 2016 mixed media by Mulenga Mulenga</b></span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">“The
worst form of deception is that of self, black women should reclaim their
identity. This work portrays masks and wigs as metaphors for the deception of
cultural identity. Black hair is camouflaged in the Zambian society today,”
argues Mulenga. “By trying to fit in with mainstream western society, three
quarters of (Zambian) women are covered in hair extensions. We have become
shadows of a forgotten culture without valuing our rich history of hair grooming”</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">She
says she draws inspiration from her personal experience as an African woman
with natural hair, living in a society which castigates its own identity and is
influenced by predominantly Euro-Americans and Asian standards of beauty. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">“I’m
questioning what makes us black women forgo nurturing our hair to build an
archive of identity and yet go on exposing ourselves to synthetic and western styled
hair.<span style="mso-spacerun: yes;"> </span>How can I wear my black curly hair
and be accepted as a modern and informed woman without being entangled by wigs?
What happened to narratives of black hair nurturing and patterns,” she
explains.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">Her
painting entitled <i style="mso-bidi-font-style: normal;">Self Portrait</i>
directly addresses these observations. It features a young lady with a 1970s
style afro with a comb sticking out of it, the hair is in fact real human hair
collected by the artist, hanging from the subject’s hand are, synthetic hair
extensions. The piece continues the conversation that encourages the rejection
of synthetic and human hair extensions, the woman in the painting can be
regarded as someone discarding these wigs opting for her own natural hair.
Mulenga clearly thought outside the box on this work and shares its production
process.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--vfK6k7JQNo/V2fSVyeUEvI/AAAAAAAADDo/bczFj8Q5RZYzjCFd5iZpMXkCk8tGSb3RQCLcB/s1600/Self%2Bportrait%252C%2B2016%2Bmixed%2Bmedia%2Bby%2BMulenga%2BMulenga.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="308" src="https://1.bp.blogspot.com/--vfK6k7JQNo/V2fSVyeUEvI/AAAAAAAADDo/bczFj8Q5RZYzjCFd5iZpMXkCk8tGSb3RQCLcB/s320/Self%2Bportrait%252C%2B2016%2Bmixed%2Bmedia%2Bby%2BMulenga%2BMulenga.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><i>Self portrait</i>, 2016 mixed media by Mulenga Mulenga</b></span></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">“I
talked to the owner of a hair salon to keep the hair that they cut from the
women who visit; the process began in August 2015. To me the material (black
hair) is playing an important role, I ask what it means to be carriers of this
hair. I am interested in the history that it holds. My research on this topic
is still going on, this work is just the beginning of many more to come,”
explains Mulenga.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">Mulenga
and Tembo both raise very interesting arguments as they question generally
accepted standards of beauty among African women and in broader terms question
the issue of cultural hegemony, the philosophical concept that argues that a
culture, with an authoritarian standing, can exert disproportionate influence manipulating
how other cultures ought to behave, what they are supposed to consume, what
they are supposed to believe, how they are supposed to run their economies and
how they are supposed to govern themselves.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">Both
skin bleaching and hair modification remains popular among African women, who
may not fully be aware that they support a multi-million dollar industry. In
fact in 2015a popular Afrocentric beauty magazine <i style="mso-bidi-font-style: normal;">Madam Noir</i> reported that Africa was the prime market for Indian
hair and was estimated to be worth $6 billion a year and rising. However, as
much as the blame of influence with regards the straight hair look is heaped on
Euro-America, much of the human hair supplied as extensions does not come from
Europe or the United States. Perhaps the ever popular Brazilian and Indian soap
operas that are household names in Zambia may have a role in the influence to a
certain degree.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">A
brief visit around Lusaka’s Northmead market, one of the Zambian capitals most
popular beauty bazaars featuring dozens of small hair salons will reveal that
Peruvian, Brazilian and Indian hair are the most prized hair extensions. A 12
inch ball of 100% Indian Virgin Remy hair for instance can cost up to K1, 500
(one thousand five hundred kwacha) and depending on the hairstyle, trendy
Lusaka ladies are known to splurge on up to three balls per head, which can
amount to K4, 500 (four thousand five hundred kwacha), just over US$ 400 and
way over the Zambian general workers’ (category one) minimum wage for
receptionists and clerks which is about K1, 100 (one thousand one hundred). </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">Notwithstanding, many within this workers category are known to don these
expensive wigs which also raises concerns as to whether there is now a culture
in Zambia that encourages ladies to live beyond their means in order to either
keep up appearances, boost self-esteem or indeed look attractive to the
opposite sex. Nevertheless the issue of why ladies prefer to wear hair that
once belonged to someone else without batting an eyelid over whom the hair was
extracted from is perhaps a debate for the hair salons and one that must
perhaps be avoided a male writer commenting from a comfortable point of
ignorance.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="font-family: "times new roman" , serif; font-size: 10.0pt; line-height: 115%;">All
the same it would be exciting if Tembo and Mulenga could perhaps collaborate
and work on a full scale exhibition with more works that argue their worthy
cause.</span></div>
</div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com4tag:blogger.com,1999:blog-1972553546303059373.post-7953842671611296652016-06-08T05:53:00.003-07:002016-06-08T06:22:51.174-07:00Simbule put to rest <div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "palatino linotype" , "serif";"><strong><span style="font-family: "arial" , "helvetica" , sans-serif;">By
Andrew Mulenga<o:p></o:p></span></strong></span><br />
<span style="font-family: "palatino linotype" , "serif";"></span><br />
<span style="font-family: "palatino linotype" , "serif";">Like
many deaths, that of artist Christopher Simbule overwhelms the mind with so
many unanswered questions, speculations and deep reflections on the haunting futility
of life.<o:p></o:p></span><br />
<span style="font-family: "palatino linotype" , "serif";"></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-zzP1aBuw8vw/V1gSvav3MgI/AAAAAAAADCU/X0cLBmqJQ2MCUThcQB_zCL87tze0WUnWQCLcB/s1600/Christopher%2BSimbule%2Bduring%2Bthe%2BFoxdale%2BArt%2BDay%2Bin%2BMarch%2B2016.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-zzP1aBuw8vw/V1gSvav3MgI/AAAAAAAADCU/X0cLBmqJQ2MCUThcQB_zCL87tze0WUnWQCLcB/s320/Christopher%2BSimbule%2Bduring%2Bthe%2BFoxdale%2BArt%2BDay%2Bin%2BMarch%2B2016.jpg" width="242" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Christopher Simbule during the </span></strong><br />
<strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Foxdale Art Day in March 2016</span></strong></td></tr>
</tbody></table>
<span style="font-family: "palatino linotype" , "serif";">On
the morning of Thursday 26 March 2016 his dead body was discovered within the
Lusaka show grounds not far from his favourite watering hole and temporal dwelling.
As much as it may seem inconsiderate to speak judgmentally of the dead, anyone --
such as this columnist -- who knew Simbule personally may attest that in his
last days he appeared increasingly troubled to the point of taking up the same alternate
lodging at a popular club where he also served as a provisional caretaker in
exchange for artistic studio space. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "palatino linotype" , "serif";">With
the above-mentioned there is no surprise that in the couple of days before his
burial at Mutumbi Memorial Park on Saturday 28 March, much has been said within
the visual arts fraternity. In whispers at the funeral artists found themselves
questioning their personal lifestyles, general welfare and comradeship. They
found themselves questioning their individual backgrounds and debating among
themselves how much they know about one another, do they have relatives nearby
in case something happens to them during long, late nights in their common
studio spaces -- for those who choose to burn the midnight oil as it were.<o:p></o:p></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-HFFS1XCLNG8/V1gTQYvRjwI/AAAAAAAADCc/QhbgYoSlGNE1zQEMRFodTYmwMgcJcYekQCLcB/s1600/One%2BZambia%2BOne%2BNation%2B%25282015%2529%252C%2Boil%2Band%2Bacrylic%2Bon%2Bcanvas%2Bby%2BChristopher%2BSimbule.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="166" src="https://3.bp.blogspot.com/-HFFS1XCLNG8/V1gTQYvRjwI/AAAAAAAADCc/QhbgYoSlGNE1zQEMRFodTYmwMgcJcYekQCLcB/s320/One%2BZambia%2BOne%2BNation%2B%25282015%2529%252C%2Boil%2Band%2Bacrylic%2Bon%2Bcanvas%2Bby%2BChristopher%2BSimbule.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">One Zambia One Nation (2015), oil and acrylic </span></strong><br />
<strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">on canvas by Christopher Simbule</span></strong></td></tr>
</tbody></table>
<span style="font-family: "palatino linotype" , "serif";">Furthermore
Simbule’s death raises more universal questions; as individual members of
humankind are we loved more when we die? Is personal welfare totally one’s own
business whereby if one does not shout out for a helping hand even when at
times it is plain for all to see that one is in need of support? Surely why
should one’s friends, relatives, employers or professional bodies purchase a
costly coffin, provide hired transport, funeral services and several days
catering – as is the accepted custom in most of Zambia’s cultures -- when they
probably cared less what one was eating when she or he walked among them?<o:p></o:p></span><br />
<span style="font-family: "palatino linotype" , "serif";"></span><br />
<span style="font-family: "palatino linotype" , "serif";">Nevertheless,
in Simbule the Zambian art scene loses a multi-media artist who was a worthy
sculptor preferring to work with found objects and papier-mâché, but depending
on his mood or drive, he would often switch to painting. Moreover, as one of
his key artistic legacies Simbule leaves his own interpretation of city life
among a host of Zambian painters. Whereas everyday township panoramas and
bustling market scenes have long dominated the cityscape genre, his works
brought an excitingly refreshing touch to it. </span><br />
<span style="font-family: "palatino linotype" , "serif";"></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-mWPXlBpfhD8/V1gUvoEOe-I/AAAAAAAADCs/zik-xoBl-l4Izn3YLhSIf7KfxZz26TKZgCLcB/s1600/The%2BClub%2B%25282013%2529%252C%2Boil%2Bon%2Bboard%2Bby%2BChristopher%2BSimbule.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="276" src="https://3.bp.blogspot.com/-mWPXlBpfhD8/V1gUvoEOe-I/AAAAAAAADCs/zik-xoBl-l4Izn3YLhSIf7KfxZz26TKZgCLcB/s320/The%2BClub%2B%25282013%2529%252C%2Boil%2Bon%2Bboard%2Bby%2BChristopher%2BSimbule.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">The Club (2013), oil on board by Christopher Simbule</span></strong></td></tr>
</tbody></table>
<span style="font-family: "palatino linotype" , "serif";">His paintings had a unique style
of composition in which he would inventively split paintings in half often
employing multi-point, linear perspective, habitually casting tonal gradation
to the wind. His cityscapes often perpetuated a positive extrapolation of African
city life.</span><br />
<span style="font-family: "palatino linotype" , "serif";"><o:p></o:p></span><br />
<span style="font-family: "palatino linotype" , "serif";">He
will also be remembered for being very active during group efforts and
collaborative undertakings such as helping coordinate the 2015 <i style="mso-bidi-font-style: normal;">Journey in History</i> project, a UNICEF
funded project that involved a painting that stretches more than K1.5 metres
and was created by around 2,000 children from all 10 provinces of Zambia.
Similarly, in March this year he was the key coordinator of the Foxdale Court
Art Day in Lusaka where he was in charge of the contemporary art display by
various Zambian artists as well overseeing the Kid’s Corner where he ran
creative activities for children.</span><br />
<span style="font-family: "palatino linotype" , "serif";"><o:p></o:p></span><br />
<span style="font-family: "palatino linotype" , "serif";">He
possessed a solid art foundation starting in Zimbabwe at Founders High School
which laid a very strong emphasis on art education at the time it afforded him
the opportunity of displaying work at the Mthwakazi Youth Centre. He later
attended the Mzilikazi Art Centre in Bulawayo, Zimbabwe where he attained a
two-year Fine Art Diploma in 1992; the same art centre that laid the ground for
the late Zambian virtuoso Henry Tayali, after college Simbule exhibited at both
the Bulawayo and Harare National galleries. </span><br />
<span style="font-family: "palatino linotype" , "serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-uV2cA2zt1ec/V1gVGwGVH0I/AAAAAAAADC0/-C8yxzDY3P8OB4MIGgbRyfQl01yAfIkHQCLcB/s1600/Untitled%2Bcityscape%2B%25282015%2529%2Boil%2Band%2Bacrylic%2Bon%2Bboard%2Bby%2BChristopher%2BSimbule.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://3.bp.blogspot.com/-uV2cA2zt1ec/V1gVGwGVH0I/AAAAAAAADC0/-C8yxzDY3P8OB4MIGgbRyfQl01yAfIkHQCLcB/s320/Untitled%2Bcityscape%2B%25282015%2529%2Boil%2Band%2Bacrylic%2Bon%2Bboard%2Bby%2BChristopher%2BSimbule.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">Untitled cityscape (2015) oil and acrylic on </span></strong><br />
<strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">board by Christopher Simbule</span></strong></td></tr>
</tbody></table>
<span style="font-family: "palatino linotype" , "serif";">Simbule
was born in Mbala in 1971 to a Zambian father and Zimbabwean mother, Simbule
and his siblings moved to Zimbabwe when his parents divorced, but his stay in
Zimbabwe would end up being a good turn in terms of his artistic career.</span><br />
<span style="font-family: "palatino linotype" , "serif";"><o:p></o:p></span><br />
<span style="font-family: "palatino linotype" , "serif";">After
college he decided to return to Zambia to see his father, by now a retired
Zambia Air Force pilot flying local routes with Zambia Airways. In 1993 it is
his father that took him to the Lusaka show grounds to show him where to meet other
artists this would be his first time at the Henry Tayali Gallery.</span><br />
<span style="font-family: "palatino linotype" , "serif";"><o:p></o:p></span><br />
<span style="font-family: "palatino linotype" , "serif";">Here
he would also meet senior artists during the early days of the Visual Arts
Council (VAC), legends such as Martin Phiri, Godfrey Setti, Eddie Mubanga and
Lutanda Mwamba, all deceased. He immediately enrolled with <i style="mso-bidi-font-style: normal;">Imiti Ikula Empanga</i> (loosely translated as today’s seedlings are
tomorrows forests), the council’s youth programme.</span><br />
<span style="font-family: "palatino linotype" , "serif";"><o:p></o:p></span><br />
<span style="font-family: "palatino linotype" , "serif";">A
year later, his father passed away and the artist found himself in a state of disorientation,
always traveling from Zambia to Zimbabwe, although he had never gone back since
2000 until the time of his death.</span><br />
<span style="font-family: "palatino linotype" , "serif";"><o:p></o:p></span><br />
<span style="font-family: "palatino linotype" , "serif"; font-size: 11pt; line-height: 115%;">Besides his artistic
legacy, he will be remembered as a loving father and affectionate husband; he
leaves behind a wife and four young daughters. Dependant on art alone, one can
only imagine how he managed to take care of huge family obligations, seeing
there remains no support structures for artists. Artists’ welfare as suggested
earlier still remains a thorny issue, how they survive in between the sale of
paintings remains obscure. To view or purchase Simbule’s work visit the Henry
Tayali Gallery in the Lusaka show grounds, a charming example of his cityscapes
can also be found in form of a large mural in the a passage way at Foxdale
Court. Among his close friends the ever jovial artist will be remembered for
his favourite catchphrase “Nice one biggie”.</span></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com2tag:blogger.com,1999:blog-1972553546303059373.post-53424098579100039402016-06-01T02:27:00.006-07:002016-06-01T02:27:49.952-07:00An innocent measure of skill<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><strong><span style="font-family: Arial, Helvetica, sans-serif;">By Andrew Mulenga<o:p></o:p></span></strong></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">When Gilbert Nsama
became a member of the Visual Arts Council of Zambia (VAC) in 2010, he was half
way through a three-year Aircraft Maintenance Engineering studies at the Zambia
Air Service Training Institute (ZASTI) in Lusaka.<o:p></o:p></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-wA_F2gqNV9I/V06pQtZFErI/AAAAAAAADBk/kHjB4qz0Gp8cunu6P2aBaCPi7NVz92UyQCLcB/s1600/Nsama%2Bis%2Btrained%2Bin%2BAircraft%2BMaintenance%2BEngineering%2Bbut%2Bcannot%2Bfind%2Ba%2Bjob%2Bin%2Baviation.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="221" src="https://1.bp.blogspot.com/-wA_F2gqNV9I/V06pQtZFErI/AAAAAAAADBk/kHjB4qz0Gp8cunu6P2aBaCPi7NVz92UyQCLcB/s320/Nsama%2Bis%2Btrained%2Bin%2BAircraft%2BMaintenance%2BEngineering%2Bbut%2Bcannot%2Bfind%2Ba%2Bjob%2Bin%2Baviation.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Nsama is trained in Aircraft Maintenance Engineering </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">but cannot find a job in aviation</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">“At first it was my
cousin Martin Chanda – a Swiss-based Zambian artist -- who connected me to a
few artists in Lusaka and also dad encouraged me and showed me the Henry Tayali
gallery, but I think interacting with other artists at the Arts Academy Without
Walls (AAWW) is what is really helping me develop and find myself as an arts,”
says the Luanshya-born artist who has also been coached by painter, Caleb
Chisha as well as sculptors Nsofwa Bowa and Charles Chambata.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">The ambitious young aircraft
engineer was convinced that being a member of VAC would be a nice by-the-way activity
when he is not busy fixing or maintaining aircraft, but six years down the
line, the 29-year-old has been unsuccessful in finding a job within the
aviation industry and has taken up the occupation of a full-time artist, a
prospect which is not without its own challenges.<o:p></o:p></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-EsN6lqYQwGs/V06pmJas3jI/AAAAAAAADBo/hyIHcmg_n-QLsT7NhWhanQSvtpP1BGXNgCLcB/s1600/Proud%2BAfrican%2BLady%252C%2B2016%252C%2Boil%2Bon%2Bcanvas%252C%2Bby%2BGilbert%2BNsama.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-EsN6lqYQwGs/V06pmJas3jI/AAAAAAAADBo/hyIHcmg_n-QLsT7NhWhanQSvtpP1BGXNgCLcB/s320/Proud%2BAfrican%2BLady%252C%2B2016%252C%2Boil%2Bon%2Bcanvas%252C%2Bby%2BGilbert%2BNsama.jpg" width="264" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Proud African Lady, 2016, oil on </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">canvas, by Gilbert Nsama</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">“I haven’t thrown my
qualifications away; art is keeping me occupied until something comes up in
aviation. But I won’t stop art. Zambia has no national airline so I’ve been
applying to foreign airlines and private companies locally. I even tried the
Zambia Air Force (ZAF) during the last recruitment but the names were not
released, I think they will be released after elections, still I don’t know if
my name will be there,” he explains. Ironically, he attended ZASTI on a
government bursary even though he is not able to find a job. </span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">He works as both a
painter and a sculptor choosing oil for his canvases and a variety of soft and
hard woods for his carvings although he appears to be struggling for collectors
or benefactors, in fact he was only able to make his first sale in March this
year during The Foxdale Court Arts Day in Lusaka’s Roma suburb. The piece was
one of his signature carvings of ornamental wooden shoes, shoes which are often
the joke among his peers at the AAWW. Fortunately, he remains resilient and
brushes the taunting off for what it really is, mockery.</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-VWkcj-KwARI/V06p2MEdhbI/AAAAAAAADBw/xFdEYGefGGgN5YxgOqH4d48RLI0FrD56wCLcB/s1600/African%2BBeauty%252C%2B2016%252C%2Bjacaranda%2Bwood%252C%2Bby%2BGilbert%2BNsama.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-VWkcj-KwARI/V06p2MEdhbI/AAAAAAAADBw/xFdEYGefGGgN5YxgOqH4d48RLI0FrD56wCLcB/s320/African%2BBeauty%252C%2B2016%252C%2Bjacaranda%2Bwood%252C%2Bby%2BGilbert%2BNsama.jpg" width="214" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">African Beauty, 2016, jacaranda wood, </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">by Gilbert Nsama</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">While a close analysis
of Nsama’s work does indicate that he possesses a notable degree of proficiency
as a painter -- which manifests in his admirable colour usage and realistic
touch -- the work appears rather disoriented when it comes to subject matter.
The depiction of little children taking a bath is pretty much an exhausted
cliché that has perhaps been used too many times; similarly he is in the habit
of wrapping his subject matter in the texture of a brick wall giving the viewer
the feeling of peeping through a hole in the wall to gaze upon them. As much as
one may not want to encroach upon the artist’s style, something does not seem
to add up, is he doing this out of impulse or is he showing the viewer that he has
the ability to paint the exact likeness of a brick wall in several of his works
with considerable ease.</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Also, his portraits of
women with titles such as <i style="mso-bidi-font-style: normal;">Proud African
Lady</i> and <i style="mso-bidi-font-style: normal;">Happy Masai</i> all seem too
credulous, calling to mind airport art or the Sunday-market crafts genre
popular among foreign tourists on a constrained budget. Similarly his
sculptures also appear to be adrift, again despite the fact that he does
exhibit competence in his preferred media of soft and hard woods. With titles
such as <i style="mso-bidi-font-style: normal;">True African Beauty</i> and <i style="mso-bidi-font-style: normal;">The Beauty within</i> <i style="mso-bidi-font-style: normal;">Me</i> in Jacaranda and Rosewood respectively, the works exude a degree
of shallowness. What is the artist really saying, what is he sharing with the
viewer, is he conjuring seemingly redundant notions of ‘African beauty’ that
existed in a time long before his own? If so, to what objective?</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-VDZYJLAhE50/V06qPgDo9pI/AAAAAAAADB4/8LF2V4YeafY8sYqJ-6bkbi-Wkw1nee0dQCLcB/s1600/Sunday%2BBathing%252C%2B2016%252C%2Boil%2Bon%2Bcanvas%2Bby%2BGilbert%2BNsama.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-VDZYJLAhE50/V06qPgDo9pI/AAAAAAAADB4/8LF2V4YeafY8sYqJ-6bkbi-Wkw1nee0dQCLcB/s320/Sunday%2BBathing%252C%2B2016%252C%2Boil%2Bon%2Bcanvas%2Bby%2BGilbert%2BNsama.jpg" width="314" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;"><strong>Sunday Bathing, 2016, oil on canvas </strong></span><br />
<span style="color: blue; font-family: Arial, Helvetica, sans-serif;"><strong>by Gilbert Nsama</strong></span></td></tr>
</tbody></table>
<strong>
</strong><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">It is one thing for an artist
from Northern Zambia to create portraits inspired by women from the <i style="mso-bidi-font-style: normal;">Masai</i> of East Africa or the <i style="mso-bidi-font-style: normal;">Dinka</i> of Sudan, but did he really sit
down and ask himself why his work is being informed by these tribes from distant
lands, in countries where he has never set foot.</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Of course it may be accepted
and possibly even understood when an artist categorized as a self-taught artist
is creating work on assumed impulse without adding any conjectural or indeed theoretical
values to it. But again it raises questions towards the sincerity of the more
experienced and exposed artists whom surround him and by extension every other
Zambian artist. Do they interrogate their own work deep enough before they have
it displayed? Even by critiquing it in their small cliques prior to hanging it on
exhibition walls.</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">It is high time that
Zambian artists stopped being dishonest with one another, if they see a
questionable piece in a colleague’s studio space, they should ask why she or he
chose a particular theme, what is its relevance within a particular social,
political, environmental or cultural framework, Zambian or other.</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Notwithstanding,
Nsama is just one of many young artists with great promise that is trying to
find a foothold within an art context that scarcely puts critical thinking or
academic arts qualifications at the fore of practice. For now, what Nsama is
providing is an honest, yet refreshing measure of creativity, optimistically the
Zambian art scene is yet to see the best of him; surely he will find his way,
hopefully before he returns to his professional career as an aircraft engineer.</span></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com0tag:blogger.com,1999:blog-1972553546303059373.post-56981569247026300992016-05-23T03:00:00.001-07:002016-05-23T03:00:05.121-07:00Giving it up for art<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "Times New Roman","serif";"><strong><span style="font-family: Arial, Helvetica, sans-serif;">By
Andrew Mulenga</span></strong></span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">As a
career, art <span style="mso-spacerun: yes;"> </span>is generally considered a
nonstarter, even in countries that have well organized support structures such
as effective cultural policies, sound art education systems, commercial art galleries
and art museums, so there is no surprise when you introduce yourself as an
artist and the first question is <span style="mso-spacerun: yes;"> </span>“yes of
course, but do you have a real job?”. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-dUCcoBmaiQI/V0LSoDbrDFI/AAAAAAAADAg/USl6vqo7W9Al6IbbKa1wXe4PHIUWriWmACLcB/s1600/Chikwemba%2Bwith%2Bone%2Bof%2Bher%2Blarge%2Bformat%2Bpaintings.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://3.bp.blogspot.com/-dUCcoBmaiQI/V0LSoDbrDFI/AAAAAAAADAg/USl6vqo7W9Al6IbbKa1wXe4PHIUWriWmACLcB/s320/Chikwemba%2Bwith%2Bone%2Bof%2Bher%2Blarge%2Bformat%2Bpaintings.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Chikwemba with one of her large format paintings</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">Actually,
Mwamba Chikwemba, a 22-year-old from Lusaka’s Matero Township who happens to be
a graduate of the National Institute of Public Administration, decided to quit
working for a leading international chain store after only one year, opting for
a full time occupation as an artist.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">“After
completing my diploma in public administration, I found a job and worked for
the whole of 2015, but I made up my mind and decided that I want to dedicate my
whole 2016 to producing art and just see how it goes,” says the painter, who
has coupled this challenge of self-employment by being one of the few female
artists in a male dominated Zambian art scene.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">Her
paintings stand out for their enormous canvases if not for their charming
subject matter which often features closely cropped portraits of young women
whose enchanting smiles are buffered only by Chikwemba’s kaleidoscopic palette.
In addition her brushstrokes are nonchalant lending a jovial playfulness to the
work. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Sw-gv4wSsoA/V0LS7T6h9fI/AAAAAAAADAk/gBPCbXJZoAM5ZmvcFLNjLiC1YydpeFirQCLcB/s1600/Afro%2Bsisters%2BI%2Bacrylic%2Bon%2Bcanvas%2Bby%2BMwamba%2BChikwemba.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://1.bp.blogspot.com/-Sw-gv4wSsoA/V0LS7T6h9fI/AAAAAAAADAk/gBPCbXJZoAM5ZmvcFLNjLiC1YydpeFirQCLcB/s320/Afro%2Bsisters%2BI%2Bacrylic%2Bon%2Bcanvas%2Bby%2BMwamba%2BChikwemba.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Afro sisters I acrylic on canvas </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">by Mwamba Chikwemba</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">“I like
earrings and jewellery and this reflects in my work, when someone buys my work they
actually buy a piece of me but also if you see most of my works the subjects
all have Afro, natural hair styles. I want to see the old hair styles
returning, like plating of hair or braiding not this Indian and Brazilian hair.
I want to question why did we stop our own styles and why are we buying
Brazilian hair”, she explains.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">Perhaps
the young artist is enjoying a spot of beginners luck or she just has a gift
that puts her a cut above others, her work not only caught the eye of a
collector who purchased two of her paintings from the Henry Tayali Gallery in
Lusaka at the beginning of the year, but also those of the judges in charge of
local selection for the Barclays L'Atelier art competition, a prestigious
international art competition for promising young artists across the African
continent. She submitted a work entitled D.O.D or simply Date of Death. The
work is a shift from her signature portraits; it depicts the feet of a corpse
and references the tags that are placed on a dead person indicating their date
of death for identification in the mortuary.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-F-2YdlWqbyw/V0LTMLdBlTI/AAAAAAAADAo/N-zMdXQvIqEXcGSYyJhbyQCGVwirxo_-wCLcB/s1600/Afro%2Bsisters%2BII%2Bacrylic%2Bon%2Bcanvas%2Bby%2BMwamba%2BChikwemba.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-F-2YdlWqbyw/V0LTMLdBlTI/AAAAAAAADAo/N-zMdXQvIqEXcGSYyJhbyQCGVwirxo_-wCLcB/s320/Afro%2Bsisters%2BII%2Bacrylic%2Bon%2Bcanvas%2Bby%2BMwamba%2BChikwemba.jpg" width="305" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Afro sisters II acrylic on canvas </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">by Mwamba Chikwemba</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">In March
this year she also caught the attention of William Miko who curated the <i style="mso-bidi-font-style: normal;">Visual Voices</i> exhibition at the old
German Embassy building in Lusaka. Mwamba was the youngest artist in the show
which featured some of the biggest names in Zambian contemporary art, during
the show her works were among the star attractions, again she was able to sell
yet a few more paintings, one of them going for a handsome K18,000 (eighteen
thousand kwacha). During the show she was a particular favourite of German
Ambassador to Zambia Bernd Finke and the German embassy's Head of Cultural
Division, Isolde Aust.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">As much
as she can be labelled one of the most promising young artists, her artistic
journey did not entirely have a smooth beginning. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">“It’s
been a journey, because my mother was not very supportive of my art, especially
when I was in primary school she used to tell me to stop because she thought it
as a waste of time, but my dad was very supportive. But in January this year, I
sold my first painting, and when I gave my mother some money I told her that it
was from the same art that she did not want me to do,” she explains.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">Her
mother has clearly changed her mind towards her daughter’s decision to take up
art; she was also in attendance during the <i style="mso-bidi-font-style: normal;">Visual
Voices</i> exhibition. Chikwemba also indicates she may not be the only art is
in the family.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-m5KHj3IHNIg/V0LToXsJIbI/AAAAAAAADAw/hEySk6x382otN3nNOwpnbbyM5oew7yYTgCLcB/s1600/Afro%2BSisters%2Bseries.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-m5KHj3IHNIg/V0LToXsJIbI/AAAAAAAADAw/hEySk6x382otN3nNOwpnbbyM5oew7yYTgCLcB/s320/Afro%2BSisters%2Bseries.jpg" width="227" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Afro Sisters III acrylic on canvas by </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Mwamba Chikwemba</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">“I
discovered I had an artistic ability when I was in grade 5, whenever my teacher
needed a drawing on the board she used to call me to draw it. I am the first
born in a family of 5, my brother used to draw and we used to compete but he
stopped and I continued, but I have a little sister in grade one she likes
drawing a lot, I think she is also following my way, I hope so,” she says.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">Although
she is primarily self-taught, she has undergone informal mentorship under a
number of senior and mid-career artists within Lusaka that have helped boost
her confidence.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "Times New Roman","serif";"><span style="mso-spacerun: yes;"></span><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">“I used
to do art at school from grade 8 to grade 12 in 2012 when I just completed I
came here to the Visual Arts Council and became a member, then I met Mr Zenzele
Chulu and asked him where I could find art lessons, he volunteered and used to
come on Saturday for a small fee,” she recalls.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">After
Chulu’s classes she continued practicing from home, and later met David Makala
who invited her to his place in Chilenje for art lessons and Caleb Chisha also instructed
her on how to blend and shade, she says he was very instrumental in teaching
her how to create portraits because previously she would only paint flowers and
still life. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-0KaWtnxFK-I/V0LUCGoHFyI/AAAAAAAADA4/ejj6eiGKE3kmklSCm_X0FSmeRTko020LgCLcB/s1600/D.O.D%2Bacrylic%2Bon%2Bcanvas%2Bby%2BMwamba%2BChikwemba.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-0KaWtnxFK-I/V0LUCGoHFyI/AAAAAAAADA4/ejj6eiGKE3kmklSCm_X0FSmeRTko020LgCLcB/s320/D.O.D%2Bacrylic%2Bon%2Bcanvas%2Bby%2BMwamba%2BChikwemba.JPG" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: Arial, Helvetica, sans-serif;"><strong>D.O.D acrylic on canvas by </strong></span><br />
<span style="color: blue; font-family: Arial, Helvetica, sans-serif;"><strong>Mwamba Chikwemba</strong></span><br />
<strong><span style="color: blue; font-family: Arial;"></span></strong><br />
</td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">Chikwemba
only started exhibiting in 2014; she participated in the Lusaka 100 exhibition
at Manda Hill Mall as well as the Independence Day exhibition. Currently she remains
highly motivated and claims she is in it for the long run, she also hopes to
raise funds that will help see her into a university in Zambia or abroad.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">“I don’t
intend to stop being an artist just because my parents disagreed or in future when
I get married my husband tells me to stop, I won’t. Like I said I was not fully
supported at first as an artist, so I know these challenges,” says Chikwemba. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Her works can be
viewed from the Henry Tayali Gallery in the Lusaka show grounds as well as Twangale
Park off Kafue road in Lusaka. </span></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com0tag:blogger.com,1999:blog-1972553546303059373.post-937916986698924032016-05-16T03:31:00.004-07:002016-05-16T03:31:49.073-07:00Reflecting on Kapata’s ‘Donation’ speech<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;"><strong><span style="font-family: Arial, Helvetica, sans-serif;">By Andrew Mulenga<o:p></o:p></span></strong></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">The speech by Minister
of Tourism and Arts, Jean Kapata on the handover of 40 artworks by Zambian
artists from the Royal Norwegian Embassy to the Lechwe Trust collection on the
8<span style="font-size: small;"><sup>th</sup> April 2016 at the Lusaka National Museum calls for a moment of reflection
as it unpretentiously gives an insight into government’s, and by extension
Zambia’s perspective on the arts.<o:p></o:p></span></span></div>
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">The minister was not
present during this otherwise important event, but instead of interpreting this
fact as casualness on her part, understandably she is a very senior government
representative and important party official who cannot make it to every arts
event, even one as notable as a gesture of farewell from one of the biggest
supporters of the sector in Zambia. Fortunately, the speech was read on her
behalf by the similarly high-ranking Permanent Secretary in the ministry of tourism
and arts Stephen Mwansa who did not waste time to emphasise he would recite it
as it was, with no alterations in adherence of protocol.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">It opened with a brief
eulogy to the outgoing Norwegian embassy declaring it a true friend of the Zambian
arts and one of its leading supporters. The speech further expressed that the
Zambian government through the ruling party takes the arts as a serious sector
of development.<o:p></o:p></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-weApk5OgGBM/VzmhYKk0mkI/AAAAAAAADAA/_GD_dq1A1EAkT_Ir8nAEp4f6S32wFVafACLcB/s1600/Tourism%2Band%2Barts%2BPermanent%2BSecretary%2BStephen%2BMwansa%2Breads%2Bthe%2Bspeech%2Bon%2Bbehalf%2Bof%2Bhis%2Bminister%2BJean%2BKapata%2Bduring%2Bthe%2Bopening%2Bof%2Bthe%2Bdonation%2Bexhibition%2Bat%2Bthe%2BLusaka%2BNational%2BMuseum.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://3.bp.blogspot.com/-weApk5OgGBM/VzmhYKk0mkI/AAAAAAAADAA/_GD_dq1A1EAkT_Ir8nAEp4f6S32wFVafACLcB/s320/Tourism%2Band%2Barts%2BPermanent%2BSecretary%2BStephen%2BMwansa%2Breads%2Bthe%2Bspeech%2Bon%2Bbehalf%2Bof%2Bhis%2Bminister%2BJean%2BKapata%2Bduring%2Bthe%2Bopening%2Bof%2Bthe%2Bdonation%2Bexhibition%2Bat%2Bthe%2BLusaka%2BNational%2BMuseum.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Tourism and arts Permanent Secretary Stephen Mwansa </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">reads the speech on behalf of his minister Jean Kapata </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">during the opening of the donation exhibition at the </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Lusaka National Museum</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">“The Patriotic Front
Government is fully aware of the contribution that the creative industries
sector can make towards the development of this country once appropriate
measures are put in place. You may wish to recall that as soon as we formed
government in 2011, we immediately re-aligned this sector from a social one to
an economic one,” stated the speech in part “This was followed by placing the
arts in the same ministry with tourism and prioritising the sector as the major
driver of the PF government’s ambition to create more jobs for our people,
especially youth, who are the major players of the creative sector”.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">The speech claimed to
this effect the Livingstone art gallery, Maramba Cultural Village and Masala
Cultural Village are in place and others were under construction in all
provincial centres and the ministry through the department of arts and culture
was providing training for handicrafts design. <o:p></o:p></span></div>
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">“The government has
also embarked on putting in place or reviewing appropriate legislation to
accelerate development and enhance coordination in the cultural sector. Of
particular importance is the arts, culture and heritage commission which seeks
to bring together all the major players and stakeholders under one institution
to spearhead growth and development in the sector,” continued the speech. <o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Kapata’s speech also
stressed the art’s critical role in society and apart from entertainment; works
of art such as the ones being donated were a mirror of society that provided
valuable information about what is happening in the country sometimes providing
solutions to daily social challenges. It also lay emphasis on the arts being a
source of livelihood and underlined that they were a valuable depository of the
country’s history and heritage and therefore a unique source of information. Kapata
underscored that the donation of artworks from the Norwegian embassy could not
be measured in monitory terms and was therefore priceless. On behalf of the
Zambian government she thanked the Norwegians for the continuous support over
the years and stressed that it was a sad moment particularly for the creative
sector.<o:p></o:p></span></div>
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">“Zambian art has
without any doubt developed to a very admirable level, if what we have on
display here today is anything to go by. Only the other week, we witnessed yet
another excellent exhibition at the old German embassy. Last year, Lechwe trust
which is about to receive this wonderful donation, mounted part of their
ever-growing collection at the American embassy”, read the speech.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">“All that art and the beautiful
pieces mounted here will be packed in a metal container because as it is, there
is no suitable home for them. Allow me to end therefore, by appealing to your
Excellencies from both Norway and Germany, to consider as a parting gift the
donation of your old embassies to the Zambian people for use as national art
galleries. I can assure your Excellencies that with a permanent and secure home
for this wonderful work; the Zambian art scene will never be the same again”.<o:p></o:p></span></div>
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Musing over the minister’s
speech, however, one can pick out the fact that the government has -- to a
certain extent -- shown commitment to the arts. But as any observer or insider
in this sector might be aware, not much has been done to back the speech-making.
While the minister points out that: “placing the arts in the same ministry with
tourism and prioritising the sector as the major driver of the PF government’s
ambition to create more jobs for our people, especially youth”, frankly there
has been no improvement in the livelihood of the Zambian artist or the arts at
large. Perhaps this professed youth empowerment through the arts is happening in
rural areas within the miniscule crafts sector, in the urban areas young
contemporary artists are still languishing, and one case in point would be the
youth who hang around the Arts Academy without Walls (AAWW), an affiliate of
the Zambia Visual Arts Council in the Lusaka show grounds. The AAWW will
provide a good example of youths who survive on the fringes of uncertainty on a
daily basis; their art space is a rented place to which they individually
contribute, many pay through their teeth and may all soon find themselves on
the streets with no space to work as they go for months without selling a
single sculpture or painting. <o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Nevertheless, Kapata mentioned
the reviewing of legislation to accelerate development of the arts and the
cultural sector as critical stressing the importance of the arts, culture and
heritage commission. Similarly, in his September 2015 parliamentary speech,
republican president Edgar Lungu stated “The Minister responsible for Tourism
and Arts will bring to this House the Arts, Culture and Heritage Bill aimed at
harmonising institutional arrangements in arts, culture and heritage to reduce
overheads and promote cost effectiveness”.<o:p></o:p></span></div>
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">He went on to announce
that parliament had already supported the initial funding to create a national
arts, culture and heritage commission as reflected in the 2015 budget in which
an amount of K3, 500,000 was approved for the purpose. President Lungu stated
that the newly created commission would improve the coordination,
administration and management of the arts, culture and heritage sector in the
country. A month after his speech, the president officially opened the National
Art Exhibition at the Henry Tayali Gallery in October 2015 and signed the
visitors book, in it, leaving remarks that tallied with his speech. “Let’s
create a living for our people out of their talents by making art an economic
activity”, wrote Lungu. <o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">But following the president’s
declarations, it can be reasoned that government support for the arts has
become annoyingly tiresome rhetoric, what with parliament being dissolved hope
for supportive legislature of the arts hangs in the balance once again. Truthfully,
detailed information about this arts commission as well as the arts bill is
fleeting, such that arts insiders are not able to trace the developments or
give an assurance as to when everything will be put in place.<o:p></o:p></span></div>
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Once more, returning to
the minister’s speech, for Kapata – on behalf of government -- to literally beg
foreign embassies to donate their buildings as art galleries her ministry does
seem to be aware that these facilities are lacking. But does the ministry not
question why these departing embassies are continuously donating their works to
the Lechwe trust, a private institution with no gallery space and not to the Zambian
government through the Livingston Art Gallery, the Henry Tayali Art Gallery or
indeed the Lusaka National Museum, Copperbelt Museum or Livingston Museum? </span><br />
<span style="font-family: "Times New Roman","serif"; line-height: 115%;"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">The answer is simple,
the ministry of arts as well as the custodians of heritage in Zambia vis-à-vis
the museums remain disappointingly fragmented even with talk of a commission
the museums still fall under the Ministry of Chiefs and Traditional Affairs.
Furthermore, because not much has been done to support training, these
institutions lack the professionals to handle important works of art. Certainly
this could be why departing embassies deem it safer to donate art works to a
private trust that will store them safely in a metal container than leave them
in the hands of institutions who do not really know what they are doing.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Nevertheless, as a
patriotic and passionate devotee of the arts, one can only wish the Ministry of
Tourism and Arts and the government all the best in their hand-out seeking endeavours
and pray that the Norwegian and German embassies respond to the humble request
to donate their buildings as art galleries, perhaps that will be a step
forward, even as the arts continue to ride in the back seat of the ministry and
the national arts, culture and heritage commission hangs in the balance.<i style="mso-bidi-font-style: normal;"> <o:p></o:p></i></span></div>
</div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com0tag:blogger.com,1999:blog-1972553546303059373.post-41653149282161953002016-05-10T01:47:00.002-07:002016-05-10T01:47:26.046-07:00Chikankata endorses art with new statue<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><strong><span style="font-family: Arial, Helvetica, sans-serif;">By
Andrew Mulenga<o:p></o:p></span></strong></span></div>
<span style="font-family: "Times New Roman","serif";">As
much as Chikankata became a district at the bidding of the late republican
president Michael Sata in December 2011, like many other districts in the
Southern Province it was hardly one of his political strongholds neither is it
that of his successor Edgar Lungu, judging from his pitiful performance against
arch competitor Hakainde Hichilema during the 2015 presidential bi-elections.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-xxdK-G8Dfwo/VzGeaXqXrnI/AAAAAAAAC_Q/It1Ss68KqnQicI5NiXt95hc4aRF68U_XwCLcB/s1600/The%2Bsculpture%2Bwith%2Bthe%2Bnew%2BChikankata%2BCivic%2BCentre%2Bin%2Bthe%2Bbackground.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://4.bp.blogspot.com/-xxdK-G8Dfwo/VzGeaXqXrnI/AAAAAAAAC_Q/It1Ss68KqnQicI5NiXt95hc4aRF68U_XwCLcB/s320/The%2Bsculpture%2Bwith%2Bthe%2Bnew%2BChikankata%2BCivic%2BCentre%2Bin%2Bthe%2Bbackground.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">The sculpture with the new Chikankata </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Civic Centre in the background</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">According
to Electoral Commission of Zambia (ECZ) statistics, Lungu of the Patriotic
Front (PF) polled 471 against United Party for National Development’s (UPND) Hichilema’s
12,456 from a total of 28,778 registered votes but this has not prompted him to
stay away from the district, according to well-placed sources he will be in
town on official business in the next few weeks to formally open the yet to be
completed managerial offices that include a large police station, a post
office, district administration offices, staff houses and a civic centre.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">In
fact, it is the last item here – civic centre -- that is of particular interest
to this columnist because before completion it already features a sizeable
concrete statue by Kafue-based artist and cultural officer Edward Kampeshi, commissioned
by the district council the work celebrates its two main resources, agriculture
and water – as a natural resource. Apart from commercial and subsistence
farming, the district also boasts of the Kafue Gorge, the biggest source of
electricity in the country.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">By
and large, the Chikankata District Council has outdone itself as a pastoral,
roadside town that one would honestly imagine does not have the commissioning
of art as part of its grand scheme. Speaking in an interview early this week,
council secretary Damson Mukwato shed light on the project.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-CpCFRyXL-cY/VzGeo3D_S4I/AAAAAAAAC_U/q7A0TFP50mUGsTP9fEQvrHOIHjHWWPe7ACLcB/s1600/Close%2Bup%2Bof%2Bthe%2Bstatue%2Bshows%2Bthe%2Bpicturesque%2BChikankata%2Bhorizon.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-CpCFRyXL-cY/VzGeo3D_S4I/AAAAAAAAC_U/q7A0TFP50mUGsTP9fEQvrHOIHjHWWPe7ACLcB/s320/Close%2Bup%2Bof%2Bthe%2Bstatue%2Bshows%2Bthe%2Bpicturesque%2BChikankata%2Bhorizon.jpg" width="242" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Close up of the statue shows the </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">picturesque Chikankata horizon</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">“First
of all, as Chikankata District Council we are happy with the artist’s work. As
a district council we have a motto and we say ‘<i style="mso-bidi-font-style: normal;">water and farming is our strength</i>,’ these are well articulated in
the sculpture” he explained.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">He
added that as much as Chikankata is considered a rural town, it has a story to
tell and this can be best done through the commissioning of art works such as
the one to adorn the new offices. He pointed out that his council intends to mainstream
art.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">“We
can tell our story through art. You and I know that when we travel abroad we
are encountered by statues at important buildings that tell us more about the
places we visit. Similarly when someone visits Chikankata they will find the
statue and recognize what we are about. It’s not only a way of promoting
international tourism but local tourism,” said Mukwato.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">Nevertheless,
the artist also attempts to create a statue that embodies the very culture of
the locals depicting a hard-working man and woman driving a plough with two
oxen. They stand elevated on a large plinth while two youths, a boy and a girl
are at the ground level with buckets as if fetching water from a river.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">Whereas
the two cattle may look disproportionate, during a visit to the site early this
week, the artist reasoned that he was approached by a local by-passer who argued
that when ploughing the fields cattle often stoop as well as sink their legs
deep in to the earth for traction and therefore end up looking shorter than
they actually are. Truly, who can argue with a local that has spent all his years
living the pastoral life? Upon hearing the explanation, the artist made the
necessary changes. If anything, it can also be noted that the two animals in
the sculpture appear to be more anatomically correct than the rest of the
figures but this could be part of the aesthetic.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-GljomeaFN70/VzGe57m_D8I/AAAAAAAAC_Y/7WiFKyh9WGssc-rMcVhgeeaGf2KY52ZIwCLcB/s1600/Front%2Bview%2Bof%2Bthe%2BChikankata%2BCivic%2BCentre%2Bstatue%2Bby%2BEdward%2BKampeshi.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://3.bp.blogspot.com/-GljomeaFN70/VzGe57m_D8I/AAAAAAAAC_Y/7WiFKyh9WGssc-rMcVhgeeaGf2KY52ZIwCLcB/s320/Front%2Bview%2Bof%2Bthe%2BChikankata%2BCivic%2BCentre%2Bstatue%2Bby%2BEdward%2BKampeshi.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Front view of the Chikankata Civic Centre </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">sculpture by Edward Kampeshi</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">“I
think I am happy with the final works. I know I may not be the best in Zambia
but I am happy to be part of the project. I have been working on the piece for
the past 21 days, but now I can safely say I can allow it to harden for a few
more days then return with some power tools to smoothen off the rough edges,”
explained the 50 year-old artist who graduated with an Art and Design Teachers’
Diploma from the Evelyn Hone College in 1996, taught in various schools for
several years and has worked in the civil service in various capacities ranging
from graphic designer to cultural officer. <o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">He
also spoke highly of the hospitality of the locals who inundated him with
locally produced gifts of milk and <i style="mso-bidi-font-style: normal;">chibwantu,</i>
a wholesome, non-alcoholic energy drink popularised by the Tonga speaking
people which has maize-grits as one of its main ingredients.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">“I
haven’t been drinking water since I came here. Milk has been my water, every
day I am given a 5 litre container,” boasted Kampeshi light-heartedly.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-eMNwSyUChok/VzGfKnNI9YI/AAAAAAAAC_g/4j6nAzXuONIgICHLA-2ZigYpVacoHX7CwCLcB/s1600/Front%2Bview%2Bof%2Bthe%2BChikankata%2BCivic%2BCentre%2Bbuilding.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="155" src="https://4.bp.blogspot.com/-eMNwSyUChok/VzGfKnNI9YI/AAAAAAAAC_g/4j6nAzXuONIgICHLA-2ZigYpVacoHX7CwCLcB/s320/Front%2Bview%2Bof%2Bthe%2BChikankata%2BCivic%2BCentre%2Bbuilding.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Front view of the Chikankata Civic Centre building</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">He
hopes to complete the project within the next two weeks but expressed
reservations whether the water feature will be up and running by then.
Evidently, the plinth is designed to have water seep down its sides by means of
a concealed fountain system and a pump. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">But
during Mukwato’s interview however, the council secretary seemed confident that
with good cooperation between his council and the contractors, the council
building along with the statue and other infrastructure were in line for
completion in the second quarter of 2016.<span style="mso-spacerun: yes;">
</span></span><br />
<span style="font-family: "Times New Roman","serif";"><span style="mso-spacerun: yes;"></span><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-1gtodV0uvJQ/VzGfylui3tI/AAAAAAAAC_s/VAZcdCPHaTQtOGAgsm42Mf42PM5-yAjpwCLcB/s1600/Staff%2Bhousing.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://1.bp.blogspot.com/-1gtodV0uvJQ/VzGfylui3tI/AAAAAAAAC_s/VAZcdCPHaTQtOGAgsm42Mf42PM5-yAjpwCLcB/s320/Staff%2Bhousing.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Some of the new staff houses for civil servants </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">near the civic centre</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">Already
popular among the locals, the Chikankata statue is likely to become a winner
among art lovers and landmark enthusiasts who enjoy taking photographs because
it is just a few minutes’ walk from the Mazabuka-Kafue Road which proceeds to
the tourist capital, Livingstone. The new offices are about 50 kilometres from
Mazabuka town and 15 kilometres from Kafue town.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">The
fast growing district is also home to the Chikankata College of Bio-Medical
Sciences a major training facility for the ministry of health, Chikankata High
School which is run by the Salvation Army and Namalundu Secondary School plus
over 30 primary schools, it would be good if visits to the statue can also become
part of their school tours programmes to help inculcate an appreciation of art
and a further understanding of the districts strength.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Nevertheless, without
doubt much can be critiqued in terms of the overall design and perhaps the
finish of the statue so far, but it is yet to be complete and can be given a
benefit of a doubt on those scores. Zambian artists may not have the resources
and equipment, but a bronze would have been a befitting medium for the final statue
not only for longevities sake, but as a hint towards prospective nickel mining
in the area as the resource is often a component of bronze casting. Furthermore
here in Zambia, if previously built statues with water features are anything to
go by, maintenance is usually an issue, even the simplest of water fountains
end up being turned off. But all things said and done Chikankata District
Council deserves a pat on the back and has to be emulated not only by the other
newly established districts but also by those that were established before and
after independence some 50 years ago but do not seem to show any appreciation
for art or public sculptures. </span></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com0tag:blogger.com,1999:blog-1972553546303059373.post-46921970554073965592016-05-03T01:22:00.002-07:002016-05-03T07:24:16.479-07:00The ‘Donation’ – Pt. 2<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "times new roman" , "serif";"><strong><span style="font-family: "arial" , "helvetica" , sans-serif;">By
Andrew Mulenga<o:p></o:p></span></strong></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">As much
as the Norwegian embassy in Lusaka’s donation of 40 works to the Lechwe Trust
Collection has brought a certain degree of approval within the Zambian visual
arts community, there are concerns towards the impending departure of the Norwegians
themselves, however, Ambassador Arve Ofstad assured Zambia that bilateral
collaborations in the field of arts and culture will possibly remain open-ended.<o:p></o:p></span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-LqOyTMCGPmU/VyhdK9tZKqI/AAAAAAAAC-E/9GwgVIZh9447TXKQDWsJtffWxCS3aIcNQCLcB/s1600/Here%2BI%2Bam%252C%2B1997%252C%2Bebony%252C%2Bsand-stone%252C%2Bmetal%252C%2B122%2Bx%2B71%2Bx%2B48.5%2Bcm%2Bby%2BFlinto%2BChandia.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-LqOyTMCGPmU/VyhdK9tZKqI/AAAAAAAAC-E/9GwgVIZh9447TXKQDWsJtffWxCS3aIcNQCLcB/s320/Here%2BI%2Bam%252C%2B1997%252C%2Bebony%252C%2Bsand-stone%252C%2Bmetal%252C%2B122%2Bx%2B71%2Bx%2B48.5%2Bcm%2Bby%2BFlinto%2BChandia.jpg" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"><strong><span style="font-size: x-small;"><em>Here I am</em>, 1997, ebony, sand-stone, metal, </span></strong></span><br />
<span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><strong>122 x 71 x 48.5 cm by Flinto Chandia </strong></span><br />
<span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><strong><em>(Photo credit: Lechwe Trust)</em></strong></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">Addressing
invited members of the diplomatic community, prominent collectors and
personalities on the local art scene, representatives of arts organisations,
government institutions, the media and artists during the opening of “Donation”
the on-going commemorative exhibition at the Lusaka National Museum, he expressed
confidence that the donation will contribute towards an early realisation of
the Lechwe Trust’s long term ambitions to create a permanent display of
contemporary Zambian art that will help preserve national cultural heritage and
benefit locals and visiting tourists. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">“Most of
the artworks on display were acquired by the Embassy during the 1990s, a period
when the Norwegian Agency for Development Cooperation (NORAD) explicitly
supported cultural nation-building through individual artists, art
institutions, as well as the organisation of arts in Zambia,” stated the
ambassador who has been head of mission for the past five years.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">He
pointed out that through NORAD, his government funded activities such as
renovations of the Henry Tayali Visual Arts Centre in Lusaka, support towards
the Visual Arts Council offices in Livingstone and Chipata.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">“This
collaboration also directly involved several Norwegian artists, who were
greatly inspired by their Zambian experience. This productive interaction
continues to this day involving Norwegian institutions such as the Academy of
Fine Art (Kunstakademiet) in Oslo and Kunstbanken Hedmark Kunstsenter, in
Hamar,” he continued.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">Before attempting
to clarify his embassy impending closure, he stated that the display of
artworks was part of Zambia’s continued cultural nation-building and the
individual works were building blocks in her identity, and as such, they
constitute part of the world’s cultural exchange. A heritage he stated, that
will continue to be shared in the future.<o:p></o:p></span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-s59gb6wj43Y/VyhdwU38CzI/AAAAAAAAC-I/7RY0UdEDLx8u9qtSJxXnI8yUWXcAO0SbwCLcB/s1600/Ambassador%2BArve%2BOfstad%2Band%2BLechwe%2BTrust%2BChairperson%2BCynthia%2BZukas%2Bexchange%2Bart%2Bcatalogues%2Bat%2Bthe%2BLusaka%2BNational%2BMuseum.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-s59gb6wj43Y/VyhdwU38CzI/AAAAAAAAC-I/7RY0UdEDLx8u9qtSJxXnI8yUWXcAO0SbwCLcB/s320/Ambassador%2BArve%2BOfstad%2Band%2BLechwe%2BTrust%2BChairperson%2BCynthia%2BZukas%2Bexchange%2Bart%2Bcatalogues%2Bat%2Bthe%2BLusaka%2BNational%2BMuseum.jpg" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><strong>Ambassador Arve Ofstad and </strong></span><br />
<span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><strong>Lechwe Trust Chairperson </strong></span><br />
<span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><strong>Cynthia Zukas exchange art catalogues </strong></span><br />
<span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><strong>at the Lusaka National Museum </strong></span><br />
<span style="color: blue; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><strong><em>(Photo by Andrew Mulenga)</em></strong></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">“Let me
now add a few words about the closing of Norway’s Embassy in Lusaka. I am not
happy about this, but it is a decision by my Minister of Foreign Affairs, who
has to make the best use of Norway’s resources in order to promote Norway’s
interests in the world, in the same way as Zambia has to prioritise its
resources for diplomatic representations. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">“The
decision-makers in Norway believe that our development aid is even more needed
in other countries, which are poorer than Zambia, or more affected by natural
or political crises. Norway wishes to focus our cooperation on fewer countries
and sectors,” he added. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">He maintained
that at the same time, Norwegian business interests were growing in Zambia, although
not yet well established and that perhaps in the future, a growth of commercial
interest, tourism and other interactions may warrant a re-opening of the
Embassy. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">“Let me
add, with reference to an article in the Post Newspaper today, that I feel I
have been quoted somewhat out of context, or maybe I did not express myself
clearly enough. It is correct that we from the Norwegian side have been
concerned about some development issues and challenges in Zambia, as in fact
many Zambians also feel. But these issues are not the reason for closing the
embassy,” stated the ambassador. <o:p></o:p></span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-nLF3JX8ktAo/VyhfaAjXEwI/AAAAAAAAC-Y/MX9AJVa6UqE4fLlt5Sdd4WF1cN0wJ3lOQCLcB/s1600/Mother%2Band%2Bchild%2Bbreast-feeding%252C%2B1993%252C%2Boil%2Bon%2Bcanvas%252C%2B137%2Bx%2B107%2Bcm%2Bby%2BDabson%2BNjobvu.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="246" src="https://1.bp.blogspot.com/-nLF3JX8ktAo/VyhfaAjXEwI/AAAAAAAAC-Y/MX9AJVa6UqE4fLlt5Sdd4WF1cN0wJ3lOQCLcB/s320/Mother%2Band%2Bchild%2Bbreast-feeding%252C%2B1993%252C%2Boil%2Bon%2Bcanvas%252C%2B137%2Bx%2B107%2Bcm%2Bby%2BDabson%2BNjobvu.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"><em>Mother and child breast-feeding</em>, 1993, oil on canvas, </span></strong><br />
<strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;">137 x 107 cm by Dabson Njobvu</span></strong></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">He
stated that he hoped for more opportunities to clarify the departure and that
he hopes the countries share common interests in promoting democracy, peaceful
development, and women’s emancipation and as such the two countries will find
common grounds in international platforms for the promotion of these values. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">“I am
sad to leave a Zambia where there are still so many development challenges. I
nevertheless hope that the Embassy has left behind some positive footprints,
and as I have said on other occasions, Norway is not leaving Zambia, we just
have to find new ways of communication. I trust that we will meet again,”
stated Ofstad.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">In a
related story by Mukosha Funga published in the <i style="mso-bidi-font-style: normal;">Sunday Post</i> of 10 April under the <i style="mso-bidi-font-style: normal;">headline “It’s pointless to keep funding a country that can’t manage
its own resources – Ofstad</i>”, ambassador Ofstad asserted a more caustic tone
insinuating corruption and the lack of certain mineral resources among the main
reasons for the departure.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">“…there
was also the feeling that the anti-corruption fight has been going very much up
and down and we feel that when a country doesn’t make enough use of its own
resources, is not doing well enough in terms of public resource management, in
terms of its distributional policies, then we should leave,” read Ofstad’s quote
in part.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Tqq3YG8I_BQ/VyhhBssiauI/AAAAAAAAC-k/TiHDmQ3a1bwX2JO0s-GoIkNPAmDFRngKACLcB/s1600/Township%252C%2B1990%252C%2Boil%2Bon%2Bcanvas%2Bby%2BStyle%2BKunda.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="206" src="https://2.bp.blogspot.com/-Tqq3YG8I_BQ/VyhhBssiauI/AAAAAAAAC-k/TiHDmQ3a1bwX2JO0s-GoIkNPAmDFRngKACLcB/s320/Township%252C%2B1990%252C%2Boil%2Bon%2Bcanvas%2Bby%2BStyle%2BKunda.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: "arial" , "helvetica" , sans-serif;"><em>Township</em>, 1990, oil on canvas by Style Kunda</span></strong></td></tr>
</tbody></table>
<span style="font-family: "times new roman" , "serif";">According
to the article, he went on further to state: “Norway’s external interests
outside are very much linked to oil and there is no oil in this country, and
related to the marine, shipping industry, there is no harbour in this country,
so it is difficult to say that Norwegian companies will be coming very strongly
but there are some coming in agriculture and in energy and maybe that will grow
further.” <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">Further
addressing the tourism question he declared that as much as there is fantastic
wildlife in Zambia, the tourism industry is undeveloped and Norwegians had been
losing their passports here so they have found it was more necessary to keep their
embassies elsewhere.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">Nevertheless,
this latest donation to Lechwe Trust is its second gift from a departing
European embassy, the first being that presented by the defunct Royal
Netherlands Embassy who similarly donated works by Zambians in the guise of
supporting cultural heritage in 2013. Anyhow, in a speech read on behalf of
Minister of Tourism and Arts, Jean Kapata by permanent secretary Stephen Mwansa
during the opening of the “Donation” exhibition, she was grateful for the
assistance from the broader diplomatic community and pleaded for continued
support towards the arts.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-nH52c68uvdo/Vyi0PSVkj_I/AAAAAAAAC-4/21oT_yni-K0k2FefpW0V8fptk67fMN2oQCLcB/s1600/Copies%2Bof%2Bthe%2BDonation%2Bcatalogue%2Bare%2Bavailable%2Bfrom%2Bthe%2BLusaka%2BNational%2BMuseum%2Band%2Bthe%2BHenry%2BTayali%2BGallery%2Bin%2BLusaka.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="239" src="https://1.bp.blogspot.com/-nH52c68uvdo/Vyi0PSVkj_I/AAAAAAAAC-4/21oT_yni-K0k2FefpW0V8fptk67fMN2oQCLcB/s320/Copies%2Bof%2Bthe%2BDonation%2Bcatalogue%2Bare%2Bavailable%2Bfrom%2Bthe%2BLusaka%2BNational%2BMuseum%2Band%2Bthe%2BHenry%2BTayali%2BGallery%2Bin%2BLusaka.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Copies of the <em>Donation</em> catalogue are available </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">from the Lusaka National Museum and the </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Henry Tayali Gallery in Lusaka</span></strong></td></tr>
</tbody></table>
<span style="font-family: "times new roman" , "serif";">“I want
to put on record that the Zambian cultural sector, particularly the arts,
received the biggest donor support ever from Zambia’s development cooperation
with Norway, and this support covered all the art disciplines; namely, visual
arts, music, theatre, dance, media and literary arts. Norway has truly been a
friend,” read the speech in part. In conclusion, her speech was a direct appeal
to the ambassadors present to consider as parting gifts the donation of their
old embassy buildings to the people of Zambia for use as national galleries -- whenever
a consulate is leaving. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">The
announcement of the departure and remarks from Ofstad however attracted swift
condemnation from Oslo-based Victor Mutelekesha, one of Zambia’s leading visual
arts exports to Norway in an e-mail dated April 19 addressed to the ambassador
and copied to several Zambian media houses.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">“I read
with disappointment that you will be closing down the Norwegian Embassy in
Zambia largely due to corruption. This is the decision Norway has made so I
can’t stop that. But I have few questions that need answering because siting
corruption as the reason for closing down the embassy is slightly misguiding
and gives a very wrong impression about Zambia,” wrote the 40 –year old who
studied has a BA and MA Fine Arts from the National Arts Academy in Oslo and
has lived there for 15 years exhibiting extensively partially through Norwegian
government grants and awards.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "times new roman" , "serif";">He argued
that Angola ranks among the 6 lowest countries on the transparency
international corruption index list (2015) and yet Norway was maintaining an
embassy there. He further argued that according to the same transparency listing
, Zambia ranked number 76 on the corruption index beating Tanzania at 117,
Kenya at 139, Uganda at 139, China at 86, Russia at 119, Nigeria at 136 and
Malawi where the Norwegian embassy is relocating to sis at 112. <o:p></o:p></span></div>
<span style="font-family: "times new roman" , "serif"; font-size: 11pt; line-height: 115%;">“Unless it’s
something I haven't read or come across, but I know that your current government’s
Policy is to realign its global strategy/commitments and closing and relocating
some embassies is one way of doing that,” continued Mutelekesha “Yes there is
corruption in Zambia and there is misappropriation of money here and there but
if that was the main reason of leaving Zambia then I truly expect Norway to
close more than half its embassies around the world, unless otherwise. Mr
Ambassador, complete truth goes a long way in establishing young democracies.
Injecting blame politics at such a crucial moment in Zambia’s election calendar
doesn’t help.” <span style="mso-spacerun: yes;"> </span></span></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com1tag:blogger.com,1999:blog-1972553546303059373.post-25604681816772774032016-04-26T01:27:00.002-07:002016-04-26T01:27:41.375-07:00The ‘Donation’ – Pt. 1<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;"><strong><span style="font-family: Arial, Helvetica, sans-serif;">By Andrew Mulenga<o:p></o:p></span></strong></span><br />
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">In case you have not
yet seen it, ‘Donation’ the on-going exhibition at the Lusaka National Museum
that honours the outgoing Norwegian embassy in Lusaka’s donation of art to the
Lechwe Trust a charitable organization for the visual arts in Zambia committed
to reining in outstanding works against sale abroad is still showing for the
next few days.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">For a major collection
of art that has been accumulated for just over a 20 year period, 40 individual pieces
does seem small, more so if these works belong to a foreign embassy that has
been one of the biggest supporters of the visual arts in Zambia, having played
an active role through funding artists workshops, exhibitions and scholarships by
way of its bilateral agencies.<o:p></o:p></span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-PZqs9915cB8/Vx8k9l1X_9I/AAAAAAAAC9Y/2dGgFSBdZkocgiIXnscjKQAReQ3-D7_EwCLcB/s1600/Togetherness%252C%2B1982%252C%2Bwhite%2Band%2Bgrey%2Bmarble%2B113%2Bx%2B34%2Bx%2B24%2Bcm%2Bby%2BRobert%2BNyirenda.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-PZqs9915cB8/Vx8k9l1X_9I/AAAAAAAAC9Y/2dGgFSBdZkocgiIXnscjKQAReQ3-D7_EwCLcB/s320/Togetherness%252C%2B1982%252C%2Bwhite%2Band%2Bgrey%2Bmarble%2B113%2Bx%2B34%2Bx%2B24%2Bcm%2Bby%2BRobert%2BNyirenda.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-family: Arial, Helvetica, sans-serif;"><em>Togetherness</em>, 1982, white and grey </span></strong><br />
<strong><span style="font-family: Arial, Helvetica, sans-serif;">marble 113 x 34 x 24 cm by Robert Nyirenda</span></strong></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">But it can be
understood that a single building – which is not a gallery or museum – can only
have so many works on permanent display. Undeniably, during their stay the
Norwegians accumulated more than five times the volume of work in the
collection, seeing to a large extent ,works by Zambian artists may have found
themselves in the personal collections of diplomats that have rotated at the
embassy over the years and have understandably wound up in Norway or other
parts of the world which is why it may be seen as a plus that work by some of
the country’s most influential artists of the past few decades will not leave
the country but should stay here in the provisionally safe custody of the
Lechwe Trust.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">While there is a
generally held perception that contemporary Zambian art is essentially
figurative and characterized by quixotic representations of everyday life, a
genre that has over the years become the Zambian signature in fulfilment of the
preferences of foreign collectors, particularly those from the greater diplomatic
community such as the Norwegians themselves, the collection is a strange mix of
sentimental rural scenes and radical abstract deconstructions that bare complex
philosophical underpinnings when it comes to the two dimensional work. But with
regards the three dimensional work, vis-à-vis the sculptures and ceramics, all of
them have a radically abstract impulse even though they were created by artists
with an incredible aptitude for fully representational work. For instance,
Flinto Chandia’s sculpture <i style="mso-bidi-font-style: normal;">Here I am</i>
is a combination of two curvilinear marble splinters and an orb, or his <i style="mso-bidi-font-style: normal;">Mother and child</i> (1999) which includes two
elliptical shapes that represent the heads and a single, ivory-coloured main
section that represents the bodies and evokes the appearance of two snuggling
figures. Another set of equally powerful sculptures is a sophisticated wooden piece
by Friday Tembo (1962 – 2004) entitled <i style="mso-bidi-font-style: normal;">They
love each other, but they are shy </i>(1998). Tembo was the founder of Ulendo
art studio, a sculpture workshop in <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-wsCr1gRLU8Y/Vx8lhbVP8TI/AAAAAAAAC9c/dGJJ8GDQ8BU39zHQhhlgr4w0oi8wHTKmwCLcB/s1600/Breast-feeding%2BMother%252C%2B1993%252C%2Bacrylic%2Bon%2Bcanvas%252C%2B120%2Bx%2B79%2Bcm%252C%2Bby%2BJulia%2BMalunga.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-wsCr1gRLU8Y/Vx8lhbVP8TI/AAAAAAAAC9c/dGJJ8GDQ8BU39zHQhhlgr4w0oi8wHTKmwCLcB/s320/Breast-feeding%2BMother%252C%2B1993%252C%2Bacrylic%2Bon%2Bcanvas%252C%2B120%2Bx%2B79%2Bcm%252C%2Bby%2BJulia%2BMalunga.jpg" width="203" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: blue;"><em>Breast-feeding Mother</em>, 1993, acrylic on </span></span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">canvas, 120 x 79 cm, by Julia Malunga</span></strong></td></tr>
</tbody></table>
<strong>L</strong>usaka’s Linda Township, a high density
slum. He taught his many students how to work hard woods such as ebony, mubanga
and mukwa that was preferably used as supports for pit latrines because of its
non-corrosive qualities, when the residents of Linda began the transformation
of their sewer systems to septic tanks; they did away with the old wood
preferring brick and concrete. Tembo and his band of apprentices would then harvest
this discarded wood for use at the studio. Two of his students John Miti and
Jesat Mbewe also have works <i style="mso-bidi-font-style: normal;">Africa World
Cup</i> (2009) and <i style="mso-bidi-font-style: normal;">Zilile Ng’oma</i>
(2005) respectively in the Norwegian collection. The sculptures also feature a
series of abstract marble carvings by David Chirwa that feature his
distinguishable style that is characterized by a combination of course and
smooth textures on their surfaces. Eddie Mumba one of Zambia’s foremost subtractive
sculptors who is also a lecturer at the Evelyn Hone college has a fascinating
selection of wood and metal pieces in the collection, one of the most
interesting being a large porcupine meticulously fashioned from reclaimed metal
bars. Robert Nyirenda (1958 to 1998) who started working in wood at the tender
age of 12, came to Lusaka in 1968 and started working in soap stone and later
granite and marble also has work in the show. His style is particularly
distinctive because he worked in an era – particularly in Zambia -- when power
tools were extremely expensive and therefore out of reach for artists. His works
have a course mallet and chisel feel to them with distinct surfaces that bare a
charming jaggedness. Andrew Makromalis a versatile artist who is also one of
the country’s very few ceramists has two earthenware vessels in his familiar
misshapen style as part of the collection.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">As earlier alluded, the
two-dimensional works in the collection are both representational and sentimental
with a little exceptions, these being a few abstract paintings by Vincentio
Phiri, Patrick Mumba and William Miko. Phiri is a celebrated abstract
expressionist on the Zambian art scene; all his three works <i style="mso-bidi-font-style: normal;">Back Yard</i> (1997), <i style="mso-bidi-font-style: normal;">Power of Love</i> (1997) and <i style="mso-bidi-font-style: normal;">Wandengeya
Road</i> (1997) are in his distinctive, totally abstract manner reducing the
value of his paintings to swift lines and kaleidoscopic colours that evoke
motion. The works in this collection are a rare example of the artist branching
away from his preferred circular brush and palette knife strokes.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Similarly the works of
Mumba, a Master of Fine Art Graduate from Rhodes University and a lecturer in
Fine Art at the Evelyn Hone College in Lusaka is another one of Zambia’s
leading abstract painters that have adopted a totally nonfigurative style he has
two very different works in the collection, one is from his <i style="mso-bidi-font-style: normal;">Messages from Our Ancestors</i> series and
features tiny, multi-coloured boxes embellished with an array of idiosyncratic
symbols conceived by the artist himself and the other is a haphazard explosion of
colour and line that totally eliminates the assumption of any shape or form. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Miko, also the curator
of the exhibition, possesses a Master of Fine Art degree from Middlesex University
he is also a senior Fine Art lecturer at the Zambia Open University. Not only is
he an academic and outspoken interlocutor of the visual arts but one of the country’s
leading full and semi-abstract painters. While he is a well-rounded realistic
painter and sculptor, his single work in this collection is one of his
distinctive crowd scenes executed in his “mark-making” style, a technique that
comprises making multi-coloured slashes of paint on canvas, his work <i style="mso-bidi-font-style: normal;">Market Place </i>(1989) is a typical example
of the style. <o:p></o:p></span></div>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-9Yx9-aW1AP0/Vx8mQF5-Q7I/AAAAAAAAC9o/S_PZpVPkhZYOZY_hO8upCVh5MPLc0ujdACLcB/s1600/Here%2BI%2Bam%252C%2B1997%252C%2Bebony%252C%2Bsand-stone%252C%2Bmetal%252C%2B122%2Bx%2B71%2Bx%2B48.5%2Bcm%2Bby%2BFlinto%2BChandia.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-9Yx9-aW1AP0/Vx8mQF5-Q7I/AAAAAAAAC9o/S_PZpVPkhZYOZY_hO8upCVh5MPLc0ujdACLcB/s320/Here%2BI%2Bam%252C%2B1997%252C%2Bebony%252C%2Bsand-stone%252C%2Bmetal%252C%2B122%2Bx%2B71%2Bx%2B48.5%2Bcm%2Bby%2BFlinto%2BChandia.jpg" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Here I am, 1997, ebony, sand-stone, metal, </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">122 x 71 x 48.5 cm by Flinto Chandia</span></strong></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Also in the collection
are a series of drawings by Shadreck Simukanga (1955 – 2004) one of Zambia’s
most influential artists, a master draftsman, skilled painter and art teacher
under whose hands some of the country’s most prominent young artists have
passed. All three figurative works were done in the late 1980s these are <i style="mso-bidi-font-style: normal;">The Shoe Repair</i>, a Mother and Child
ensemble and a landscape that features a bushy outcrop. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Style Kunda’s paintings,
<i style="mso-bidi-font-style: normal;">Township</i> and <i style="mso-bidi-font-style: normal;">Chatting</i> respectively demonstrate how the artist seamlessly shifts
from a representational to abstract technique. Considered a veteran, Kunda
remains one of the few artists that have been active consistently over a 40
year period. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Dean Nsabashi another
of the country’s veteran painters expresses himself in acrylic on canvas, often
picking everyday life as his inspiration with women and children as his subject
matter, <i style="mso-bidi-font-style: normal;">Feeding the community</i>, his
only piece in this collection is a typical example. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Dabson Njobvu a self-taught
artist who spent over a decade in East Africa, is a rare oil paint virtuoso
identifiable by his meticulous attention to detail and penchant for landscapes
with gullies, rivers, forest thickets and village scenes. One of his typical
renditions is <i style="mso-bidi-font-style: normal;">Mother and child breast
feeding</i> which is in this collection. Njobvu’s work is not the only one with
a nursing subject, Julia Malunga’s (1964 – 1997) <i style="mso-bidi-font-style: normal;">Breast feeding mother</i> (1993) is themed along similar lines and
executed in her spotted-colour technique it is a charming mother and child
ensemble. Although she died at the age of 33, Malunga remains an influential figure
in Zambian art history as she is the only female chairperson of the Visual Arts
Council of Zambia. Malunga studied Art & Design at the defunct Africa
Literature Centre in Mindolo, Kitwe and worked as a graphic designer in the
media industry.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">The collection also has
six prints by three pioneer artists namely Gijsbert Witkamp, Cynthia Zukas and
Henry Tayali (1943 – 1987). Witkamp’s <i style="mso-bidi-font-style: normal;">The
Wall</i> (1986) and <i style="mso-bidi-font-style: normal;">Shape of the house</i>
(1987) are two specimens of his mastery in the usage of negative and positive
space. Witkamp arrived in Zambia from Holland in 1976 and has been active on
the art scene ever since taking up many apprentices in printmaking at the
Evelyn Hone College printmakers workshops in the 1970s. During his MA
Anthropology studies, he did extensive research on indigenous Zambian cultural
ceremonies with particular interest in the <i style="mso-bidi-font-style: normal;">Makishi</i>
of North Western Province. He is also passionate about documenting the Zambian
art scene and his well-researched texts on his <i style="mso-bidi-font-style: normal;">Art in Zambia Blog</i> give an insightful glimpse in to the Zambian art
scene.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">A 1999 lithograph of
three calabashes is the only work by Zukas in the collection. Although she is
known for depicting colourful pastoral scenes in oil and watercolour that are
inspired by a small family farm outside the city of Lusaka where she often
takes sanctuary, her true passion is that of printmaking, she passionately
tutored many artists during the Evelyn Hone College workshops in the 1970s and
subsequently donated her own press to the institution. Zukas has been active on
the Zambian art scene since 1964 and through the Lechwe Trust she has
relentlessly supported the visual arts through scholarships, commissions and
exhibitions. Her contribution in promoting art has not gone unrecognized, Her
Majesty, Queen Elizabeth II of England awarded an MBE to Zukas, in
acknowledgment of her services to visual art and to charitable work in Zambia.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">Two untitled 1978 and
1982 crowd scenes as well as, <i style="mso-bidi-font-style: normal;">The madalas
by the fireside</i> (1982) and <i style="mso-bidi-font-style: normal;">The Chief
and his people</i> (1985) mark Tayali’s presence in the collection. The four
works show a subtler side of the artist well known to be an all-rounder, dabbling
in sculpture, painting and academia. Tayali launched his career in the early
1960s in Bulawayo, Southern Rhodesia at a very young age, upon returning home to
Zambia he later proceeded to study a B.A. (Fine Art) at Makerere University in
Uganda and an M.A., Kunstakademie Düsseldorf, Germany.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; line-height: 115%;">The “Donation” to the
Lechwe Trust will consolidate a collection of over 200 works by Zambian artists
that date back to the 1960s further reinforcing an already splendid collection
of contemporary Zambian art. <o:p></o:p></span></div>
<br />
<span style="font-family: "Times New Roman","serif"; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><em>*This article is an abridged version of the text
for the exhibition catalogue Donation written by Andrew Mulenga; look out for a
follow-up article that features remarks from ambassador Ofstad, Cynthia Zukas,
William Miko and a Zambian artist based in Norway.</em></span><br />
<br /></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com0tag:blogger.com,1999:blog-1972553546303059373.post-39693038573970637282016-04-20T04:12:00.003-07:002016-04-20T04:12:39.298-07:00Zukas’ show a journey into the past<div dir="ltr" style="text-align: left;" trbidi="on">
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 10pt;">
<span style="font-family: "Times New Roman","serif";"><strong><span style="font-family: Arial, Helvetica, sans-serif;">By
Andrew Mulenga<o:p></o:p></span></strong></span></div>
<span style="font-family: "Times New Roman","serif";">“Cynthia
Zukas’ 50 Creative Years” the eponymous solo exhibition by the veteran painter
and printmaker at the Zebra Crossing Café, Ababa House off Cairo Road in Lusaka
celebrates the artists 50 year artistic career on Zambian soil. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-lUSwbMnB3_s/Vxdhh97yN5I/AAAAAAAAC8c/e_GBJ0SL5AwjgBQy7iHfWQ1WBBzMImgUQCLcB/s1600/Reproduction%2Bof%2Ba%2B1971%2Bposter%2Bfrom%2BCynthia%2527s%2Bfirst%2Bsolo%2Bexhibtion%2Bin%2BZambia.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://1.bp.blogspot.com/-lUSwbMnB3_s/Vxdhh97yN5I/AAAAAAAAC8c/e_GBJ0SL5AwjgBQy7iHfWQ1WBBzMImgUQCLcB/s320/Reproduction%2Bof%2Ba%2B1971%2Bposter%2Bfrom%2BCynthia%2527s%2Bfirst%2Bsolo%2Bexhibtion%2Bin%2BZambia.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Reproduction of a 1971 poster from </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Cynthia Zukas' first solo exhibition in Zambia</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">The
display of prints, paintings and on-site sketches dating from as far back as
1965 is not only a celebration of an illustrious career, but it gives an
intimate insight into the artists personal life as an artist and a journey in
to time that affords viewers a glimpse of how the transforming Lusaka art scene
over five decades.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">Particularly
through reproduced exhibition posters and photographs the show reveals a Lusaka
art scene that has transformed drastically over the years. Whereas the main
exhibition venues in the capital today are The Henry Tayali Gallery, 37 d, the
Lusaka National Museum, the Alliance Francaise<span style="mso-spacerun: yes;">
</span>and the Zebra Crossing Café, Zukas’ exhibition conjures the obsolete
spaces such as the Lusaka City Library, the British Council, Mpapa Gallery, the
Anglo-American Centre and Marco Polo all very active places until the late
1980s. As much as the archival posters reflect a flourishing art scene, it was
not always like this, and Zukas actually played an integral role in creating
harmony through the early organizations such as the now defunct Lusaka Art
Society (LAS) and Art Centre Foundation (ACF) the precursors of the Visual Arts
Council. Her roles in these two notable bodies from the early days of
contemporary Zambian art are often overlooked. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-BgRUO0qyEaA/Vxdh8tV3EJI/AAAAAAAAC8g/QeRBjbixnf8n8gaRGyzC5cZdMX7mhlCxgCLcB/s1600/Cynthia%2B%2528left%2529%2Bwith%2BLusaka%2BMayor%2BFleetford%2BChirwa%2Bduring%2Bthe%2Bopening%2Bof%2Bher%2Bexhibtion%2Bat%2Bthe%2BCity%2BLibrary%2Bin%2B1971.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="203" src="https://4.bp.blogspot.com/-BgRUO0qyEaA/Vxdh8tV3EJI/AAAAAAAAC8g/QeRBjbixnf8n8gaRGyzC5cZdMX7mhlCxgCLcB/s320/Cynthia%2B%2528left%2529%2Bwith%2BLusaka%2BMayor%2BFleetford%2BChirwa%2Bduring%2Bthe%2Bopening%2Bof%2Bher%2Bexhibtion%2Bat%2Bthe%2BCity%2BLibrary%2Bin%2B1971.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Cynthia (left) with Lusaka Mayor Fleetford Chirwa during </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">the opening of her exhibition at the City Library in 1971</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">Born in
1931 in Cape Town, South Africa, Zukas attended the University of Cape Town
where she obtained a BA in Fine Arts. She came to Zambia as an academically-trained
artist and the art scene she found in the newly independent Zambia was “hard to
describe”, categorically “because it was like two worlds, it was a hangover
from the federation, the Cultural Services Department were doing their own
thing involving indigenous Zambian artists and the local whites ran the LAS the
sole arts organization at the time, a group she joined in 1965. At the time of
Zambia’s independence, interaction between whites and blacks was still very
minimal, more so on the contemporary art scene.<o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";"></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-i7dtPZJfmvs/VxdihZ3TlXI/AAAAAAAAC8o/B1cQZtzlosE1JxkePIJyXejbv57QZgiPACLcB/s1600/Picking%2BCoffee%2BI%252C%2B%2528acrylic%2Bon%2Bcanvas%2529%2Bby%2BCynthia%2BZukas.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="229" src="https://3.bp.blogspot.com/-i7dtPZJfmvs/VxdihZ3TlXI/AAAAAAAAC8o/B1cQZtzlosE1JxkePIJyXejbv57QZgiPACLcB/s320/Picking%2BCoffee%2BI%252C%2B%2528acrylic%2Bon%2Bcanvas%2529%2Bby%2BCynthia%2BZukas.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Picking Coffee I, (acrylic on canvas) by Cynthia Zukas</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">“I
hadn’t been here very long and I saw an advert in the papers that there is
going to be a meeting for the LAS, the chairman at the time was the local rep
from the British Council, the first few years the British Council was very
active, so I thought right, this is my introduction to the art scene here. So I
went to this meeting of the Lusaka Art Society,” explains the artist who came
to Zambia accompanying her husband Simon, a political activist who was formerly
banished by the British Colonial government (of the then Northern Rhodesia) but
later invited by the country’s first president Dr Kenneth Kaunda to help in
post-colonial nation building.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">“I had
only been here a couple of months and to my utter surprise I was immediately
made secretary (of LAS), and I was pretty surprised to find at their annual art
exhibition which was open to everybody, still there were no Zambians or no
indigenous Zambians at all if you want to use that word. Now one really lucky
thing that happened also the same year (1965), I met Bente Lorenz, she had been
here before me at least a year or more but before independence,” explains the
85-year-old.<o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";"></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-nD9bxOnPtRI/Vxdi5E4gM-I/AAAAAAAAC8s/F4TRH4LqZL8K-kl6ldMwWgVzGHIh1SY6wCLcB/s1600/Too%2Bmany%2Bmouths%2Bto%2Bfeed%252C%2Betching%2Bby%2BCynthia%2BZukas.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-nD9bxOnPtRI/Vxdi5E4gM-I/AAAAAAAAC8s/F4TRH4LqZL8K-kl6ldMwWgVzGHIh1SY6wCLcB/s320/Too%2Bmany%2Bmouths%2Bto%2Bfeed%252C%2Betching%2Bby%2BCynthia%2BZukas.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Too many mouths to feed, </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">etching by Cynthia Zukas</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">She in
turn roped Lorenz in to become chairperson of the LAS and the duos first task
was to try and widen the society vis-à-vis integrate it with both black and
white Zambians. Zukas points out that it was not easy, the few Zambian artists
and craftsmen looked with suspicion on the LAS. For the next annual exhibition in
1966, they literally had to scour whatever arts and craft they could find
locally. According to Zukas through the 1960s, the Zambian government continued
to generously sponsor the arts including LAS which received an annual
government grant. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif";">“The
government was very interested in cultural development, both (Simon Mwansa) Kapwepwe
and (Kenneth) Kaunda were very vocal, the Department of Cultural Services had a
generous grant”. In addition, the first few years after independence the
Department of Cultural Services also supported “annual National Arts
Festivals”, although Zukas “cannot remember when they stopped but for the first
three or five years they were very good, they got off really to a very good
start”. The biggest of these events was in 1967 when the department organised
“a festival to celebrate the third anniversary of independence” recalls Zukas.</span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-qJhu7VdhyBw/VxdjMsidohI/AAAAAAAAC80/IIVOD-odyY4oJtBbPWtneuhf27VEG9UEwCLcB/s1600/Stone%2BCottage%252C%2Bacrylic%2Bon%2Bcanvas%252C%2Bby%2BCynthia%2BZykas.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://4.bp.blogspot.com/-qJhu7VdhyBw/VxdjMsidohI/AAAAAAAAC80/IIVOD-odyY4oJtBbPWtneuhf27VEG9UEwCLcB/s320/Stone%2BCottage%252C%2Bacrylic%2Bon%2Bcanvas%252C%2Bby%2BCynthia%2BZykas.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Stone Cottage, acrylic on canvas, </span></strong><br />
<strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">by Cynthia Zukas</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif";">Nevertheless,
after the Zambian art scene was integrated to a certain degree, Zukas continued
to practice as an artist, holding her first solo exhibition at the Lusaka City
Library in 1971 in a show that featured what would later become her signature
style. Paintings and prints that depicted pastoral life in peri-urban Lusaka or
expressions of urban life in the late 1970 and the 1980s that were
characterized by transport and<span style="mso-spacerun: yes;"> </span>essential
commodity shortages typified by citizens, more often women and children in long
queues. </span><br />
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">As her exhibition
title suggests, Zukas has been active on the Zambian art scene for 50 years and
through the Lechwe Trust she has relentlessly supported the visual arts through
scholarships, commissions and exhibitions, her true passion has remained that
of printmaking, over the years she passionately tutored many artists during the
Evelyn Hone College workshops and subsequently donated her own press to the
institution. Her contribution in promoting art has not gone unrecognized such
that Her Majesty, Queen Elizabeth II of England awarded her with an MBE, in
acknowledgment of her services to visual art and to charitable work in Zambia.
</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-ngRSEGrltcA/Vxdji8P5fRI/AAAAAAAAC88/UlOqrUl8-V0fM_OVO_b53_uKnG4r8uT5gCLcB/s1600/Trees%2BIn%2BWinter%252C%2Bacrylic%2Bon%2Bcanvas%252C%2Bby%2BCynthia%2BZukas.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="224" src="https://2.bp.blogspot.com/-ngRSEGrltcA/Vxdji8P5fRI/AAAAAAAAC88/UlOqrUl8-V0fM_OVO_b53_uKnG4r8uT5gCLcB/s320/Trees%2BIn%2BWinter%252C%2Bacrylic%2Bon%2Bcanvas%252C%2Bby%2BCynthia%2BZukas.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Trees In Winter, acrylic on canvas, by Cynthia Zukas</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">In case you have not yet seen <i style="mso-bidi-font-style: normal;">“Cynthia
Zukas’ 50 Creative Years”</i>, it runs until the end of April. If one was to
point out a single flaw in the exhibition, it would be the lack of a catalogue.
Surely there would have been no better time to have a detailed,
autobiographical catalogue from Zukas that would not just serve as the 50 year account
of an artist, but would provide a historic record of contemporary art in Zambia
that could also serve as reading material for students of Zambian and by
extension African art history. Meanwhile “Donation”, the exhibition of 40 works
by various Zambian artists is still on display at the Lusaka National Museum
and will remain on display until 22 April, 2016. Meanwhile, Lawrence Chikwa’s
solo exhibition “Back & Forth – underground/into the light” is currently showing
at Modzi Arts Gallery in the Swedish School along Alick Nkata Road in Lusaka
and will run until 2 May. </span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-dMmNL1ixvB8/Vxdj9kbO1RI/AAAAAAAAC9E/BhKajjtmrick5FtzbwO7RhicAfZk6D05QCLcB/s1600/Walking%2BHome%2BII%252C%2Betching%2Bby%2BCynthia%2BZukas.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-dMmNL1ixvB8/Vxdj9kbO1RI/AAAAAAAAC9E/BhKajjtmrick5FtzbwO7RhicAfZk6D05QCLcB/s320/Walking%2BHome%2BII%252C%2Betching%2Bby%2BCynthia%2BZukas.jpg" width="210" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong><span style="color: blue; font-family: Arial, Helvetica, sans-serif;">Walking Home II, etching by Cynthia Zukas</span></strong></td></tr>
</tbody></table>
<span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span></span></div>
Andrew Mulengahttp://www.blogger.com/profile/01990742166040971960noreply@blogger.com4