ZIMBABWE Development Plan and Donor's Conference for the Great Zimbabwe National Monument

Feasibility Study on the Production and Marketing of Handicrafts and Artefacts around National Monuments in the Southern and Eastern Regions of Z imbabwe

by K.F. Schädler

Serial N o . F M R / C L T / C H / 9 1 / 2 0 9 ( U N D P )

United Nations Educational, United Nations Scientific and Development Cultural Organization Programme

Restricted UNDP/ZIM/88/028 Technical Report

Paris, 1991

Z I M B A B W E

Development Plan and Donor's Conference for the Great Zimbabwe National Monument

FEASIBILITY STUDY ON THE PRODUCTION AND MARKETING OF HANDICRAFTS AND ARTEFACTS AROUND NATIONAL MONUMENTS IN THE SOUTHERN AND EASTERN REGIONS OF ZIMBABWE

by K. F. Schädler

Report prepared for the Government of the Republic of Zimbabwe by the United Nations Educational, Scientific and Cultural Organization (UNESCO) acting as Executing Agency for the United Nations Development Programme (UNDP)

United Nations Educational, Scientific and Cultural Organization

United Nations" Development Programme

UNDP/ZIM/88/028. Technical Report (Schädler) FMR/CLT/CH/91/209(UNDP) •15 May 1991

© UNESCO 1991 Printed in France'

TABLE OF CONTENTS

Page Summary .. i

I. SURVEY... 1

GREAT ZIMBABWE AREA: OBSERVATIONS AND RECOMMENDATIONS ' 1

- SESE 1 - MASVINGO ' 6 - CAPOTA '. 6 - DRIEFONTEIN ...' 10 - INDIVIDUALS 11 - CURIO SHOP AT GREAT ZIMBABWE 11

BULAWAYO/MATOPOS AREA:.OBSERVATIONS AND RECOMMENDATIONS 18

- MATOPOS CURIO SHOP -. 18 - BULAWAYO HOME INDUSTRIES 21 - MZILIKAZI ART & CRAFT CENTRE 22 - JAIROS JIRI 25 - CURIO SHOP AT MUSEUM OF NATURAL HISTORY, BULAWAYO 26 - AFRICAN HERITAGE 26 - ART-ROOTS AND CRAFT CO-OP. SOCIETY LTD. .......'. 29

MUTARE/NYANGA. AREA: OBSERVATIONS AND.RECOMMENDATIONS : 29

- INDIVIDUALS' . ......:.... - . 2 9 . - CURIO SHOP "AT. MUSEUM IN MUTARE 30

II. POTENTIAL FOR FACSIMILE ARTEFACTS ... '•' 3 3 .

- CURIOS ..... ........... . 33 -ART ..; 33 - DECORATIVE ARTS ' 34

APPENDICES

I. Proposals for Assistance - Objectives and Outputs 44

II. Items to be sold at Great Zimbabwe Curio Shop 53

III. Sales at the NMM Curio Shop at Great Zimbabwe for period 1989/1990 55

IV. Suggestions for .Sales Promotion 56

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SUMMARY

The present feasibility study is part of the Development Plan and Donors Conference for the Great Zimbabwe National Monument and Related Monuments (ZIM/88/028). The objectives of this plan are the development of existing craft production, the development of jewelry production, and the resurrection of craft activities that are no longer practised.

The study is based on a survey which focused on the range of goods being produced, the going prices for the products in relation to the time taken for their manufacture, their availability, and eventual constraints in the produc­tion process.. It was investigated whether there'is a need, or a demand, for the formation of co-operatives and/or the development of management and finan­cial skills,' and finally, whether there is any interest in established co-operatives and/or NGOs in the development of this sector. At the same time, possibilities were studied to foster the development of facsimiles of artefacts from museum collections.

The survey first examined the area around Masvingo/Great. Zimbabwe, continued .the survey in the Bulawaya/Matopos area, and ended in : the Mutare/-Nyanga area. Observations and recommendations are given, following a brief description of each site or shop visited. In the second part, the potential for the production of facsimile artefacts is- studied; proposals for a number of items are articulated; and suggestions for sales promotion activities are given in the appendices. Finally, -Appendix I deals with the- proposals for assistance, as well as giving details for the implementation of the project.

The consultant's mission took place from 18 March to 10 April 1990.

ZIM/88/028 - Development Plan and Donor's Conference for the Great Zimbabwe National. Monument

Technical Report

I. SURVEY

GREAT ZIMBABWE AREA: OBSERVATIONS AND RECOMMENDATIONS

SESE

1. Located south of Masvingo, on the main road to South Africa, near the junction of Chibi road, Sese has become an important stopping point for local and foreign buyers of Zimbabwean handicraft products. The items are displayed alongside the road, on the ground, in two long parallel rows, with wood and soapstone carvings in the first row and pottery products in the second. While carvers (only men carve) generally work on the spot, the pottery products are made in the villages and then brought to this ad hoc market, which has no stalls or other presentation facilities.

Carving

2. Most of the carved objects are made of soapstone of a generally grey and brownish colour, although some light-greenish.ones do occur. After carving, a varnish is applied to most objects to obtain a certain gloss. Objects carved in soapstone include a number of animals (hippos, crocodiles, birds, etc.) the Zimbabwe Bird, plaques in relief-carving, showing the Great Zimbabwe Ruins with the tower, human busts or heads with naturalistic features and replicas (called "phallic") of archaeological ' finds. Modern, abstract sculptures mainly depict the maternity motif in different variations. Due to the type of material, the height of the objects rarely exceeds 50cm. The ' material is taken from a quarry near Masvingo, where other soapstone carvers of the area dig their raw material*. The cost of transport for a truck-load, which is hired on a sort of purchasing co-operative basis, amounts to about ZÍ120**. From the same quarry, the stones for the relatively few serpentine sculptures are also dug. Differing from the soapstone carvings, where smallness predomi­nates, the wooden items are often characterized by gigantism. Usually created in human form, these pole-shaped sculptures are carved generally in a cruder fashion than the soapstone items. In addition, dignitary staffs and walking sticks (tsvimbo or umquayi), widespread in eastern and south-eastern Africa, are carved, often depicting figures and animals at their upper end.

* People from Sese sometimes anger the local.diggers, because they often take away the stones dug by the local carvers and seldom dig themselves (perso­nal communication with a local carver). Digging on the privately owned quarry is free of charge (see pi. 9).

** lZi = 0.39 USá

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Pottery

3. A variety of relatively simple household pots are made by women of the area. They are burnt from reddish-brown and black clay and, if reddish, are usually decorated with zig-zag motifs, using graphite as a contrast medium.

4. Zoomorphic vessels, excavated at Khami and Zimbabwe Ruins, said to have been used for divination or initiation purposes, are rarely copied. This is probably because they need some skill to be moulded. In addition to the pots, most potters mould receptacles in the shape of guinea fowl or miniature exam­ples of guinea fowl, both types painted in various colours and then dotted white or black. Although the design is basically attractive, the craftsman­ship needs upgrading. In addition to the guinea fowl pottery, a few potters have tried small mouldings of. animals like the buffalo or the hippo, in abstract shape, but again, with relatively poor results.

Crocheting

5. The demand for crochet textiles is met by a number of women- from the area, who produce a variety of items, including different sizes of table­cloths, place mats, and the like, all made from locally spun cotton..

Income

6. According to the.informants at Sese, the carvers earn roughly ten times as much as their women counterparts do with their pottery and crochet work, i.e..an average of Z¿500 per month, as against Z$50. In order to supplement their income, some potters buy soapstone carvings from the men and sell them with their pots. Yet, for the women potters, this income represents an addi­tional one only, since they usually make pots only during their spare time -agriculture being their main occupation. The carvers, on the other hand, being generally young men, consider carving to be their main' activity and assist their parents in the fields only when needed.

Constraints

7. There are no major constraints for the. soapstone carvers except, perhaps, for the supply of raw material, since the quarry is quite a distance away. As mentioned above, this difficulty has been met by forming a purchas­ing co-operative which, however, deals ' only with the transport cost; the material itself being free of charge.

- Co-operatives

8. It was stated by the informants that with creative work, production on a co-operative basis would not lead to any success and that emphasis should be put on personal achievement, thus providing more room for artistic incentives.

Observations and Recommendations

9. With a few exceptions, e.g. small soapstone animals, it may be stated generally that"all products lack a certain craftsmanship, resulting from the fact that the usual "apprenticeship" is confined to a relatively short period of time, with the teacher being, in most cases, a person of little or no qualifications. The idea• of quality is neglected in favour of mass-produc-

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tion, and in favour of the presumed necessity of asking only low prices to face the imminent competition from the others. The impression of mass-production is enforced by the method of display of the objects and, facing these quantities, the potential buyer is automatically urged to start bargaining at the lowest possible point.

10. Advice, therefore, should be given towards an improvement of the techni­cal skills in order to master the material in question be it soapstone, wood or clay.

11. The next step would be an improvement in design, referring not only to the existing models, in order to escape from standardized patterns, but also to the development of new creations, thereby taking advantage of traditional forms and items now no longer produced (see notes concerning potential for facsimile artefacts in Chapter II).

12. Finally, the adoption of a more attractive display policy is recom­mended. It would be better to reduce considerably the presentation of similar items, and introduce simultaneously a greater variety of objects, thus opening up better opportunities for variations in the different price categories. These price categories should be discussed among the competing craftsmen, in order to encourage a more widespread turnover of merchandise and to avoid the "dumping" of goods, which could be ruinous.

MASVINGO

13. On one of the main roads entering Masvingo, at the turn-off point to Mucheke, the Municipality of Masvingo has erected some circular stalls and a display table from which to sell curios to by-passing tourists. Items offered are basically the same as those at Sese. However, a much more reduced quantity is displayed, thus presenting to the potential buyer a more artistic atmosphere. The main advantage to the Masvingo soapstone carvers is the vici­nity of the relevant quarry. Together with the potters, woodcarvers and crochéters, they also share the vicinity of Great Zimbabwe and, at the same time, being situated on the same road as the Sese people, they can profit from both potential buyer groups: the buyers to and from S. Africa (often retailers) and the tourists heading for Great Zimbabwe. They also supply the curio shop at Great Zimbabwe.

14. According to information obtained from one of the soapstone carvers who was actually working in the quarry, the Income of carvers like him is consi­derably higher than that of the Sese people. By carving four heads a day, which he finds easy to do, and which he can sell for not less than Z$25 each, he finds that, if he should work over the week-ends as well, he has the poten­tial to earn as much as Z$2,800 per month.

Observations and Recommendations

15. Although both the quality of items and the display facilities are slightly better, the same criticisms levelled at Sese also apply here.

CAPOTA

16. Situated near Masvingo, this voluntary organization, founded by Lady Hugo, is dedicated to the blind, who make a variety of cane and rattan items

such as chairs, tables, baskets and the like, partly mounted on welded iron bases.

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7 Two young stone carvers near Sese proudly showing their works, a replica of the Zimbabwe Bird, and a mural depicting the Great Enclosure at Great Zimbabwe.

8 Detail of crochet work on a display stand in Masvingo on the turn-off to Mucheke.

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PI. 9 A carver working in the soapstone quarry near Masvingo, with two small heads (to the right of his head) that he has just finished.

Constraints

17. A major constraint is the supply of cane, which has to be imported from Singapore. The organization depends on donors, who provide the necessary foreign currency.

Observations and Recommendations

18. Although a very high standard of craftsmanship is provided (examples may be seen at Great Zimbabwe, where the bar of the hotel is furnished with stools, chairs and settees from Capota), one could expect a more modern and creative design to be an additional incentive to potential buyers. Since Capota produces items of furniture mainly, the market for its products lies largely in Zimbabwe itself, particularly because, surprisingly enough, export licences are not obtained.

19. Small items, like baskets, etc., may find an easy market with tourists visiting Great Zimbabwe. Even if they do not incorporate any folkloric touch, they may be bought because of their social impact, if the fact that they are made by blind people is brought to one's attention.

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PI. 11 A blind worker finishing a settee

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DRIEFONTEIN

20. A branch of the Catholic Swiss Bethlehem Mission Society, located more than 80 kilometers to the north of Masvingo, 11 km off the road to Harare, is training young students in art work, mostly wood-carving and painting. On the initiative of Father John Groeber, a learned architect and student of the Art School of Lucerne, an art school was founded there in 1956. His most impor­tant artistic work was the design of a new mission in the Serima Reserve, commissioned to him by his Bishop. Together with his students, he furnished and decorated the mission's church with carved architectural elements, thereby trying to foster an art that was Christian in subject matter, but still tradi­tional in the treatment of the material, and in the mental background from which it originated*.

21. When Father Groeber retired to Driefontein in 1967 (he died in 1972), one of his three most talented students, Cornelio Manguma, took over the carving school, of which he is, currently, still in charge. At present there are 16 pupils from the age of 16 upwards. They have to pass entrance examinations and follow a three-year apprenticeship in wood carving and drawing. They also devote one day a week to working in the fields. Every year, five new students are accepted. The objects carved by the students are sold from a small gallery at the Mission and are also exported abroad. As well as the Christian motifs represented, there are also folkloric scenes or maternity motifs, either in freely-designed sculptures, in reliefs, or in other objects like drums. Prices for small sculptures range between Z$20 to Z$40.

Constraints

22. Since this institution operates as a school, the main objective being to train students and not the sale of art work, the relatively distant location from Great Zimbabwe is not too important a constraint. It is intended to erect a "Visitors' Invitation Board" on the road to attract potential buyers. This board will replace an existing board belonging to a privately-owned needlework shop, which will soon be moving elsewhere.

Observations and Recommendations

23. The sculptures produced by the school show a highly developed carving technique, yet demonstrate - like most of the mission-born workshop products in Africa - a certain naive naturalism, typical of the European art tendencies of the '30s, and alien to traditional African sculpture.

24. Although the artistic quality may be placed considerably above the everyday curio works, with their "catchy" naturalistic or abstract features, the typical African approach, characteristic of traditional art, and so much sought after by overseas buyers, is missing.

* See A. B. Plangger and M. Dietheim (ed), 1974, Serima: 19, with many illustrations of the church.

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25. During the visit to the school, it was suggested to try copying from traditional works illustrated in books (Paul S. Zingert's book on African Sculpture was actually present in a drawer, but no apparent advantage was being taken of it).

INDIVIDUALS

26. Apart from the above-mentioned carver, met at the soapstone quarries near Masvingo, some individuals in nearby located villages were visited to locate prospective suppliers to curio shops.

27. In Sharara Village, in the Gokomere area, an old blacksmith was visited. He showed some of his work, e.g. blades for ceremonial axes and hoes, but these were of poor quality. He was obviously working without bellows or an anvil. When asked whether he would be interested to work for money, he stated that he worked only to meet the demands of his family and that, anyhow, he was too old to continue working. Another blacksmith, who worked with his son in Mandinyenya Kraal, also showed us samples of his work -hoes and axes of good workmanship, made to order for customers of the village. He had also carved an elaborate snuff-container out of a Kudu horn, a walking stick, and a circular stool for himself. He readily stated that he was able to carve Shona head-rests of high quality, and that he could make the following items:

Axes, etc. (in Mukwa wood) - - - 10 a day - - - - from Z$12 to Z$14 each. Walking Sticks (Mukwa wood) - - 4/5 a day - - - from Z$16 to Z$18 each. Scabbards (Bakatwa) - - - - 6 a day - - from Z$15 to Z$16 each. Snuff Containers - - - - - - - - 5 a day - - - - for Z$12 each.

28. Although it may be doubted whether the intended quality standards can be achieved, the blacksmith and his son seemed to be very co-operative and prepared to learn. They stated that they would welcome any advice from an eventual consultant.

29. In Mhinde Village, a lady potter was visited. Her products were of a simple yet solid quality. She also showed us one of the bigger storage receptacles she had made.

30. Further inquiries in the village revealed that there are quite a number of potters dispersed throughout the area. Pots are usually made to order, and prices vary from 20 cents for small items to about Z$720 for big, storage-type pots. Two n'angas (healers) were visited: a healer and chief of a village bearing his name in the Zimuto area; and a healer in Nago Kraal, in the same area. The purpose of the visit was to obtain some information from them and to verify the use of the divining implements called HAKATA, for eventual reproduction as curio items.

THE CURIO SHOP AT GREAT ZIMBABWE

31. The curio shop is located next to the museum on the crossroad to the Hill Complex and the Great Enclosure. It is run by the National Museums and Monuments of Zimbabwe (NMMZ) and is the most important curio centre around Great Zimbabwe, i.e. almost any item produced in and around the neighbouring villages is offered here, plus a variety of objects supplied from other parts of Zimbabwe. According to the purchasing lists, about 70 different items are

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PI. 14 The workshop at Driefontein Mission about 80 km north of Masvingo.

PI. 15 A carver working on a drum

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offered. Of these, about 25 come from such places as: Chibl (wooden impalas, flamingos and small birds); Mutare (straw handbags, fibre hats and bags, straw hats, ivory rings and earrings); Bondolfi Mission (key purses, leather wallets, leather bill-folds, leather purses); Marondera (leather wall-hang­ings, leather bags); Bulawayo (gemstone boxes, wooden plaques, childrens' hats, gemstone eggs, wooden masks and dolls); and Harare (cloth wall-hangings and T-shirts).

32. In 1989, the sales totalled almost Z$100,000, with peaks in July/August and December/January (see list of items with purchase and sale prices, and monthly breakdown of sales in appendices II&III). Profit margins vary between about 40% for the most expensive items (wooden plaques), up to 100% for the medium and low-price categories.

Observations and Recommendations

33. The curio shop is a rectangular room, with a counter separating customers and sales personnel. About a quarter of the space is reserved for the sale of refreshments (drinks only). The showcases where the objects are displayed are located on the wall facing the entrance, and thus too far away to be viewed, or even inspected, by a potential buyer. This arrangement has its advantages where security precautions are concerned, but it is very unat­tractive for the visitor. Many of the objects simply escape the eye, and one can imagine the tourist getting tired of asking the salesperson for one object after the other to be taken off the shelf for inspection. Another more psychological aspect, which detracts from the displays - as with other curio sales places - is the fact that the same often-repeated variety of items are shown, giving the impression of mass-production, instead of individual creations.

34. In order to change this unattractive situation, one should break up the dividing counter for about two-thirds of its length, thus providing ample space and accessibility for the customer. The remaining counter, where the actual purchase takes place, may be partly converted into a horizontal-type showcase where small items and jewelry are displayed. An additional, vertical, free-standing showcase could be provided to hold small items which, if easy access were possible, might otherwise be stolen.

35. One would suggest that, in the showcases, items of vitreous material should be displayed, whilst on the shelves, only one object of the same kind (but possibly of.different sizes) should be displayed - these can easily be replaced after sale. Objects, the use or purpose of which are not easily recognizable, should be accompanied by a poster or photograph describing its function. They can also be sold together with a leaflet telling the story of the item. This background information is an attractive "selling-point", particularly with objects of traditional or ethnic character like HAKATA, NDORO, or ritual pottery vessels. Information leaflets can also be sold with more recognizable items like head-rests, ritual axes, ritual staffs or stools. Needless to say, the information given has to be accurate, so as not to mislead the potential buyer with false or fantastic labelling (e.g. the small wooden masks and dolls, supplied by a Bulawayo businessman). Examples of leaflets or posters are given in appendix IV.

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PI. 18 Father and son in their open-air workshop

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PI. 20-21 A shona potter, at work with some of her products in Mhinde Village, near Masvingo.

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36. Suppliers of items should be encouraged to produce better quality by offering higher prices for their objects. Again and again, it should be made clear that it is not quantity that is required, but quality. As a general observation, it may be stated that the prices asked in the curio shop are quite low (even given the relatively inferior quality) and they should be raised considerably. Prices in categories like those prevailing in the curio shop (under Z$20 or Z$30), do not, as a rule, have any impact on a buying decision for the general overseas tourist. He or she would rather not buy anything, if the quality was too poor*.

BULAWAYO/MATOPOS AREA: OBSERVATIONS AND RECOMMENDATIONS

MATOPOS CURIO SHOP

37. In the park, on a roofed stand provided by NMMZ, about 15 carvers and basket-makers from the neighbouring villages sell a variety of objects.

38. All the work is done on a part-time basis. The four daily occupations: field work; carving; basket-making; and selling in the park are achieved by the family on a "shift-work" system. Only women make the baskets, the fibre being obtained from a market north of Bulawayo. To obtain the colours for the woven-in designs, they use a certain root for brown colours, and a solution of graphite for reds and blues. A medium-sized basket or tray, for which about one day's work (after field work) is invested, may yield Z$7. On average, the daily sales amount to between zá¡20 - Z$50 for the female members of a family. Prices range from Z$4 for small items to about Z$50 for large laundry-baskets. Apart from basket-making, women also produce seed necklaces, dyed in various colours, for about Z$1.50, and fibre bracelets and straw hats, which fetch about Z$5.

39. The men mainly carve salad-spoons (Z$6 for 2 hours work), masks and birds (Z¿4) and panels carved in relief with animals and other motifs. Two kinds of wood are used - a soft, light-coloured one, and Mukwa, a hard, brownish one. For the latter, the carver usually has to climb up the kopjies (hills) and spend time finding dead (dry) wood. For the simple carved masks, made of soft wood and painted with brown and black shoe polish, about an hour's work is invested, and the price is about Z!$3. For the elaborately carved masks and reliefs, made of the harder wood, up to 20 hours are invested and prices run up to Z$60. Some carvers also make monkeys from skin-covered wood and other small items. The daily sales, as stated by the informants, amount to, as with the women, between Z$20 - Z$50, depending, of course, on the tourist season and luck of business.

40. Both basket-makers and carvers stated that they would welcome advice of any kind, but feel that the establishment of a co-operative is not necessary, given the fact that they would all rather work on an individual basis.

* Although not within the scope of this mission, it may be suggested that the entrance fee to the Ruins, presently Z$l, be raised for expatriates and tourists to at least Z$10, reduced, of course, for children and groups to some extent.

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PI. 22-23 Views of the showroom in the curio shop at Great Zimbabwe.

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PI. 24-25 .The storage room of the curio shop at Great Zimbabwe

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Observations and Recommendations

41. Craftsmanship with basket-makers and carvers could be upgraded consider­ably. Assistance in design, display facilities and business administration would certainly be useful.

BULAWAYO HOME INDUSTRIES

42. Founded in the 1960s, and moved to the present workshop facilities in 1972, the organization was granted an initial fund by the City Council in 1964, which has become a revolving fund, enabling Bulawayo Home Industries to stand on Its own financially. Altogether, there are about 130 people working on the premises, with another 100 outside workers. The manager/director, started with two other instructors, who have since left the organization. She now utilizes the advanced workers to instruct the newcomers.

43. Among the different home Industries to be found at the Bulawayo centre are: Weaving (cotton, ilala palm fibres, baobab bark fibres, angora goat wool and synthetics); Basket-making; Crocheting; Embroidery; Spinning; Batik; Tie & Dye; and items worked from banana leaves, such as waste-paper baskets, animals, etc. The average annual sales amount to about Z$20,000, and people are paid on a piece-work system, the calculation being based on working hours.

44. Raw materials, reeds, banana leaves, sisal and baobab bark fibre are brought In from the villages. Angora goat wool is bought from a Government department, which has started to breed the goats for the organization. Cotton thread is acquired from industry, while candle-wax for the batik-dyeing process is provided by a petroleum company. There is a display room which is well decorated and, apart from orders from local residents, BHI acquires further orders from firms, institutions and hotels.

Observations and Recommendations

45. Although it is claimed that the organization is a co-operative, the general feeling is that BHI is rather an institution where jobless people have the chance to earn a little money for subsistence, while learning a trade at the same time. Only a few people stay for longer than a year. Many leave after several months, when they have managed to continue on their own, sugges­ting that the remuneration received does not encourage a permanent stay at the centre. Although a .follow-up of leavers would be interesting for the purpose of this study, as some of them may go back to the rural areas, this is not an assignment of the institution, hence it has never been done. However, an adviser who eventually may assist home industry development, may find it worthwhile to try and trace some of those people.

46. The quality of the products seems fairly good and, since artisans whose products are rejected by customers do not get paid, the incentive to improve craftsmanship is there. As far as designs are concerned, the overall picture is also repeated here - almost all motifs or patterns are based on western concepts. It is recommended, therefore, that an eventual adviser tries to suggest a change-over to more African motifs and concepts.

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MZILIKAZI ART & CRAFT CENTRE, BULAWAYO

47. The Mzilikazi Art & Craft Centre is situated off the Old Falls Road, near Mpilo Hospital, in Bulawayo's Western Suburbs. Falling under the aegis of the Housing and Community Services Department of the Bulawayo City Council, the centre functions as a non-profit making, but financially self-supporting, welfare project. The centre comprises two main sections - a pottery section and an art school, which complement each other. The art school offers training in pottery and other skills, whilst profits from the sale of pottery helps subsidize the costs of running the school. Collectively, they fulfil an objective as a centre of cultural activities, whilst at the same time providing opportunities for employment and education.

48. Over the last two decades, the pottery has developed into a renowned and commercially successful undertaking, producing hand-thrown earthenware and stoneware. Under the guidance of instructors, an on-going programme is carried out to train and develop new pottery workers. Once fully trained, some of the potters remain at the centre to produce "Mzilikazi" pottery, whilst others find employment with small and large scale potteries throughout the country. Similarly, the free courses offered by the art school are intended to give training to school-leavers who have no formal qualifica­tions. The 130 students on an average enrolment are encouraged to develop their talents in painting, drawing, graphics, photography, commercial design, sculpture, ceramics and carpentry. In addition to full-time courses, the centre periodically offers evening classes. These are aimed at people who work in factories and shops during the day, but who would like to develop their artistic skills and express their emotions and feelings through the media of paint, stone, wood or clay.

49. A facility is also offered to local schools in the form of art classes, particularly where the subject is not included in the school curriculum. Under this scheme, approximately 450 school children per week receive instruc­tion in drawing, painting and ceramics at Mzilikazi.

50. The entire programme of the centre has a practical emphasis. Employ­ment for over seventy people is provided in pottery and ceramics, and while students are still learning, they have the opportunity to generate a small income for themselves through the sale of their work. The courses are designed to equip the students with skills that will enable them to earn a living once they leave the centre. Leavers are being encouraged to pool their resources, skills and knowledge and form co-operatives amongst themselves to engage in poster production, signwriting, commercial commissions and so forth.

Observations and Recommendations

51. The centre seems to be well organized and the ceramic factory produces a relatively high quality of medium standard earthenware. Most products of the fine art section, where students sculpture in clay, wood and metal, are best described stylistically as "social realism", which was prevalent in Western Europe up to the end of World War II, and in Eastern Europe up to the 70s, and hence is still based on the artistic Ideas of the founders of the art centre in the 50s.

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PI. 26 yai —lama jt ̂

pi. 27

PI. 26-30 Display of jewelry, basketwork and woodwork at Matopos curio shop, located in the Matopos National Park.

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PI. 28

PI. 29

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PI. 30

52. As with Bulawayo Home Industries, but on another level, an eventual adviser, if admitted to the centre, should also try to encourage a return to more African stylistic forms, even to the copying of subjects from other African countries, e.g. West Africa. Nevertheless, students once they have left the centre, provide an important source for artistic development around the National Monument sites. They may also serve very well as instructors to the rural population there, thus generating income for them.

JAIROS JIRI

53. This welfare organization, similar to Capota (see above) near Masvingo, was founded by a Zimbabwean, Jairos Jiri, in 1950. Its purpose was to give disabled persons a possibility to engage in some craft work like basket-making, furniture-making out of reeds and rattan, toys, and a variety of other items for the tourist market. The objects are sold in the centre of Bulawayo, in a building adjacent to the Art Gallery.

Observations and Recommendations

54. Generally speaking, the quality standard may be stated as fair. With 208 disabled people being presently employed, this organization makes a significant contribution towards reducing the city's burden of unemployment and social welfare, while at the same time supplying the tourist market. Being concentrated in the city, the impact for the rural population around National Monuments is limited. However, consultancy in the upgrading of quality and design seems necessary.

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CURIO SHOP AT MUSEUM OF NATURAL HISTORY, BULAWAYO

55. The shop is located at the entrance and is partly combined with a book shop. Relatively few items are exhibited. These include a variety of relief copper plates depicting antelopes of different species, silver pendants depicting wild animals, modern wood and soapstone Zimbabwe Birds, crude carved of light-coloured wood, leather hangings and straw hats.

56. The margin between purchase and sale price is surprisingly low, varying from less than 20% to under 30%. Supply is provided by local carvers and dealers from Bulawayo and Harare.

Observations and Recommendations

57. As well as a greater variety of objects, better quality and better design should also be acquired. In addition to the ever-present Zimbabwe Bird, more local specimens, indigenous tools and objects should be repre­sented. Craftsmen should be encouraged to have a close look at the great variety of objects displayed within the museum and take advantage of this to copy artefacts and objects suitable for sale.

AFRICAN HERITAGE

58. A curio shop in the centre of Bulawayo, African Heritage, sells a variety of objects, with emphasis on women's apparel and jewelry. Started by a lady two years ago, the enterprise employs three seamstresses, who sew the wax print and tie-dye fabrics into "African style" garments designed by the owner.

59. Batiks are created privately by a woman on raw cotton fabrics sold by the local manufacturer in Kadoma. She is probably the only one earning about Zal,000 or more a month. Other ladies, also working privately, supply the shop with cotton embroidery, crochet work, and knitwear. The shop is also supplied with baskets by people living as far away as BInga, while leather sandals and fly switches, cow-horn snuff bottles and letter-openers are supplied by people near Bulawayo.

60. Two potters (men) produce a variety of coloured clay beads, which are sold loose, or assembled into necklaces, earrings or bracelets by the purchaser. Altogether, ten people from Bulawayo and neighbouring villages supply the shop - some on a regular basis, and others occasionally. Most suppliers work on a full-time basis; only one of them also does field-work. On average, each of them earns approximately Z$500 per month.

Observations and Recommendations

61. The idea to rely on indigenous materials and designs for the production of clothes, women's apparel and jewelry has been widespread in most African countries for a long time. However, it seems to be a relatively new concept in the southern parts of the Continent. The quality of the objects displayed shows a remarkably high standard, which testifies to the potential existing within the population. It is recommended that an eventual adviser visits the shop to become acquainted with existing possibilities concerning indigenous craftsmanship, local raw materials, and local design.

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31 A" curio dealer at her stand in a special section of Mbare Market in Harare.

32 A view of one of the workshops at Bulawayo Home Industries.

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Pi. 33

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PI. 33-3^ Views of the potters' and carvers' workshops at Mzilikazi Art L Craft Centre, Bulawayo.

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PI. 35 Some of the iron sculptures by Adam Madebe, an instructor at Mzilikazi, and his student, David Ndlovu, displayed at the Centre.

ART-ROOTS AND CRAFT CO-OP SOCIETY Ltd.

62. This co-operative society, which was engaged in ceramics, carving and other artistic items for sale to tourists, has obviously closed down.

MUTARE/NYANGA AREA: OBSERVATIONS AND RECOMMENDATIONS

INDIVIDUALS

63. The sites in the Eastern Region, i.e. the Nyanga and Mutare areas, are presently without any curio shops or stands in the neighbourhood of the monuments. There are, however, some 50 to 60 carvers, gathered in groups of five or six, located in various places in and around Mutare (Sakubva and Dangamvura townships), mainly next to petrol stations, where they offer the usual variety of soapstone carvings and some wood carvings.

64. One group has installed itself at Claremont Orchard, next to the entrance of Nyanga National Park. Differing slightly from the rest of the carvers, this group offers relatively large wooden busts, in a naturalistic style, made of ebony and the reddish-brown hardwood, Mukwa.

65. As stated by the informants, most carvers consider their work as a full-time job. Some of them have worked with master-carvers, nowadays well known in Zimbabwe, like David Ndlovu and Adam Madebe. Others try to make a living while still in "informal" apprenticeship, working on a trial-and-error basis. Earnings are comparable to the rest of Zimbabwe, i.e. carvers usually calcu­late their time around ZÍ5 per hour and try to sell accordingly. Dales, of course, vary - like everywhere - and are dependent on the number of tourists showing up, or the demand of dealers, who usually buy larger quantities at lower prices.

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66. The supply of raw material is again provided, in most cases, by a sort of purchasing co-operative, where a group of carvers hire a truck, costing between Z$150 to Z$300, according to the load, and purchase soapstone, serpen­tine or wood. In some cases, the relatively rare mukwa and ebony have to be purchased from as far as Hwange or Kariba.

Observations and Recommendations

67. Given the fact that most visitors to the Nyanga sites also pay a visit to Mutare, the policy of the carvers to occupy a number of strategic spots in the town, particularly at filling stations, seems quite reasonable and probably yields most sales. Furthermore, a main position is held by a group located at the entrance to the Park. As with all carving activities in Zimbabwe, assistance is needed in quality upgrading, design and business administration.

CURIO SHOP AT MUSEUM IN MUTARE

68. Comparable to the curio shop at the Museum of Natural History in Bulawayo, the shop In Mutare is also located at the entrance of the museum and consists of showcases, where a limited number of items are displayed. These comprise small soapstone and wood carvings, cow-horn snuff bottles, works in copper and some jewelry items. .An extension to the shop is envisaged to enlarge display facilities.

Observations and Recommendations

69. Basically the same statements may be made here, as with the curio shop at Bulawayo. However, potential craftsmen may not find such a great variety of items displayed within the museum as in Bulawayo. Consultancy, therefore, has to be more imaginative and would be more instructive with the use of illustrations, examples and the like.

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PI. 37 Soapstone carvers at work in Mutare near another petrol station.

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PI. 38-39 Two carvers and their installation at Claremont Orchard, near the main entrance to Nyanga National Park. The exhibited carpets are woven by women from a nearby village.

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II. POTENTIAL FOR FACSIMILE ARTEFACTS

70. Visitors to National Monuments, particularly those from abroad, may be classified, tentatively, in the way they are attracted to special products, into three target groups:

a) Curios

This is the curio buyer in the strict sense of the word. He (usually not "she") will be interested in exotic artefacts: agricultural, digni­tary or martial implements like hoes, axes, staffs, dance-wands, musical instruments, knives, swords, bows and arrows, etc. He may also be attracted by magical paraphernalia like prophesy boards, magic figures, artefacts or other implements used by N'angas, like Hakata. Generally speaking, buyers in this category will not be willing to pay much more than a negligible amount for items to add to their collections.

b) Art

The art buyer is interested in aesthetic sculptures, masks, or objects that somehow reflect the artistic ideal of mystic Africa. Buyers in this group will pay, more readily, relatively high prices, if they are convinced they are buying Individual, or even unique pieces and not just "airport art".

c) Decorative art

The buyer of decorative art-work will be interested in objects of daily use that incorporate the local, indigenous touch. For example, items in this category are: bags, jewelry of any kind, scarves, hats, ties, belts, wallets and the like. With this target group, the relation between price and product is very important and more subject to critical calculation than with the previous groups.

CURIOS

71. Most of the objects falling into this category are already for sale in many of the curio shops, such as weapons, agricultural implements, horn snuff boxes, and so forth. Although some items like combs, penis sheaths (umncwado), divining implements (hakata), wooden bowls (Tonga), skin cushions or clubs could be added, the potential for new products is limited.

ART

72. Much more could be done in this category of facsimile potential. Since art objects from Zimbabwe are limited, so far, to a few items like the famous stone birds, sacrificial bowls from Great Zimbabwe, and some archaeological terracotta finds from different parts of the country, it would seem appro­priate to encourage craftsmen to produce facsimiles and, at the same time, to create individual objects based on these originals. A special case is the elaborately-carved head-rests, mainly of Shona origin, which may be considered as art or artefact, and which enjoy high esteem in the art world. Here, excellent craftsmanship has to be revived in order to lift such an object from a curio item into an art object.

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73. To broaden the spectrum of "African art" in the curio shops, it may be suggested that advantage be taken of other art-producing centres in Africa and to encourage the copying of those items. Apart from neighbouring Zambia and Mozambique, who produce the Mbunda and Rotse masks for the Mkishi dancers; the famous Rotse wooden receptables; and the traditional Makonde masks, one should turn to West Africa, where a long tradition of carving for the art market has been established. Another market for objects from Central and East Africa has developed in Bujumbura, where sculptures and masks from Central and Eastern Zaire (Maniema) and also from Tanzania and adjacent areas, find their way to the art collector overseas.

74. Since over 90% of these objects are copies, fakes, or derivatives of originals, a number of objects, covering a wide range of types, could easily be acquired to serve as samples in Zimbabwe. As mentioned above, emphasis on all these "art objects" has to be put on a certain individuality of the object to avoid an "airport art" aspect. Variation in the execution of a given kind of mask or sculpture, by keeping the prevailing style components, is an impor­tant prerequisite to achieving the greatest attraction.

DECORATIVE ARTS

75. A number of items in this category are already produced as facsimiles, together with a variety of objects that just take an emblem, or a symbol, to be incorporated in an object of everyday use, like a bag, a hat, or a T-shirt. Yet, here also, a series of new facsimile-type objects may be created, often as a jewelry component. Examples are given below.

MUTSAGO (see Appendix IV).

76. Of these elaborately-carved Shona head-rests, only a few old examples seem to exist in Zimbabwe. Carved in wood or in soapstone to actual size (usually not higher than 12 cm). In a diminutive size, they also may be worked in silver, gold or gemstones. In this form, they may be used as pendant components for necklaces or bracelets; as earclips or earrings, or even cuff-links. Finally, they can also be worked in brass or other metals as a buckle for a lady's belt.

77. In the latter case, the depth of the head-rest would, of course, be narrowed to allow comfortable attachment. By enlarging the actual size, and carved in wood, the head-rest could be transformed into a stool, thus creating an alternative to the Tonga stools.

CHIGARO (PI. ZVIGARO)

78. These Tonga traditional stools, as with the Mutsago, are no longer carved. Except for the use as belt buckles, the same variety of possible facsimiles for Mutsago may be applied here.

HAKATA/AMATHAMBO

79. It is surprising that items like the divining tablets, which are still widely used throughout Zimbabwe, have not, as yet, found their way to the facsimile tourists market. They are relatively easy to carve, The most appropriate raw materials, like animal bone and wood, are readily available, and they are easy to carry in either a handbag or a suit pocket. Again,

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besides their production in actual size (as a curio product), they may very well form a component of a necklace in diminutive form, when worked in silver, gold, or semi-precious stones (see design in Appendix IV).

TERRACOTTA FIGURINES

80. In some archaeological sites a number of figurines have been excavated, from which facsimiles could be produced. Although most are broken, possibly for ceremonial reasons, a few of them seem attractive enough to be repro­duced. Since they do not stand on their own (except some animals), they have to be put on a base, which could be produced easily by a blacksmith, if the necessary advice were given (see design in Appendix IV).

THE ZIMBABWE BIRD

81. This most important symbol of Zimbabwe is already reproduced in thousands of facsimiles. The reason for mentioning this item here is the necessity - as with the figurines - to put them on a stand. This is particu­larly essential the more the stela on which the bird is seated extends the length of the sculpted item, thus leading to possible breakage. Needless to say, worked In silver, gold or gemstones, the bird could be used as a pendant on a necklace or bracelet.

ZIMBABWE SACRIFICIAL BOWL

82. Although a fraction of the original bowl found at Great Zimbabwe, and now exhibited in the museum, is broken off, a facsimile bowl, carved In soapstone or wood, perhaps, could be restored and serve as a sample for further copies.

ROCK PAINTINGS

83. The famous rock paintings from various shelters in Zimbabwe could serve as facsimile imprints on ladies1 silk scarves, and possibly bordered by the chevron pattern from the walls at Great Zimbabwe. It Is doubtful whether an attempt with batik techniques will yield the same results, since the accurate-ness of the contours of the rock paintings is one of their main attractions, which would definitely diminish drastically with batik. Another aspect of rock painting facsimiles would include copies painted on wood, canvas, or copper.

TSORO (Board Game)

84. The board itself could be carved from wood or soapstone. The stones, or pieces, called matombo or minyira, could be fashioned from gemstones.

IVORY FIGURINE FROM KHAMI

85. This is a unique object, found at the Khami archaeological site. It was originally mounted on a pole. It is exhibited in the Bulawayo Museum of Natural History. Ivory is on the list of products from protected animals and its importation into some countries is severely punished. Therefore, the group of potential buyers is limited if the facsimile is carved in ivory and to the same scale. It may, however, find a ready market if carved in other materials like wood or soapstone, provided it is put on a base and executed with a certain refinement. It could also be carved to a more diminutive scale and be used as a pendant.

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KAZEMBE CEREMONIAL AXE

86. A miniature facsimile of the ceremonial axe of King Kazembe X, exhibited in the Bulawayo Museum of Natural History, could be used as a pendant, if worked in silver or gold, and would be attractive to buyers, if accompanied by an explanatory leaflet, or displayed with a poster.

NDORO

87. This one-time prestige object, originally made from the bottom of a shell, and later made in clay or porcelain as a facsimile by the Portuguese in the 18th and 19th centuries, could easily become a revival jewelry object, produced again in clay or porcelain and designed as a pendant or a button.

- 37 -

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PI. 49. Two terracotta figurines of Zebu cattle, also exhibited in the Museum of Natural History, Bulawayo.

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PI. 50 Zoomorphic vessel, used for ceremonial purposes; reddish slip with black zig-zag ornamentation. Exhibited in the Museum of Natural History, Bulawayo.

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52 The ivory figurine, found at Khami Ruins, measuring 16,7 cms (figure: 8 cms), now exhibited in the Museum of Natural History, Bulawayo.

53 King Kazembe's ceremonial axe, with wooden handle, iron blade and copper ornamentation, now exhibited in the Museum of Natural History, Bulawayo.

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APPENDIX I

Proposals for Assistance - Objectives and Outputs

The Development of Existing Craft Production

Natural resource-based handicraft production, especially in basket making, soapstone and wood carving can, if planned and implemented systemati­cally, serve as a foundation for rural income-generating activities. Assis­tance on a substantial scale is, therefore, essential. This should be focused mainly on training in technical aspects of production in selected handicraft areas. Special attention has to be given ,to new design pattern's thereby emphasizing a revival of "African" forms; eventually copying from other African countries with a long tradition of production for the art market. Training has to be delivered to group members through a series of one-week courses, given by local and international consultants.

The technical training programme has to be accompanied by courses in accounting, administrative systems, production schedules, budgeting, etc. Training should be delivered to group representatives who will, in turn, train group members. A series of one-week courses, with the maximum of 30 partici­pants at each course, should be organized by the Project Co-ordinator. In order to have better access to by-passing tourists, the construction of sheds, similar to the one in Matopos, should be envisaged for the two marketing outlets in Mutare and Nyanga.

The Development of Jewelry Production

Incorporating Facsimiles of Artefacts Recovered from Sites and Facsimiles of Art Objects Recovered from Sites

At present, jewelry production is confined to necklaces made out of dyed seeds and some copper-wire bracelets. Only two potters in Bulawayo produce hand-made, painted, terracotta beads, which are fashioned by a lady into jewelry (African Heritage), but which are, of course, relatively expensive. The reason for this unproductiveness is the lack of relatively cheap beads. Because of important restrictions, new beads are not imported. Old Venetian or Dutch glass beads, which are now and then brought in to the country, together with glass beads from Ghana (Krobo beads made of crushed and molten old bottle glass) brought in by West African traders, are much too expensive for ordinary jewelry production. There is only one expatriate lady in Harare working with these beads.

If the feasibility study for the local production of glass beads, under­taken simultaneously with the present study by VOICE* (ZIM/88/028, 4.3.) has yielded fruitful results, this main obstacle may be eliminated and jewelry production may start on a new basis. As mentioned above on various occasions (Chapter II), there are a number of possibilities for incorporating facsimiles of artefacts and facsimiles of art objects into jewelry.

* VOICE: Voluntary Organization In Community Enterprise.

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As to the latter, there are, however, only two kinds of art objects to:

be incorporated: the Zimbabwe Birds and the ivory figure from Khami. Once established, jewelry production can also serve as ah important component of handicraft production, and thus provide considerable income generation for the "rural population. A prerequisite for this development is, again, technical and design assistance on a substantial scale, accompanied by basic instruction in bookkeeping, calculation and financial management. As to the raw material concerned, special attention should be given to bone carving, and the working of gold, silver, and gemstones. Assistance, basically, may run on the same time and operation schedule as the development of existing craft production, since many of the artisans may show interest in a parallel instructions programme.

The Resurrection of Craft Activities no longer being practised

Differing from the assistance programme stated above, where a relatively large group of existing artisans may be addressed, craftsmen with the know­ledge of manufacturing traditional tools, ritual objects and artefacts, have to be identified first, before any assistance may take place. Given the limited time for preparing this present study, it was not possible to investi­gate, on a. systematic basis, in this respect. On an ad hoc tour, tentatively undertaken from Great Zimbabwe, it was possible,: however, to identify black­smiths and potters interested in a revival.assistance programme of this kind.

The resurrection of those craft activities of interest to be incorpo­rated into general craft production, geared for the tourist market, should be focused on a survey of objects, usually displayed in the museums of Harare, Bulawáyo; and Mutare, which may be selected as being worthwhile to reproduce. Needless to say, the bulk of artefacts for daily use in traditional societies does not, as a rule, represent objects of tourist interest. The number of objects that are of tourist interest, but are no longer produced, seems to be rather limited. Among these are the already 'often-rmentioned head-rests and stools, scabbards (Bakwata), Ndoro (see above), dolls and clay figurines.

Identification of craftsmen capable of producing these traditional objects may take place in conjunction with the assistance programmes mentioned above, since the whereabouts of these craftsmen may be ascertained by word of mouth, i.e. through those craftsmen taking part in the training programmes. Once identified, these artisans may be incorporated into the existing assis­tance schemes. It is possible that they, themselves, may serve as instruc­tors, thus proliferating their knowledge through the other craftsmen.

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Activities

1. Collection and compilation of socio-economic base-line data. Further data collection may be neces­sary in some of the project areas.

2. Collection and compilation of technical data. Research and experimentation with natural resources and their practical application to handicraft produc­tion. To include data on regional resource availa­bility, utilization, replenishment and conservation. To be collected by National Botanical Gardens.

3. Determine feasibility of other natural resource-based, income generating activities.

4. Group formation process. Using from-the-bottom-up approach to group formation, establish regular meetings with members; group discussions in organization; production and marketing; selection of group leaders; organization of on-going train-; lng. Weekly monitoring of above activities by project staff. . .

5. Design and implement technical training for about 500 participants in basketry, wood, stone and bone carving. Specific courses to be given by local and/or international consultants in technical refinement and design, focusing on African motifs. Monitoring to be done by project staff.

6. Design and implement administrative train­ing for representatives of groups in all areas related to production and marketing. To include work pro­grammes, budgets, production levels, price determina­tion, cost calculations, etc. Specific courses to be given by local and/or international consultants. Monitoring to be done by project staff.

7. Construction of two central market outlets in Mutare and Nyanga Districts where producers are scattered and remain physically distant from retail markets. The district centres, will control the supply of handicrafts from rural producers to urban marketing outlets. .

8. Inter-Agency Co-ordination, the project will liaise with appropriate government and non-governmental agencies involved in the production and marketing of handicrafts. Workshops, seminars and training initiated by other agencies will be attended by the project.

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9. Study tours. National and regional study tours to handicraft co-operatives for project staff and selected group members. Destinations and timing to be specified during the project.

Reporting

A. Inception Report

The Project Co-ordinator will prepare an inception report three months from the beginning of the project's activities. This report will describe the scheduled activities and provide data from which the progress towards the immediate objectives of the project may be evaluated.

B. Six-monthly.Progress Report

This report will be prepared by the project staff and submitted by the Project Co-ordinator. The report will outline scheduled activities, modifica­tions to the work programme, and summarize progress being made towards the achievement of the immediate objectives.

C. Terminal Report

A terminal report will be prepared by the P/C at. the end of the project and be submitted to the Government of Zimbabwe and the Donor. It will assess in a concise manner the extent to which the project's scheduled activities have been carried out, the outputs produced, the immediate objectives achieved, and the results utilized towards the realization of the related' development objectives and the recommendations for any future work arising from the project.

D. Other Reports •

Other reports, as necessary, will be produced by the consultants. Project staff will also document training and other workshops with summary reports.

- 48 -

Inputs

Donor inputs

Personnel

- Chief Technical Adviser/ Handicrafts Expert (Project Co-ordinator) 36 ra/m

- International Technical Consultants 6 m/m - National Consultants 6 m/m

Contracts (training and extension materials).

Contribution to General Operating Expenses.

Equipment and Materials.

-Construction materials for 2 marketing centres. - Audio-visual equipment. - 2 x Vehicles. - Tools and sundry operating materials.

Training

-Technical and administrative workshops. - National and regional study tours.

- 49 -

Budget of Donor Contribution (US¿)

m/m

10. Personnel - Chief Technical Adviser

/Handicrafts expert 12 - International Specialist Consultants 3

- National Consultants 2 Subtotal 17

20. Official Travel

30. Contractual Services - Reporting - Training materials etc. -

Subtotal

40. General Operating Expenses -

50. Supplies and Materials - Construction materials - . - Other, incl. sundry tools -

Subtotal

60. Equipment - Audiorvisual equip. -- 2 No. 4WD vehicles

Subtotal

70. Training

Year 1 ...

usa 000

72

30 5

107.

5

2 10 12

7.5

15 2 17 .

10 15

. 2 5

m/m

12

3 2 17

-

-— —

.—

-.-— -

--—

Year 2 ...

usa 000

72

30 5

107

3.5

-15 15

15.

15 2 17

5 15 20 •

m/m

12

3 2 17

-

--—

mm

; • ' —

' • . . — .

. —

—

Year 3 ...

usa 000

72

30 5

107

3.5

• . 2

5 7

. 15

5 2 • 7

--—

m/m

36

9 6 51

-

--—

—

--—

--—

TOTAL

us i 000

216

90 15 321

12

4 30 34.

37.5

35 6 41

15 30 45

- On-going informal training

- Workshops/Seminars - Study tours (local)

(abroad) Subtotal

2 3 2 8 15

188 500

23 205 -

7.5 3 5 12

,27.5

205 000

25 350 8 815

" • -

---••

5 3 3

• -11

150 500

18 265 12 700

----"*

14.5 9 10 20 53.5

544 000

66 820 21 515

Total

Project servicing Cost Inflation Factor

Grand-Total USÍ 211 705 239 165 181 465 632 335

•- 50 -

Zimbabwe Government Inpufcs

Personnel

- 3 Project Officers 108 m/m - 2 Drivers 60 m/m - Labour for construction of marketing centre sheds.

Office Space.

Equipment and Materials

- Office equipment. - Sundry stationery. - Materials (wildlife, plant, stone, etc.) samples for testing or demonstration purposes.

General Operating Expenses

- Maintenance of vehicles. - Office operating expenses.

Budget of Zimbabwe Contribution (Z$)

Personnel

- Extension Assistants (2) 72 m/m 22 000. -¿Drivers 60 m/m 15 000

- Secretarial support as necessary - Driver as necessary ) equivalent - Labour for construction of market centres ) to: 40 000 - (Labour to be provided by District Councils) )

General Operating Expenses

- Vehicle operating expenses (10 000 per. year) . 30 000 - Other office and technical services (lump sum value) 72 000

Equipment and Materials

- Office equipment ' 15 000 - Sundry stationery 10 000 -Materials for handicraft trials/demonstration 5 000

Office Space

- Lump sum equivalent 36 000

TOTAL: Z$ 180 200

- 51

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- 52 -

Profiles and Terms of Reference for Personnel

1. International

a) Project Manager 36 m/m

A small-scale Industry "expert will be recruited to manage and co-ordi­nate project activities. He/she will be a handicraft specialist, with exten­sive technical and administrative experience in the establishment and promo­tion of small-scale, income-generating handicraft activities. He/she should have knowledge of basketry and carving, and rural experience in organizing producer groups and/or institution building.

Areas of Activity

- Establish project work programmes and ensure their implementation. - Establish relations with, and maintain liaison among, official and non­governmental agencies active in handicrafts development and in resource management for materials on which handicraft trades are based.

- Establish viable primary producer groups in project areas. . -Determine feasibility of other natural resource-based handicrafts. - Design and monitor technical training, including identification of national and international consultants for specialist training courses.

- Design and monitor administrative training. .-.Determine appropriate forms of organization of production. - Monitor construction of marketing outlets. - Establish appropriate marketing channels for various handicrafts. - Undertake product development in selected handicraft areas. - Document project progress.

b). International Consultants 6 m/m

International consultants in specific technical areas will be recruited by the project as needed. Envisaged main technical areas include gold and. silver smithery, gemstone working, general and jewelry design, carving (wood, bone, stone).

2. National

. The Government of Zimbabwe will provide 4 project personnel to include:

1. Two Junior Project Officers (Senior Scout level) 2. Two Drivers.

- 53 -

APPENDIX II

Items to be sold at Great Zimbabwe Curio Shop

Description .

Pots (3 sizes)

sets Wooden spoons (small) Baskets Cooking sticks Wooden spears Bow/arrow Axe/spear (all wood) Drums. Baskets Table mats (fibre) Birds (soapstone) Birds (ashtrays) Thumb.pianos Hippos (soapstone) Aeroplanes (wood) Badges (from Masvingo) Axes (iron blade) Wooden cups Wooden plates Wooden, bangles Tortoises (soapstone) Flamingos (wood) Conical towers Straw handbags (Mutare) Eggs (gemstone, Byo.) Bangles (copper) Wooden vase Elephants (soapstone) Knobkerries (wood) Human figures (soapstone) Rhinos (soapstone) Key Purse (Bondolfi) Giraffes (soapstone) Spears (wood, iron blade) Hornbills (soapstone) Ceremonial axes Daggers. Walking sticks Fibre hats (Mutare) Zimbabwe maps (soapstone) Horn birds (cow horn) Snuff boxes Childrens1 hats (Byo.)

Purchase Price (Z$)

.25c/.50c

.50c/1.00

.75c/1.50 3.00/6.00 .25c/.50c .25c/.50c .50c/1.00 .50c/1.00 .50c/1.00 .50c/1.00 .50c/1.00 .50c/1.00

. ..90c/1.80 .90c/1.80 3.25/5.25 .90c/1.80 1.50/3.00 1.00/2.00 1.50/3.00 1.50/3.00 1.00/2.00 1.00/2.00 1.40/2.80 1.50/3.00 1.40/2.80 ; 1.00/2.00 1.00/2.00 1.00/2.00 1.00/2.00 1.00/2.00 5.00/10.00 2.50/5.00 4.00/8.00 5.00/10.00 5.00/10.00 5.00/10;00 2.50/5.00 4.00/8.00 2.50/5.00 6.00/12.00 4.00/8.00 4.00/8.00 4.00/8.00 4.00/8.00 2.00/4.00 4.50/7.00

Selling , Price (Z$)

1.70/3.40 2.50/5.00

--

2.00/4.00 5.00/10.00

-1.00/2.00 2.50/5.00 1.00/2.00 6.00/12.00 8.00/14.00 1.50/5.00 Leather 15.00/24.50.

-4.00/8.00 16.00/25.00 3.00/6.00

-3.00/6.00 3.00/6.00 3.00/6.00 2.00/4.00 5.00/10.00 3.00/6.00 2.50/5.00 3.00/6.00 2.00/4.00

-2.50/5.00 16.00/25.00 5.00/10.00

15.00/24.50 16.00/25.00

-20.00/28.00 7.00/12.00 8.00/14.00 6.00/12.00

-

6.00/12.00 -----

- 54 -

Description

Masks & Dolls (wood) Impalas (wood, Chibi) Headrests (wood) Fibre bags (Mutare) Mortar/Pestle (wood) W/Paper baskets Wren birds (wood, Chibi) Beating drums Boxes (gemstones, Byo.) Plaques (wood, Byo.) Heads (soapstone/wood) Straw hats (Mutare) Crocodiles (soapstone) Ivory rings (Mutare) Ivory earrings (Mutare) Wall hangings (Leather, from Marondera)

Wall hangings (cloth, from Marondera Bags (leather, from Marondera). Wallets (leather, Bondolfi) Bill folds (leather, Bondolfi) Purses (leather, Bondolfi) Mouse key rings (leather, Bondolfi) Crochet work (Womens* League) Tie & Die (Masvingo) . T-shirts (Harare)

Purchase Price (Zi)

4.50/7.00 4.50/7.00 4.50/7.00 2.00/4.00 1.60/3.20 1.00/2.00 .75c/1.50

1.60/3.20 12.00/23.25 15.00/24.50 3.00/6.00 2.00/4.00 3.00/6.00 3.00/6.00 14.40/23.00

7.88/12.00 3.75/6.00 7.88/12.00

11.40/16.00 -10.50/16.00 3.90/6.00 1.90/3.50 , 4.00/6.00 25.00/35.00 5.45/8.10

Selling Price (Z$)

10.50/16.00 ---

3.50/7.00 2.50/5.00

--

15.00/24.50 25.00/35.00 8.00/14.00 3.00/6.00 18.00/26.00

--

16.31/25.00 11.81/17.00 16.31/25.00 10.15/17.00

-' -

25.00/50.00 • -

9.75/Í6.00

- 55 -

APPENDIX III

Sales at the NMM Curio Shop at Great Zimbabwe for period 1989/1990

February 3 897.40

March 6 024.47

April 6 270.20

May 5 047.52

June 4 582.20

July 9 121.28

August 11 599.51

September 6 356.35

October 6 699.26

November . 5 613.35

December 13.323.55.

January .;. 9 829.47

February .............;...............' 4 925.62

TOTAL: 93 590.18

- 56 -

APPENDIX IV

Suggestions for Sales Promotion

Examples of leaflets or posters accompanying ethnographic artefacts, proposed for sale at curio shop.

facsimile

HAKATA (Shona) or AMATHAMBO (Ndebele)

First observed in the 16th century, by a Portuguese who was visiting the court of the Monomatapa, these divining implements are generally made of wood, ivory or animal bone. They are used by diviners or healers (N'anga) to help in forecasting, to diagnose illnesses, and for various other occasions. The basic set of four tablets have specially designated values, and may be sup­plemented by other items of related significance.

When divining, Hakata or Amathambo should be thrown on to animal-skin or reed mat floor coverings. When not in use, they may be kept in a special basket, wooden container, or wrapped in a piece of black coth.

Literature: Press): 93; (Longman): 21 f.

D. N. Beach, 1980, The Shona and Zimbabwe, Gwelo (Mambo M. Ellert, 1984, The Material Culture of Zimbabwe, Harare,

Denomination of Tablets

CHIRUME the male

NOKWARA the female

CHITOKWADZIMA the crocodile

KWAMI

Note:

To be sold wrapped in a piece of black cloth and eventually be accom­panied by a photograph, showing a diviner throwing the tablets.

- 57 -

NDORO

Worn originally on foreheads and chests, Ndoro had been observed and documented by a 16th century Portuguese chronicler, who saw the Monomatapa and others wear it. In its natural form, Ndoro consists of the bottom, or flat­tened .whorl, of the Conus Virgo, or a similar mollusc species, which has been severed from the rest of the shell. Because of its scarcity, a high value was placed on Ndoro, which the Portuguese took advantage of in their trading. They are believed to have exchanged these pieces of shell for gold, ivory and other goods in the sixteenth, seventeenth and later centuries.

Probably in the eighteenth and nineteenth centuries, they substituted the natural Ndoro with ceramic and porcelain, copies, supposedly imported from India and Holland.

According to oral tradition, Ndoro played a dramatic role in early Zimbabwean history. A descendant., of Mutota, the apparent founder of the Monomatapa dynasty, was trying to subjugate a rival king named Karuva. Dis­covering through a spy that Karuva held the Ndoro in great awe and respect, he ordered his warriors to wear the Ndoro upon their "foreheads as they marched into battle against Karuva's forces. On seeing the Ndoro-ornamented soldiers approach, Karuva became confused, and the tide of battle turned against him.

Literature: M. Ellert, 1984, The Material Culture of Zimbabwe, Harare (Longman): 117 f.

- 58 -

MUTSAGO

Headrests, or wooden pillows, have been and are still now widespread in most parts of Central, East and South-east Africa; although only in a few areas do they achieve the high standard of artistic merit of Zimbabwean examples. Made to preserve the elaborate hairstyles of bygone times during sleep, families in Zimbabwe possessing a Mutsago look upon it as part and parcel of their cultural heritage.

Mutsago have been handed down from father to son in strict lineal succession. Where the Mutsago belonged to the spirit of a long-deceased ancestor, it would be required during the ceremony preparatory to the "calling-up" of that spirit. Theodor Bent, a traveller in Zimbabwe in the early 1890s, noted the following about the Mutsago:"They (the Africans) are utterly unaccustomed to postures of comfort, reclining at night-time on a grass mat on the hard ground, with their necks resting on a wooden pillow, curiously carved. They are accustomed to decorate their hair so fantastically with tufts ornamentally arranged and tied up with beads; that they are afraid of destroying the effect, and hence these pillows." (Theodor Bent, 1969 (repr.) Ruined Cities of Mashonaland (Books of Rhodesia): 36).

Literature:- M. Éllert, 1984, The Material Culture of Zimbabwe (Longman) 17 f.

- 59 -

KING KAZEMBE'S CEREMONIAL AXE

The original of this axe was given by King Kazembe X to Mrs. Andersen, a missionary who acted as his messenger to "Chiana" Harrington, the Collector in charge of that area. The axe was Mrs. Andersen's warrant to act. on King Kazembe's behalf.

In 1899, King Kazembe fought against the B.S.A. Company's administration and his royal town was burnt down. This axe, together with some of his insignia of chieftainship, which were removed before the destruction of the town, are now preserved in the Museum of Natural History, Bulawayo, and are the few relics of this particular cultural heritage.