AUGUST ISSUE 2012

kwantuthuarts
MUSIC - THEATRE - DANCE - FASHION - POETRY - VISUAL ARTS - LITERARY ARTS - FILM

FEATURES: Books Arts in Photos Events

Yvonne Vera
fashion designers show that they are not merely dressmakers

ZIM FASHION
49 DAYS TO GO

SILVER SCREEN

BEHIND THE

WOMEN

ByolifeStreets
R

Whats Your Destination?

Byolife Streets is a simple but yet comprehensive guide that makes it a breeze to book and manage activities. Find hotels, restaurants, tours and attractions, event listing info including photos about that area right from your smart phone. Each business entry describes the attraction with pictures, opening times and full contact details. The app is integrated with maps showing directions to users about their current location.

Skeem Sami

byolife

byo-life.com/streets

Not all 3rd part applications make use of data connectivity. Some 3rd party applications might make use of the carrier's WAP service which could be chargeable. 2012 Webloxion. All rights reserved. Byolife,Byolife Streets and related trademarks,names and logos are the property of Webloxion. All other trademarks are the property of their respective owners. E&OE

kwantuthuarts
Features
10

AUGUST 2012 CONTENTS

DESIGN EXCELLANCE IN ZIM FASHION INDUSTRY
The history of fashion designers show that they are not merely dressmakers, but artists who apply natural beauty to clothing and accessories.

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YVONNE VERA
Vera was born and raised against the backdrop of faltering colonialism and vicious guerilla warfare in 1970's Rhodesia, Southern Africa

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BEHIND THE SILVER SCREEN

Mini pro les of Zimbabwean women who are behind the lm industry.

SPOTLIGHT
PLAN HIGH SCHOOL DRAMA COMPETITION
3

CONTENT
5 8 9 9 10 14 18 20 21 23 Arts in Photos Books Music Review Spotlight The Fly By Mic Diaspora Tour. Fashion Design Excellance in Zim fashion industry Feature Yvonne Vera Biography SpotlightWomen behind the Silver Screen. Spotlight The Plan High Schools Drama Competition. Spotlight National Art Gallery in Bulawayo. Festival Workshops and Venues

THIS MONTHS ISSUE

Womens Month
The July issue is celebration of our female artists in all areas of arts within of our nation. We celebrate the female artisitic expression in Film, Drama, Music, Fashion, Literary arts and Performing arts. This issue is dedicated to all the women who have and are building our arts industry with in the country and all over the world, through initiatives and events that have been taking place all over the world, from the Fly by Mic tour, the design excellance of the Zim fashion Industry and honouring the late Yvonne Vera. We also celebrate the work plan has done with its schools drama competition and its focus on the girl child. Also see the venues and festival workshops so as to plan which ones to attend.

On the cover: Yvonne Vera, Editor: Raisdon Baya Production Coordinator: Ashton Z. Sobhuza Copywrite: Runyararo Mutandi Creative Director: Littchel N. Mathuthu, DSI Information is correct at press time. Check www.intwasa.org for updates.

Lets Celebrate womens month

kwantuthu Arts Team

Kwantuthu Arts is published monthly by Intwasa Arts Festival at LAPF House, Suite 403, 8th Avenue & J. Moyo Avenue, Bulawayo Zimbabwe. Signed articles do not necessarily re ect the o cial policy. 2012. All rights reserved. Reproduction in part or whole without permission is prohibited. Editorial, publishing and advertising o ces: LAPF House, Suite 403, 8th Avenue & J. Moyo Avenue, Bulawayo, Zimbabwe.

ARTS IN PHOTOS

Plan Schools Drama Competition

ARTS IN PHOTOS

POY Video shoot

BOOKS
LONG TIME COMING
Long Time Coming: Short Writings from Zimbabwe, edited by Jane Morris, published in 2008

GET LONG TIME COVER

Long Time Coming brings together short stories and poems from thirty-three writers that provide snapshots of this turbulent period in Zimbabwes history. Snapshots of living in a country where basic services have crumbled: where shops have no food, taps no water, banks no money, hospitals no drugs, bars no beer. Snapshots of characters surviving against seemingly insurmountable odds. Horri c snapshots of the abuse of power, of violence and oppression, of the destruction of dreams.But this is Zimbabwe there are lighter moments and moments of hope: in some of lifes simple pleasures, in the coming of the rains, in the wink and the smile of a stranger, in a challenge to patriarchy, in the inner strength of the people, in ghting back. The writers are Raisedon Baya, Wim Boswinkel, Diana Charsley, Brian Chikwava, Julius Chingono, Mathew Chokuwenga, Bhekilizwe Dube, John Eppel, Peter Finch, Petina Gappah, David Goodwin, Anne Simone Hutton, Monireh Jassat, Ignatius Mabasa, Fungai Rufaro Machirori, Judy Maposa, Deon Marcus, Christopher Mlalazi, Gothataone Moeng, Wame Molefhe, Linda Msebele, Mzana Mthimkhulu, Peter Ncube, Thabisani Ndlovu, Pathisa Nyathi, Andrew Pocock, John S. Read, Bryony Rheam, Lloyd Robson, Ian Rowlands, Owen Sheers, Chaltone Tshabangu and Sandisile Tshuma.

Long Time Coming: Short Writings from Zimbabwe has been chosen by New Internationalist as one of their two 'Best Books of 2009'. They commented that: 'Each piece here and they are miniature marvels, with no story longer than eight pages vividly illuminates an aspect of what it is actually like to live in a country that has been systematically looted and stripped of functioning organizations. From a Zimbabwean publishing house, this books very existence seems little short of a miracle. '

ENTERPRISING WOMEN IN URBAN ZIMBABWE

Woodrow Wilson Center Press, 2009 by Mary Johnson Osirim

You dont have to be in Zimbabwe to know or experience what is happening in Zimbabwe. All you have to do is get yourself a copy of amaBooks Long Time Coming. The book is about hope, about resilience, and how the people have waited for so long to be delivered from their su ering. A ne read.

The Zimbabwean

Mary Johnson Osirim investigates the business and personal experiences of women entrepreneurs in Harare and Bulawayo, Zimbabwe, to understand their successes, challenges, and contributions to development. These businesswomen work in the microenterprise sector -- which is de ned as businesses that employ ve workers or fewer -- with many working as market traders, crocheters, seamstresses, and hairdressers. The women who took part in Osirim's research during the 1990s pursued their businesses, reinvested pro ts, engaged in innovation, and provided employment, and through their work supported households and extended family and social networks. Osirim nds that, despite major problems, the Zimbabwean businesswomen maintained their enterprises and their households and managed to contribute in signi cant ways to their community and national development in the face of an economic structural adjustment program. Osirim also explores the impact of state and non-governmental organizations on small business operations. Enterprising Women in Urban Zimbabwe o ers a comprehensive study of women's role as entrepreneurs in the microeconomic sector that shows them as agents during challenging political and economic times

In a powerful and timely collection of short stories and poems about Zimbabwe by 33 writers, Long Time Coming o ers snapshots of life in a collapsed country. It is a collection straining with suspended hope; change has taken too long to arrive.

Gemma Ware The Africa Report

MUSIC
BLACK BIRD RELEASES MIXTAPE MEMOIRS
Check out this exclusive interview with one of Zimbabwe's nest femcees as she let's us in on what's really good with her current o ering Mixtape Memoirs. Black Bird has landed...
After the release of my debut album in October 2010, I received enormous amounts of support from the public and "Tha Rappetizer" got excellent reviews in the press and on radio. While marketing "Tha Rappetizer" I kept recording new material even though I knew I didn't want to release another album too soon. A lot of my fans and supporters kept asking when the next product was coming out and people from all over the world showed me how hungry they were for more of my music. The mixtape is free for that very reason. It's for my fans to enjoy, share and burn this project. I want them to bootleg my mixtape because it's from me to them. Production on the mixtape came primarily from Showtime Records, with Reverb7 behind the Wheels of Steel. I also have beats from Take Fizzo and K Dagger at That Squad Studios (formerly Chamhembe), Mafana at FDK Records and on the track "H-Town Hustler" I'm owing on a beat that was made by Jusa Dementor. A familiar sounding track on my album is "Ten Years" and that beat was recorded and produced by Hoodlum in Johannesburg, SA. Me and Hoodlum used to be part of a team called the Hip-Hop Intellectuals in 2009 and he's one of the cats that I work with when I'm in Jozi. In terms of featured artists, the mixtape has tracks with Tagz, Dizzy Don & Ba Shupi, Mizchif, Tulk Money, Ish, Suplex, Mafana, DJ Naida, Davina Green and Metaphor.

THE FLY BY MIC DIASPORA TOUR

The Fly By Mic Diaspora Tour Gives Performance Poetry Wings. Headliners Miss Quote and Emonie Love II Embark on a Journey to 57 Countries.

Los Angeles, C.A. ---Performance Poets & Spoken Word Artists Miss Quote & Emonie Love II will be showcasing their talents in an unprecedented, joint labor of love through their The Fly by Mic Diaspora Tour

Both artists have years of experience in performance poetry, with their talents reaching national and international audiences. Stops for the Fly By Mic Include, but will not be limited to, the following areas: India, Africa, Asia, Europe, Australia, the Caribbean, South America and The United States.
Facebook/Twitter: the ybymicdiasporatour.

FASHION
DESIGN EXCELLENCE IN

Zim Fashion Indust

10

he history of fashion designers show that they are not merely dressmakers, but artists who apply natural beauty to clothing andaccessories. Style is not always mainstream but will always be full of originality and may be characterized by simplicity; somewhat like a mixture between luxury and practicality. There was a time in Zimbabwe when fashion became more compromising, aspiring to preserve the nations victories over social and developmental limitations. It was subtle and assuring elegance and sophistication that re ected the Zimbabwean fashion culture. Regardless of the modern hurdles the country has had to face, the future of fashion design like a phoenix experienced rebirth. The growing interest of young people heavily in uenced the launch of many designers. Having no background indesign except what was in their heart and spirit, they pushed forward to provide each other what few externally could do. Quality fashion.The CEO of the ZimFashion Council remarks The ower that blooms in adversity is the most rare and beautiful of all. And it is true.Despite the limitations they had Zim fashion designers have ourished.Farai Simoyi (NYFW), Maita Marimo (AFW), Maureen Tsoka (Melbourne Motorola Fashion Show) and others. The future is bright for Zim Fashion.

uniqueand it shows in the quality of their work. Goddess by Fatima Jeradi is a brand thatexpresses the inert and unsurpassable drive to succeed among Zimbabweans. Goddess by Fatima is bold and stylish. It brings together women of all ages who have one thing in common, femininity. Zimbabwe houses the unique jewels from the Ndau Collection. must see in VictoriaFalls The grace and soft details in evidenced in the superiority of her tailoring. Fatima has become a maestro in applying art to fabric and has much to give the international fashion industry.

The House of Alpha Rose is a fashion brand that specializes in ready to wear, couture and bridal wear. The brand's designs explore feminine cuts and a sophisticated elegance that accentuates the female form.

Zimbabwe has seen the growth of many fashion designers, both in the country and based internationally. Each designer is

Playful in colour, practical in thought and classic in cut. Ska, a self taught designer,

The ower that blooms in adversit is the most rare and beautifl of all
Alpha Rose pieces are a celebration of womanhood. Inspiration for the collections is drawn from the beautiful side of nature, the designers heritage, her encounters with various cultures and occasional in uences from previous fashion eras.

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The Ndau Collection

Pieces from the collections are therefore a translation of diverse cultures, a love for textiles infused with the designersAfrican heritage. Founded by a self confessed style addict,the birth of Beryl Rue Couture was a result of a rebellion against following trends. It became the mission of the brand to breed collections of statement, dominance, having authority over clothes and accessories that are distinctive and inimitable.

handmade from beginning to end, resulting in a beautiflly

Trish Carmen Joseph An independent fashion house that o ers understated yet luxurious clothing pieces for both Men and Women.TrishCarmen's designs lie in the ability to recognize and assimulate the continuous change in fashion, constantly setting the benchmark for the nest standards in quality

From Chic Afrique to Goddess Gaga Beryl thrives to bring indulgence through quality and class. Based in a home studio in Victoria Falls, The Ndau Collection is a collective of designers from all over Southern Africa, brought together by a love of African culture, history and design. Each of their sterling silver, bronze or copper beads and ttings are made using the centuries old African lost-wax casting technique, handmade from beginning to end, resulting in a beautifully soft, curvaceous nish to their metal work that gives it the feel of the ages of history it represents. They combine these cast pieces with a vast collection of beautiful rare antique African Trade beads, semi-precious and precious stones, natural horn and bone, exotic leathers and treasures they nd in their travels, to create their bespoke jewellery and accessories that are a hallmark in design excellence.

FEATURE

Born 1964), one of Africa's most esteemed writers, has been showered with awards and her work has landed on feminist and African studies curriculums at universities across the world. Vera was born and raised against the backdrop of faltering colonialism and vicious guerilla warfare in 1970's Rhodesia, Southern Africa
er childhood was spent watching men go o to war, many never to return, and watching women struggle According to literature professor Charles R. Larson writing in The World and I, "A love of books was established before [Vera] began attending primary school (she could read and write before her formal education). BECAME A WRITER IN CANADA Following her secondary education in Zimbabwe, Vera traveled to Europe and encountered Western art and culture. Art galleries and the cosmopolitan lifestyle of the cities impressed her. This experience helped motivate her to apply to York University in Toronto, Canada. There she majored in lm criticism and literature eventually earning a bachelor's degree, a master's, and a doctorate. She also penned her rst work, 1992's Why Don't You Carve Other Animals", a collection of short stories. Of her segue into the role of writer she told The World and I, "Writing crept upon me and surprised me, then I discovered that I loved the process and art of writing. It came by degrees, through my ngers to my body.... I wanted to be a writer and could answer at airports and immigration points and borders that I was a writer."Vera was still living in Toronto when she wrote her rst novel, Nehanda, a historical novel based on Mbuya Nehanda's struggle to lead Zimbabwe out of the clutches of colonialism.

Y V
vonne

era

to survive in a society where being a woman meant being a second-class citizen at best, ignored and abused at worst. Vera was just 15 when the guerilla armies triumphed over the colonialists, and Zimbabwe, declaring its independence, was born. As Vera nished her secondary studies, Zimbabwe was tfully learning how to be a post-colonial nation.

Perhaps more important, she began writing when she was still a child. She remembers leaving notes and poems she often wrote for her mother. In school, other students identi ed her as 'the writer.'" Of her early education Though the country's white oppressors had Vera told The World and I, "I had an been shaken o and black men were enjoying idyllic education in the sense of new freedoms, black women were learning landscape. I was rst educated in the that freedom would not yet be theirs. rural schools of Matabeleland. It was Traditional culture kept them down, in the marvelous. We ate, played, slept, and kitchen, in the elds, in the bedroom, quiet read under the moon. We had wild fruit and submissive. Paraphrasing the title of Vera's 1997 book, Zimbabwean women were expected and smoke from res. Then I came back to the city and attended school in the to keep things "under the tongue," to su er in silence. These oppressions--colonialism, racism, townships of Luveve and Mzilikazi." Vera continued, "This o ered a contrast and war, and sexism--have fueled Vera's writing. introduced me more fully to the urban African milieu, with all its contradictions EDUCATED AMIDST REVOLUTION AND and spontaneity. This was in the seventies, SEXISM Vera was born in Bulawayo, Zimbabwe's second and all the rumblings of an armed struggle largest city, on September 19, 1964. Her mother were about." This contrast between the beauty of the land and the horror of war was a schoolteacher and her father, unlike has also become a dominant theme in many Zimbabwean men, supported his daughter's education. Even as a schoolgirl, Vera Vera's writing. showed the promise of the future writer she would become.

Writing crept upon me and surprised me, then I discovered that I loved the process

15

Brinda Bose wrote in World Literature Today that Nehanda "speaks to both post-colonialism and feminism in the historical context of Zimbabwe. Nehanda [embodies] the essences of both the hope and the despair that mark the story of Zimbabwean." Unlike her rst work, which was published by a Toronto company, Nehanda was published by Baobab Books, a Zimbabwean publisher based in Harare. This collaboration marked the beginning of a very close relationship between Vera and Baobab Books. The company has since published all her works. Though the loyaltyof this relationship has allowed Vera to truly explore her themes, some critics noted that this same relationship may have been what has kept Vera from the international literary radar for so long. Regardless, the literary awards that have been heaped upon her work have declared Vera one of the top African female writers. Nehanda received Second Prize for the Zimbabwean Publishers Literary Award for Fiction in English and special mention for the Commonwealth Writers Prize for Africa Region.

As in her previous novel, Zimbabwe's war for independence is a major character in the novel. Under the Tongue won rst prize in the Zimbabwe Publishers' Literary Awards, was awarded the 1997 Commonwealth Writers' Prize (Africa region), and two years later won the prestigious Swedish literary award "The Voice of Africa."

The building used to be a huge, half empty room with paintings. In a country where as many as 17 people have to live together in one room, which is maybe 3 meters by 3 meters, all that space was senseless." With that in mind, Vera has focused on making the gallery relevant to the community and to the townships. She has installed local folk and ne art and instituted workshops for women and children.

"The position of women needs to be reexamined with greater determination

Butter y Burning was published in 1998 and set in a black township of Southern Rhodesia in the late 1940s. It is a bittersweet love story between a young girl and her much older lover. As he spends more and more time away on construction projects, she begins to follow her own life and is selected to train as one of the rst black nurses in the country. When an unwanted pregnancy jeopardizes her training, she retreats alone to the harsh land and, with the long thorn of a bush, performs her own abortion. Of the recurrence of normally private, painful themes in her novels, Vera told The World and I, "The position of women needs to be reexamined with greater determination and a forceful idea for change. In Zimbabwe, as perhaps elsewhere in the world, there is limited understanding of each moment of a woman's worst tragedy or her personal journey. Women have been expected to be the custodians of our society as well as its worst victims, carrying on no matter how hemmed in they feel and how abandoned in their need." By bringing the shameful, hidden tragedies that mar women's lives to the surface, Vera demanded that her culture change. BECAME DIRECTOR OF ART GALLERY During these proli c years, Vera moved back to Bulawayo. She told The World and I, "I spent eight years in Toronto trying to grow up. I nally realized the necessity of my return to Zimbabwe and my hometown. I have never regretted it." In 1997 she was appointed Director of the National Gallery in Bulawayo. Voicing the challenges of running a gallery in her hometown, Vera told Radio Netherlands, "There is no word for gallery in Ndebele, the local language of Bulawayo.

A love of books was established before [Vera] began attending primary school

SPOKE THE UNSPOKEN With the 1994 publication of Without a Name, Vera began to explore darker themes, such as the tragedies that e ect women. Without a Name details one woman's struggle during the tumultuous war of pre-independence Zimbabwe. A victim of rape caught between the ruthless, racist regime of the colonialists and the violent uprisings of guerilla ghters, she sees escape and a new beginning far from her rural home in the city of Harare. However, even worse consequences await her there and in desperation she kills her newborn child and returns to mourn in her hometown. This novel was short-listed for the Commonwealth Writers' Prize. In her third novel, Under the Tongue (1996), Vera tackled another taboo subject that gnaws at the hearts of women--incest and rape.

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FILM

WOMEN

the SIL VER SCREEN

18

BEHIND

WOMEN

INGRID SINCLARE
Director/Producer This Zimbabwean director/producer has played an important role in building an independent Zimbabwean cinema industry and is regarded by many as part of the African Renaissance after her rst feature lm Flame (1996) about the role of women in the Zimbabwean liberation struggle. Sinclair also dealt with the daily drama of politics, history and culture in her award-winning documentary Birds from Another World (1991)

MOVIES
MOVIES: Mama Africa & Africa is a Womans Name

TSITSI DANGAREMBGA
In 1985, she published a short story in Sweden entitled "The Letter" and in 1987, she published a play in Harare entitled "She No Longer Weeps". Her real success came at age twenty ve with the publication of her novel Nervous Conditions. This novel was the rst novel to be published in English by a black Zimbabwean woman. In 1989, this novel won her the African section of the Commonwealth Writers Prize. Prior to this award she had won a second prize in the Swedish aid-organization, SIDA, short story competition. After Nervous Conditions was published in Denmark, she made a trip there in 1991 to be part of the Images-of-Africa festival. Dangaremba continued her education in Berlin at the Deutsche Film und Fernseh Akademie where she studied lm direction. While in school she made many lm productions, including a documentary for German television. She then made the lm entitled "Everyone's Child", her most recent credit. It has been shown worldwide at various festivals including the Dublin Film Festival.

MOVIES
Kare Kare Zvako Mother's Day, Neria, Everyone's Child

RUMBI KATEDZA
Director Rumbi Katedza has worked extensively in lm and video in Southern Africa for over a decade. Between 2004 and 2006 she served as Festival Director of the Zimbabwe International Film Festival and was instrumental in expanding the festival and its outreach programs to a wider audience. Rumbi Katedza is an award-winning writer. Her lm credits include Danai, for which she was nominated Best Director at the National Arts Merit Awards, and the award-winning Asylum

MOVIES
Asylum and Tariro

SPOTLIGHT
PLAN HIGH SCHOOLS DRAMA COMPETITION
The Plan High Schools Drama Competition is arguably one the biggest drama competition for Secondary and High Schools in Zimbabwe. The competition seeks to identify and develop theatrical talent among secondary and high school students in Zimbabwe. The competition is funded by Plan Zimbabwe, an organisation keen on using drama as an advocacy tool for childrens rights and their protection against abuse.

THE KEY ELEMENTS OF THE COMPETITION

Student Participation Student Engagement Student Empowerment Student Protection Creating Stories or narratives relevant to children and young people. Creating space and time for play Protecting the childs rights to create and to participate in cultural activities.

ABOUT THE THEME

Because I Am A Girl Campaign Discrimination against women and girls is one of the main underlying causes of child poverty. Both girls and boys have the same rights, but they face di erent challenges in accessing them. This lack of opportunity and care is unfair and unjust.

BARRIERS TO GIRLS EDUCATION

Child Marriages Adolescent Pregnancy Violence in the form of sexual, physical, emotional abuse in and around schools and homes. Burden of household chores robs of the time to study and play like others. Harmful cultural practices like Chiramu

The campaign supports the girls to get knowledge and skills they need to earn a decent living to pull themselves and their families out of poverty.

HOW THE SCHOOLS TREATED THE THEME

The feeling among both adjudicators and organisers of the competition is that there is need for schools, especially those that have quali ed for the nals, to revisit their presentations as most of them were found wanting in this area. The core theme was not adequately addressed. The bias should be towards the education of the girl child. Plots should explicitly address the barriers faced by the girl child as she tries to attain acceptable levels of education. Schools must also note that the campaign is not about girls ghting boys and men but rather a ght against social and cultural norms that relegate girls to second and third class citizens. An improved treatment of the theme is anticipated from all participating schools at the nals in September.

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SPOTLIGHT

THE NATIONAL GALLERY IN BULAWAYO

The National Gallery in Bulawayo is a parastatal institution, attached to the Ministry of Education Sport and Culture. The policy of the Gallery is laid down by Parliament in the promotion and encouragement of the visual arts of Zimbabwe and abroad.

It is also the Gallerys policy to collect and conserve, for the permanent collection, the nest works produced by artists of Zimbabwe with a regional emphasis and to ensure that art education is encouraged and enhanced by bringing school children and students to view the exhibition on display throughout each year.The Bulawayo Art Gallery was established in 1970 by a group of artists who saw the need for an art gallery in Bulawayo. It operated from an old vegetable market at the corner of L. Takawira Avenue and R. Mugabe Way. On February 4th 1994, the Gallery in Bulawayo o cially opened its newly renovated premises, Douslin House, a classical example of colonial Edwardian architecture built in 1900. Its historical important to Bulawayo, also made it a tting home of the Gallery, where valuable works of art are preserved together with the building itself. After many years of reconstruction and renovation with assistance from National, International and Local sources, Zimbabwes second Gallery came to being. It is interesting to note that the greatest thrust came from the Bulawayo community itself, which is a clear indication that the community takes pride in preserving its historical and cultural heritage. The name was also changed to National Gallery in Bulawayo

GALLERIES
Galleries within the Gallery are named after patrons who pledged monetary support towards the renovation of the building into a Gallery. The institution consists of ten Galleries with two large galleries being the Anglo - American and the Marshall Baron galleries on the ground and rst oor respectively. Also on the rst oor are small intimate, inter-leading galleries: Basil Kaufman gallery, Tirzah gallery, Annie McIntyre Gentile gallery and Cyril Rogers gallery, Marge Locke gallery, Martin Luther King Jnr gallery and the Rhebe Tatz gallery. Aspects of the permanent collection may be viewed in the small galleries, which also, occasionally host small scale exhibitions by local and foreign artists, while major exhibitions are mounted in the two large galleries. These spacious galleries are capable of accommodating large format paintings and sculpture. They are mainly used for holding large one-person or group exhibitions and these can be national or international. Although the old wooden oor may creak a little underfoot, a quiet walk through the galleries that make up the National Gallery in Bulawayo o ers the opportunity for calm re ection and soothing experience of ART THERAPY.

SABONA SALES SHOP

Situated o the main foyer is a well stocked Gallery shop. Its specialty is selling, promoting and marketing art and craft ware from Matabeleland region. For many years, the Gallery shop has provided a platform where artists and interested parties can bene t from each others world. This is where the art enthusiast who truly appreciates and treasures the creative gift of the artist can realize his or her dreams and become the owner of some exquisite works. The Gallery shop features works by many of the well-known visual artists and also provides a platform for young up-coming artists to test public opinion. All works are sold on behalf of the artist. The selection of stone, wood, metal sculpture, wall hangings and paintings, among other items, is spectacular and should be a must on every art lovers collection. The shop also carries a broad selection of postcards, art books and journals. These items are hand picked for quality and the Gallery sta is happy to supply visitors with information concerning items of interest.Village art and craft is a feature of life in all rural communities throughout Matabeleland. A large selection of these works, pottery, baskets, textiles, jewellery, drums, stools, spears, walking sticks and masks are always on display. These are representative of culture and tradition of the Matabele people. Every month, artists and crafts people bring their work to the Gallery for selection. In addition to this, Gallery O cers visit other Craft Centres throughout Matabeleland and select the best, genuine and most authentic hand made, traditional works for the Gallery shop.

WORKSHOP SPACE
The National Gallery in Bulawayo o ers facilities for holding workshops for both local and international artists. These workshops provide a platform for artist to exchange and share ideas, techniques and experiences. These may be slide illustrated talks, lm, video shows or practical workshops. Through these workshops, skills have been cultivated. Visiting and local artists are encouraged to discuss their workshop ideas with the Gallery administration. This is in line with the Gallerys mission of o ering world-class services and operational services.

ARTISTS STUDIOS
A unique feature of the National Gallery in Bulawayo is the artists studios situated along the northern side of the courtyard. The studios a ords visitors the opportunity to meet local artists, to discuss their works and perhaps to purchase a length of hand painted fabric or painting thus providing a platform for high quality visual activity. This enhances the galleries mission of fostering talent and making it an interesting place to be for recreation. The National Gallery in Bulawayo is there to promote works of art, be it hand painted fabric, calligraphy, metal sculpture, collage or any other forms of ne art

COURTYARD AND CAFE

The courtyard is the central feature of the gallery complex and the setting for the exhibition openings, concerts, tea or lunch at the patio cafe. The courtyard doubles up as a sculpture garden, where major outdoor works carved by internationally recognized Zimbabwean sculptors are on display. This attractive space is in general a wonderful place to meet friends and to relax and re ect on works seen in the galleries.

FRIENDS OF THE GALLERY

It is true that a friend in need is a friend indeed, the friends of the National Gallery provide invaluable assistance to the Gallery through their supportive programs of fundraising. It is through their e orts, commitment and support that so much development has taken place in the Gallery. These include among others, computers, the installation of the P.A. systems and renovations. The major role, which is played by the Friends of the Gallery, is that of being ambassadors of the National Gallery of Zimbabwe in Bulawayo wherever they go. Friends receive a newsletter, invitation to all exhibition previews and they have free access to the Gallery.

FESTIVAL WORKSHOPS & VENUES

ARTS MANAGEMENT WORKSHOP (20 & 21SEPTEMBER)
This is the second edition of the workshop which started last year (2011). The two day workshop will look at models of arts management and how management can improve the running and organisation of the arts sector in Zimbabwe. The workshop will be conducted by Mr Nicholas Moyo, the Deputy Director of the National Arts Council of Zimbabwe (NACZ) and a fellow at the American Kennedy Centre of the Arts. Supported by the U.S Embassy the workshop will take place at the American Corner (Bulawayo Public Library). Registration fee is $10

The American Corner (Bulawayo Public Library)

OPEN DIALOGUE: CULTURAL CREATIVE ENTREPRENEURSHIP (19 SEPTEMBER)

A one day workshop on the business of arts. The U.K based facilitator will focus on the potential of the arts as a business, the business opportunities that exist in Zimbabwe, Africa, Europe and globally. The workshop is supported by the British Registration is free. (Only 50 participants will be registered for this workshop.) Bulawayo City Hall Car Park

ARTS AND CULTURE WORKSHOP FOR TEACHERS (20 SEPTEMBER)

In conjunction with Amagugu Cultural Village Trust the festival will host a one day workshop for Arts and Culture teachers. The workshop seeks to capacitate teachers in ways of using cultural villages as resource tools for teaching purposes and using an interdisciplinary approach. This will be facilitated by renowned historian and cultural expertMrPathisa Nyathi. Registration is $10 Rainbow Hotel, Bulawayo

PHYSICAL THEATRE WORKSHOP (19 & 21SEPTEMBER)

Targeting young artists particularly students and out of school youths the workshop will focus on physical theatre as a special genre of performing arts. Lloyd Nyikadzino, recently returned from a years study in America will facilitate. The workshop comes courtesy of the U.S Embassy. Registration is free. (Limited spaces)

VISUAL ARTS WORKSHOP

A two day exploration of artistic trajectories, paths, subjects and content of visual art works. Leading visual artists to lead the discussions.

Bulawayo Theatre

THE BUSINESS OF WRITING

A talk and discussion on writing and getting published in Zimbabwe. National Gallery in Bulawayo

THE HOT POT

with no taboos, but ultimately meant to bridge the generation gap. Free and open to all artists. Rainbow Elite 400