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The soapstone birds of Great Zimbabwe: Symbols of a nation
Beautifully produced and illustrated, this study of the Zimbabwean birds is more than a description or history of the eight soapstone carvings found at the Great Zimbabwe historical site. It offers an insight into an aspect of the cultural heritage of Zimbabwe and an interpretation of the important site of Great Zimbabwe from which it is inherited. The story of the birds is used to explore themes in Zimbabwean historiography. By focusing on the religious symbolism of the birds, the author argues that the Great Zimbabwe site was both a political and religious centre. Practically the work illustrates the central symbolic meaning of the birds to the people and nation of Zimbabwe. And the work is in the context of the construction of an authentic national history. In a foreward, the Minister of Foreign Affairs of Zimbabwe says that the birds are constitutents of a living tradition embodying the body spirit of the modern national state of Zimbabwe.
88 pages, Paperback
First published January 1, 1998
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July 15, 2016
For a bibliophile, finding and perusing a rare book is a thrilling experience, especially if the book is both well written and controversial. Edward Matenga’s Soapstone Birds of Great Zimbabwe: Symbols of a Nation, written in 1998, fulfills all of these criteria. In only 88 pages, which include photographs and detailed illustrations of the birds, Matenga approaches the mystery of Zimbabwe’s ancient bird sculptures from several perspectives, including questioning whether the mysterious aspect of the birds was intentionally created by certain powerful men. But let’s back up, for those unfamiliar with Zimbabwean history.
The Zimbabwean birds are stylized sculptures of native soapstone, approximately 8 feet high, including the columns on which they are perched. Some of the columns are decorated with alligators and chevron designs. These were located in the Great Zimbabwe, a large ancient stone complex built of hand-hewn “bricks” without any mortar. The Great Zimbabwe is thought to have been used simultaneously for both spiritual and governmental purposes, going back to the fourteenth century. Smaller birds have also been found in the many smaller zimbabwes (stone structures) throughout Zimbabwe. Although the Great Zimbabwe was abandoned, probably due to climate change, it remained a spiritual center, with an onsite guardian, until the arrival of the British in the late 1800s.
When Cecil Rhodes, owner of the British South Africa Company, expanded British operations by subjugating the people of what is now Zimbabwe and Zambia, he proposed that black people were not capable of building such a complex structure as the Great Zimbabwe. This gave rise to many myths that were taken as fact in Europe: everyone from King Solomon’s sons to wandering Arabs were given credit for building the structure. As such, Rhodes and the various Europeans rationalized their plundering of this African monument including the removal of their favorite birds to other countries, along with subverting the birds’ symbology from African to European (Rhodes had his entire home designed on an stone bird theme). In more recent years, some of the birds have been returned to Zimbabwe, but others are still held by foriegn nations, the most notable being Rhodes’ favorite bird, which remains at his former residence in South Africa.
When he published this book, Matenga was the Director of the Great Zimbabwe National Monument, an archeologist trained in Zimbawe and Sweden. His book is a scholarly, succinct discourse on the various aspects of the birds’ history as well as their cultural and symbolic significance to Zimbaweans and specifically to the Shona people. Most fascinating is the speculation on which type of bird the sculptures represent—interpreted quite differently by Zimbaweans and Europeans. The Bateleur Eagle, or possibly the Fish Eagle, both native to Zimbabwe, are favored by the author. He illustrates their similarity to the sculptures with photos. Thankfully, it is common knowledge now that the Great Zimbabwe, and the various smaller zimbabwes, were built by Africans, probably of Shona origin. The author gives some insight into the Shona culture and its traditions. The Shona are well known in modern times for their traditional soapstone sculpture, often of animal subjects.
Readers who are interested in stone sculpture, African archeology or history, or the territorial expansion of the British Empire and its subjugation of native cultures will enjoy this book. Anyone who, like me, studies Shona music and art will find it elucidating. It might be hard to find a copy: I suggest searching university libraries through interlibrary loan. I found my copy at University of California at San Diego.
The Zimbabwean birds are stylized sculptures of native soapstone, approximately 8 feet high, including the columns on which they are perched. Some of the columns are decorated with alligators and chevron designs. These were located in the Great Zimbabwe, a large ancient stone complex built of hand-hewn “bricks” without any mortar. The Great Zimbabwe is thought to have been used simultaneously for both spiritual and governmental purposes, going back to the fourteenth century. Smaller birds have also been found in the many smaller zimbabwes (stone structures) throughout Zimbabwe. Although the Great Zimbabwe was abandoned, probably due to climate change, it remained a spiritual center, with an onsite guardian, until the arrival of the British in the late 1800s.
When Cecil Rhodes, owner of the British South Africa Company, expanded British operations by subjugating the people of what is now Zimbabwe and Zambia, he proposed that black people were not capable of building such a complex structure as the Great Zimbabwe. This gave rise to many myths that were taken as fact in Europe: everyone from King Solomon’s sons to wandering Arabs were given credit for building the structure. As such, Rhodes and the various Europeans rationalized their plundering of this African monument including the removal of their favorite birds to other countries, along with subverting the birds’ symbology from African to European (Rhodes had his entire home designed on an stone bird theme). In more recent years, some of the birds have been returned to Zimbabwe, but others are still held by foriegn nations, the most notable being Rhodes’ favorite bird, which remains at his former residence in South Africa.
When he published this book, Matenga was the Director of the Great Zimbabwe National Monument, an archeologist trained in Zimbawe and Sweden. His book is a scholarly, succinct discourse on the various aspects of the birds’ history as well as their cultural and symbolic significance to Zimbaweans and specifically to the Shona people. Most fascinating is the speculation on which type of bird the sculptures represent—interpreted quite differently by Zimbaweans and Europeans. The Bateleur Eagle, or possibly the Fish Eagle, both native to Zimbabwe, are favored by the author. He illustrates their similarity to the sculptures with photos. Thankfully, it is common knowledge now that the Great Zimbabwe, and the various smaller zimbabwes, were built by Africans, probably of Shona origin. The author gives some insight into the Shona culture and its traditions. The Shona are well known in modern times for their traditional soapstone sculpture, often of animal subjects.
Readers who are interested in stone sculpture, African archeology or history, or the territorial expansion of the British Empire and its subjugation of native cultures will enjoy this book. Anyone who, like me, studies Shona music and art will find it elucidating. It might be hard to find a copy: I suggest searching university libraries through interlibrary loan. I found my copy at University of California at San Diego.
Displaying 1 of 1 review