The career of Joram Mariga is inextricably linked with the beginning of Zimbabwean stone sculpture. The exact sequence of events leading to the birth of such a movement can often be difficult to establish. Essential elements occurred at the same time, but with a degree of independence and the source of initial influence is worthy of much discussion. We know that Joram Mariga, in his own way, influenced many who were to become prominent artists in the following years; with direct teaching from his Nyanga ‘studio’ and by more general example – men such as Crispen Chakanyuka (who himself played a vital role in the emergence of the Tengenenge sculpture community), John and Bernard Takawira, Bernard Manyandure, Kingsley Sambo, Moses Masaya and others, further afield , whom he met on his travels, when – as he says – he ‘whispered the gospel of sculpture.’
An important insight into those early years comes from Frank McEwen – founder of the Workshop School and the first direction of the new National Art Gallery of Zimbabwe.
“The sculptural expansion developed in only 34 years. To give a true example, among others arriving from different parts of the country came Joram Mariga. He was not the first to come to the workshop, but one of the best……. He brought me a little milk jug carved in soft stone. I realised this was an English milk jug for an Englishman who loved his tea! I asked if he could make a head. The head came, make also for an Englishman, in the style of airport art as acquired by tourists. ‘If you made a figure for your own family or your ancestors?’ I asked. ‘Oh, that would be different.’ The figure came, this time of pure African concept – the enlarged head, seat of the spirit, a frontal static pose, a visage staring into eternity with formally posed arms and clenched fists. It was pre-Columbian in nature, as if a spirit image applied to stone could create similar results in spite of a difference of race, place and time.”
Image Credit: Sango Art Gallery
Read More…: Joram Mariga – ZimSculpt
