Zimbabwean Stone Sculptures to Highlight Legacy of British Imperialism at Oxford Exhibition

At Oxford University in Britain, an exhibition is set to feature a collection of Zimbabwean stone sculptures that vividly depict the dark legacy of British imperialist Cecil John Rhodes. The artwork highlights themes of religious deception, exploitation, and violence, showcasing a powerful narrative that connects the brutal history of colonialism to contemporary audiences. Rhodes, who was responsible for vast territorial conquests in southern Africa during the late 1800s, left behind a complicated legacy; his grave rests on Zimbabwean soil, and a statue of him stands at Oriel College, the venue for the exhibition.

The artists at Chitungwiza Arts Center, located near Harare, view this exhibition as a critical opportunity to not only reflect on historical injustices but also to breathe life back into their delicate stone carving tradition, which has faced significant decline due to economic hardships and reduced tourist interest. Sculptor Wallace Mkanka, whose piece was chosen from 110 submissions, expressed hope that this event will boost international recognition and sales of their artwork, which has endured despite nearly a century of efforts to obliterate local culture.

Historically, stone sculpture is woven into Zimbabwe's identity, with roots in the ancient Great Zimbabwe ruins. This medium has long been a method for storytelling, preserving local history through art. While the industry flourished post-independence, challenges over the last twenty years have hampered its growth, especially following controversial land reforms that displaced many white farmers, disrupting the market for both local artists and their large client base. Sculptors now face the task of directly reaching markets; as expressed by Tendai Gwaravaza, the chairman of the Chitungwiza Arts Center, their only path forward lies in proactive outreach.

The exhibition is spearheaded by the Oxford Zimbabwe Arts Partnership, which emerged from the "Rhodes Must Fall" movement linked to the Black Lives Matter protests. Although originally conceived as a broader project, budget constraints have led to a scaled-back exhibition, demonstrating an effort to initiate dialogue about the implications of Rhodes’ history while also providing a platform for Zimbabwean artists. Richard Pantlin, co-founder of the partnership, remains optimistic that the project could eventually expand, reinforcing its importance as a starting point for deeper conversations about the past and future.