In the idyllic village of Matobo, located in southwestern Zimbabwe, the rich cultural heritage of hut painting is alive and thriving, thanks to the dedication of local women artists. Among them is Peggy Masuku, a 54-year-old artisan celebrated for her exceptional skills in this traditional art form. The warm afternoon sun casts a golden hue over the intricately hand-painted patterns adorning the mud walls of her round, thatched hut, showcasing the vibrant colors and designs that have become synonymous with the region’s artistic identity.
Masuku’s artistry begins with the meticulous process of mixing soil pigments, charcoal, and ash to create the earth tones essential for her striking motifs. At a small table crafted from mud, with two elegantly curved seats, she demonstrates her technique to visitors, revealing the painstaking effort that goes into each creation. Her journey into the world of hut painting commenced under the guidance of her stepmother, who assigned her the task of applying a traditional cow-dung paste to the family huts, a practice aimed at maintaining the structures. Initially viewing this chore as a burden, Masuku later recognized it as valuable training that paved the way for her eventual mastery of hut painting.
The art form has gained significant recognition beyond the rural confines of Matobo, with its bold designs increasingly influencing fashion trends and finding markets as far away as Europe. This newfound appreciation has provided a source of income for village artists, enhancing their livelihoods and sustaining their craft. Masuku first garnered attention through the “My Beautiful Home” competition, where she has emerged as a winner on multiple occasions since its inception in 2014. This annual event was founded by Veronique Attala, a French woman who discovered the beauty of Matobo’s decorated huts while hiking in the area, which is recognized as a UNESCO World Heritage site due to its high concentration of ancient rock paintings.
Attala, who has lived in Zimbabwe for over three decades, has been instrumental in nurturing the hut painting tradition and supporting the women artists and their communities. Her efforts have culminated in a new project backed by the German Embassy, which aims to explore the commercial potential of these artistic designs. Collaborating with Zimbabwe’s National Gallery and Fashion Council, the initiative has launched the Matobo Collection, which showcases the work of selected artists on marketable items like textiles, flowerpots, and lampshades. This venture not only seeks to expand the market for these artisans within Zimbabwe but also internationally, particularly in Germany. Artists involved in the project receive licensing fees for their designs and royalties from sales, ensuring they are fairly compensated for their creativity.
To facilitate the artists’ navigation of copyright and compensation issues, the German Embassy has enlisted intellectual property lawyers to provide guidance. Katrin Simon, the embassy’s cultural attaché, emphasized the project’s goals: “The aim is to further promote the artistry of the ladies of Matobo and, subsequently, create greater awareness of this unique cultural heritage, nationally as well as internationally.”
Among those featured in the Matobo Collection is Elgar Maphosa, a 58-year-old villager who reflects on the journey of her community’s traditions. She expressed her astonishment at how the craft, once a routine activity, has evolved into a source of income and knowledge for women in her community.
Hut painting is deeply rooted in Ndebele tradition, originally serving as a means of communication that conveyed the beliefs, ideals, and values of ancestral communities. Cultural historian Pathisa Nyathi explains that over time, the meanings behind the motifs have diminished, with a growing emphasis on aesthetics due to cultural interactions, particularly with Western influences.
Encouraged by her success in competitions, Masuku has been commissioned to paint buildings in Zimbabwe’s premier tourist destination, Victoria Falls, which she hopes will open doors to further opportunities. This burgeoning recognition has inspired younger generations to embrace the craft. Among them is Nozipho, a 26-year-old civil servant and development studies graduate, who is currently learning the art from her mother. She aspires to follow in the footsteps of the elder women in her community, preserving and continuing the rich legacy of hut painting.
As the art of hut painting flourishes in Matobo, these women are not only creating stunning works of art but are also fostering a renewed sense of cultural pride and economic opportunity within their communities. Their collective efforts are a testament to the resilience and creativity of the women of Zimbabwe, who continue to celebrate and innovate within their rich cultural traditions.
