Why Documenting Our Artists Matters: Prudence Chimutuwah - The Artist's Journey.

Audience at the screening launch of the documentary at British Council in Harare

A powerful moment for Zimbabwean contemporary art unfolded recently at the screening of Prudence Chimutuwah: The Artist’s Journey, a new documentary celebrating the work of one of the country’s most compelling young artists. As reported by the Southern African Times, the screening was more than just an artistic event, it was a cultural milestone, signalling the importance of documenting and archiving the stories of our creatives in their own voices.

This documentary, produced with care and insight, is part of a much-needed shift in the way we perceive and preserve Zimbabwean art. Despite a rich and vibrant visual arts tradition, from the global acclaim of Shona sculpture to the politically charged canvases of post-independence painters, our efforts at archiving and celebrating this legacy have been limited and inconsistent. Prudence Chimutuwah’s film marks a vital beginning, but it must not be the end.

The earliest known high-quality, professionally produced documentary on Zimbabwean contemporary art remains Talking Stone: The Art of Shona Sculpture, a film that dates back to the 1990s. This internationally acclaimed work presents the depth and philosophy behind Shona sculpture, yet even this foundational piece is scarcely known within

Zimbabwe itself. Public broadcasters like ZBC and other media outlets must urgently obtain the rights to screen such documentaries nationally. These are not just films; they are blueprints of cultural memory and identity.

Internationally, broadcasters such as the BBC have long recognised the value of art documentaries. Series like Imagine, The Story of Art in America, and Treasures of the Lourve have showcased both legacy and emerging artists, shaping public perception and cementing national pride. Such programming is not a luxury but a necessity for a nation’s cultural health. They serve as time capsules, educational tools, and promotional materials that introduce local artists to global audiences.

Prudence Chimutuwah

Zimbabwe must follow suit. The recent publications Five Bob and Zimbabwe Art: Mini Edition (2017) have made commendable efforts in print, yet our digital and audiovisual archives remain dangerously thin. In the age of AI and rapidly evolving digital tools, artists themselves must also take the lead, documenting studio processes, exhibitions, milestones, and the socio-political contexts in which they work. We cannot wait for foreign institutions to tell our stories.

Creating a living, growing archive of Zimbabwean art through documentaries, books, digital catalogues, and curated oral histories will serve as a cultural backbone for generations to come. These archives do not just tell the story of art. They tell the story of us.

artweb.