A framework for knowledge sharing in indigenous communities of practice in the arts and crafts sector in Zimbabwe

Abstract

Visual artists operating in indigenous communities of practice in the arts and crafts sector in Zimbabwe have relegated their indigenous modes of expression by adopting contemporary forms that lack a flare of Zimbabwean aesthetics like ‘airport art’, which is characterised by a high degree of repetition. This was attributed to limited awareness and access to indigenously based Zimbabwean aesthetics essential in art production. Hence, the need to understand the knowledge sharing processes and practices of the local visual artists in the indigenous communities of practice; and to develop a framework of knowledge sharing relationships that foster the use of indigenous modes of expression in the sector. To this end, a qualitative study was conducted based on a phenomenology of practice research strategy at four indigenous communities of practice: three in Harare and one in Bulawayo. Purposive sampling was used to identify the research sites, participants at the sites and documents for analysis. Data was gathered in the field using in-depth interviews from seven participants and from observations conducted at research sites. Additional data was collected using document analysis from biographies of six participants selected through the maximum variation method. The findings were that integrated professional artists had ready access to conventions in the art world and had used them to produce internationally acclaimed artworks. Among interviewed participants, access to conventions was limited; and the artists seemed not to be aware of the full range of the conventions. It was also found that conditions in the art world were conducive to transformative learning, but copying and reproduction of designs was rampant. There seemed to be no enforcement of the law of copyright. Recommendations were for administrators at indigenous communities of practice to systematically stock their communities with information on conventions and resources useful for artists’ operations, spearhead the participation of artists in activities of the Formal Art World by developing a knowledge sharing strategy and for artists to form a national association. The study ended by proposing a knowledge sharing framework for the visual artists and the Formal Art World.