POVO Journal 2016 - Main Edition 09

ISSUE 09: BEARERS OF THE FLAG DEC 2016

POVO - PEOPLE OF VALID OPINIONS

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THE POVO JOURNAL December 2016

COVER ART SIMBA MAENGERA

POVO STAFF

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MASIMBA HWATI

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NOKULULEKO TLADI

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DAVID ALFORD

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NEVER LUNDU

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WADZANAI CHIURIRI

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POVO STAFF

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TANATSEI GAMBURA

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TAFADZWA GUTSA

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EVAN MAWARIRE

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#KusirikufaNdekupi A Trap called Blackness: The albatross of an Identity built on Reaction A shepherd’s dream 2016 Great Year For David Alford Harare

ISSUE 09: BEARERS OF THE FLAG DEC 2016

POVO - PEOPLE OF VALID OPINIONS

PUBLISHERS POVOAFRIKA TRUST ZIM Harare 263 77 228 3186 / +263 772745710, 1 Verona Gardens, 70 Livingstone Ave, Harare, Zimbabwe RSA Johannesburg +27 11 7603511 / +27 726005283 210 Klein Drakenstein, 31 Snipe Street, Horizon, 1724, Roodepoort, Johannesburg, South Afrika

The Bat Doctor

The Error of Human Evolution

#MugabeStatue Comments from Zimbabwean artists

CONTRIBUTE Add your voice to the conversation.

Your opinion is valid and valuable.

Submit to contribute@povo.co.zw

KEY PERSONNEL EDITOR Archibald Mathibela DESIGN AND LAYOUT Baynham Goredema FINANCE DIRECTOR Rodrick Longwe

DISCLAIMER POVO JOURNAL is published by POVOAfrika Trust.

Opinions expressed in this publication do not necessarily reflect the views of POVOAfrika Trust nor any of their partners. The information and views set out in this journal are those of the author(s) and do not necessarily reflect the official opinion of POVOAfrika Trust, nor any of their partners.

Neither POVOAfrika Trust nor any person acting on their behalf may be held responsible for the use which may be made of the information contained therein. Neither are they responsible for siting references within articles or credits to photos supplied, this is the responsibility of the contributor. Rights to the photographs and articles remain with the photographers and with the authors respectively. Contact them respectively for reproduction. While all care has been taken during proofing, errors and omissions may slip through and we sincerely apologise for these.

To Those Who Storms Are Fond Of

Africa, The universe is not fair.

Deal with it and move on!

#ThisFlag

SHOWCASE SIMBA MAENGERA

COVER ART + ILLUSTRATION 35,39

www.povoafrika.org

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#KusirikufaNdekupi ACTIVISM

POVO STAFF @POVOAFRIKA

What is #KusirikufaNdekupi

K

usirikufa Ndekupi describes a situation whereby either way you look your situation, you are in trouble, and since this is the case we will speak up. If we don’t speak up we are in trouble and if we do speak up we are in trouble.

This is the space in which most Zimbabweans find themselves find themselves in. Between a rock and a hard place, pressed on both sides.

Freedom of expression Visual art has always been a vehicle of protest and raising awareness about injustices.

Zimbabwean artists have been fearful of expressing themselves visually on the current state of the country because of the fate that has met anyone who has raised his voice, disappearances, imprisonment, harassment assault or intimidated. It can also be argued though that today its now mostly self censorship that hinders visual expression because the fear has been internalised and manifests in a paranoia. There has been a false sense of a freedom of speech but no guarantee of freedom after expression. That is the background under which we sent the call out to artists. Even though they were in another country, some artists still feared for their safety, siting fear of victimisation on entry back into 4

THE POVO JOURNAL December 2016

The title of the exhibition #KusirikufaNdekupi is based on a rhetorical question, a common phrase in the Shona language.

Zimbabwe. Some were even afraid to attend the exhibition as they were worried about the attendance of state agents.

Renowned artists we expected to speak out were nowhere to be found, or they were seen cosying up with the regime.

Most probably out of fear and for self preservation.

They were inspired by the boldness and bravery that was shown by Zimbabweans during the demonstrations and it signalled a new era and a new attitude. A people who had had enough of corruption and bad governance, a people who had reached a tipping point. The Zimbabweans who were once

They were inspired by the boldness and bravery that was shown by Zimbabweans during the demonstrations and it signalled a new era and a new attitude. A people who had had enough of corruption and bad governance, a people who had reached a tipping point.

What was the inspiration During the height of the #ThisFlag movement in Zimbabwe and the protest which happened during July and August 2016 (#ThisFlag, #ThisGown, #TaJamuka, #ShutDownZim), Paul Maposa (Ilustrator) approached Baynham Goredema (Graphic Designer) with an idea to do joint exhibition commenting on what was happening in Zimbabwe.

After much deliberations we decided to make it inclusive and involve other Zimbabwean artists in Johannesburg and make it a group exhibition. The goal which they achieved, was to have 36 pieces of artwork that represented the 36 years of our independence.

said to be spineless had shown they had enough! Hatichada (We have had enough!) and Hatichatya! (We are no longer afraid) were some of the slogans of the movement. They were standing up to a repressive regime, without fear.

artists based in Joburg and 18 responded with one pulling out at the last minute due to the ‘political’ nature of the exhibition leaving 17 exhibitors. There were concerns from other artists in regards to their safety especially when they wanted to go back home. One artist based in Zimbabwe wanted to be a part of it and sent in his work, together with some from Cape Town, and Pretoria. Despite inviting a number of women artists not a single one managed to submit work which is something we would like to see change in the future.

Collaboration They collaborated with the J&B Hive and CreativeNestlings who supported by providing the space where the exhibition was held. POVOAfrika was responsible for providing its network of artists and reaching out to the artists. Motino Communications also assisted in the production of some of the work, and the setting up of the exhibition.

The two artists decided that they had to play their part and let their voice be heard through visual art. Initially it was scheduled for August to coincide with Heroes Holiday in Zimbabwe, but the timelines were too tight.

How many artists

Watch Opening Speech

The initial call was for artists in Johannesburg because of logistical concerns.

View Exhibition

A call was sent out to over 40

https:/ /www.youtube.com/watch?v=KFrvEAr6np8

http:/ /povo.co.zw/kusirikufandekupi/

Twitter Comments #KusirikufaNdekupi

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A Trap called Blackness: The albatross of an Identity built on Reaction IDENTITY

MASIMBA HWATI ARTIST @MasimbaHwati

What were we before we were black?

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f we want to study anything I think it should be whiteness and how to deconstruct its poisonous assumptions of superiority and privilege. The possessiveness of whiteness formulated the ‘white race’ which was never a normal nor a natural entity, but is instead a social category constructed and maintained since the late 1600s in America.

What were we before we were black? How did we define ourselves before somebody called it to our attention that we were non “White”? Should an identity be constructed on the foundation of a reaction to a stimulus? Will that identity not therefore depend on that same stimulus for its growth development and definition?

In this case the stimulus is an erroneous Aryan and Eugenic 6

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Blackness was constructed as an Antithesis to whiteness. Should we be studying blackness, should we be even wasting time trying to define it.

perception of “othering” that has been the root of some of the most catastrophic man-made disasters in the history of mankind.

When our ancestors in Zimbabwe first encountered the first Caucasian of Portuguese descent in the 16th century and later the British in 1890 their definition of him was not “white “ neither was it based on color. Some of the earliest definitions of the Caucasian were “Vasinamabvi” (those without knees). This name was a simple description of the settlers who wore long trousers which covered their knees (so their knees were obscured from vision). It is safe to say that phenotyping was never part of our ancestral philosophy.

The other early name is “Vabvakure” which is simply translated the one from far

away. As conflicts arose because of the greed and arrogance of colonizers other names evolved to fit the usurping attitude of the settler and among them were “Madhunamutuna” which means ghosts or an apparition that disturbs the peace.

It is only at a later stage as the colonial machine perfected Aryan and Eugenic ideologies that molested indigenous people’s identity do we see names such as “Murungu/ Muzungu” “Muchena”, “Mukiwa”. These later names were a result of a victimized people’s reactive psyche of reacting to socio-cultural and economic subjugation. Words like “Vatema” translated black later became common as faulty Identity structures of definition took root. The argument of this paper is That Blackness is a Trap and an Albatross that depends

of a Phenotypical Stimulus of Aryan and Eugenic origin. Even the Xhosa in south Africa had earlier names for the Caucasian which did not reference color as a medium of definition.

“Ondlebe zikhanya ilanga” is one of the earliest description of the Caucasian and its loosely translated the one through whose ears you can see the sun. This is a rather interesting description of a fellow human being without phenotyping them.

Today the most commonly used name for the Caucasian in most of southern Africa has its roots in a Nyanja word “Muzungu” which means “God”.

It makes one uncomfortable to write such a loaded name and ascribe it to a certain group of people who have committed atrocious acts under the same name. Accepting this name is as much of a psychological act of self-attrition as it is sociocultural and spiritual suicide. The perpetual and erroneous use of

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this particular name to address Caucasian people has one of the main reasons for sublime distortion and poisoning of The African theological premise. This echoes Ali Mazrui’s description of the complicit African “African societies are marked by ‘conquerability, docility, malleability,”and fundamental inferiority’ (2005: 69).

It is important to understand that Mazrui’s describes an acquired or rather imposed state of consciousness as opposed to a natural disposition. History is littered with examples of systemic and cultural engineering of Aryan and Eugenic domination of other groups of people. The Adaptation and the widespread use of the word Murungu (Shona), Umlungu (isiXhosa/ Zulu), Muzungu (Nyanja) could have more subliminal psychic damage than we know.

In one of his early visits to Uganda Carl Gustav Yung the Swiss psychiatrist and psychotherapist noted in one of his accounts the sad usurpation of the power and place of dreams by a colonial supremacist ideology

“One time we had a palaver with the laibon, the old medicine man.

He appeared in a splendid cloak made of the skins of blue monkeys a valuable article of display. When I asked him about his dreams, he answered with tears in his eyes, “In old days the laibons had dreams, and knew whether there is war or sickness or whether rain comes and where the herds should be driven.” His grandfather, too, had still dreamed. But since the whites were in Africa, he said, no one had dreams any more.

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THE POVO JOURNAL December 2016

Whenever a people identify themselves by reacting to a stimulus they create an identity crisis that can only be dealt with by deconstructing the stimulus first and then the reaction will follow suit.

Dreams were no longer needed because now the English knew everything! p319 Memories Dreams Reflections: Carl Gutsav Jung 1961

This account implicates The British in the systemic obliteration of indigenous ways of knowing in which the phenomenon function of dreams was destroyed through the deification of the Caucasian as an all knowing being.

Whenever a people identify

themselves by reacting to a stimulus they create an identity crisis that can only be dealt with by deconstructing the stimulus first and then the reaction will follow suit. Black and white episteme have no place in a healthy society they both must be obliterated; to deconstruct one you have to deconstruct the other. Most African Americans movements are encountering a Philosophical Albatross, this situation is described by Edgar Allen Poe as a mental straight

Jacket. This can only be dealt with by addressing the trap of blackness and deconstructing the stimulus that formulated the idea of black as an identity. In trying to address socio-political and economic inequalities post colonies like South Africa are finding themselves in a trap of both semantics and ideology concerning the idea of blackness.

One is reminded of James Baldwin’s words “You are the Nigger babie...it isn’t me”

Bibliography Memories Dreams Reflections: Carl Gutsav Jung 1961

The Re-Making of Africa: Ayi Kwei Armah and the Narrative of an (Alter)-native Route to Development: Gbemisola Adeoti, Africa Media Review, Volume 13, Number 2, 2005, Council for the Development of Social Science Research in Africa, 2005 (ISSN 0258-4913), Department of English, Obafemi Awolowo University, Ile Ife, Nigeria.

“You are the Nigger babie .it isn’t me”: the words of James Baldwin in the film “Take This Hammer” filmed with James Baldwin in the spring of 1963 was produced for National Education Television by the KQED film unit, San Francisco From an Article “whose black is it

by Omeka Okerekehttps://minorliteratures.com/2015/07/02/blackportraitures-whose-black-is-it/

Blackness was constructed as an Antithesis to whiteness “Blackness, as a social construct, is seen as immutable. It exists as a negative against which the socalled positive of whiteness measures and sets itself against”.

“Whiteness must be destroyed.

But, in doing so, blackness must be destroyed as well” Edgar Allen Poe, TOWARDS THE END OF WHITENESS AND BLACKNESS, https://kathmanduk2.wordpress. com/2011/10/26/towards-the-endof-whiteness-and-blackness/

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A shepherd’s dream

POETRY

NOKULULEKO TLADI POET

Between the golden blades of wheat, Distanced from where acacias retain their midday shadow, The sun finds entangled in orgasms, Melanin limbs of lovers In shimmering sweat glazed She arches her back Where his hand grips the small of it Caressing with his fingers that place to seat his seed While deep inside her planting this kernel cocooned till ripe A quake announcing its embedding Not one sweet birdsong creams, the melody of her soft scream’s dream Nor the field-wind’s breeze, the rustle of his shifting rhythms And the vast skies bear sole-witness to their forbidden passion Between the golden blades of wheat Out wide in the open yet beautifully secreted A tear, a moan, a heart breaks from too sweet love A girl succumbs to his manhood’s arrest And a woman becomes, to make a man He tears her skin, the gates to her womb And all at one time, the chords of her virgin heart He tears her skin, the gates, her heart, tenderizes her ass He makes her cry, the skies, they see The sun, it weeps She loves too sweet His locks, she grips Holds on for life The earth, it moves He belts his pace She screams and screams As they arrive …

No longer girl, A child conceived They pant and pant until they sigh Between the golden blades of wheat Out wide in the open where the herd lazes from its graze The shepherd watches on his back the sun descend The saccharine breath of lovers worn, through his nostrils ascend His cane rises in honour To praise the man That made a girl, a woman

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THE POVO JOURNAL December 2016

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2016 GREAT YEAR FOR DAVID ALFORD HARARE FASHION

DAVID ALFORD FA S H I O N D E S I G N E R

2016anGREAT FOR DAVID HARARE 2016 has been incredibleYEAR year for rising FashionALFORD House, David Alford Harare.

The award winning brand dedicated most of the year penetrating the international market showcasing in Ghana, France and Kenya.

T

PHOTOGRAPHY

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SIMON DEINER/ SDR PHOTO

heir well received Spring/ Summer collection Centurion debuted at Accra Fashion Week before making it’s way to the prestigious UNESCO Africa Fashion Reception in Paris and finally Nairobi Fashion Week.

Renown for its attention to detail and meticulous finish, the brand has ended the year on an unmatched high being awarded Best Designer Couture at the Style Oracle Fashion Awards and Designer of the yearatthe Zimbabw eModelsAwards2016 respectively.

That’snotall,t hebrand was selected out of 8000 designers to participate at N ew York Fashion Week in February 2017!

ACCOCLADES

David Alford Harare’s Spring Summ er Collection • Awarded Zimbabwe Centurion showcased at Accra Fashion Week 2016 Established in December Designer of the Year 2015 2014, David Alford, Harare is • Participation at Fashion a contemporary minimalist David Alford Harare’s Spring Summer ​ Collection ​Centurion showcased at Accra Fashion Weekend Zimbabwe 2015. Week 2016. Ph Fashion House which strives Creative Director, David Alford International stores etc.”

Credit: Simon Deiner/ SDR Photo • Most successful feature to create a new and exciting says “2016 was a tremendous Committed to spreading the on Diana Opoti’s 100 days dimension to African Fashion. year for the brand to further brands knowledge, ideas and of African Fashion 2015.

The house combines passed its reach outside of Zimbabwe, processes to the wider upcoming 2016 has been an incredible year for rising Fashion House, ​David Alford Harare. The a influences from Fashion, art and for our overall team to Fashion community within • Participation in Accra refine dedicated developing collections. and architecture with modern brand winning most of the year and penetrating the international Fashion Week 2016.market showcasi Zimbabwe the diaspora, day techniques of producing 2017 looks set to take the Brand the David Alford Harare team Ghana, France and and Kenya.

Summer • Participation in The collection ​Cent to new heights give usTheir well received Spring/ clothing and accessories. contributed to the facilitation of UNESCO Africa Fashion the oppurtunity to immerse before making it’s way to the prestigious ​UNESCO A Zimbabwe Young Designers Reception, Paris 2016.

Since the launch ofdebuted the Brands at​ ​Accra Fashion Week the ourselves in more prestigious Program 2016.

A program that first collection in April 2015, it Fashion Reception Renown • Participation in Nairobi for its attentio Fashion Showsin withParis the hopeand of finally ​Nairobi Fashion Week. educated designers with no has enjoyed much recognition Fashion Week 2016. our garments beingfinish, stocked by detail and meticulous the brand has ended the year on an unmatched high b previous experience in concept at home and abroad.

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awarded Best Designer Couture at the ​Style​ Oracle Fashion Awards and Designer o ​ Models Awards 2016 respectively. That’s not all, the brand year at the ​Zimbabwe selected out of 8000 designers to participate ​ at ​New York Fashion Week in February 20

THE POVO JOURNAL December 2016

ASTERIA MALINZI

» PHOTOGRAPHY Bearers Of The Flag Issue 09

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development, design, pattern cutting and construction. In addition to this, Alford was Guest of Honour for Chisipite Senior School’s first ever fashion show in November.

As the brand’s star continues to rise and and leave Zimbabwe imprinted on the global fashion map, many aspiring and established designers will continue to draw both inspiration and motivation from the brand, it’s precision and excellence.

CENTURION, Spring/ Summer Collection 2016 as articulated by David Alford Harare Creative Director: David Alford.

“Centurion, began for me as a continuation of our Winter 2016 collection, “Fallen Angel,” which sort inspiration from artwork from the 15th Century. I knew I wanted to portray an image of a girl who was encased in armor and had the need to use clothing as a form of protection; so all this considered it made total

Centurion is a culmination of history, futurism, tradition, culture and politics.

It seemed particularly relevant for me to do something, which reflected what was happening socially, and politically around me at the time

sense to me to continue seeking inspiration from the same period of history.

aesthetic, so I also used the simplicity of 1960’s architecture as a guide to achieve this.

The 14th- 15th Century was a time when War was rife across Europe, the British combating the French, Spanish, Portuguese etc., and also saw the armor of these armies develop from simple chain mail garments to completely encase the wearers body in sheets of molded steel.

The most common way to create an armored plating effect with fabric is to form the fabric into pleats and so this is where the collection really began to take shape.

Fabric was a key part of the make up of the collection. Faux Leather was a must but I wanted to use a contrasting fabric that would look just as hard and intimidating once pleated and constructed so cotton became the option. A major fabric choice was used to create the Trench Coats and Jackets. Spun Bond is a fabric usually used concealed in furniture, car seats, and many other day-to-day objects. I liked the way that Spun Bond contrasted the impenetrable Cotton and Leather with its transparency and cloud- like appearance. Furthermore it was the idea of taking something that is usually concealed, and using it to make an exoskeleton, the opposite to what a suit of armors function is.

To contrast the initial inspiration of royalty, and decadence I wanted the collection to have a totally futuristic minimalist feel to it, so as to form an almost science fictional warrior

Unintentionally Centurion developed from the initial European Medieval inspiration and became more closely inspired by Traditional Japanese Samurai Warriors.

High, wide collars, and uneven hem lines echoed that sense and style of Japanese cutting and the Kimono, combined with floor length skirts worked well to elongate the body and was also a reference back to the more feminine side to Medieval Europe.

Centurion is a culmination of history, futurism, tradition, culture and politics. It seemed particularly relevant for me to do something, which reflected what was happening socially, and politically around me at the time. A time when Zimbabweans were rising up and fighting for what they believe in and the changes they want to see. I also feel people have always used clothing as a form of protection, for example using tailoring as a status symbol, or symbol of authority and power”.

A collection of live video interviews with artists on youtube #POVOKonvo

LINDA GABRIEL Poetry in Zimbabwe

THE POVO JOURNAL December 2016

NEVER LUNDU - THE CRICKET BAT DOCTOR [Full Documentary]

INTRODUCING KEYNET KENYA ECONOMIC YOUTH NETWORK

Edison Sithole

Marceline Dzumbira

1975

Paul Chizuze

Abigail Chiroto

Early 90’s

Grabbed by unknown assailants, bundled into a car.

Never seen again.

2012

2008

Disappeared shortly after she had allegedly kidnapped her husband’s mistress.

Kidnapped by armed men who then petrol bombed the house she lived in.

Her blindfolded body was discovered close to the couples house the next day.

Never found.

Vanished under unclear circumstances. Feared he was hijacked, abducted and murdered by political parties.

Found dead.

Never found.

Tonderai Ndira 2008 Abducted from his home by ten armed men, body was later found that month, reportedly shot in the heart, multiple stab wounds, eyes gouged, tongue cut out, neck, jaw and nuckles broken.

Capt. Edwin Nleya 1989 Disappeared under suspicious circumstances from an infantry battalion in Hwange. Body found on a hillside in Hwange two months later. He had threatened to expose senior army officers involved in poaching and smuggling ivory outside the country.

Found mutilated.

Rashiwe Guzha

Found dead.

1990 Disappeared after breaking off an affair with the then CIO deputy director. Government set up an inquiry but results were never made public.

Patrrick Nabanyama 2000 Disappeared after being abducted by a gang of up to 10 armed men.

Never seen again.

Body never found.

Itai Dzamara 2015 Abducted by five unknown assailants from a barbershop while getting a haircut.

Still missing.

Jestina Mukoko 2008 Abducted during the night from her home by suspected state agents for allegedly being involved in plans for anti-government demonstrations.

Reappeared after 21 days at a police station, was charged with recruiting persons to participate in alleged militia camps in Botswana.

She was released.

Source: Newsday Zimbabwe | Researcher: Cynthia Matonhodze

Bearers Of The Flag Issue 09

Never Lundu - The Bat Doctor ENTREPRENEURSHIP

NEVER LUNDU B AT R E PA I R S P E C I A L I S T

I was born in Chitungwiza in 1991 and that’s where I live. I started playing cricket when I was in Grade 3 at Seke 6 Primary School

The Beginning I stopped playing cricket for about 3 years when I was transferred to another school which did not play cricket, I returned to my former school and then I continued playing in Grade 6 and 7. High School I started playing cricket for the 1st Team when I was in Form 1 up to Form 4. At Seke 1, I played with Tinashe Chimbambo, the former Under 19 team player and Mashonganyika.

I was called by Regis Mutare, the coach of Churchill to play for Churchill in my last year of ‘O’ Level so moved to Churchill and finished my high school there. At Churchill I played with Dean Mazhawidza, I think he was the captain at that time, Luke Jongwe, Jaylot Gumbi, Tinotenda Mutombodzi and Jahure,. We were in the same team, and with a couple of other guys who are no longer playing cricket in Zimbabwe.

They are no based in South Africa. They treated me like I was born at Churchill and it became my second home when I came from Seke 1.

Playing Career When I was at Churchill, I was selected to play for Mashonaland Eagles B in 16

THE POVO JOURNAL December 2016

up 7/11 and I was the man of the match. From there everyone wanted to play with me in their side. I am still playing for Royal Cricket Club and I am now, the Captain. I developed myself into an all rounder. We had been relegated before and we are now back in the 1st League and I am still leading the team. I would love to continue playing cricket and also motivating some youngsters. Since I have played with those experienced guys, I would love to share my experience with youngsters.

How I Started Repairing Bats

2008 with George Tandi, who was the coach. I played my debut against Mountaineers and my first wicket was Kelvin Kasuza. At that time, Elton Chigumbura who was the Captain for Mash Eagles First Team motivated me to further my career in cricket.

I went on to play for Eagles

and I think I did well until 2012 when it was stopped.

In 2006 I had started playing, club cricket at Royal Cricket Club in Chitungwiza. In the Royal Team there was Keith Dabengwa, Tawanda Mupariwa, Alois Tichana.

My debut was against Takashinga where I picked

Cricket bats are very expensive so when they broke we had to improvise.

I started doing bats in 2010.

Then, I was doing it like a joke. In 2012, I think it was that’s when I started doing bats at a professional level. I was helping Mr. Mutusva at Seke 1 High. He was doing some repairs but the glue he was using wasn’t suitable for that. The break through came when my friend Lavert Masunda, broke his bat, when he wanted to get it repaired by Samuel Mwakayeni popularly known as ‘Mdhara Jigga’, a guy from Highfields. He had no money to get it there, so he motivated me to try to do what Mudhara Jigga did and I did that and I went

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on to do it successfully. Samuel Mwakayeni used to do it most of the bats and he moved to is still doing it in South Africa and is still doing that.

National Bats When Lavert Masunda got a Gray Nicholls bat from Prosper Utseya, he had no money to get it repaired and he came with it to me and said you can do this. We need to experiment with this bat.

It was a proper bat and for me, it was hard to do it but because my friend motivated me, I tried it and it worked. Lavert took it to Sports Club and everyone saw it and said, ‘Wow, who did this! and Lavert said, ‘It’s Lundu who did this’ and the people said, ‘Ah, it’s more like Mudhara Jigga! Then from there, he came back and reported that to me then that pushed me to start doing bats at a professional level. Chamunorwa Chibhabha came to the party because we were living in the same location and he gave me his bat. I am not sure which game he was going to play, I think it was against Pakistani and he said I need my bat to get repaired for this coming tour then I was shocked and; ‘what! An international bat coming to me?’

For me to repair, I was shocked.

I took the bats home and then I fixed them and brought them back to Chibhabha and he was impressed with the work and he kept on entrusting me with his bats. The big turnaround came when Chamu introduced me to Hamilton Masakadza who entrusted me with his bats because he saw the job I did with Chamu’s bats. Masakadza was 18

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Sikandar Raza Butt Runs ODI = 1633 TEST = 389 T20 = 341

I first heard about the bat doctor, Lundu from Sam Mwakaeni, Sam Mwakaeni used to fix my bats and as he was leaving for South Africa, he recommended Lundu to me. The first time, I gave him just one of my bats. I just wanted to see how well he can perform a job and I tell you, I was very pleased when the bat came back, its exactly how I wanted it and things like that, and since then, I have recommended him to most of the Asian community. Now all of them send their bats to Lundu because he does such a fantastic job. Some of my international bats I broke as well and it hurt me because it was some of the good ones as well but I gave it to Lundu, and when they came back and I started using them, they were the same. So, he’s very good at what he does and some of the bats that I used at international cricket were fixed by Lundu and the one that sticks out in my head is the one that I got my hundred with in international cricket against New Zealand. So I think all in all, I think he does a fantastic job. I think he is great at what he does and I think it helps a lot of us because bats are quite expensive these days so I think what Lundu does, it goes a long way from just fixing the bat. I think, it helps a lot more youngsters who might not be able to afford a second bat. So for them, Lundu comes to their rescue and fix their bats so that they could use it again, that helps them to keep playing cricket . So, I think for me, it’s not just about that this guy fixes bats. I think it goes further away from that. It goes a long long away from just fixing a bat. It gives someone that cushion that if something goes wrong with the bat, which it can then at least there is Lundu to fix and help.

impressed with the work and Sikandar Raza Butt came to the party. Before the tour of New Zealand, Craig Ervine came with his bat, it was broken at the top and he said this is the bat that I want to use in tomorrow’s match but now I was under pressure that I have to get the bat done today so that it will be used tomorrow. I worked all night on it then I got it back to Craig and he was impressed. He went on to play with that bat and scored an unbeaten hundred which helped the team to get a victory in the first ODI. Craig was so happy that I repaired his bat that he was looking forward to use in the upcoming games. From there, I kept on advancing and repairing a lot of international bats and guys kept on coming from there.

International Bats When Pakistan came to Zimbabwe, Mashud came with his bat. He sent in his manager with the bat. It had a crack on the face. I repaired it and he was so happy about it. In the 3rd ODI, Hafeez’s bat got broken on the edge and Kuda Munyedere referred him to me. I took the bat and repaired it and brought it back, he was so happy to see his bat living again; the Pakistan wicket-keeper came with his bat and I did it. It was broken on the shoulder and I repaired it and guys were very very impressed with the work.

Hafeez mentioned that I need to continue doing this ‘because it is very difficult to change bats each and every tournament or series.

They want their best bat, if it gets

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Chamu Chibhabha Runs ODI = 2346 Test = 103 T20 = 600

I have known Lundu for a while now.

He used to play for a club called Royal in Chitungwiza, I think he still plays there. He used to hangout with my cousin brother so that’s how I got to know him. Before I started sending my bats to him, I used to use Samuel Mwakayeni, he used to be one of the guys that, fix bats but he moved to South Africa so now I go to Lundu.

Over the years, he got better at fixing bats and now, he’s really good at it and every time my bat needs a bit of help, I send it to him especially, my favourite bats otherwise most of the time when they break, I just give it to junior players that need bats but my favourite bats, I send them to him and he does a good job and I carry on using them in international cricket. I have got new bats but I like using my favourite bat so when they break, I still use those, I send them to Lundu, he does a great job and then I still use them. If you walk into our changing room right now, especially the majority of the guys they will probably have new bats that they would have just received from their sponsors but they carry on using the older bats that are, half-broken but they still want to use those because they are their favourite bats. So, its just a matter of what you are comfortable with and for me, if I have a bat that I really like and if it breaks but its not really that bad, I send them to Lundu and then carry on using them.

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Godwill Mamhiyo Runs First Class = 902 List A = 626 Twenty20 = 15

Kusal Mendis

broken they need it repaired but if there is no one who can repair it there will be no option. But now, they have an option and they were very happy about it.

Sri lanka also needed his service with Kusal Mendis and Upul Tharanga get their bats serviced.

Can You Tell When a Bat is Broken Whenever I get to a cricket ground when people are batting, you can tell when the bat is broken. The sound itself tells you that there is something wrong with this bat but when that happens, it’s very difficult for me to go and tell a guy that your bat is broken because guys will think you are trying to make some money with them. So, I will just leave them then I know that in a couple of hours they will call and inform me that there is something wrong with my bat. I remember at one occasion, when Ryan Burl was batting at Sports Club, he broke his bat but he just checked the bat, right then I told the guys that I was sitting with that this bat is gone. Tomorrow or today before the end of the day, he is going to bring it and surely before the end of day, he brought it and the handle was gone and I replaced the handle and he was happy with it.

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When you have got one of your favourite bats and they have just broken; when you are in the middle of the game, you have got nowhere to go. There are not many people, around, who can fix up anything for you. You may have another bat but; tell you what, it doesn’t feel the same as your favourite bat and that’s the way I got to meet the great man called Lundu, ‘the bat doctor’. My bat had broken in the middle of a game against Ireland and he was kind enough to take it. I really didn’t think he could do anything with it but soon as he took it, overnight, he fixed it and brought it back and tell you what, It felt exactly the same as before. There is nowhere else I would want to take my bat. I have had others look at them and try fix but I don’t think there is anyone around who is better than Lundu. After Lundu had fixed my first bat, I had another bat back at home in Bulawayo which I had also thought had gone but, I couriered it straight away, brought it up to Harare and tell you what, Lundu worked his magic on that bat. So, anyone out there with a broken bat there is nothing that Lundu can’t fix.

Upul Tharanga

What don’t people know about you?

I don’t know if guys know this but when I am not doing bats , I usually go to the taxis, I drive taxis and also, something they don’t know is whenever I get a bat from even Chamu, even Hafeez, my wish will be that the bat I fix will score a hundred and that happened in the past with Ervine, Chigumbura and also Sikandar Raza’s bats. So, whenever I get a bat that’s my motto. I would love that bat to score a hundred from the first game the guy takes it from me.

Future Plans Replacing Handle

Beyond Repair

When I am replacing a handle, I need something like a day and a half to do that because a handle needs a bit more attention than anything else. Some other damages, I will just take even half a day then I will be through with it. Looking at this bat I got it today, the guys are in the middle of a four-day match they want to use it tomorrow, so by the end of the day, I will be done with it then will go with it tomorrow. It will be ready to use.

When you are repairing bats, there are some bats, which are beyond repair. If you are to look at the bat which Vusimusi Sibanda used in 2008, I think, when they were playing against West Indies when Kemar Roach bowled a yorker that broke his bat, there is nothing we can do about it. Sometimes we can just use the handle to put it on another bat. I advise guys that when their bats break they just need to come with it first then I will check if it is still repairable.

My future plans are that in Zimbabwe there is no cricket workshop so maybe in a couple of years to come, I would love to have my own workshop where I will start to make a bat from scratch and make it happen here in Zimbabwe like in India, we have something like Meads and Gray Nicholls, GMs and here in Zimbabwe we don’t have one. So, I would love to do that in future and at the moment, I am not yet married. Maybe in a couple years to come I would love to, yeah.

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He’s really a master at work, in terms of the job that he does with our bats. I first came to know him when one of my bats had broken, and the guy that I used to go to initially, was not around and the other guys recommended Lundu and I thought, okay, so I gave it to him and, when it came back, it was looking as good as new, He’s really done a tremendous job, with my bats and with pretty much everyone else around, because he is the only one, as far as we know, who does the kind of work that he does, and, even visiting national teams, have come and they have, asked for somebody to mend their broken bats, and Lundu has been the man to do the job, I tell you, he’s really, really good, and I have personally, appreciated what he has done with some of my bats and, you really wonder how he does it, I don’t know.

He’s just, a genius with his hands, At times you give him, a bat that is really open, wide cracks and it comes back as good as new, cracks disappeared, nice and strong but, we certainly appreciate having him around and, doing the work that he does for us. There will be a whole lot of bats just lying around if it wasn’t for Lundu. It’s something that I think they, if you are not careful, you can easily pass it by but, in terms of the work that he does with our bats, but it’s so important; especially for us as batsmen, we realize how important it is and . We certainly wish that there was something in terms of a set up, for him to do it on a very professional level, where he can actually, go on the big stage but, he definitely does a very good job and its just amazing, how when you send, broken bats and thinking ‘gees’ how is he going to fix this. It comes back as good as new and you are just wondering, how he does it.

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THE POVO JOURNAL December 2016

Regis Chakabva Runs ODI = 454 Test = 506 T20 = 18

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The Error of Human Evolution POETRY

WADZANAI CHIURIRI POET @blackpearl263

The Error of Human Evolution Our infatuation is fluctuating Crippling our perspectives Shadowing our vision On every crucial aspect We recycle and re-circle encircled concepts Loosing fundamental frameworks Our inspiration has been disturbed By the movement of stationery ideologies Our confidence dies an unnatural death Yet mirrors reflect we are alive Yet stuck of a dead form of being The error of human evolution Seeking substance – a refuge We change the cords to the original tune Again crippling the dance In psychologically complicated theories Of revolution and organisation Plastered on a sociological background of confusion The family collapses from religion We collapse for our reason We sell circular ideals in our media interactions Interrupting a master plan to make us Masterminds of creation We turn what once was sacredness To a mere scientific configuration Illustrating hierarchical tabulations Of our spiritual and physical needs Turning us to a mechanical rather than moral breed We miss the connection between the dots Yet dot together syllabi for unknowing generation To learn and adopt our mistake My mistake Do I offend you with?

With this cruel honestyThe error of human evolution.

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#MugabeStatue Comments from Zimbabwean artists FINE ART

POVO STAFF @POVOAFRIKA

His approach to sculpture is from a perspective of child art The latest statue by Dominic Benhura is quintessentially Benhura. If I understand his philosophy correctly, his approach to sculpture is from a perspective of child art, the aesthetic is in the innocence, naivety and melodic simplicity of its forms.This would have made greater sense as a private commission by H.E The President of the Republic Zimbabwe. I must say I am happy to see our government taking artists seriously and putting money in their pockets.

However ideologically the statue goes against everything the government has tried to reinforce about the stature of H.E The President of the Republic of Zimbabwe. Any semiologist worth taking note of will have you know that unsure balance is disempowering. Most women depicted in photographs are either being supported or standing on one leg , or leaning over as if to accept domination (patriarchy). The rendering and proportions are inexact and in some respects comical.

This must have been what those who administered the commissioning of this statue expected-if not then there is a problem. However it can never be guaranteed that the statue will mean the same for everybody.

This statue may very well have other “meanings” to it.. It might 28

THE POVO JOURNAL December 2016

Dominic Benhura’s statue which he dedicated to the president of Zimbabwe, HE Robert Mugabe went viral on social media to the point he was forced to come out and make a statemnt. Here are some comments from artists in our network.

venerate endearment of a head of state that is also accessible, humourous and benevolent. The only true measure of what Dominic Benhura’s statue means to Zimbabweans will be achievable epistemologically through a reception analysis. If there is no empirical inquest into what Zimbabweans feel the statue communicates, there will be speculation to no end.

Idiotic bid to make money Yakashata (Its ugly), but I respect his idiotic bid to make money..or trying to find favour with a 93 year old. He wants to remain relevant to Zimbabwe yet the west is his cash cow. Its below standard, the Chitungwiza realism artist should protest..and looks like it will fall.

A statement to remain relevant My first impression is that he is making a statement to remain relevant and get people talking about him. Creating controversy… making a statement so bold it becomes part of history. To me statues are a symbol of honour. This would seem like a statement of solidarity with the president by honouring him in a time when there are many calling for him to step down. I don’t think the slanting is cause enough for me to see it as a protest

Realism is not his style To be fair, realism is not his style.

You see the basic foundation to abstraction is realism, makes me think that Benhura did not go through it. As an abstract artist I really thought he has a really good style with those faceless sculptures, but adding features to faces and what not No, No, No! Clearly, those around the president, are always crafting ways of pleasing him by new and unique means, when the president visited Rhodes University earlier this year, the students were up in arms with the college to bring down the statue of Rhodes. I believe the crafter got it from that time and decided to please their master by reverse application!

It’s a correct interpretation The artist remained true to his style. It looks clumsy though and am glad cause Bob is a clown. It’s lopsided and not beautiful. He could have made it ‘beautiful’.

Bob is a stiff and soulless breathing corpse. Dominic agona (did well), how else should a collapsing chitunha (corpse) look? This isn’t his usual motherand-child joy saka ndizvozvo (So thats, that).

Abstract style is reserved more to relaying concepts Well the first question I had when I saw this was, who commissioned the statue, did the government ask him to make it or did he offer to

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create it for the president?

Personally I believe that when it comes to representing people especially the right people who have achieved great things then that style that an artist needs to use has to be a lot more realistic and you really bring out the strength and the person, it can be exaggerated but it needs to be realistic.

Abstract sculpture and other abstract style is reserved more to relaying concept of certain things so relaying the concept of striving for freedom or beauty that works perfectly but when it comes to representing an existing human being. I think the abstract style of sculpture even illustration doesn’t really fit in that context. So I think the person who commissioned Dominic to work on the statue knowing that he has an abstract style are the ones who made the big mistake. Dominic has done nothing wrong. This is your style that’s how he expresses

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himself. You know this is how he creates his art pieces. I think the person who commissioned that should’ve known better and should have known more about art and the history of how leaders have been represented artistically throughout history.

They should’ve known that this is not the right artist for this job.

What makes everything worse is just the current sentiment about the president this has made things worse because the semi abstract style has just made it seem like the president is being mocked. I definitely thought it was a veiled protest at first and I thought it would be one of those situations where after the old man has bailed, he’d come

up and say oh yeah I remember that one time when we did the statue I knew it that’s why I did this and that. But i’m not so sure anymore. They should have asked Kim Jong III for advice on propaganda statues!

Wrong timing Personally I like Benhura’s approach to his stone sculpture but this one didn’t sit well with me probably because of his subject ya mdhara (the old man).

The piece it self is not bad but I’m quick to criticize negatively cause of mdhara (the old man).

The fact that it has a political figure who everyone doesn’t

The fact that it has a political figure who everyone doesn’t appreciate at the moment, ya ma one (Its problematic). To me this was wrong timing or he should have done a more controversial subject to uplift the spirits of the masses rather than praising a dictator.

appreciate at the moment, ya ma one (Its problematic). To me this was wrong timing or he should have done a more controversial subject to uplift the spirits of the masses rather than praising a dictator. I don’t think its a veiled protest simply because it’s a reflection of his work. It’s more his identity especially on the slanting and balancing poses. Just go through some of his work and see the approach of his contraposto

Pamwe aida kuudza mudhara kuti waakudonha bhobho (Maybe he wanted to tell the old man that Bob you are falling) He is a businessman and he wants to use his chance. But chokwadi ndechekuti mudhori wakadhakwa uyo(The truth is that that statue is ugly).

Hmmmm I am a bit embarrassed and am not sure about the wisdom of donating to RG at this time, he is a sinking man.

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To Those Who Storms Are Fond Of POETRY

TANATSEI GAMBURA STUDENT @tanagambura

Restless storms take you in Generous mouthfuls and lock Your body between their teeth.

The ocean’s vessel churns and you Churn with it, gulp with it, stir in it.

Close your legs and be swallowed Whole. Grip onto the walls of its Stomach and make peace.

You are nutrient to this water.

Surrender and be digested.

Breathe and be cleansed.

Sit up and emulsify.

Refuse to Be aborted At sea.

Sari I pray you adopt the most Sincere tone of delicacy when making Reference to my name: Coax it with honour, with the air of Appreciation.

I wear my name the way an Indian Woman wears her sari, draped  Across her frame, a symbol of Her jeweled spirit, a testimony Of the beauty in her identity, and The one thing thrust upon Her that she loves.

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Africa, The universe is not fair. Deal with it and move on!

DEVELOPMENT

TAFADZWA GUTSA GRAPHIC/PRODUCT DESIGNER @tafadzwagutsa

A

frican leaders, have often referred to the west as “those that do not want to see us prosper”.

They have labeled the west neocolonialists, and whether that is true or not is another debate, but it begs the question, “What kind of world do we really expect?” Do we expect a world that is fair? Where we gain from our resources at the right cost?

Where we get favours? The truth is, there is no fairness, never has been and probably never will be. So why should we as Africans complain that the west is not fair? The problem is we take things personally and forget that the world is a competitive arena as determined by nature. You either dominate or be dominated. It is the way of life. Colonisation has been there throughout the history of humanity. territorial, tribal, racial, religious and even in the animal kingdom. In fact, the entire universe is a competitive arena, with earth fighting for its survival, planets being wiped out and new ones being born.

So why should African countries complain about fairness in a universe that is naturally not fair?

From whom are we expecting favours, and why?

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During the Rio Olympics, there was an interesting theory regarding the Russian doping scandal which saw most of it’s athletes being banned from the games.

The theory was that the Russian Federation “statesponsored” doping in a bid to show political strength and domination through sport. Whether or not this is true is still to be determined, but it gives an idea of the power hungry world that we live in. That of dominance.

It seems as if colonisation took place only in Africa but we forget that it also happened to many other states or empires, even among African tribes themselves, from the Byzantine period to ancient Egypt, ancient Rome, Greece, Indians vs cowboys. The game has always been the same, dominate or be dominated. That is just how the world works. Instead, what we do as Africans is let our leaders hide behind this propaganda that somehow the west is responsible for all our problems and does not want us to develop. That they have an agenda, when in fact our lack of development is largely due to the way we conduct ourselves as nations.

Corrupt leaders and dictators, who think that they are here to save Africans and that the people do not know what they want but should be guided. This kind of thinking hurts us more than the west probably does. As a matter of opinion, it is these leaders that do not want Africa to develop because it is in their best interest

as they loot state resources and funds, delegate senior positions to family members and expand their political dynasties. They castigate the west and then do business with them behind their people’s backs, for their own personal gains. Only in Africa, Only in Africa.

It is greed, corruption and dictatorship that is Africa’s worst enemy. This belief that one person is responsible and knows what’s best for an entire nation. What has the African Union done to address these issues which are at the core of development? Nothing. Why? Because it is littered with the above mentioned individuals who cling to power, engage in corrupt activities with the west and torture their own people for speaking their mind.

If we as Africa want to develop, first we have to acknowledge our real, internal problems and secondly acknowledge the fact that the world is a competitive arena that is not fair.

We have to go out and take on world but doing so strategically, because we are sure as hell not going to get any favours.

Everyone wants to dominate.

The US, Russia, Britain, China, France e.t.c…. They all want to dominate. But they are not complaining, they are just doing it. They are moving ahead, changing leadership and getting fresh ideas and perspectives while our leaders sink their corrupt roots even deeper. If we think we should have a say or place in the UN, then lets justify it, but let us not complain. Africa has resources yes, but it’s not the only place with resources. It just differs, Africa has natural resources, the west has technological resources and there’s nothing special about that. If the west comes for our natural resources, what stops us from going after their technological resources?

Which of the two is easier to get? The problem is when we begin to think that we should get favours because of our past as pay-back or that we are special in some way because of the resources that we possess.

Special as we might think we are, we still need to sell our resources and we still need to buy other people’s resources. The truth is no continent or country has it all.

Every country will do what it

SIMBA MAENGERA

» ILLUSTRATION Bearers Of The Flag Issue 09

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does in the best interest of its people, but unfortunately for Africa it is the contrary. The people serve their governments and not the other way round.

These same governments in turn hide behind western blame as reasons for their failure.This whole propaganda of the west this, the west that benefits noone but corrupt leaders who want to divert attention from the real problems which are their incompetence and desire for power. One minute they say they don’t need the west, the next they are complaining about restrictions from the west??? A leader stands on a podium to complain about the inequalities of the UN and why there should be reforms…. Who are you complaining to…? Other countries??… The same ones you deem unfair??

No-one wants a competitor to

is the world cup, and there are no favours. Everyone wants to win.

Africa, the universe is not a fair place, it never has been. Deal with it. Move on. Everything is always someone’s fault.

win. Period. It’s just the way the universe works. If you’re in a football match and complain about the referee, lines men e.t.c, its okay, but just know

that your 90 minutes will be up soon and there will be a winner at the end. Whether or not that winner is you is a choice. We are not playing in a charity cup. This

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Mushrooms and Sustainable Farming TLE OT

Like I said, we take things personally. There’s nothing special about Africa. Its not the only place with resources. The resources just differ, we have natural they have technological resources. “They” have come after our natural resources, why can’t we go after their technological resources? – Oh I know the answer to that… cause they are not fair…..Right!!! would you allow me to get to your level at your cost? Like I said, just basic rules of competition….. that’s all. We forget that these companies that use Africa’s natural resources are the same ones that started in garages.

S

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The outlook is great as we now on commercialisation stage. Benefits of this model including saving the environment, creating employment, a cleaner city, higher profitability as we cut cost, a more sustainable environmental conscious business income.

The bottles have a longer life than their original use. The growing media is made of industrial waste, another opportunity to reduce waste and greening of our city and grow delicious, nutritious, healthy and organic food.

The Home of Mushrooms in Zimbabwe 0773 842 677 36

nmupaso@mushtella.com

THE POVO JOURNAL December 2016

www.mushtella.com

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After 30 days mushroom

DAYS spawn is ready and bottles are cleaned and reused!

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This flag!

This, this beautiful flag They tell me that the green is for the vegetation And for the crops I don’t see any crops in our country Hanzi [They say] the yellow is for all the minerals Goride [gold], diamonds, platinum chrome I don’t know how much of it is left I don’t know who they sold it to And how much they got for it The red, the red they say that, that is the blood It’s the blood that was shed to secure freedom for me And I am so thankful for that I just don’t know if they were here, They that shed their blood & saw the way that this country is They would demand their blood be brought back This flag!

They tell me that the black is for the majority People like me And yet for some reason I don’t feel like I am a part of it I look at it sometimes and I wonder Is this a story of my future?

Or is it a reminder of a sad past Wherever I go and I put on the colours of Zimbabwe They look at me as if they want to ask “Are you from Zimbabwe?” Vachiseka [Laughing at me] Sometimes when I look at the flag its not a reminder of my pride and inspiration It feels like I just want to belong to another country This Flag!

So I must look at it again with courage And try to remind myself that it is my country I look at the green and think to myself It is not just vegetation The green represents the power of being able to push through soil Push past limitations and flourish and grow Thats me, my flag.

The yellow yes its about the minerals But not just minerals that are in the ground But the minerals above it Me, you, we are the minerals We are the value of this land

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The red, yes its blood But not just blood, its passionate blood It is the will to survive, it is the resolve to carry on It is the want to push through to see the dreams come to pass This flag!

And the black? The black is the night sky That we emerge from and we shine It is the brilliant colours, The wonderful and lovely fruition of everything that we have ever hoped for It needs a black for it to be visible This flag!

It is my country, My Zimbabwe We go through so much, we don’t look like much now But there is promise in it I will fight for it, I will live for it, I will stand for it This is the time that a change must happen Quit standing on the sidelines and watching this flag fly Wishing for a future that you are not at all wanting to get involved in This flag!

Everyday that it flies is begging for you to get involved Its begging for you to say something Its begging for you to cry out and say Why must we be in the situation that we are in This Flag!

Its your flag Its my flag This flag!

> Watch on Youtube - http://bit.ly/2aDkklC > Custom Font Used - Tajamuka Script

SIMBA MAENGERA

» ILLUSTRATION Bearers Of The Flag Issue 09

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#KusirikufaNdekupi Exhibiting artists

> Collins Nayamadzawo

> Paul Maposa

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Accommodation Blues

The Sell-Out - Reflection of a Society

> Baynham Goredema

> Patrick Rapai

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> Bothwell Shingi

> Ruziwo Katsidzira

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This Bloody Flag 33

> Tamuka Mtengwa

My Bloody Future

7

> Thomas Mwasangwala

Todzungaira

5

Exodus

> Novic Hadebe + Victor Bagu Rhodesia Neue

9

> Sindiso Nyoni

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60 Year Long Rape

> Osmond Tshuma

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> Yemurai Mafi

Freedom March

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Mukaka Wanguvo

> Panaganai Rupango Choya

THE POVO JOURNAL December 2016

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House of Redemption

> Nigel Zhuwaki

Be a part of the Movement!

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Zimonoxide

> Brian Muchemwa

“free� but not FREE

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Unmasking Fear

Beneath the Sunshine City

> Paul Makaya

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2

23

> Simba Maengera Cover Art Mukaka Wanguvo Mukaka Wanguvo

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Unpacking the Paris Agreement Prospects

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How Local communities’ livelihoods are being transformed in Zimbabwe

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Interview with Hon. Oppah Muchinguri-Kashiri (MP) Minister of Environment, Water and Climate

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