Joram Mariga - Development of Zimbabwean Stone Sculpture

Development of Zimbabwean Stone Sculpture

Central Zimbabwe contains the "Great Dyke" – a source of serpentine rocks of many types including a hard variety locally called springstone. An early pre-colonial culture of Shona peoples settled the high plateau around 900 AD and "Great Zimbabwe", which dates from about 1250–1450 AD, was a stone-walled town showing evidence in its archaeology of skilled stone working. The walls were made of a local granite and no mortar was used in their construction. When excavated, six soapstone birds and a soapstone bowl were found in the eastern enclosure of the monument, so art forms in soapstone were part of that early culture. However, stone carving as art had no direct lineage to the present day and it was only in 1954 that its modern renaissance began. This was when Frank McEwen became advisor to the new Rhodes National Gallery to be built in Harare and from 1955 to 1973 was its founding director (it opened in 1957). The Gallery had been intended to bring non-African art to Harare but when McEwen created the Workshop School to encourage new work in painting and sculpture, the local community of artists re-discovered latent talents for stone sculpture. Joram was introduced to McEwen and soon they were in regular contact: Mariga exhibited at the Gallery extensively from 1962 but always worked on his own in his spare time and later at his studio in Greendale, Harare.

Later, McEwen would remember him thus:

The sculptural expansion developed in only 34 years. To give a true example, among others arriving from different parts of the country came Joram Mariga. He was not the first to come to the workshop, but one of the best...He brought me a little milk jug carved in soft stone. I realised this was an English milk jug for an Englishman who loved his tea! I asked if he could make a head. The head came, made also for an Englishman, in the style of airport art as acquired by tourists. "If you made a figure for your own family or your ancestors?" I asked. "Oh, that would be different." The figure came, this time of pure African concept - the enlarged head, seat of the spirit, a frontal static pose, a visage staring into eternity with formally posed arms and clenched fists. It was pre-Columbian in nature, as if a spirit image applied to stone could create similar results in spite of a difference of race, place and time.

The milk jug and two of Joram's early stone sculptures were part of McEwen's bequest to the British Museum.

By 1967, Joram was arguably the leading Zimbabwean sculptor, most of whom were then working in soapstone and one of his sculptures was depicted on a Rhodesian postage stamp, part of a set issued on 12 July 1967 to commemorate the Tenth Anniversary of the opening of the Rhodes National Gallery. Other stamps in the set illustrated works by Auguste Rodin, Roberto Crippa and M. Tossini. In 1966, the first Tengenenge serpentine deposit was discovered by Tom Blomefield but it is unclear if Maringa was aware of this. In October 1968, Joram was transferred by Agritex to Katerere; there he went to look for stone for his sculpting and discovered its local varieties of serpentine. Soapstone was easily damaged and serpentine, particularly springstone, is a much harder stone that became widely used over the next few years. Appropriately, the word Tengenenge means "The Beginning of the Beginning!".

1969 was an important year for the new sculpture movement, because it was the time when McEwen took a group of works, mainly from Tengenenge, to the Museum of Modern Art in New York and elsewhere in the USA, to critical acclaim. It was also the year that his wife Mary (née McFadden) established Vukutu, a sculptural farm near Inyanga, which the artists could work. The list of names of sculptors who would become internationally well-known grew to include Bernard Matemera, Sylvester Mubayi, Henry Mukarobgwa, Thomas Mukarobgwa, Nicholas Mukomberanwa, Henry Munyaradzi, Joseph Ndandarika, Bernard Takawira and his brother John: together with Joram Mariga himself they formed the “first generation” of new Shona sculptors. All contributed work to an exhibition called Arte de Vukutu shown in 1971 at the Musée National d'Art Moderne and in 1972 at the Musée Rodin, arranged by McEwen, who had lived and worked in Paris prior to his appointment in Harare. Mariga was a member of the National Gallery of Zimbabwe's Board of Trustees from 1982 till 1993.