April 28 to October 31, 2007
An Educator’s Resource Guide
4344 Shaw Boulevard, St. Louis, MO 63110 · www.mobot.org
Animals, families, and creatures of legend spring to life in these monumental hand-carved sculptures from Zimbabwe. Carved from opal stone, cobalt, and springstone, the statues depict their African creators’ traditional close bond to nature and the environment. Children will love the new animals and creatures—and the stories they tell. 23 monumental sculptures of animals, legendary creatures, and humans—all new work One special statue on display the tropical rain forest inside the Climatron® conservatory Small original sculptures available for purchase at the Chapungu Gallery and Gift Shop Chapungu artists made their U.S. debut at the Missouri Botanical Garden in 2001, and we are pleased to welcome this new exhibit in 2007.
Tips for the Best Experience • Pre-register your school group online at www.mobot.org/education or call (314) 577-5140.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Table of Contents
Preparing for your Chapungu Experience............................................ 4 The Garden and Africa............................................................................ 8 Where is Zimbabwe? .............................................................................10 The Shona Culture ................................................................................11 What is Chapungu?.................................................................................12 Guide to the Stone and Rock...............................................................14 Chapungu: Nature, Man, and Myth Exhibition ...................................16 Artists Bios...............................................................................................22 Educational Activities..............................................................................29
Table of Contents ·
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Preparing for your Chapungu Experience
Registration: All school groups, whether garden-led or self-guided by a teacher, must register their visit to the Garden either online at www.mobot.org or by calling (314) 577-5140. Chaperones are required. Please observe the following student/ chaperone ratio. Grades PK–3: 1 adult per 5 students Grades 4 and up: 1 adult per 8 students The Garden asks that chaperones remain with their assigned group throughout their visit to ensure that student behavior is appropriate for the Garden setting. Due to the amount and value of the artwork in this exhibition, please ensure that all students are accompanied by a chaperone at all times. Please advise chaperones of these expectations.
YOU ARE RESPONSIBLE! Any damage caused by your group will be charged to the school. It is imperative that you advise chaperones of the importance of managing their assigned students at all times.
Garden Manners: These rules help protect nature, the art, and you.
YOU ARE RESPONSIBLE! Any damage caused by your group will be charged to your school. Stay on the designated pathways. Stepping on or digging in the mulched areas is not permitted. Do not pick live plants. You may collect plant parts that have fallen on the ground. Stay with your group. Be ready to look carefully and think about what you see. Visitors may only touch the sculptures in the exhibit area RESPECTFULLY. Climbing, sitting, and other similar behaviors are not permitted. Do not run through the exhibit areas. We do not want you or the art to get hurt. PLEASE be aware of other Garden visitors. Ask your students to allow room on paths and to keep their voices down.
Divide your Students: Before coming to the Garden, divide students into groups based on the above student/chaperone ratio. Prepare your Students: Your students may enjoy the CHAPUNGU: Nature, Man, and Myth exhibition in the outdoor display gardens. A successful Garden visit to experience CHAPUNGU: Nature, Man, and Myth starts well before your students arrive. Please acquaint your students with the “Garden Manners” and increase their interest by engaging them in pre-visit activities. By preparing your students in advance, they will be less distracted by the novelty of a new environment. They will feel confident and assured by knowing what to expect and what is expected of them during their visit. Photography: Visitors to the Garden are welcomed to take photos and shoot videos for personal use.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Arriving at the Garden: In order to ensure the best possible experience for your students, chaperones, and drivers, we ask that you follow the drop-off and pick up procedures. Bus Parking: Please review directions and bus parking guidelines with your driver(s). A copy of “Bus Parking at the Missouri Botanical Garden” is included in your packet. Do not unload students in front of the Ridgway Center. Check-in and Admission: Bring your confirmation with you to the Garden! All groups, whether arriving by bus or car, must check in at the Linnean Plaza ticket booth. Check-in information and directions to the Linnean Plaza will be included with your confirmation pack upon making a reservation for your group. Safety: We ask that you and your chaperones take an active role in the safety of your students. Be especially attentive during arrival and departure when students are on the parking lots. Remind bus drivers to be watchful before moving buses. Restrooms and water fountains are located on both levels of Ridgway. Make sure to arrange a place to meet when your group is finished. You may wish to gather as a class and discuss your group’s experience. Departure: Meet your bus in the same area that your group was unloaded. Bus drivers will not be permitted to pick up students in the front of the Ridgway Center.
Outside food and drinks are NOT permitted in the Garden.
The Garden offers three suggestions for lunch: Lunch at Sassafras. View the current menu online at www.mobot.org/shop/ sassafras.asp. Call (314) 577–5196 two weeks prior to your visit. Sack lunches are also provided by Catering St. Louis. For a current menu, pricing, and ordering, please call (314) 577-9530. Picnic in Tower Grove Park. Call (314) 771–2679 to reserve a pavilion. The park is adjacent to the Garden.
Preparing for Your Chapungu Experience
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BUS PARKING AT THE MISSOURI BOTANICAL GARDEN (please give a copy to all bus drivers)
Dear Tour Operators, DMOs, Group Organizers, and Educators, Thank you for bringing your group to visit the Missouri Botanical Garden. In order to ensure the best possible experience for your passengers, students, and drivers, we ask that you follow the drop-off and pick-up procedures detailed below. As before, thank you for choosing the Garden!
School Bus and Motor Coach 1 Enter via the main Garden entrance on Shaw Boulevard.
Turn left, toward the upper east parking lot. Make the first right and park parallel to the wide sidewalk. 2 Drop off passengers here.
Drop-off
Pick-up
4 Proceed straight on DeTonty Street to Thurman
Exiting and Parking
Pull forward and make a left turn. Proceed straight to the upper east parking lot gate, which is designated exit only. 3 Turn left onto Tower Grove Avenue; continue north crossing Shaw Boulevard. Turn right onto DeTonty Street and park your vehicle. Drivers are welcome to return to the Garden for a complimentary beverage. 6
Avenue. Turn right onto Thurman Avenue and travel one block to Shaw Boulevard. Turn right onto Shaw Boulevard, cross Tower Grove Avenue Turn left into the main Garden entrance and follow the directions for passenger drop-off.
4344 Shaw Boulevard · Saint Louis, MO 63110 (314) 577-9400 · www.mobot.org Tourism: (314) 577-0275 · Education: (314) 577-5140
educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
DRIVING DIRECTIONS
The Missouri Botanical Garden is easily accessible from the major highways in the area. From I-44, exit at Vandeventer south. Turn left onto Shaw From I-64/40, exit at Kingshighway south. Turn left onto Vandeventer. Turn Right onto Shaw and proceed to 4344 Shaw.
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The Garden and Africa
The Missouri Botanical Garden has strong ties with Africa. With nearly 800,000 specimens from Africa in the herbarium, the Garden is the recognized U.S. center for the study of African botany. Recently, the Garden has completed digitization of the entire type collection of African plant specimens located in the research center (one block west of the Garden) Garden researcher Corneille Ewango, of the Democratic Republic of Congo, was awarded the Goldman Prize in 2005, considered the “Nobel Prize for the environment.” In Ghana, Kenya, Zambia, Cameroon, Malawi, and South Africa, Garden researchers lead training, research, and field work projects, as well as botanical inventories to help guide conservation decisions. During one of his visits to Africa, Dr. Peter Raven, the President of the Missouri Botanical Garden, saw an exhibit of Chapungu sculpture and decided to bring it to St. Louis. With tremendous effort the exhibit sculptures were wrapped and shipped by sea to both New York and Chicago. From these cities, the work was moved by train to St. Louis and then by truck to the Garden. Thanks to Dr. Raven this wonderful sculpture has been touring North America since it arrived in early 2001. For more information about the Garden’s Research Projects in Africa, visit us online at http://www.mobot.org/MOBOT/Research/africaprojects.shtml
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
The Garden and Africa
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Where is Zimbabwe?
Zimbabwe (formerly Southern Rhodesia) Zimbabwe, a landlocked country in south-central Africa, is slightly smaller than California. The country consists mostly of high plateaus and is veined with many rivers and their tributaries. It has a tropical climate moderated by its high altitude. Recurring droughts are Zimbabwe’s most prevalent natural disaster. Victoria Falls is Zimbabwe’s most spectacular natural feature. a land-locked country north of South Africa population c. 13 million several large cities, capital Harare 1.6m rich agricultural areas extensive mineral wealth (gold to coal) vast savanna with thousands of animals (elephants, giraffes, baboons, etc.) English is the official language; most speak at least one ethnic/tribal language as well. The country was colonized by the English in the 19th century. Zimbabwe won its independence through war in 1980. At this time Zimbabwe is experiencing economic depression. Social Comment Zimbabwe has had a similar history to all European colonies: wealth to the conquerors, poverty to the natives. Since their war of liberation (1966-1980), the native government led by Robert Mugabe has been corrupt and despotic. Zimbabwe
Capital: Harare Official language: English Population: 13 Million Government: Republic President: Robert Mugabe
Although Zimbabwe has good land, rich mineral resources, and skilled workers, the economy is collapsing.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
The Shona Culture
The Chapungu sculptors are of Shona origin. The Shona tribes make up the largest proportion of indigenous people of Zimbabwe. The Shona are primarily an agricultural people. Their main crop is maize, but they also grow millet, sorghum, rice, beans, manioc, peanuts, pumpkins, and sweet potatoes. They raise cattle, sheep, and chickens. Women may supplement their income by selling pottery and hand-woven baskets that serve primarily as utilitarian objects. Men may work as blacksmiths or wood carvers by commission. Although cows are milked, they are most often used for bride price. Cows are considered taboo for women, so men do all of the milking and herding. Men also do some hunting and fishing, but neither contributes greatly to the food supply. Men and women both participate in farming. Traditionally, Shona people lived in dispersed settlements, usually consisting of one or more elder men and their extended families. Most decisions were made within the family, although organized political states were recognized as a source of centralized power. These political states were headed by a paramount chief who inherited his position and power in the divine manner of a king. He usually resided in a centralized location and was accompanied by his court who advised him about most important decisions. The head chief often received substantial payment in the form of tributes from his constituency. Shona people believe in two types of spirits. Shave spirits are most often considered to be outside or wandering spirits, and vadzimu are ancestor spirits. Shave spirits are associated with populations living outside Shona territory and may be connected to neighboring people, Europeans, or even animals. These spirits may be either malevolent or benevolent. Bad spirits are associated with witchcraft, while good spirits may inspire individual talents associated with healing, music, or artistic ability. Vadzimu represents all that is ideal and moral about the Shona way of life and are usually associated with recent ancestors or with more remote cultural heroes whose exact genealogy has been forgotten. They serve to protect society, but may withdraw this protection if Shona moral ideals are not represented. The Shona People Largest ethnic/tribal group in Zimbabwe (80%) Lived in Zimbabwe and surrounding countries of southern Africa for thousands of years Rich culture that includes farming, hunting, and living in villages where large families stay together Elders, especially women, are sources of wisdom and advice Many now live in modern cities, and work and dress as we do; however they maintain close relationships with each other and maintain the importance of the spirit world in their lives The spirit world is very active and alive for the Shona, especially the spirits of animals and ancestors. Stone sculpting is a relatively recent means of expression by Shona people, although wood carving has been part of their rich culture for many years. Shona sculpture emerged on the art scene in the early 1960’s when small workshops were encouraged by the Director of the National Art Gallery in Zimbabwe (then Rhodesia).
Where is Zimbabwe? / The Shona Culture
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What is Chapungu?
Chapungu (Cha-POONG-goo) is the name given to the monumental sculptures produced by the present day Shona people who live in Zimbabwe, Africa. The sculptures are currently displayed throughout the Garden grounds in eight thematic groups: nature and the environment, family, custom and legend, village life, the role of women, the spirit world, the role of the elders, and social comment. The Garden is a particularly appropriate venue for the exhibition as artists create these sculptures to be viewed outdoors. Stone sculpting is a relatively recent means of expression by Shona people, though the Shona have had a rich culture for thousands of years. Shona sculpture emerged on the international art scene in the early 1960s, when individual and small workshops of artists were encouraged by the director of the National Art Gallery in Zimbabwe (then Rhodesia). Shona artists were soon well-known for this art form, particularly for the themes and ideas that inspired their pieces. With access to a greater market, the artists experimented with a larger variety of stone, especially the harder stones such as serpentine, opal stone, and springstone, which were found in Zimbabwe’s Great Dyke, a 540 kilometer stretch of hills running north and south through Zimbabwe. Harder stones allow artists to create more detail in their sculptures than softer stones. However, as all the sculptures are hand carved, harder stones take more time to work and are harder on the sculptor’s tools. The sculptures are carved using a variety of hand tools. A common hammer and chisel are often used to chip away at the stone blocks. Additional tools used include a file, a chasing (instrument that has combs on its tips to create different textures), and wet or dry paper, which is like sandpaper (this gives the stone a smooth texture) to bring the finished work to a shine. As a final step, artists often wipe down the stone with beeswax. None of the sculptures are dyed. Their colors result from the minerals in the rock. The brown, rusty color on parts of some of the sculptures are places where the artist has chosen not to remove the outer layer of rock where oxidation (rusting) of iron in the rock has occurred from sitting exposed for thousands of years. The sculptures are all mounted on tree stumps obtained from the recent storm damage in July at the Garden. No trees were cut down specifically for this exhibit.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Chapungu Information Chapungu is the Shona name for the Bateleur eagle, which is often seen swooping over the plains in Zimbabwe. The Shona people think of the Bateleur eagle as a protector spirit. When in need or in harms way, Shona people say they follow the eagle, Chapungu, out of trouble. Chapungu is the name and symbol of the exhibit and of the sculpture park/artist group from which the sculptures come. Chapungu Sculpture Park In the 1960's, Roy Guthrie, owner of the Gallery Shona Sculpture, devoted his efforts to helping young sculptors in Zimbabwe with a place to work, supplies, shows and sales. (Stone sculpture is not an historical art in southern Africa. It began only in the late 20th century.) In the 1980's Gallery Shona sponsored small exhibitions in Europe and the U.S. where they received critical acclaim. The sculptors, both men and women, carve the very hard stone with hand tools, sometimes working for years and taking time off when inspiration lags. The 15 acre Chapungu Sculpture Park was established in 1985 in order to preserve and display the best sculpture art in Zimbabwe. Loveland Colorado Sculpture Park Today, Roy Guthrie and a group of sculpture enthusiasts are hard at work developing an African Cultural Center and Sculpture Park in Loveland Colorado valued at approximately $5 million. Within the sculpture park eighty Chapungu sculptures will be displayed centered on 8 themes. Located on 28 acres, the African Cultural Center and Sculpture Park will pay tribute to both the visual and literary artists of the African Continent. The Center will provide these artists with a place to work, a venue to display their works, and with respite from the turmoil that faces many African nations at this time. When completed, it will be the largest center devoted to African Artists in the United States. Loveland is home to the largest sculpture show and sale anywhere in the world.
What is Chapungu?
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Guide to the Stone and Rock
Serpentine is found in many deposits throughout Zimbabwe. Its colors vary from brown to black to green and variegated. Most sculptors select the harder, more durable, serpentines for sculpting.
Springstone is a very hard serpentine with high iron content and a fine texture. It has no cleavages, is hard and firm, and offers good resistance to the sculptor. Springstone has a rich outer “blanket” of reddish-brown oxidized rock. The rocks themselves emerge from the quarry resembling sculpture formed by nature over millions of years; their natural shapes often inspire the artist.
Opalstone is a light-greenish serpentine. It is a beautiful, hard, finely textured stone with an almost translucent surface sometimes specked with red, orange and bluish dots and patches. It was discovered as recently as 1989 in the Chiweshe area of Zimbabwe.
Cobalt is the name given to a serpentine variety of different colors.
Leopard rock is a hard yellow-green serpentine characterized by black blotches.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Golden serpentine is a rare black serpentine with bands that mimic the struc mimic wood.
Verdite contains corundum and is considered a semi-precious stone, therefore it is not only beautiful but also has intrinsic value. It occurs in a variety of changing patterns and shades ranging from golden browns to rich emerald greens and blues. Verdite is found only in Southern Africa. The Zimbabwean deposit is of uniquely high quality.
Steatites in beautiful red, green, brown, orange and pink shades are shades are found on the Great Dyke in the Masano deposit at Tengenen Tengenenge. Steatites are softer than serpentines and not often used for art works.
Marble - Zimbabwe has vast deposits of gray, white and variegated marbles.
Limestone - A hard, finely grained gray limestone deposit is found close to found in the capital city of Harare.
Guide to the Stone and Rock
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Chapungu: Nature, Man, and Myth Exhibition at the Garden
Theme: Man & Myth Location: Near Ridgway For many generations, by the evening fires in the village huts, legends have been told by the elders to teach, admonish, and inspire the children. The legends and customs bind individuals together as a Shona community M1 Note: This sculpture located at front of Ridgway Sculpture Name: Chief Consults with Chapungu Date completed: 1994 Artist: Biggie Kapeta Born: 1956 Died: 1999 Stone: Opal stone Height: 9’ 2” Weight: 5000 lbs. Meaning: He is our chief. It is his duty to reach the best solution. In a quiet place he seeks the advice of Chapungu. M2 Sculpture Name: Chameleon Man Date completed: 1989 Artist: Boira Mteki Born: 1946 Died: 1999 Stone: Opal stone Height: 5ft Weight: 1400 lbs. Meaning: My totem is the chameleon, but I have disobeyed the totem rules and now begin to turn into my totem animal M3 Sculpture Name: Nzuzu Returning Child Date completed: 2002 Artist: Sylvester Mubayi Born: 1942 Stone: Springstone Height: 3ft Weight: 700 lbs. Meaning: The water spirit – Nzuzu – takes the child into the water, imbues it with much knowledge, and then returns it to the father.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
M4 Sculpture Name: Chapungu Protecting Date completed: 2002 Artist: Sylvester Mubayi Born: 1942 Stone: Springstone Height: 4’ 2” Weight: 1800 lbs. Meaning: The child is lost. Chapungu guides him home.
M5 Sculpture Name: The Astronaut’s Wedding Date completed: 1983 Artist: Henry Munyaradzi Born: 1946 Died: 1998 Stone: Springstone Height: 5’ 4” Weight: 1600 lbs. Meaning: Married on Earth we now explore space together. Note: This sculpture is a unique 3-sided sculpture. The wedding is depicted on one side with blessings indicated by the birds; the preacher is on the narrow side; and the back depicts the couple in a space capsule exploring the heavens.
M6 Sculpture Name: Rhino Man Date completed: 1969 Artist: Bernard Matemera Born: 1946 Died: 2002 Stone: Serpentine Height: 6ft Weight: 2000 lbs. Meaning: Upon death my wandering spirit takes refuge in the rhino. After some years I will leave my host animal and join my ancestral spirits.
M7 Sculpture Name: Chapungu Protecting Family Date completed: 1995 Artist: Gedion Nyanhongo Born: 1967 Stone: Springstone Height: 4ft Weight: 1700 Meaning: The young family is struggling. Chapungu offers protection and comfort.
Chapungu: Nature Man, and Myth Exhibition at the Garden
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Theme: Man & Nature Location: South of Climatron In the Shona culture, legends and tales abound about trees, plants, animals, insects, reptiles, and birds. Nature, being intimately entwined with the everyday life of the Shona, plays an integral part in their history. They live together with nature in natural harmony. N1 Sculpture Name: Horse Date completed: 1986 Artist: Ephraim Chaurika Born: 1940 Stone: Springstone Height: 5’ 3” Weight: 1600 lbs. Meaning: When I saw a horse for the first time, it took my breath away. So strong and proud and yet so beautiful. I will always try to capture that in stone.
N2 Note: In Climatron Sculpture Name: Lake Bird Date completed: 1987 Artist: Edward Chirwawa Born: 1935 Stone: Serpentine Height: 4’ 8” Weight: 700 lbs. Meaning: The forest provides shelter and the lake provides nourishment. We can flourish in this environment.
N3 Sculpture Name: Zimbabwe Bird Date completed: 1999 Artist: Dominic Benhura Born: 1968 Stone: Springstone Height: 7’ 10” Weight: 2100 lbs Meaning: Chapungu – the great spirit bird. Symbol of our nation, protecting us through the centuries
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
N4 Sculpture Name: Antelope Changes into Butterfly Date completed: 1988 Artist: Tapfuma Gutsa Born: 1956 Stone: Opal Stone Height: 2’ 5” Weight: 600 lbs. Meaning: “Membwe” – the young antelope is pursued by hunters. At the last moment, she metamorphoses into a butterfly and flies to safety. N5 Sculpture Name: Young Giraffe Playing Date completed: 2002 Artist: Fungayi Mwarowa Born: 1968 Stone: Springstone Height: 5’ 3” Weight: 500 lbs. Meaning: The year is 2050. The elders gather to sing about this, elegant and beautiful animal that once existed in our land but which has now been driven to extinction. N6 Sculpture Name: The Baboon Who Stole the Crop Guards Child Date completed: 1983 Artist: Josiah Manzi Born: 1933 Stone: Serpentine Height: 3’ 2” Weight: 800 lbs. Meaning: The baby child was stolen as the guard ran to protect the fields. It was brought up as one of the baboon troop.
N7 Sculpture Name: Big Buck Surrendering Date completed: 1990 Artist: Sanwell Chirume Born: 1940 Stone: Serpentine Height: 4’ 6” Weight: 2800 lbs. Meaning: We can hide from the hunters and run from the bullets, but we cannot sustain the pollution of the rivers, the cutting of the trees and the destruction of our environment.
Chapungu: Nature Man, and Myth Exhibition at the Garden
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N8 Sculpture Name: Hanging on a Leaf Date completed: 1994 Artist: Bernard Takawira Born: 1948 Died: 1997 Stone: Opal Stone Height: 5ft Weight: 800 lbs. Meaning: All of life hangs on the leaf. The oxygen we breathe and the food that sustains us all come from the leaves. Theme: Man & Family Location: South of Spink Pavilion The entire tribe, or community, is considered family. In hard times, people pull together to support each other. Also part of the family are those who have passed on, they are considered guiding spirits and are consulted frequently. F1 Sculpture Name: A Time Together Date completed: 2003 Artist: Joe Mutasa Born: 1964 Stone: Springstone Height: 6’ 1” Weight: 1900 lbs Meaning: With our family commitments, we now seldom get together. We will talk well into the night. F2 Sculpture Name: The Commitment Date completed: 2001 Artist: Taylor Nkomo Born: 1957 Stone: Springstone Height: 4’ 7” Weight: 800 lbs. Meaning: Our promise is to our child and to this family.
F3 Sculpture Name: Teaching Mother to Read Date completed: 2003 Artist: Nicholas Kadzungura Born: 1967 Stone: Springstone Height: 4’ 9” Weight: 1400 lbs Meaning: Mother says we must teach her everything we learn at school. She is a good pupil!
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
F4 Sculpture Name: Who is Strongest? Date completed: 2003 Artist: Dominic Benhura Stone: Springstone Height: 3’ 1” Weight: 1400 lbs Meaning: Surely one of us has to give in!
Born: 1968
F5 Sculpture Name: Sharing the Wisdom Date completed: 2002 Artist: Agnes Nyanhongo Born: 1960 Stone: Springstone Height: 5’ 2” Weight: 1800 lbs Meaning: If wisdom comes with years, then why is she so much younger than I – so much wiser F6 Sculpture Name: Aunt Admonishing Child Date completed: 2002 Artist: Rachel Ndandarika Born: 1957 Stone: Opal Stone Height: 5’ 8” Weight: 1,800 lbs. Meaning: It is the role of Vatete (the aunt) to guide the children. F7 Sculpture Name: Me Too Mama Date completed: 2002 Artist: Taylor Nkomo Born: 1957 Stone: Springstone Height: 8’ 2” Weight: 2500 lbs. Meaning: He does not realize that he has become too heavy, and cannot carry them both. F8 Sculpture Name: Beer for the Wedding (4 sculptures) Date completed: 2002 Artist: Gift Muchenje Born: 1969 Stone: Opal Stone Height: 4 - 6’ Weight: 1200 lbs ea. Meaning: Before the festivities start, the Muroora (daughters-in-law) must bring specially brewed beer to the Elders.
Chapungu: Nature Man, and Myth Exhibition at the Garden 21
Artist Bios
Dominic Benhura
Born 1968 in Murewa Who Is Strongest? & Zimbabwe Bird At age 10 Benhura began to assist his cousin, sculptor Tapfuma Gutsa, spending many formative years at Chapungu Sculpture Park, soon after he began to create his own works. Today he is regarded as the cutting edge of Zimbabwe sculpture. His extensive subject matter includes plants, trees, reptiles, animals and the gamut of human experience. Benhura has an exceptional ability to portray human feeling through form rather than facial expression. He leads by experimentation and innovation.
Ephraim Chaurika
Born 1940 in Zimbabwe Horse Before joining the Tengenenge Sculpture Community in 1966, Chaurika was a herdsman and a local watchmaker. He engraved the shape of watch springs and cog wheels in some of his early sculptures. His early works were often large and powerfully expressive, sometimes using geometric forms, while later works are more whimsical and stylistic. His sculptures are always skillful, superbly finished and immediately appealing.
Sanwell Chirume
Born 1940 in Guruve Big Buck Surrendering Chirume is a prominent Tengenenge artist and a relative of artist Bernard Matemura. He first visited Tengenenge in 1971 to help quarry stone. In 1976 he returned to become a full time sculptor. Largely unacknowledged, he nevertheless creates powerful large sculptures of considerable depth. His work has been in many major exhibitions, has won numerous awards in the National Gallery of Zimbabwe, and is featured in the Chapungu Sculpture Park’s permanent collection.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Tapfuma Gutsa
Born 1956 in Harare Antelope Changes Into Butterfly Gutsa regards himself as an international artist with African roots, whose draws inspiration from sources worldwide. His work is sometimes politically charged and also capable of great poignancy. He is acknowledged as the leader of the second generation of artists and much admired for his support of many young artists.
Nicholas Kadzungura
Born 1967 in Mashawaland Teaching Mother to Read
Biggie Kapeta
Born 1956 in Bindura Died 1999 Chief Consults With Chapungu
A resident sculptor at the Chapungu Sculpture Park since 1997, Kadzungura is inspired and influenced by the natural shapes of stones as they appear from the quarries. His subjects are often groups of people. Tenderness and often a sense of poetry appears in his gentle and sometimes naïve images. In recent years he has strived to created larger, powerful sculptures which are very strong and emotive. Conducting Artist-in-Residence workshop
Biggie Kapeta was an apprentice to his uncle, Sylvester Mubayi, before working independently. Mubayi’s influence was often reflected in his work. A quiet, considerate man, he spent two very creative years in the residence program at Chapungu. During this period he finished a number of fine sculptures, including “Chief Consults with Chapungu,” highly acclaimed for its fine chisel work and strong message.
Artist Bios
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Artist Bios
Josiah Manzi
Born 1933 in Mvurwi The Baboon Who Stole the Crop Guard’s Child Manzi’s parents originally came from Malawi. His father taught him to make masks for the secret dance society of the Ayawo people, a skill which served him well as a sculptor. He joined the Tengenenge Sculpture Community and soon became one of its prominent artists. He is an acknowledged elder of the community and much respected by all.
Bernard Matemera
Born 1946 in Guruve Died 2002 Rhino Man Bernard Matemera is a founding member of the Tengenenge Sculpture Community and has been its symbolic leader for many years. His highly acclaimed, uncompromising and powerful images are found in public and private collections worldwide. Very African and sometimes grotesque in imagery, his works are initially difficult to assimilate but often disturbingly emotive and imbued with a deep sense of pathos. They are the subject of his dreams: animals, spirits, people and creatures, and the metamorphosis between them.
Boira Mteki
Born 1946 in Harare Died 1999 Chameleon Man A founding member of the workshop school of the National Gallery of Zimbabwe, Boira Mteki created strong monolithic heads in his early days which remain among the most uncompromising and stark images of the genre. Small in stature with a troubled personal life, he left a legacy of exceptionally powerful sculpture.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Sylvester Mubayi
Born 1942 in Chiota Water Spirit Returning Child & Chapungu Protecting Child Dedicated to his own traditional beliefs and customs, Sylvester Mubayi is inspired by the fusion of spiritual and earthly worlds of human and animal iconography. He is capable of creating works that are powerful and compromising, or sensitive, tender and deeply moving. A devoted family and community man, he is as proud of the amateur football team he founded and supports, as he is non-committal about his sculptural achievements.
Gift Muchenje
Born 1969 in Harare Beer for the Wedding
Henry Munyaradzi
Born 1931 in Guruve Died 1998 The Astronaut’s Wedding
Gift Muchenje has worked at Chapungu Sculpture Park since 1989, always with great determination, application and perseverance but with little acclaim or financial success. In recent years he has experimented with larger works, often carving numerous pieces that comprise the final work. His large innovative works have met with immediate acclaim and suggest more fine sculpture in the future.
Purity of form, great simplicity, an ability to capture the essence of the subject matter, and minimal but precise execution are the qualities inherent in Munyaradzi’s work. His sculpture blends the simplicity of the primitive with stylized sophistication. He became one of the most prolific and sought after of all Zimbabwe sculptors, with works in public and private collections worldwide.
Artist Bios
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Artist Bios
Joe Mutasa
Born 1964 in Rusape A Time Together Coming from a family of sculptors, Mutasa initially carved representational heads and figures for the tourist trade. When he joined Chapungu Sculpture Park, he met many committed sculptors who urged him to create art rather than massproduced themes. Within a few years his works drew attention and acclaim. He finds inspiration in family, daily life and the environment. His touching “Sole Provider” was given to the Missouri Botanical Garden by the people of Zimbabwe in memory of those who died on Sept. 11, 2001.
Fungayi Mwarowa
Born 1968 in Chimanimani Young Giraffe Playing Mwarona is foremost among Zimbabwe’s sculptors in searching for new stones to use – stones with a startling aesthetic presence suited to the exploration of the human figure. His work is somewhat mannerist and very studied, formally moving toward the Italian tradition of sculpture in marble. Mwarona spent many years at Chapungu and is admired both for his ability with the hardest of stones and for his patience and understanding when conducting workshops. Conducting Artist-in-Residence workshop
Rachel Ndandarika
Born 1957 in Highfield Aunt Admonishing Child Ndandarika represents her pride in the dignity of women in her sculpture. Her sculptures stand for a world in which men and women are equal. Her women in stone, like herself, are strong and stalwart, determined and driven to succeed. A compelling personality to whom people are instinctively drawn, she is a successful, fascinating woman and sculptor. Her smaller sculptures are intimate and appealing, while her larger works are powerful and expressive depictions of themes in her own culture.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Taylor Nkomo
Born 1957 in Bulawayo Me Too Mama & The Commitment Nkomo was a graphic designer for 23 years at the National Gallery of Zimbabwe, where he designed catalogue covers, billboards and posters. During that time he came into contact with many famous stone sculptors. In 1998 he joined Chapungu full time to pursue a career as a stone sculptor and to supervise and encourage young new artists. Within a few short years major works began to emerge, and Nkomo was recognized as an inspirational new talent.
Agnes Nyanhongo
Born 1960 in Nyanga Sharing the Wisdom Nyanhongo is considered among the most important Zimbabwean artists and certainly the most acknowledged female sculptor. She comes from a strong sculpting family and prefers to work in the hardest stones. She is inspired by the role of women in traditional society and the interaction among family members. Her work is characterized by a sense of peace, calm and inner dignity. With considerable courage in a predominantly male activity, she has led by creating strong and powerful works. Conducting Artist-in-Residence workshop
Gedion Nyanhongo
Born 1967 in Nyanga Chapungu Protecting Family Nyanhongo belongs to an illustrious family of internationally recognized sculptors. His work explores with psychological depth the relationship of family members within traditional and contemporary African society. It shows immense respect for traditions such as respect for elders, protection of women and children, and the important role of aunt as adviser within the family circle. Huge sculptures come easily to him and smaller works are expressive, emotive and superbly finished. Conducting Artist-in-Residence workshop
Artist Bios
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Artist Bios
Bernard Takawira
Born 1948 in Nyanga Died 1997 Hanging On A Leaf In nearly 40 years as an artist Bernard Takawira created numerous works of exceptional quality and stature, won many awards and traveled extensively. A deeply committed Christian, he philosophized about life and traditional cultural values as opposed to Christian beliefs, often translating his thoughts into powerful and evocative stone sculpture.
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Educational Activities
Pre-visit Activities
Discuss with students how the different themes of the Chapungu exhibit relate to their lives. Encourage writing, painting, or drawing these themes. Have children use clay or other modeling media to express their representation of a theme. These can later be compared with the Chapungu sculptors’ representations. Brainstorm as to why people make art, how they choose their media, and what they do with the finished artwork. How is art important to individuals and society? Read about Zimbabwe, the Shona culture, and/or sculpture. Have the children make a small frame by cutting construction paper. Encourage them to decorate it. These can then be used for viewing the sculptures to help focus children’s attention. Preview Chapungu Sculpture Sketchbook and make copies for the students to use during their visit to the Garden.
While at the Missouri Botanical Garden
There is no particular order in which to view the sculpture. They are grouped by theme. It is not necessary to view all twenty-three sculptures. Give each student a copy of the Chapungu Sculpture Sketchbook and a writing/coloring utensil. Clipboards are helpful. Turn to the page highlighting each theme as you encounter it in the Garden. Use the construction paper frames the students made to help them focus on individual sculptures. Explore the sculptures from a variety of angles. Allow students to view sculptures from many angles and body positions. Encourage students to touch and describe the textures of the works. Touch respectfully, but do not climb. Have students share their feelings/impressions of the works in pairs or small groups. Walk on the grass and touch the sculptures and tree trunk bases. Please do not walk on the mulch or flowerbeds. Students may pick up leaves from the ground but must not disturb the living plants. As they progress through their booklet, reassure them there are no wrong answers when appreciating art. Bring cameras to photograph the exhibit. Encourage using black and white film, as it will accentuate the form of the sculptures. Experiment with using unique camera angles when photographing. Most importantly, EXPLORE AND ENJOY!
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Post-Visit Activities
Use an artistic media (film, paint, clay, etc.) to allow students to reflect on how the exhibit affected them. They could express a theme that particularly impressed them. Create a sculpture park of your own! Display student pieces with titles and short student commentaries. Use this experience as a kick-off for the exploration of other sculptors such as Michelangelo or Rodin. Discuss the various media used and how it affects the outcome. Compare and contrast these various sculptures. What would be the themes of their sculptures? Are there any similarities to the themes of Chapungu sculpture? This can also be a vehicle for sharpening computer and Internet skills used in researching the various artists. Discuss the themes that were included in the exhibits. Are there themes the students thought were overlooked? What themes do you think are most important in reflecting a culture?
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educator’s guide · CHAPUNGU: Nature, Man, and Myth at the MISSOURI BOTANICAL GARDEN
Educational Activities
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