Shona-Art

Shona-Art

- english -

The creation of stone sculptures is an art for which Zimbabwe is known around the world.

The modern African stone sculpture is not "traditional", although much of its themes has traditional roots. Even in the pre-colonial era, the residents were artistically inclined. This is evidenced by numerous stone artefacts such as the Zimbabwe bird from the Great Zimbabwe State of the late Iron Age.

Making works of various natural materials such as fibers, wood, clay and stone for functional, aesthetic and ritual purposes. World-famous artist Bryn Taurai Mteki made a mark with his large sculpture entitled "Chippi", which was unveiled during the Sixth All-Africa Games, which took place in Zimbabwe in September 1995.

In 1997, Bryn went on a "Historic European Tour", where he attended several sculpture workshops in Germany and London. Also in Germany he was honored in the cities Auerbach and Adorf with silver medals.

Prior to the opening of the Rhodes National Gallery in Salisbury in 1957, his first director, Frank McEwen, Thomas Mukarobgwa, met a young native, steeped in rural knowledge and spirituality, and offered him the opportunity to pursue a career in the arts.

The workshop school set up by the gallery soon attracted more artists, many of whom were already exposed to art education from early mission schools and were established art practitioners. These include John Takawira and Kingsley Sambo.

The emerging art movement developed relatively slowly. However, in 1966, Tom Blomefield, a South African-born white tobacco farmer, found extensive serpentinite-stone deposits at his farm in the Tengenenge Sculpture Community near Guruve.

Blomefield, himself a stone sculptor, wanted to diversify the use of his land and welcomed new sculptors to form a community of work artists. This was partly because international sanctions were imposed on the white government of Rhodesia at that time, which was then led by Ian Smith, who in 1965 had made the unilateral declaration of independence, and the tobacco was no longer able to provide sufficient income to generate. Appropriately enough, Tengenenge means "the beginning of the beginning" - in this case a significant new company that continues to grow and thrive.

Further details on establishing the "first generation" of new Shona sculptors can be found in the individual biographies of the leading members. This group also includes the famous Mukomberanwa family, whose works have been shown worldwide. Works by several of these first-generation artists are included in the McEwen legacy to the British Museum.

In the early years, the emerging "Shona Sculpture Movement" was described as art-renaissance, art phenomenon or art miracle. Critics and collectors could not understand how an art genre in an area of ??Africa could develop with such force, spontaneity and originality that did not have the great sculptural heritage of West Africa and had previously been described as artistically barren in terms of the visual arts.

Fifteen years of sanctions against Rhodesia limited the international presence of sculpture artists. Nonetheless, the work has been shown mainly due to the efforts of Frank McEwen in several international exhibitions. In the pre-independence period, the technical skills were sharpened, the expressiveness deepened, harder and different types of stone used and many outstanding works created. The "Shona Sculpture Movement" was in full swing and had many supporters and advocates.

Since the independence in 1980, the sculptures have continued to be exhibited in the art capitals of the world, and contemporary artists such as Dominic Benhura and Tapfuma Gutsa and the art form itself have been well received.

Despite the growing worldwide demand for sculpture, dedicated artists demonstrate a high degree of integrity, never copying and still working entirely by hand, with spontaneity and confidence in their abilities, unhampered by externally imposed notions of what their "art" should be. Now, more than fifty years after the first tentative steps towards a new sculptural tradition, many Zimbabwean artists now live full-time from the sculptures and the very best can compete with contemporary sculptors worldwide.

The sculptures they produce are speaking of basic human experiences. Experiences such as grief, elation, humor, fear and spiritual search - and have always managed to communicate these in a deeply simple and direct way that is both rare and extremely refreshing.

The artist "works" with his stone and it is assumed that "nothing that exists naturally is lifeless" - it has it´s own spirit and his own life. One is always aware of the contribution of the stone in the finished sculpture and it is indeed fortunate that in Zimbabwe a great selection of stones to choose from: hard black sour stone, color intense serpentine and soapstone, solid gray limestone and semi-precious stone Verdit and lepidolite.

Jonathan Zilberg has pointed out that there is a parallel marketplace in Zimbabwe for what he calls Flow sculptures - the subject of which is the family (Ukama in the Shona language) - that are made across the country, from the suburbs of Harare to Guruve in the northeast and Mutare in the east.

He believes that these readily available and inexpensive forms of sculpture are of more interest to the native black Zimbabweans than the semi-abstract figurative sculptures found mainly in museums and exported overseas. The Flow sculptures are still able to demonstrate innovations in art, and most are individually carved in styles that are characteristic of each artist.

Some sculptors in Zimbabwe use other media than stone. For example, in 1988 Paul Machowani won an Award of Distinction in Zimbabwe Heritage for his metal piece "Ngozi" and in 1992 Joseph Chanotas for the metal piece "Thinking of the Drought" the same price.

Bulawayo was a metal sculpture center with artists such as David Ndlovu and Adam Madebele. Arthur Azevedo, who works in Harare and produces welded metal sculptures, won the 1998 President's Honorary Award at the first Mobile Zimbabwe Heritage Biennale.

Wood carving also has a long history in Zimbabwe and some of its leading representatives are Zephania Tshuma and Morris Tendai. Boarding Dzinotizei, a digital sculptor, works with 3D sculpting software and 3D printing to create his contemporary sculptures based on the Shona Sculpture process.

Cologne Zoo

-english-

In the middle of Cologne lies the picturesque zoo, which is characterized by many historical and  as well innovative buildings.

Opposite the main entrance (and included in the entrance fee) is the aquarium / terrarium with interesting and some only found seldom species.

Although originally located on the outskirts of Cologne, the area around the zoo is today densely built. To expand the zoo grounds is no longer possible for this reason.

The Cologne Zoo is one of the oldest zoos in Germany, celebrating its 150th anniversary in 2010. For zoo visitors, who not only want to see the approximately 10,000 animals from more than 750 different species in their enclosures, but also want to get to know them better, the numerous zoo activities are just the right thing.

Throughout the year events and guided tours take place in the Cologne Zoo. Visitors can explore the hustle and bustle of the zoo around the clock after registering and experience the zoo animals in their enclosures with an experienced zoo companion up close.

In hardly any other zoo can the development of the zoological gardens  on the basis of preserved animal houses and plants as well from the different eras  as in the Cologne Zoo.

At the instigation of Dr. Caspar Garthe, the first senior teacher at the senior citizen school on the Quatermarkt in Cologne, joined wealthy and influential, at the same time animal-loving and zoobegeisterte citizens of the city to a public company in 1860 in Cologne to found a zoological garden.

The oldest monument is the 1863 under direction of Dr. Heinrich Bodinus (1859-1869) built an elephant house in Moorish style. From the time of Cologne's second zoo director Nicolas Funck (1870-1886) has been preserved the ensemble of three cattle houses in Swiss log cabin style.

The later Geheimrat Prof. Dr. Ludwig Heck, who managed the Cologne Zoo for only two years (1886-1888), but then was still zoo director in Berlin for 43 years, had the Sea Lion Rock built in 1887.

Carl Hagenbeck justified the fundamental change in the way of keeping and presenting animals in the zoo by introducing the panorama and outdoor facilities. The new ideas were immediately taken up in Cologne.

The same zoo director Dr. Ludwig Wunderlich (1888-1928), who in 1899 had still built the large birdhouse in the style of a Russian church, created the Monkey Island in 1914, until today a main attraction of the zoo.

In imperial times, German zoos not only showed wild animals, but men, women, children from exotic countries - exhibited like cattle. The Cologne Zoo showed up to 1932 a total of 7 different "  ethnological expositions" and the people came in droves.

Today, the Cologne Zoo has state-of-the-art animal facilities. These correspond to the latest zoological claims. These include, for example, the elephant park opened in 2004, the aquarium and the Hippodome completed in 2010.

This mixture of history and modern times gives the zoo a special charm. The historic Sunday tour is designed as an educational and entertaining walk through a zoo history of 150 years now, which can be read among others on the tree population.

Meeting point for the - in the entrance fee received- tour is at the main entrance. The Cologne Zoo is not only for families, but for young and old a worthwhile destination.

It goes past the Bactrian camels, the cute Meerkats, the red Pandas, the Raccoons, Malaysian bears, Grizzlys, the cheetah, who strolls his round again and again and can be observed from close range.

The Cologne Zoo is home to a large number of primates, including some rare lemurs.

The more interesting enclosures include the Robbenfelsen with a group of California sea lions and the approximately 100-year monkey cliff, home of a great group Hamadryas baboons. Owls live in a monastery ruin.

On the way to the lion area and adjacent Jaguar enclosure over to the snow leopard (which usually also very well hidden) another children's attraction: the Felidae-Measure.

On we go on to the tropical house, humid air of southeast Asian rainforests, tropical plants and animals, ponds and waterfalls, the tropical house is really unique and is absolutely worth seeing. In addition to wild birds are also to see gibbons, otters and tree kangaroos.

From the tropical house, we have to make a difficult decision: first to the elephant house or preferably first to the monkey house?

Because the tropic temperature is so pleasant, we decide for the monkey house. The douc langurs has a great, colorful coat. The monkey beside him looks like he has a mask on. There is a cute gorilla baby, the orangutans frolic around.

The spacious elephant park offers accommodation for a large family herd of Asian elephants, where several young animals have already been born. The big elephant herd is just outside and good to watch.

The totally cute cub is affectionately enthralled by the elephant aunts, drinks from time to time of his mum and shoos an aunt through the enclosure. We can hardly tear ourselves away from this sight.

  In the summer, this place offers ice cream from the kiosk opposite or for a sausage from Banteng Grill. For the adults, there are also benches that invite you to linger (with a view of the elephant enclosure).

The Hippodrome not only shows hippos, but also Nile crocodiles and many smaller species. Sitatungas can also be seen in the grounds, while free-flying birds and lizards are found inside.

With all the great animals one almost forgets to enjoy the beautifully designed enclosures, the sculptures from all over the world and the unique big city panorama in the background.

A variety of native and exotic plant and tree species are explained, a rally through the zoo is offered free of charge for children, and you also get lots of information on energy topics and raising and breeding of endangered species in the Cologne Zoo.

On the Clemenshof are rare domestic pets such as Skudden, Swabian-Hall swine and Pomeranian ducks kept. Here you will find some sorts of other local farm animals in the still quite new farmstead area of ​​the zoo.

1. FC Cologne fans can also visit the FC mascot Hennes, the he-goat, who has been living in the Cologne Zoo for some time. Since today is no play, Hennes also has free and is grazing peacefully in his enclosure, which he shares with his wife Anneliese.

Zoorestaurant and the large Zooshop fit into the idyllic scenery. For parents here really strong nerves are required if you just don´t want to buy the children of all the great things that are here and they do  want to have immediately.

Ticket prices / Day Cards:

Adults 19,50 Euro Children 9,00 Euro Students, Trainees 14,50 € Visitors with a disability pay the regular entrance fee. If a "B" is indicated in the disability card, the accompanying person receives free admission (accompanying person must be at least 13 years old).

Attention: Children up to the age of 12 are only allowed in the Cologne Zoo and the aquarium if they are accompanied by an adult who is subject to supervision. Dogs may not be taken to the zoo for safety and health reasons.

The Mbunza Living Museum - Take a trip into the Kavango with the Mbunza!

A short walk – or drive – from Hakusembe River Lodge on the Okavango River takes you to a museum with a difference. The Mbunza Living Museum is an outdoor arena where visitors have a chance to learn about the fascinating traditions of the Mbunza, one of the five Kavango groups.

Watch the Mbunza craft clay cattle, carve wato (dugout canoes), make rope from the Sansevieria plant, weave baskets and mats, pound mahangu (millet), crack Mangetti nuts (you can even have a taste!) and play wera in the sand. And, if that’s not enough to keep you occupied on the one-and-a-half-hour programme, they also share their bush medicine with you and show you their blacksmithing skills.

Then, it’s the time for the river, the centre and livelihood of this river people, where you can take a short boat trip on the water and watch the women fishing with traditional woven cone-shaped traps. The programme ends with lively singing and dancing to rhythmic drumbeat.

You may just learn a few things with the Mbunza, such as: if a man is unable to weave a sleeping mat for his wife, his in-laws can send him packing and that a mixture of ground lucky beans and elephant dung masks your smell from predators like lion. And, if you’re wondering about a ‘living museum’ then wonder no more. The concept was developed by the Living Culture Foundation Namibia (LCFN), which was established in 2006. The living museums provide the opportunity for several of Namibia’s indigenous cultural groups to earn an income, while reinforcing cultural values and educating the young. On the flipside, for the lucky traveller, it’s an opportunity to be introduced to age-old customs.

There are six living museums to date: the Living Museum of the Ju/’Hoansi-San at Grashoek (on the C44 to Tsumkwe); the Living Museum of the Mbunza, 14km west of Rundu (on the B10 towards Nkurenkuru); the Living Museum of the Mafwe - reached from the D3502 turn-off at Kongola; the Living Museum of the Damara near Twyfelfontein; the Little Hunter’s Museum, on the outskirts of Tsumkwe, which offers a three-day programme in the NyaeNyae conservancy where traditional hunting is still allowed; and, the newest of them all, the Living Museum of the Ovahimba near Opuwo. Don’t miss this vibrant introduction to the Kavango! For more information visit: http://www.lcfn.info/mbunza Accommodation: Hakusembe River Lodge http://www.gondwana-collection.com/…/accommodation/hakusem…/ Hakusembe honours the creativity of the Kavango people, who are some of Namibia’s greatest craftsmen. It uses the symbol of the clay ox – carved through the generations by young men – as its logo and the words ‘Inspired by creativity’ as its brand essence.

Cologne: Cable Car

-english-

Finally to get the cathedral complete on the photo - from where would that work easier than from a bird's eye view? The view of Cologne is breathtaking from high above. Visitors to the city can easily catch a very first impression of the city.

However, for 60 years there is the opportunity to hover comfortably over the Rhine. Tickets are available at the entrance to the building on the Riehler Straße - opposite Zoo and Flora. Compared to cable car rides in ski resorts, things are progressing rather slowly with the individual gondolas, each of which looks different, beautifully colored. Wait a few minutes and then it starts.

During the journey, the gondolas not only cross the river, but also the busy Zoo bridge, which is an exciting moment for car and gondola drivers. The ride, starting on the right side of the Rhine, can be very well combined with a visit to the zoo. Combi tickets for the visit and the return trip is best to buy the same.

Yes, it is an experience to suddenly see the busy Konrad-Adenauer-Shore and the traffic on the Zoo bridge from up here and the unique Cologne panorama from the Köln Arena, the Triangel tower over the bridges, the Stapelhaus frontage and the two spiers of the famous cathedral   from this perspective. Over the Rheinpark in Cologne Deutz we slowly float down again.

The cable car in Cologne is not only the first cable car in Europe leading across a river, but after more than 6 decades of existence is now regarded as the archetypal architectural gem of Cologne.

The cable car was once opened as an additional means of transport to the Federal Garden Show in 1957. In fact, the ropeway to this major event counted around 1.35 million passengers who wanted to cross the Rhine in the then extraordinary way.

Two 33- to 35-ton pendulum supports connected the 685 m long and 26.5 m high ropes. The original operating time should actually be only 5 years, but due to the great success, the survival time of the cable car was repeatedly extended after several discussions. Until the planned bridge construction was up and a solution had to be found, because the pillars of the cable car were in the way of the construction.

There was no other option than to dismantle the pendulum supports and rebuilt them by a few meters in the 1960s. As a result, the length of the route reached 935 m.

From then on, 1,600 people could be transported per hour. Since the BUGA, the cable car in Cologne has counted around 20 million passengers and was even awarded the Mercurius Prize of the Cologne Tourist Association.

With a little luck you can catch the gondolas, which are very popular with children, with the imprint of the "The Show with the Mouse" and can sit in them. Meanwhile, there are even designed by the BAP singer Wolfgang Niedecken gondolas and reflect the solidarity of the people of Cologne with their hometown.

  Many people in Cologne use their cable car to reach the opposite bank of the Rhine, but more and more tourists are looking forward to a ride on the cable car as well. On the left bank of the Rhine is the Cologne Zoo with a variety of animal species.

Especially for city children, the Cologne Zoo is a wonderful destination. In addition, there are large playgrounds in the zoo, where the little guests can romp extensively while their parents watch the hustle and bustle from the benches.

Supposedly there is even the possibility to be married in a wedding gondola under the eyes of a registrar and hanging over the Rhine to swore the mutual love and loyalty . Probably the romantic alternative to the town hall. But even non-lovers can experience an unforgettable trip over the Rhine in Cologne.

Rarely does one have the opportunity to enjoy the Rhine metropolis from this breathtaking bird's eye view in peace and to let the impressions sink in: Vessels on the Rhine, extended families sitting together for a picknick at the Rheinpark and sports groups meet on the shore.

The Rheinpark is located between the districts of Deutz and Mülheim in Cologne and has been a listed building since 1989. At the beginning of the 20th century, the complex was converted into a landscaped park and later hosted the Federal Garden Show in the 1950s.

Today you can look forward to water features, flowering beds, a portico garden and a fountain on the Adenauer pond. Especially in spring and summer, the park shines in colorful flowers. Various sculptures set highlights here.  

Shortly before arriving at the right bank of the Rhine, the gondolas also float over the Claudius-Therme, which was founded on the springs of mineral-rich water. The spa is one of the most beautiful thermal baths in Europe.

 If you look at the architecture of the spa, you immediately recognize its reference to the bathing culture in Roman times. Harmoniously embedded in the beautiful parkland, you can relax here greatly.

During the winter break of the cable car Cologne, the entire system is maintained. This happens every year from November on. The gondolas and base stations are also thoroughly cleaned every winter break. The gondola motifs will then be changed as well.

Either you organize a round-trip ticket if you parked on site - or you only buy the oneway trip. Our recommendation is clearly the combined ticket.

One Way Adults: 4,80 Euro Children (4 to 12 years): 2,70 Euro Round trip Adults: 7,00 Euro Children (4 to 12 years): 4,00 Euro

Various combined tickets (only available at the cable car!) are available.For example, cable car plus entrance to the Cologne Zoo and Aquarium.Round tripAdults: 21,50 EuroChildren (4 to 12 years): 10,50 EuroPersons with a disability pay the regular fare.If a "B" is noted in the disability card, the escort will get a free ride.Exception: Children up to the age of three - here the accompanying person drives to the children's price.

Shona-Art

-Deutsch/German-

Die Erschaffung von Steinskulpturen ist eine Kunst, für die Simbabwe inzwischen auf der ganzen Welt bekannt ist.

Die moderne afrikanische Steinskulptur ist nicht "traditionell", obwohl ein Großteil ihres Themas traditionelle Wurzeln hat. Schon in der Präkolonialzeit waren die Anwohner künstlerisch veranlagt.  Davon zeugen zahlreiche Steinartefakte wie der Simbabwe-Vogel aus dem "Great Simbabwe State" der späten Eisenzeit.

Werke aus verschiedenen Naturmaterialien wie Fasern, Holz, Ton und Stein für funktionale, ästhetische und rituelle Zwecke herzustellen. Der weltberühmte Künstler Bryn Taurai Mteki, ua Sekurutau, setzte mit seiner großen Skulptur mit dem Titel „Chippi“, die während der sechsten All-Africa Games, die im September 1995 in Simbabwe stattfanden, enthüllt wurde, ein Zeichen.

1997 ging Bryn auf eine „Historic European Tour“, wo er einige Skulpturenworkshops in Deutschland und London besuchte. Auch in Deutschland wurde er in den Städten Auerbach und Adorf mit Silbermedaillen geehrt.

Vor der Eröffnung der Rhodes National Gallery in Salisbury im Jahr 1957 traf sein erster Direktor, Frank McEwen, Thomas Mukarobgwa, einen jungen, in ländliches Wissen und Spiritualität vertieften, Einheimischen - und bot ihm prompt die Gelegenheit, eine Karriere in der Kunst zu verfolgen.

Die von der Galerie eingerichtete Werkstattschule zog bald mehr Künstler an, von denen viele bereits einer Art Kunstausbildung von frühen Missionsschulen ausgesetzt waren und etablierte Kunstpraktiker waren. Dazu gehören John Takawira und Kingsley Sambo.

Die aufstrebende Kunstbewegung entwickelte sich relativ langsam. Jedoch wurde 1966 von Tom Blomefield, einem in Südafrika geborenen weißen Tabakbauern, in dessen Farm in der Tengenenge Sculpture Community in der Nähe von Guruve umfangreiche, zum Schnitzen geeignete Serpentiniten-Stein Vorkommen gefunden.

Blomefield, selbst ein Steinbildhauer, wollte die Nutzung seines Landes diversifizieren und hieß neue Bildhauer willkommen, um eine Gemeinschaft von Arbeitskünstlern zu bilden.

Dies lag zum Teil daran, dass zu dieser Zeit internationale Sanktionen gegen die weiße Regierung von Rhodesien verhängt wurden, die dann von Ian Smith angeführt wurde, der 1965 die einseitige Unabhängigkeitserklärung abgegeben hatte, und der Tabak nicht mehr in der Lage war, ein ausreichendes Einkommen zu generieren. Passenderweise bedeutet Tengenenge "Der Anfang vom Anfang" - in diesem Fall eines bedeutenden neuen Unternehmens, das weiter wächst und gedeiht.

Weitere Einzelheiten zur Gründung der "ersten Generation" neuer Shona-Bildhauer finden sich in den Einzelbiografien der führenden Mitglieder. Zu dieser Gruppe gehört auch die berühmte Familie Mukomberanwa, deren Werke weltweit gezeigt wurden. Werke mehrerer dieser Künstler der ersten Generation sind im McEwen-Nachlass an das British Museum enthalten.

In den Anfangsjahren wurde die aufkommende "Shona-Skulpturenbewegung" als Kunstrenaissance, Kunstphänomen oder auch Wunder beschrieben. Kritiker und Sammler konnten nicht nachvollziehen, wie sich ein Kunstgenre in einem Gebiet Afrikas mit solcher Kraft, Spontanität und Originalität entwickeln konnte, das nicht über das große skulpturale Erbe Westafrikas verfügte und zuvor in Bezug auf die bildende Kunst als künstlerisch unfruchtbar beschrieben worden war.

Fünfzehn Jahre Sanktionen gegen Rhodesien begrenzten die internationale Präsenz der Skulpturenkünstler. Nichtsdestotrotz wurde die Arbeit hauptsächlich aufgrund der Bemühungen von Frank McEwen in mehreren internationalen Ausstellungen gezeigt.

In der Zeit vor der Unabhängigkeit wurden die technischen Fähigkeiten geschärft, die Ausdruckskraft vertieft, härtere und verschiedene Steinsorten verwendet und viele herausragende Werke geschaffen. Die "Shona-Skulpturenbewegung" war in vollem Gange und hatte viele Förderer und Befürworter.

Seit der Unabhängigkeit 1980 wurden die Skulpturen weiterhin in den Kunsthauptstädten der Welt ausgestellt, und zeitgenössische Künstler wie Dominic Benhura und Tapfuma Gutsa und die Kunstform selbst fanden großen Anklang.

Trotz der weltweit steigenden Nachfrage nach den Skulpturen zeigen die engagierten Künstler ein hohes Maß an Integrität, kopieren nie und arbeiten immer noch vollständig von Hand, mit Spontaneität und Vertrauen in ihre Fähigkeiten, ungehindert von äußerlich auferlegten Vorstellungen, was ihre "Kunst" sein sollte.

Jetzt, über fünfzig Jahre nach den ersten vorläufigen Schritten in Richtung einer neuen skulpturalen Tradition, leben viele simbabwische Künstler inzwischen Hauptberuflich von den Skulpturen und die allerbesten können sich mit zeitgenössischen Bildhauern weltweit messen.

Die Skulptur, die sie produzieren, sprechen von grundlegenden menschlichen Erfahrungen. Erfahrungen wie Trauer, Hochstimmung, Humor, Angst und spirituelle Suche - und hat es immer geschafft, diese auf eine zutiefst einfache und direkte Weise zu kommunizieren, die sowohl selten als auch äußerst erfrischend ist.

Der Künstler „arbeitet“ mit seinem Stein und es wird angenommen, dass „nichts, was natürlich existiert, unbelebt ist“ - er hat einen eigenen Geist und ein eigenes Leben. Man ist sich immer des Beitrags des Steins in der fertigen Skulptur bewusst und es ist in der Tat ein Glück, dass in Simbabwe eine großartige Auswahl an Steinen zur Auswahl steht: harter schwarzer Quellstein, farbintensiver Serpentin und Speckstein, fester grauer Kalkstein und Halbedelstein Verdit und Lepidolith.

Jonathan Zilberg hat darauf hingewiesen, dass es in Simbabwe einen Parallelmarkt für das gibt, was er Flow-Skulpturen nennt - deren Gegenstand die Familie ist (Ukama in der Sprache Shona) - und die im ganzen Land hergestellt werden, vom Vorort in Harare bis Guruve im Nordosten und Mutare im Osten.

Er glaubt, dass diese leicht verfügbaren und kostengünstigen Formen der Skulptur für die einheimischen Schwarzen Simbabwer von größerem Interesse sind als die semi-abstrakten figurativen Skulpturen, wie sie hauptsächlich in Museen zu sehen sind und in Übersee exportiert werden. Die Flow-Skulpturen sind immer noch in der Lage, Innovationen in der Kunst zu demonstrieren, und die meisten sind individuell in Stilen geschnitzt, die für die einzelnen Künstler charakteristisch sind.

Einige Bildhauer in Simbabwe arbeiten mit anderen Medien als Stein. Zum Beispiel gewann Paul Machowani in Zimbabwe Heritage 1988 einen Award of Distinction für sein Metallstück "Ngozi" und 1992 Joseph Chanotas für das Metallstück "Thinking of the Drought" den gleichen Preis. Bulawayo war ein Zentrum für Metallskulpturen mit Künstlern wie David Ndlovu und Adam Madebele.

Arthur Azevedo, der in Harare arbeitet und geschweißte Metallskulpturen herstellt, gewann 1998 den Ehrenpreis des Präsidenten bei der ersten Mobil Zimbabwe Heritage Biennale.

Holzschnitzerei hat in Simbabwe auch eine lange Geschichte und einige seiner führenden Vertreter sind Zephania Tshuma und Morris Tendai. Boarding Dzinotizei, ein digitaler Bildhauer, arbeitet mit 3D-Bildhauersoftware und 3D-Druck, um seine zeitgenössischen Skulpturen auf der Grundlage des Shona-Bildhauerverfahrens zu erstellen.