Cultural Justice: Advocating for the return of the Zimbabwe Bird from Groote Schuur to Great Zimbabwe.

by Richard Mudariki

Image of the Zimbabwe bird at Groote Schuur in Cape Town, South Africa (image courtesy of the author)

In recent years, the conversation around the restitution of African art and artifacts has gained significant momentum. With the increasing acknowledgment of historical injustices and the cultural significance of these objects to their countries of origin, more institutions are considering the return of stolen artifacts. Notably, the University of Iowa Stanley Museum of Art recently returned two Benin bronzes to the Oba of Benin. This event marks the first instance of an American museum is returning artworks to the leader of the Royal Family of the Benin Empire. During a ceremony on July 15, 2024, at the Benin Palace in Nigeria, the museum restituted two significant objects—a brass plaque and a wooden altarpiece—to Oba Ewuare II.

The event also served as a litmus test for the commitment of Western museums to restore African heritage seized during the colonial period. The brutal 1897 raid on the Royal Palace of Benin by British forces resulted in the international dispersal of at least 3,000 artifacts.

Another important artifact that should be returned is the Zimbabwe Bird, currently housed at Groote Schuur, an estate in Rondebosch, Cape Town, South Africa. The Zimbabwe Bird's presence at Groote Schuur, the former residence of Cecil John Rhodes, is a poignant reminder of the colonial exploitation that led to its removal. Rhodes, who purchased the property in 1893, commissioned architect Herbert Baker to restore the house. Among the many artifacts displayed, the Zimbabwe Bird stands out due to its significant cultural and historical value.

Cecil John Rhodes, the mining magnate, businessman, and colonizer of Rhodesia, embraced the idea that Zimbabwe was Ophir - a region mentioned in the Bible, well known for its gold - and used this idea to justify the 1890 occupation of the area by his British South Africa Company. When he remodeled the Groote Schuur house in 1893, Rhodes even had Baker, his architect, incorporate the bird symbol into the decorative motifs found throughout the house. Rhodes willed the house to the government of South Africa, and it has been the residence of many of their previous heads of state from 1911. Even after Rhodes' death in 1902, the obsession with the Zimbabwe Bird continued as yet again, Baker incorporated its imagery into the design of Rhodes House in Oxford, United Kingdom.

Ironically, Rhodes himself, as requested in his will, was buried in Zimbabwe in 1902 on top of a granite peak in the Matobo National Park (near Bulawayo), in a place referred to as the 'View of the World'. On April 9, 2015, a statue of Rhodes was removed at the University of Cape Town (UCT) following historic student protests. Despite these events, there has been little conversation on restituting the Zimbabwe Bird currently in Cape Town. The return of this looted iconic artifact to the Great Zimbabwe site in Masvingo is not just a matter of cultural heritage but also an act of rectifying historical wrongs.

South African artist Sethembile Msezane performs at the fall of the Cecil Rhodes statue, 9 April 2015 (image courtesy of the artist and Charlie Shoemaker)

The Zimbabwe Bird, a soapstone sculpture, is deeply intertwined with the identity and history of Zimbabwe. The bird, which adorns the national emblem, currency, and flag of Zimbabwe, is a testament to the artistic and cultural achievements of the ancient Zimbabwean civilization. Originating from the Great Zimbabwe ruins, a UNESCO World Heritage Site known for its impressive mortarless stone architecture, the bird symbolizes the pinnacle of pre-colonial Zimbabwean civilization.

The story of the Zimbabwe Bird's removal from its homeland is a stark reminder of the colonial era's exploitative practices. In 1889, European hunter Willie Posselt took the first soapstone bird from the Great Zimbabwe site and sold it to Cecil Rhodes, the British imperialist whose estate in Cape Town now houses the artifact. This bird has been displayed out of its cultural context, stripped of its historical and spiritual significance, and reduced to a mere curiosity.

Repatriating the Zimbabwe Bird to its rightful home at the Great Zimbabwe site is a crucial step in acknowledging and rectifying past injustices. The return of such artifacts can foster healing, restore cultural pride, and provide a more accurate and respectful representation of history.

The Zimbabwe Bird sits atop a cabinet with looted artefacts at Groote Schuur (image courtesy of the author)

My research, which involved consultations with experts in the field, indicates that the legal process for repatriation involves a formal request from the Zimbabwean government to the South African government. This government-to-government request is a necessary step to ensure that the process adheres to international heritage laws and UNESCO treaties. An elegant and diplomatic solution would be for the Zimbabwean and South African ambassadors to facilitate this request, possibly introducing key stakeholders such as the National Museums and Monuments of Zimbabwe and the South African Heritage Resources Agency (SAHRA) in Harare and Pretoria to discuss the matter collectively.

Upon initiating the request, SAHRA would guide the parties through the required legal process. This would involve extensive documentation, verification of the artifact's origin, and coordination between various governmental and cultural bodies. From the South African side, the Department of Arts and Culture would play a pivotal role in the logistics of the transfer, while the Ministry of Home Affairs and Cultural Heritage in Zimbabwe could facilitate the official transportation and welcoming ceremony in Masvingo. This has been done before. In 2003, the reunification of two pieces of another Zimbabwean bird handed over by the then German Ambassador to Zimbabwe, Dr. Schmidt, following representations from the German federal government and the Prussian Cultural Heritage Foundation who agreed to return a fragment of another Zimbabwean Bird to Zimbabwe. A ceremony was held at Harare's State House for the reunification.

Photo of the Reunification Ceremony held at State House in Harare on May 14, 2003 (image courtesy of Associated Press)

Repatriating the Zimbabwe Bird to the Great Zimbabwe site can either be a complex or straightforward process that requires diplomatic finesse, legal expertise, and cultural sensitivity. As both countries are neighbors and democracies, the involvement of ambassadors, cultural heritage agencies, and governmental departments on both sides is crucial. The return of this artifact would not only restore a piece of Zimbabwe's cultural heritage but also serve as a powerful symbol of reconciliation and respect for the country's history.

As the process moves forward, it is essential to engage in open dialogue, build strong relationships between the involved parties, and ensure that the process is transparent and respectful of both countries' cultural heritage laws. The return of the Zimbabwe Bird to its rightful home is not just about rectifying a historical wrong; it is about honoring and preserving the artistic and cultural legacy of Zimbabwe for future generations.

In the words of Edward Matenga, author of "The Soapstone Birds of Great Zimbabwe: Archaeological Heritage, Religion and Politics in Post-colonial Zimbabwe and the Return of Cultural Property," the journey of these birds from a shrine to a household collection is a stark reminder of the colonial era's injustices.

Bringing the Zimbabwe Bird back home would be a significant step in reclaiming and celebrating Zimbabwe's rich cultural heritage. I appeal to the Ministry of Home Affairs and Cultural Heritage to put a motion in parliament so that the rightful government procedures and engagements with South Africa can be initiated. This will ensure that the Zimbabwe Bird finds its way back to its rightful place, enriching Zimbabwe's cultural heritage and honoring its historical significance.

References

1.  Edward Matenga, 2011: The Soapstone Birds of Great Zimbabwe: Archaeological Heritage, Religion and Politics in post colonial Zimbabwe and the Return of Cultural Property, Institutionen för arkeologioch antik historia. Studies in Global Archaeology 16. 258 pp. Uppsala. ISBN 978-91-506-­2240-­9.

2.  William J. Dewey, 2003: Repatriation of a Great Zimbabwe Stone Bird, The University of Tennessee.

Richard Mudariki holds a BA degree in Archaeology, Cultural Heritage and Museum Studies from the Midlands State University. He visited Groote Schuur Estate in July 2014 and has since been advocating for this significant artwork and cultural artefact to be returned to Zimbabwe. Mudariki is also a visual artist and cultural producer.