HOUSE OF MUTAPA SEPTEMBER 2021 SPECIAL EDITION by House Of Mutapa

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CONTENTS 3 - Editorial 4 - Ivainashe Nyamutsamba A Perspective on Art & Design

6 - Tamary Kudita Photographer & Visual Activist 2021 Sony World Photography Award Winner

10 - Nicola Holden Interior Designer

14 - Moffat Takadiwa Mbare-based Visual Artist Who Sold to Jay-Z

20 - Food & Drink Wine With Taps: Where To Begin - Taps Shinya Pork Belly Espadata, Grilled Butternut and Home-made Chimichurri Sauce - The Consultant Chef

26 - Tafadzwa Gwetai Visual Artist & Painter

30 - Gaynor Tutani Independent Cultural Curator, @EARTHworks

34 - Janet Nyabeze-Siringwani Visual Artist, Art & Photography Teacher

38 - Our Totems 46 - House of Mutapa Farewell COVER DESIGNED BY R R CHAWOTA PICTURE BY MARSHAL TAKADIWA ALL MAGAZINE LAYOUTS AND DESIGNS BY RR CHAWOTA Editor In Chief - Rhoda Molife; Creative Design Director - Rodney Rumbidzai Chawota; Chairman - Godwin Chireka; Public Relations Director - Simba Harawa; Public Relations Executive - Vannesa Moosa HOUSE OF MUTAPA PVT LTD is a Registered Trademark. South Africa. Copyright 2021

Contact - info@houseofmutapa.com HOUSE OF MUTAPA

Photo Credit - Lennon Samhungu

EDITORIAL

e’re really excited to present you with another HoM special edition for 2021 – The Art and Design Issue. Whilst working with Google Arts and the Mayor of London’s Office on a visual arts project a couple of months ago, I was reminded of the infinite power and beauty of art - its ability to stimulate all senses, to heal, to bring joy, to articulate what words cannot… and more. It also happens that this is our final issue and we wanted to end things on a beautiful note! In the chaos and upheaval we have endured over the last year the art world has really suffered. They have had no audiences to admire and appreciate their work and as a result, for many, no income. Yet many continued to be inspired to create because, you see art is a constant, no matter the circumstances. We are by no means art aficionados here at HoM, but are simply inspired by what is beautiful and special and out of the box, so we thought why not dedicate an issue to some wonderful creatives we have come across on our travels? Here’s the disclaimer – this is not a feature of the biggest and best in the world of visual art, but of those that we think may speak to you (and of course spoke to us), who are consistent in the background and just love what they do and do it well!

civic duty of giving back to his community. His incredible work has caught the eye of many including African-American hip-hop star and entrepreneur Jay Z; one of Moffat’s pieces now hangs in Jay-Z’s offices. Other features include 2021 Sony Photography Award Winner Tamary Kudita, Interior Designer Nicola Holden and Cultural Curator Gaynor Tutani. There are more too, so sit back, browse through and get acquainted with some awesome creatives. Perhaps you might be inspired to bring out your inner creative, visit a gallery or support an artist by buying their work. Finally, we thank you all for your awesome company over the last two years. You all embraced our ethos of striving to inspire through sharing the stories of Africans around the world doing great things. It was not just about us the HoM team – many of you encouraged us to up our game with great feedback and others alerted us to talent in our community to be featured. We now have an awesome network that can only go on to produce greater things. Let’s all continue to shape our narrative and leave a legacy! IG: houseofmutapa Facebook & LinkedIn: House of Mutapa Twitter: @MutapaOf Rhoda Editor-in-Chief

On the cover is Moffat Takadiwa, a tremendously talented creative who is also committed to his HOUSE OF MUTAPA

Perspective on

African Art and

Design

y Ivainashe Nyamutsamba u17066884@tuks.co.za Art - the immortalised dreams of our understandings is how this world revolves

Design - the eclectic expression of all those that pursue to break the norms of the assumed and understood as normal Art & Design – both intentionally attempt to break the laws set aside by the self-appointed gatekeepers As one explores the culture of art, what appears is an immortal expression that allows one to understand how maligned this world is. African art HOUSE OF MUTAPA

over the passage of time has been treated as a commodity, a specimen where all the races of the world compete to own a piece of African identity. In understanding that art explores the contemporary conscious critique through the psychedelic philosophical spectacles of Afro-realism; afro-realism, being a state of existence that seeks to break down the position of the African with the intention of figuring out how the African can manoeuvre whilst adhering to his/her past, present and future. Like diamonds, art is forever Art is as forever as diamonds are. Diamonds are a girl’s best friend and art is society’s best friend. Art can be seen as a reflection of the long lost longing to explore and answer unanswered questions. Art and design, the pair, have been uniquely woven from the same cloth of expressionism, creativity, ingenuity and a micro-dash of

madness. They straddle the good and bad of being a mortal man within this realm before one’s number has been called to the bench. They attempt to traverse through a narrow passageway, encapsulating and enveloping the complexity of its subjects - subjects that burden humanity, churning and digesting them into the simplest form, as simple as a feather slowly and gently waltzing its way across cold firm asphalt.

ferent perspective.

African art and design stimulates, tantalises and arouses a sugar rush. On the continent, both can be seen as a religion, or a near-cult practice that seeks to challenge time, that seeks to control time and that seeks to question time. They are an eternal expression, a blueprint that speaks to eternity, the soul of being morphed into something that is tangible. It follows then that they are Both disciplines play an important role in allow- priced at a high value. Take a look at the intricate ing one to immerse themselves into a realm that art and design of the chevron style on the arthey have never been before, guided by their chitecture of the Shona people on Great Zimbaprimitive instincts, and at a pace that takes them bwe. When one interprets the design including to the right place at the right time. The author the soapstone hungwe birds, the designs speak Neil Gaiman once said, “…it is like making your about Africa’s spirituality and the nature of Afriway through the fog…”. That is how the journey cans. They are as smooth as a soapstone, yet of experiencing art and design can be, yet each heavy and strong as the stone itself. In the gritty, individual who takes that journey will have a dif- rigid stone, one finds beauty, yet being a stone it

Kunyarara hakuzi kutaura by Janet Nyabeze-Siringwani

withstands the elements for an eternity. The pride and joy that is African art African expressionism evokes a sense of identity, pride and joy, be it exploring the meaning behind the image, or exploring and observing the works of the artist, or getting to know the artist themselves. It serves as a gateway into a dimension of free will; a well of endless knowledge; an outlet for expression. The result is that the discipline gives its audience a portal into the mind of the artist, evoking a sense of wonder and providing unexpected and revealing answers.

Word play is not just about writing for my audience but also about giving the audience what I have been instructed to give by my ancestors. African art also does the same - it seeks to keep the tradition and beauty of our culture alive throughout the ages. Ivainashe Earnest Nyamutsamba is a Zimbabwean and 3rd year law student at the University of Pretoria. He is also an essayist, poet and self-published author of I Was Never Ready and Many Other Stories. He is also a newsreader for TuksFM, University of Pretoria’s campus radio station.

One of my goals is to learn as much as I can Instagram: @earnest263 about African art. Even though my ‘art’ is words and word play, in writing I seek to leave behind Facebook: Ivai Nyamutsamba an immortal piece of literary work just as the artist seeks to leave an immortal piece of visual art. Twitter: @ivainashe1

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TAMARY KUDITA Photographer & Visual Activist

Tamary Kudita is a 27-year-old photographer who describes herself as a visual activist. This year, she was named Sony Open Photographer of The Year 2021 by the Sony World Photography Awards. Tamary was born and raised in Harare, Zimbabwe where she also runs an artistic practice. She has exhibited in both Harare and Bulawayo in Zimbabwe, Cape Town, South Africa and New York, USA and has featured on various international media outlets and publications such as BBC News, CNN International, Forbes, The Independent UK, Huffington Post, Photo District News Magazine, TSA Contemporary Art Magazine and The British Journal of Photography. She also holds The VAW Journal Most Inspiring Art Piece Award 2020 and The Voices of African Women Cover Book Award.

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y Rhoda Molife molahmedia@gmail.com

a clear sense of direction. I also wanted to push myself out of my comfort zone and improve my skills in another area of photography.

Tell us a little about the concept behind your When did you decide to winning image. become photographer? African Victorian is an environmental portrait About 3 years ago when I captured as a frozen moment from a series of was at university in Cape images. The idea behind the photo was to creTown. My degree included fine art disciplines ate a visual narrative about an individual and ensuch as printmaking, sculpture, animation, paint- courage a dialogue of who the individual is being and photography. Our very first project was yond their physical appearance. pinhole photography which used a handmade camera with a pinhole as an aperture instead of I wanted to create a short biography by incora lens. What I liked about this method was that porating real African elements. The minimalistic a great deal of manual skill was needed, and the scene in the background allowed the African hut aesthetics of the images harmonized perfectly and the individual to become one with the frame. with the old photographic processes I liked. It All these distinctive choices were about creating was then that I decided to branch out into film a backdrop for the narrative to begin. photography. A highlight of your career has been… What’s the inspiration… the drive?

… Being interviewed on BBC News after The I like to think of myself as a visual activist who Sony World Photography Award win. uses a camera as a tool, and I saw an oppor- What challenges have you faced and how tunity to become a photographic author; some- have you handled them? one who could use the medium to craft visual renditions of reality especially in a climate where Gender bias remains a challenge. Aside from that, one of the personal challenges I faced was one-sided narratives are advanced. finding my target audience, but the more I startAs a black female photographer, I believe the ed to create the more my audience grew. history of photography for black women is still being written and I asked myself, ‘What am I adding to the history?’ What am I doing to tell the stories of black women and photography?’ So, I went beyond the aesthetic norms of photography and do what I do now. Where did you first exhibit? My first solo show was at the PH Centre Gallery in Cape Town. I’ve also had my work shown at another gallery in Cape Town - the Michaelis Galleries, as well at the National Galleries in Harare and Bulawayo and the Ki Smith Gallery in New York. Your style… … Plays on the dualities that exist in the world - contemporary versus historical, fantasy versus reality, modern versus tradition and endings versus beginnings. Reflecting on these polarities and creating a visual language where they coexist allows me to constantly push the boundaries in my work. You entered the Sony Photography competition because… … I believe that themed contests can give you

Photo Credit - Tamary Kudita

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Photo Credit - Tamary Kudita

Talent and persistence come as a package but creating your own path can take you to new heights whilst staying rooted in your distinctiveness. My career has gone through ‘bamboo’ growth. Bamboo develops its strength over about five years whilst underground and in the last year it shoots right up. So for me, I was overlooked in the first few years, but I continued to fine tune my brand and build resilience and here I am, and I still have more to go. Let me just encourage someone and say that even if you’re not seeing results, there is something special about your growth going unnoticed. It means you have to believe in you, even when no one is giving you the affirmation. God pulls us to a place of scarcity for us to generate more faith in ourselves and what we are doing. Those massive changes will happen as long as we keep on knocking on our dreams and using these uncertain times to strengthen our faith. Your biggest lesson so far has been… … Learning to be flexible with your goals and to appreciate the pause. Three attributes a photographer needs to succeed are… Think about what’s next - you can’t be satisfied by doing what everyone else is doing. Create works that probe at stereotypes or confront taboos. Thoughts, memory and imagination are the most powerful tools which you can use when telling visual stories.

Your thoughts on the photography scene today and what African photography brings? Photography has changed the way we perceive the world. Modern history has been redefined thanks to photojournalism alone; a single image has had a bigger impact in describing an event than the number of words used to describe it. African photography is redefining the very nature of photography because we are coming together as a collective and moving away from the aestheticized mode of expression. The ultimate experience or opportunity for you as a photographer would be… … To work alongside Yinka Shonibare. His Victorian Dandy series would make for a great collaboration with my African Victorian. It would be titled Victorian Dandy Meets African Victorian. What’s coming up for you? I recently found out that my work has been selected to showcase at the Reframing History exhibition hosted by Photo Vogue Festival 2021 in Milan. Photography is… … The energy that connects us to everything. For more on Tamary, go to: IG: @africatotheworldzw Facebook: merie

https://www.facebook.com/deetam-

Online: https://theartling.com/en/search/?search=tamary+kudita

HOUSE OF MUTAPA photo Credit - Tamary Kudita

NICOLA HOLDEN Interior Designer

Nicola Holden was born and raised in Harare, Zimbabwe and moved to the UK at the age of 20. She studied Manufacturing Engineering and Business Studies and after obtaining her degree, worked for eight years at Ford Motor Company installing production lines. After deciding she needed a more creative career, she turned to interior designing and is now based in London where she also lives with her husband Nick. They have an adopted son. Nicola is very involved with the charity *Makomborero which supports and funds the education of talented children from poor backgrounds in Zimbabwe.

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y Rhoda Molife molahmedia@gmail.com

childhood. I also use elements of biophilic design which refers to our connection to nature and colour psychology in my designs, creating spaces designed to enhance health, happiness and well-being.

When did you decide to become an interior de- A highlight of your career? signer? Winning Bathroom Designer of the Year in 2020 Thirteen years ago, I decided I needed a more at the ●KBB Design Awards. I also won the Fecreative career, so I started Nicola Holden De- male Entrepreneur Award at the Zimbabwe Achievers Awards in 2016. signs and I haven’t looked back since. The inspiration was… …Travel. Once I started earning enough to do so, I discovered architecture and design on my trips around the world. My first stop was Barcelona and the amazing architecture of Gaudi whose work was unlike anything I’d ever seen. Then I discovered Italy and the beautifully decorated cathedrals and palaces, full of marble and mosaics. And then… I was lucky enough to take a sabbatical and travel for a year, falling in love with India, the Far East and South America. And the rest, as they say, is history… A favourite work is… …Those projects where the client gives me free reign to be more adventurous with the use of colour and pattern. A lot of people suffer from chromophobia (the fear of colour), and yet colour is such a powerful element to use in our spaces as it influences how we feel and behave.

What are two main challenges you’ve faced as an interior designer? The main one is that many people think that an interior designer just chooses fabric and paint colour, and plumps cushions. It’s far more technical than that. Designing a home that works requires making thousands of tiny decisions, from where to position the light switch down to detailing where two different floor finishes meet. The aim is that a client can live effortlessly in their home and not be continually annoyed by these small details. Another regular issue is that clients often only think about using an interior designer at a late stage in the design process. Many design deci-

What materials do you like to work with? I try to work with sustainable materials where possible as I’m very conscious that as a designer, I’m also an influencer, guiding the decisions that my clients take. And sustainability doesn’t only apply to protecting the planet but also to protecting my clients and their families. So many of the cheap products on the market today are made from petrochemicals and are harmful to our health and wellbeing, as these products offgas in our homes for many years after purchase. As an interior designer I work with a plethora of materials, from floor finishes to fabrics, paint to wallpaper, and every type of furniture in between. And it doesn’t stop there – you need to have an idea of sub-floor materials, insulating materials, furniture fillings, lighting specs and building standards and all of the manufacturing processes that go into producing the different products. Your style is… … Contemporary, but also very much influenced by the colours and textures of my Zimbabwean HOUSE OF MUTAPA

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sions need to be taken before the builders arrive and having an interior designer involved from day one can enhance an overall design and also avoid the expense of costly changes. Interior design… …Considers the space as a whole, looking at how people interact with and move through it, and how it makes a person feel and behave. Good design should always tell the client’s story. It’s not just glamour. Much of my time is spent pouring over layout drawings and technical specs or visiting dirty building sites! Your thoughts on the interior design scene today and what African influence brings are… … I struggle with the concept of an African style, as Africa is made up of more than 50 countries, each with their own cultures and traditions. Even in Zimbabwe, there is a distinct difference between the decorative elements of the Shona and the Matabele tribes. But there are some very exciting, contemporary African designers today that are changing the landscape of design in Africa. Where can we find your work? As most of my work is done in the homes of private individuals, it’s difficult to view it in person. But you can find me on my website and on social media. An ultimate experience or opportunity for you as a designer would be… …To work on a boutique hotel. Another would be to grow my work in southern Africa. I miss the sunshine and the smiles. Three attributes/skills/habits needs to succeed are…

designer

…To be very organised especially as you will juggle multiple projects at any one time. It’s important to continually learn about new materials and processes. As a member of the British Institute of Interior Design, continuous professional development is a mandatory requirement. Interior designers often have to act as relationship managers, bringing together the requirements of two very different parties in a way that keeps both of them happy! Your biggest lesson so far has been… …Knowing when to turn a project down. As an interior designer you develop a very personal relationship with your clients and so it’s important to work out whether you will get on as people,

and what the expectations are before accepting a new project. What’s next for Nicola Holden? For a while now I’ve had it on my heart to provide a platform for Zimbabwean artists and crafts people here in the UK. I started Nhaka Designs at the beginning of 2020 and am currently representing an amazing collage artist called Johnson*. And I’m working on several other ideas using traditional crafts and techniques to produce products that will sell well around the world. Watch this space… For more on Nicola, go to: Website co.uk/

https://www.nicolaholdendesigns.

Instagram - @nicolaholdendesigns and @ nhakadesigns Facebook - https://www.facebook.com/nicolaholdendesigns and https://www.facebook.com/ nhakadesigns Twitter - https://twitter.com/nhdesigns LinkedIn - https://www.linkedin.com/company/ nicola-holden-designs/ ● https://www.kbbawards.co.uk/ *https://www.makomborero.info/ HOUSE OF MUTAPA 13

COVER STORY

MOFFAT TAKADIWA Visual Artist Moffat Takadiwa was born in 1983 in Karoi, Zimbabwe and currently lives and works in Mbare, Harare. He graduated with a BA Honors from Harare Polytechnic College in 2008. Moffatt creates large-scale sculptural pieces from discarded materials, including everything from computer waste to toothpaste tubes. He pieces these small everyday objects to make impressive and striking wall sculptures and installations that are nothing short of majestic works of art. His work has exhibited extensively across major institutions in Zimbabwe, South Africa, United Arab Emirates, multiple countries in Europe and the USA and can be found in both public and private collections HOUSE OF MUTAPA

You decided to become an artist when…

… You know, I would say that it wasn’t until my late teens when I was at Harare Polytechnic. I started reading about art and artists and then remolahmedia@gmail. alised that it could be a career for me. com What is your training and where did you do When did your talent it? Or are you self-taught? Or is it both?! for art come to light? I’d say both. Art education in Zimbabwe is realVery early on, in fact when I was in primary ly lacking. It needs to be redefined as right now school. A lot of my friends also liked drawing, so it’s very Eurocentric. It doesn’t give enough to we were all caught up in it together. I stuck with it launch a career, so I had to work hard by myself and just explored it over the years. I remember I to learn through unconventional ways. used to love playing with clay for example, and I With my studio now in Mbare, I’ve realised that did work with ceramics at one point. Growing up the community is the best teacher. In fact the in rural Zimbabwe, in a place called Tengwe sur- community is where I learnt a lot and am still rounded by farms, I wasn’t exposed to what we learning from. In Mbare, the way we repurpose term art today. But I played with materials and different found material teaches me every day. drew a lot and later realised that this too was art. What did your family think of your career Did you do art at school? choice then and now? I didn’t as there were no art classes, but I drew They never questioned it and really supported anyway. me even though I don’t think they knew it would Rhoda Molife

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end up being my job.

eo but that didn’t happen. And so I was surprised when later on Jay Z borrowed the piece for his Tell us about your very first exhibition. How studio then later bought one. did it feel? The sale was celebrated by a lot of people in I was still in college at the time, at Harare Poly- Zimbabwe, though to me it was one of my many technic in an art competition at the Delta Gal- sales. Of course it was important to me as we lery. I struggled to get my piece there but was so are both black men and he is a black man suphappy when my piece was eventually selected. porting another black entrepreneur or artist It was a ground-breaking moment for me. which makes it special. His music has spoken about life in the ghetto in the US whilst my work Which is your most memorable exhibition? also speaks about life in the townships, here in I would say it was Son of the Soil, an exhibition I Mbare, so I guess we connect on that level. But did in Los Angeles, USA at the Nicodim Gallery. I can also say that my other sales such as those It was my first show there and did really well. to institutions and collectors are also important. So last year (2019), Jay Z bought one of your pieces. How did that happen?

Where else in the world is your art adorning the walls of someone’s home or office?

Actually, Beyoncé and her team were interested It’s wonderful that my work has been collected in one of the pieces at that exhibition at Nicodim widely and can be found in most cities in the Gallery. They wanted to include it in a music vidHOUSE OF MUTAPA

world - from the government of France to major collectors and institutions in Dubai and other personalities, fashion designers and musicians around the world.

still dominate in our everyday lives. What other art styles and medium do you use?

Your pieces use recycled rubbish. What made I’ve worked with ceramics, oil and done paintings but right now I’m really exploring found materiyou focus on this genre? als as a medium. It’s a very rich one that opens At first it was because I had no choice. When I many doors that I’m yet to explore. was in college it was hard to find art materials especially during the economic collapse. What Can you briefly share the process of creating was there was expensive. So a lot of artists of one of your pieces, from selecting what mamy generation ended up looking for material in terial you’ll use to the final piece? the trash to work with. My work is very much informed by the process For me this became important as my work start- and in a way, the process is the work. I start by ed to connect with stories about my people and mobilising a team; I have a really big team who my nation, and how our main goal had become I work with who all actually live in the dumpsites to make ends meet every day. My work started around Mbare. I discuss with them the materials to talk about colonial residue in Africa as a whole that I need, and which speak to what I want to and how we were and are still stuck in a colonial create. A lot of research into the materials haphangover. I see this through what we use every pens too. day - consumer residue. The consumer waste They then gather the material, I buy what I need speaks a lot about dominance in trade and how from them then transport it all to my studio in western countries, companies and ideologies Mbare. We sort and clean it all whilst preparing

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the units to fabricate into tapestries. Then when all is in place, the team starts the creative process.

Teaching is necessary as we don’t have institutions that are really dedicated to this. For me, a talented artist asks a lot of questions – this could come across as arrogance. But asking questions You live and work in Mbare, the most dynamic even of their own work is important. Someone district in Zimbabwe. What do you like most whose work is not close-ended but that opens up about it? to other possibilities is a good sign. Mbare is a hotspot for recycling and repurposing Three personal attributes that an artist needs of materials in all of Zimbabwe. There are three to succeed are… markets which sell only second-hand items from clothes to everything else. So Mbare connects Consistency – this is one of the most important with me as I learn a lot about how everyday ob- things. Research is import either through forjects can be recycled. mal study or self-study and in fact both. An artist should also work hard. Hard work pays. It’s also an economic hub and a meeting place for people from other African countries, especial- For more on Moffat Takadiwa, go to: ly those from the rest of Southern Africa looking for work. So it’s a melting pot of different cultures IG: moffattakadiwa which I love. The positioning of my studio here is Facebook: Moffat Takadiwa really important to me. Twitter: @takadiwa You teach and train budding artists. How do you spot someone who will go far? HOUSE OF MUTAPA 19

FOOD & WINE

Wine With Taps Where To Begin HOUSE OF MUTAPA 20

The colour of grapes is found in a pigment in the skin called anthocyanin, not from the actual Taps Shinya flesh of the grapes. Although red wine is made Welcome, wine lovers, from red grapes and white from white grapes, to another article in our the juice of the majority of red grapes is actualseries on wine aimed at ly clear. White wine is at times made from red demystifying the age-old grapes as is rosé. Rosé is actually French for drink, that many still think pink. Confusing? Read on to find out more. is reserved only for the elite. In the last article we touched on the origin of wine, looking at the differences between those from the Old World and New World. Within these two worlds is a huge variety with many different names and tastes. For a newbie, it’s hard to know where to begin, so with this article we’re going to give you a little help. y

First… Grapes Wine is made from grapes and in its most basic form, is actually fermented grape juice. In reality the winemaking process is a little more complex and begins with viticulture - the growing of grapes. The most widely used grapes are from the genus vitis vinifera and are bred for flavour, aroma and a balance between sugar, acidity, colour and tannins. Tannins are molecules in the skin as well as the seeds that give a certain bitterness or astringency to wine. Tannins are present in very small quantities in white wine and much more in red wine. Grape Varietals There are thousands and thousands of grape varieties, known as varietals, under the genus vitis vinifera. However, most wines are made from about 30 to 40 of these varietals. Most are French and you will recognise some of them; often people think that is the name of the wine, which is true, but the name actually refers to the type of grape used. Here are some of the wellknown varietals: Red Varietals - Cabernet Franc, Cabernet Sauvignon, Malbec, Merlot, Pinot Noir, Pinotage, Sangiovese, Syrah (also called Shiraz), Tempranillo, Zinfandel White Varietals – Chardonnay, Chenin Blanc, Gerwürtztraminer, Muscat, Pinot Grigio, Pinot Blanc, Riesling, Sauvignon Blanc, Semillon, Viognier Types of Wines So we already know that we can have red, white and rosé wines. They can all be made in a lot of styles, but we will concentrate on the ones you are most likely to come across. The most common are light, medium, full bodied or sparkling wine, while white wine also HOUSE OF MUTAPA 21

comes in aromatic and sweet dessert. Red can also come as a fortified style. In between the two, we have rosé which can be sweet, semi-sweet or dry, and yes, it can be sparkling too.

For a winemaker, the main considerations that come into play are the quality of grapes used and the type of wine being made. Good quality grapes can make good wine or bad wine. Bad quality grapes cannot make good wine unless a lot of chemicals are used to make a near drinkable product. The method used will depend on whether the aim is a sweet or dry wine, whether it is for immediate consumption or long cellaring (storing in the cellar), the flavour and more. What Next? So now you will be able to understand the labels on your next wine purchase. With wines from the New World, the label tells you what varietals were used, whereas with wines from the Old, the name speaks of the region from which the wine originates, e.g., Bordeaux. The name of the region in turn tells what varietals were used as certain varietals are found in certain regions.

As you start exploring in the world of wine you will come across some that you will not like but keep trying. Resist the temptation to fall into the, ‘I only drink Merlot’ or ‘I only drink red wine’ camp. It is only through trial and error that you will find the best wines. Do not hesitate to seek the advice of a specialist – you don’t have to save that for Making Wine a special occasion. And on that note, specialist When making red wine, the grape juice is fer- wine stores are better than supermarkets as you mented with the skin and seeds (and at times, will be able to get personalised advice to suit your stems too) to extract that red colour from the palate. It could save you both time and money! skin, whereas with white wine the skin is removed leaving only the juice to ferment. Then, again with red wine, there is what we call skin contact time. This is the amount of time the grape juice stays in touch with the grape skins. The longer this time, the more colour and tannins are extracted. In order to make rosé wine, the skin contact time is reduced to achieve the shade of pink we want.

Taps Shinya, Wine Director at the Palate Portfolio, is a hotelier and budding wine and spirits maker with over 25 years’ experience in the hotel and wine industries. Follow Taps and the Wine Portfolio here: Email -

taps@thepalateportfolio.com

Website - www.thepalateportfolio.co.zw

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Pork Belly Espadata, Grilled Butternut and Home-made Chimichurri Sauce Fungai Muzorewa, The Consultant Chef

Serves 6 Pork Belly Ingredients 1.5kg pork belly 5 bay leaves 4 cloves garlic, chopped 1 cup white wine juice from 2 lemons coarse salt Method 1. Cut pork belly into equal squares. 2. Marinate with bay leaves, garlic, lemon juice and white wine for a minimum of 30 minutes to overnight. 3. When ready to grill, place meat on skewers. If using wooden skewers, soak in water for a minimum of 30 minutes before using them so that they do not burn. 4. Sprinkle with coarse salt just before grilling. Butternut Ingredients 1 whole butternut ½ cup sugar (optional) 2 tsp cinnamon olive oil honey Method 1. Wash butternut. 2. Cut the butternut in half then each half into thirds. 3. Place in a pot of cold water, add sugar and cinnamon to taste then boil until tender but still firm.

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4. Once cooked, lay butternut on a tray, drizzle with the olive oil and sprinkle with more cinnamon and honey. 5. Grill on the braai or in the oven. Chimichurri Sauce Ingredients 2 cloves fresh garlic 1 red fresh chilli or ½ tsp red pepper flakes 1 small red onion ¾ cup flat leaf parsley ¾ cup cilantro juice from 1 lemon ¾ cup olive oil ¼ cup red wine vinegar salt to taste Method 1. First, chop fresh chilli, garlic and onion in a blender on pulse. If using flakes, leave them to the end. 2. Add parsley and cilantro in and blend more. 3. Add lemon juice to taste, olive oil and red wine, then mix. 4. Add salt to taste. 5. Bottle the sauce and top up with olive oil. To serve: Keep pork belly on the skewer, place on a serving plate and drizzle with the chimichurri sauce. With the butternut, add a leafy rocket salad and enjoy! Fungai Muzorewa is a training, marketing and consultant chef based in Johannesburg South Africa. Born in Roma, Lesotho to Zimbabwean parents, he first trained in the UK before obtaining a BSc in Hospitality Administration at Southern New Hampshire University, USA. Though his career has now taken a new direction in commercial kitchen designing, training and marketing, cooking remains his first love. He also works alongside NOSH Food Rescue in Jo’burg to provide food and food hampers for those in need.

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TAFADZWA GWETAI Visual Artist & Painter

Tafadzwa Gwetai is a Zimbabwean visual artist, painter, sculptor and curator who works in oil paint, mixed media and found objects, and holds a creative art and design degree from the University of Chinoyi. He has been actively involved in the arts since 2001 – he was resident artist at the Gallery Delta in Harare and the National Gallery, Bulawayo, and has exhibited in Zimbabwe, South Africa, Australia and Germany. In 2015, he was the assistant curator to Raphael Chikukwa in the Zimbabwe pavilion at the 56th Venice Biennale working at the exhibition, Pixels of Ubuntu/Unhu: Exploring The Social And Cultural Identities Of The 21st Century. To date he as curated over ten exhibitions. In 2021, he exhibited and curated the group exhibition Rhythmic Elements: An Interrogation of Contemporary African Resilience which featured three other Zimbabwean artists.

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The first is getting my artistic message to be understood by our very own people. As much as art is a fairly new concept to many, there has been molahmedia@gmail.com a significant growth in local appreciation though. You decided to become The other challenge is staying motivated and relevant. an artist… Rhoda Molife

... In my late teens when I came across an art magazine that was at the time published by Gallery Delta. I was fascinated by the way the work of Zimbabwean artists was being discussed with great integrity and in great depth. Up until then, I’d only known of and read about European artists and art. My mind was blown away by this revelation and I found myself researching our art and gradually became an artist with time. What’s the inspiration… the drive?

Your thoughts on the art scene today and what art of African origin brings are… ... Art from Africa had always been aesthetic but possessed a functional quality. It has always fascinated European and American artists, though not openly acknowledged in history. The energy that the modern contemporary artists from Africa are bringing to the art scene is incredible and heavy with issues.

An ultimate experience for you as an artist Being alive during a dynamic time such as ours would be… is what drives me - the social and technological changes and how we as human beings evolve ...To see a drastic increase in local African art simultaneously. Human nature inspires me. collectors and to see more appreciation of our art by our own people; an appreciation that will Where did you first exhibit? At the National Art Gallery in Bulawayo, Zimbabwe. It was in 2001 and my first solo exhibition called Blind Rise. Your style… ... is inspired by street graffiti and the raw expression associated with it. The use of words and numbers are integral to the meaning and purpose of my work too. What materials do you like to work with the most? Strictly oil paint. A highlight of your career has been… ...Being the assistant curator to Raphael Chikukwa, the chief curator at the National Gallery in Zimbabwe for the Pixels of Ubuntu/Unhu Exhibition at the 56th Biennale 2015 in Venice. To be in Venice for the duration of the Biennale and walk the streets filled with art history and amazing Venetian architecture was phenomenal. What are two main challenges you have faced as an artist? “Illusion of PerfectionHOUSE OF MUTAPA 27 We Belong Together 2”

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“Illusion of PerfectionWe Belong Together 1”

restore a certain sense of pride in our creativity. I would like to see art being created by us, for us.

to ‘the one.’

Art is… Three attributes or skills or habits an artist needs to succeed are… ... A form of escape for both the artist and the audience. ... Knowledge of the concept behind the art being created, patience with the concept and constant For more on Tafadzwa, go to: reworking and evolving of the concept. tafadzwagwetai.tumblr.com Your biggest lesson so far has been… https://akkaproject.com/portfolio/rhythmic-ele... To truly understand the importance of being ments-group-exhibition/ unique. It’s necessary to be your authentic self in how you express your art. If you imitate you end IG: @tafadzwagwetai up being classified as ‘another one’ as opposed

“Millenial Influencer 1”

“Millenial Influencer 2”

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GAYNOR TUTANI Independent Curator

Gaynor Tutani is a Zimbabwean-British cultural curator and co-founder of EARTHworks [Artists], a curatorial and producing duo that specialises in hosting exhibitions, events and talks. Prior to this, she was events programmer and assistant curator at arc Gallery, London. Gaynor holds a BA in History and History of Ideas from Goldsmiths, University of London and is currently undertaking postgraduate studies in museum cultures at Birkbeck, University of London, specialising in curating difficult histories and decolonial approaches.

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y Rhoda Molife molahmedia@gmail.com Being an independent curator means that…

… The core of my work revolves around research either on art theory or artists, writing and producing exhibitions or events in line with the artists’ practice, or themes or topics that I may find interesting and want to question or share. Every project I work on is different. What inspired you to do what you do? I’ve always been passionate about the arts, mainly music. Before university, I worked in events management, hosting live music and poetry performances, family fun days and educational programmes. I also taught primary school students through a charity called Bright Futures For All using creative education and so I would take the students to museums, galleries, theatre plays, literature events as well do craft work with them. From there I realised that I had a talent and love for producing and teaching through the arts.

to talks and lectures on everything and anything cultural - photography, film making and literature, the lot. I also volunteered with arts institutions or organisations who I felt matched my interests in African history and art. At one of the events I met Jean Joseph (https://www.artmaroon.co.uk/) who became my mentor. Then, I enrolled on short practical courses on curating with institutions such as Tate and Autograph. Joseph also introduced me to John Egbo of arc Gallery London, (http://arcgallerylondon. com/), where I took on an internship, leading to a full-time role. The work was hands-on and there was no rule book, so I crafted my own way. But you know what? The learning never ends. A favourite work that you did was… … Working as an exhibitions assistant for an independent curatorial duo called Something Human. Their practice was centred on performance art; I joined their curating of the Krisis exhibition at the Bonington Gallery in Nottingham*, helped install the exhibition and partly worked as an artist liaison for four of the artists. Their practic-

What was the main driver on your journey to here? The main push was the research I did into Zimbabwean history as a way to find stories of my parents and the general history of my place of birth. My parents died when I was a child and I never really mourned them nor did I have memories of them, yet I felt their absence. So I started asking about them. At the same time I was completing my dissertation looking at South African apartheid and the ways in which artists dealt with the struggle and used their art as to fight the system. The dissertation linked film, literature, music and visual art to show how art could help us to understand South African history; at the same time researching Zimbabwe and my family helped me understand our history. I think this period was really the foundation for my curatorial practice. How did you train to be a curator? Even though I knew that curating was for me, I had no clue how to get into it. Despite that, I visited as many exhibitions as possible and signed up HOUSE OF MUTAPA 31

es were all different and fascinating and it was great to witness the various meanings art held for them. A highlight of your career has been… … Working with Tafadzwa Gwetai. The arc Gallery, Jean Joseph and I hosted an online exhibition entitled Redefining Balance which explored Gwetai’s artistic practice as a way to interrogate history, colonisation and identity. This project was very personal to me especially as it highlighted decolonial curating. What’s been a challenge for you? For me, I think that not having gone to art school sometimes worked against my favour. It was at times hard to convince people that I was and am good at what I do and that’s partly why I took the independent route. Art is… … My solace. I cannot explain how happy it makes me. The feeling is just beautiful – it gives me a reason to live, and I love sharing that joy that it brings with others! Your thoughts on the art scene today and what African art styles bring are…

… African art styles are EVERYTHING! It amazes me how I keep finding out about artists that are not well known, and movements, or ideas by people such as Okwui Enwezor showing how art is intrinsic to our African-ness. It is our way of life and that is not something you can break down as style. It is our way to express and be. As for the art scene, there is no scene but several. I sometimes relate it to music genres: soul, funk, jazz… although that too is limiting to both art and music. I think it’s best to acknowledge the differences within people and understand that difference creates a variety and selection of what you enjoy as art. When I think of the Zimbabwean scene, right now I’m a fan of Dana Wabhira and the Njelele Art Station. Through their latest podcast, Mujejeje, they’ve been connecting diverse artists/writers/curators/musicians from Africa and its diaspora. What would be an ultimate experience or opportunity for you as a curator? Working on the African continent and connecting African histories and that of course includes

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the African diaspora in the Caribbean and America. I often see them all as one, given the African roots. I would like to host shows all over Africa and bond with artists through their work and what art means to them.

progress differently, so as long as we are true to ourselves, what is meant to be, will be. For more on Gaynor, go to: Twitter: @gtutani

Three attributes, skills or habits a curator Instagram: @ Art Ad Lib needs to succeed are… LinkedIn: https://www.linkedin.com/in/gay...Being organised, flexible and calm. nor-tutani-36a5aa60/ Your biggest lesson so far has been…

Personal Blog: https://fambaneni.tumblr.com/

...To be positive and not give up when you believe in something. As they say Kumhanya hanti kusvika, which translates to ‘Running does not mean you will get there.” We are all unique and

EARTHworks: earthworks_ldn/

https://www.instagram.com/

* - http://www.boningtongallery.co.uk/exhibitions/ krisis)

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JANET NYABEZESIRINGWANI Visual Artist, Art & Photography Teacher

Janet Nyabeze-Siringwani is a 48-year-old artist born in Harare and now teaching in the Middle East where she lives with her children. She has exhibited at the National Art Gallery, as well as the Delta, Tsoko and Amanzi Galleries in Zimbabwe. In 2018, she was one of 29 Zimbabwean artists selected to exhibit at the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) in Cape Town, South Africa. This year, her first work to be offered at auction was The Scars of Emotional Abuse are Very Real and They Run Very Deep at Aspire Art Auctions in Johannesburg.

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y Rhoda Molife molahmedia@gmail. com What inspired you to become an artist?

I was inspired by some artists at a studio I visited a few years ago; they showed me how to draw and the whole process of creating a piece of art on textile. I decided then that I wanted to do the same and to one day see my art displayed somewhere. Inspiration is one thing. How did you keep the dream alive, and bring it to life? So, I had a cousin of mine who was studying art and we would have long discussions about art and different artists. We’d talk about their jour-

neys, their work, what they were doing, and so that kept my vision alive. Your first exhibition was at… … BAT and National Gallery, Mbare Studios at an exhibition for students. What materials do you like to work with? Acrylic paint, oil paints and pastels, and spray paints on canvas. Your style is… … I’d say it’s neo-expressionism. It uses rough gestural marks and lots of colour and compositions that mostly speak to struggle – struggle at home, work, politically and especially the struggle of women. What I hope I do with my art is ‘visually’ speak out for those who cannot. A highlight of your career…

Honour-based Abuse

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When Your Mother-In-Law Rejects You

…Exhibiting at Zeitz MOCCA with 29 other artists in Cape Town. We met owners of international galleries and big art collectors, so it was such an opportunity. What are two main challenges for you as a female/African artist? Finding opportunities outside of Zimbabwe and being appreciated as a woman of colour. So I really have to believe in what I do. Three attributes/skills/habits an artist needs to succeed are…

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...Passion, perseverance, and a sense of adventure. It’s also important to be open to learning from other artists. Perseverance is really key as there is a lot of criticism. You have to take the constructive out of the criticism. Your thoughts on the art scene today and what African art brings are… African art has such high aesthetic value and it heals, speaks, entertains and educates. What would be an ultimate experience or opportunity for you as an artist?

Memories: Victims of Circumstances of Love

To get a master’s in fine arts and to create a working space, or even residence for other artists, especially female artists. Your biggest lesson so far has been… … To not let the opinions of others negatively affect my work or vision. Art is… … A way of expressing one’s feelings to the world, regardless of whether it’s perceived as good or bad. It’s about communicating thoughts visually and with colour.

And finally… … I attribute my success to not only my talent but also to the late Helen Lieros, Norma GoldSmith-Ndandarika, Chiko Chazunguza, Washington Nyabeze, Marieke Maria Degroen and Katharine Prescott-Decie Schneeberger, and my two children, siblings and parents for their tremendous support all the way to now. For more on Janet, go to: LinkedIn - Janet Siringwani-Nyabeze FaceBook - Janet Siringwani-Nyabeze HOUSE OF MUTAPA 37

OUR TOTEMS By

Vannesa Moosa

Totem/TOH-tum/noun - the patrilineal spirit are considered blood relations therefore cannot animal, plant or object shared by a tribe. marry. Totems that have different zvidau or subclans are believed to have split because of marThe word totem is thought to derive from oto- ital issues, where perhaps two from the same teman, a word found in the native North American clan wanted to marry and so to avoid the taboo language of the Ojibwe people. Totems identify they broke away. the different clans that historically made up the dynasties of ancient civilization; they are com- ‘Totem-ism’ even contributes to conservation as mon to many cultures worldwide. Sadly though, people cannot eat their totem and will therefore as times are changing, us as Africans are slowly not harm the animal, plant or object that replosing our indigenous knowledge systems and resents their totem. Alongside totems are clan therefore know very little about the foundations praise poems - detembo. Detembo are songs of our culture. of flattery recited as a reward for socially commendable acts. To a certain extent, detembo are People of the same totem are taken as relaalso used to describe the characteristics (real or tives. Some people even use their totems as perceived) of those that bear that particular tosurnames. tem. A totem serves to identify a clan and brings with Let’s look at some totems and their characterisit self-esteem and pride. Totems also function to tics. regulate marriages as those of the same totem HOUSE OF MUTAPA 38

Shumba - Lion

Those of this totem are seen as strong and competitive much like the lion itself. On the downside, they are thought to be greedy and aggressive as well as fearless and fierce.

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Nyati - The Buffalo

The men in this clan are believed to be very wise, hardworking and smart. They are usually slender, handsome, light in complexion, charming and known womanizers. They can also be quite funny and possess unparalleled oratory skills; in addition they are known to be good individual fighters who will fight to the death.

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Shava/Mhofu/Mpofu - Eland

This is a very popular totem of scattered people. Hard work, consistency and creating a united front makes them successful. Traditionally, they are also thought to challenge authority.

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Shiri/Nyoni/Hungwe - Fish Eagle

This is also the Zimbabwean national emblem. Other names include shirichena - white bird, mauruka - flying above or chasura chatibwege - the one that puffs or farts its dung in the air. Those of this totem are well known for unity and hard work though not thought to be smart. The men are usually polygamous because they believe children provide labour and security.

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Ngara/Nungu/Chikandamiseve/ Chikandamina - Porcupine

This clan is traditionally known as the ‘in-laws of the king’ - mukwasha waMambo. They mystically pride themselves as the ones ‘that shot the rock which gushed blood.’ The males are believed to be hardworking, intelligent and docile, while the women are somewhat shy and allegedly make good wives.

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Soko/Shoko/Solo/Tsoko/Ncube Monkey

The Soko are considered to have an intellectual prowess that makes them the most intelligent and most cunning clan. The men are thought to be good hunters, great fighters and very protective of their families whilst the women are seen as highly intelligent and beautiful.

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Moyo/Mhumba - Heart

This is the ‘necessary totem’ as every living thing needs a heart to survive. The women are thought to make good mothers and good at creating a sense of family.

So why are totems so important? It is said that a child who grows up without knowledge of his or her people and cultural identity is at risk of a troubled life. As totems are our link to our ancestors, not having one as a spiritual guide leaves us vulnerable to spiritual attacks. And so in many ways, understanding the importance of totems and incorporating the tradition in our lives can be extremely valuable in these modern times. One knows that if one cannot rely on ‘blood’ relatives, one will always have the totem family.

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HOUSE OF MUTAPA Farewell

STRIVING TO INSPIRE

2019-2021

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RODNEY RUMBIDZAI CHAWOTA Co-founder/Creative Design Director

When we started HoM two years ago our mission as our motto says was always “striving to inspire” and I believe in the last two years we did just that. We demonstrated that Zimbabweans and other Africans on the continent and beyond are capable of achieving dizzy heights in all sectors of life. As we draw a close to this chapter I would like to personally thank my HoM team and partners for all the hard work and support during our time together. I would also like to thank all our interviewees, contributors and the HoM community around the world. Everyone who ever liked, shared or commented on our articles and publications. I look forward to collaborations in the future as we all go forward to explore other endeavours. Tatenda : Ngiyabonga : Thank you RRC

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GODWIN CHIREKA

Co-founder/Chairman/Marketing Director

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Our journey started in 2019. It was a fascinating story of individuals who found themselves in three different continents with a passion for storytelling. We refused to make distance a barrier and leveraged on technology to make our dream come true. The magazine took shape against all odds stacked against us. Our first issue was riddled with errors but we were not deterred. Telling the story of Zimbabweans striving and excelling in the diaspora was our mission and we did a good job of it. In no time, the team grew and the quality of the magazine greatly improved, thanks to the efforts of Rhoda Molife who was meticulous about editing the stories. Working with the magazine resulted in my personal growth as tips given by interviewees were practical and applicable in all facets of life. It was also humbling to become the voice of many vulnerable diasporans who found themselves living on the fringes of an economy especially in South Africa. Oftentimes, writing balanced pieces was not easy when faced with the despicable conditions that our fellow countrymen lived in. In our small way, we endeavoured to bring their not so rosy stories to the public’s attention. Despite our passion and drive an inescapable fact arose. The longevity and profitability of magazines in the era of social media was not guaranteed. This was exacerbated by the unattractive nature of good stories. In the era of social media, stories that thrive have to be political, negative and downright grotesque. Readers need the constant dose of dopamine inducing and addictive tales. It is not an indictment on this generation but a fact of reality on the ground. However, we could not compromise by publishing stories we thought were not aligned to our vision. Nonetheless this has been an exciting journey of nurturing an idea from a dream to a product. We owe immeasurable gratitude to the amazing individuals who allowed us to interview them. From the internationally-renowned healthcare expert Lenias Hwenda to artificial intelligence guru Pasi Sachiti. Here are individuals doing great in a world that is changing at an alarming rate. I will never get enough of the sight of Pasi’s driverless cars doing the rounds in London delivering goods. That is the stuff dreams are made of. As HoM takes a bow, we are indebted to our readers who religiously imbibed our stories. They helped us build a brand that was ethical, educational and inspiring. We will take a brief sojourn but the brand will continue to be involved in other worthwhile endeavours. Tinoti kwamuri mose tinotenda. Thank you

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SIMBA C. HARAWA

Co-founder/Public Relations Director As HoM turns and moves in a different direction, I would like to express my sincere gratitude to our readers and followers. Without you HoM would not be and because of this, it is my sincere hope that we will find space to impact and inspire others in a different way. From time to time, we all need someone or something that lifts our spirits and I think HoM did that for all of us. We need to continue supporting each other to grow. We are stronger together. The journey at HoM started with the need to have positive influence and impact. I have had the privilege to interview some of you. You have all been very generous and kind. I have grown and been challenged to grow. Being the director of public relations has been a huge honour and responsibility as well. I have met new people, made friends and developed new partnerships. That has been a life changing experience. I will continue supporting our community at large. The mission continues: Striving to Inspire. Stay safe. Be positive. Be fruitful. Simba C Harawa HOUSE OF MUTAPA 50

RHODA MOLIFE Editor-In-Chief

When I joined the team of HoM in late 2019, pre-COVID, I had no idea how much of a joy this ride would be. The acknowledgement and celebration of the excellence of us Africans and descendants of Africans has never been more important than it is now. Of course the excellence is not new but somewhere along the line we and the world forgot about it. To reclaim our legacy it is vital that we not only tell our stories but record them… write them down… so that our history cannot be denied again. It has been an immense honour and privilege to connect with so many across the globe who are representing the continent and illuminating paths around the globe – just as our ancestors did. The relationships I have forged with the team and our features, the lessons I have learnt, the motivation I have been given, the inspiration that I have been gifted, are unparalleled. As we finish this chapter, let me say thank you to each and every one of you in the HoM Family. You shared the vision and embraced the mission, made the journey memorable and opened all kinds of doors through which we can all stride through, tall and proud, and take this wonderful work to new heights. With love, Rhoda HOUSE OF MUTAPA 51

VANNESA MOOSA

Public Relations Executive House of Mutapa has been a celebration of Zimbabwean heritage, a commemoration of Africanism. It has been an absolute honour working with the HoM team who have inspired me to pen down my thoughts as we shared the true African spirit of ubuntu. A heartfelt thanks to the HoM community who supported us steadfastly - you inspired us to churn out edition after edition. This is the close of a chapter but not the book – as we all move on our journeys, let’s be proud of who we are and what we can do. Above all let’s strive to inspire and own our own House of Mutapa. Live well. Love much. Love often.

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