Sabina Mutsvati’s ‘Ndishonongoreiwo’ Exhibition Captivates Audiences at the National Gallery of Zimbabwe
At the National Gallery of Zimbabwe, artist Sabina Mutsvati has transformed the exhibition space into a traditional homestead with a stunning installation steeped in folklore. Her exhibition, Ndishonongoreiwo, resonates deeply with indigenous communities, as the materials and themes evoke both literal and metaphorical senses of home.
The installation opens with Varoora I & II, two effigies made from brooms, positioned as if kneeling with their backs to the entrance. Before them lie a pile of sweepings, a broom, and a bowl containing a low-denomination Zimbabwean banknote. The title, meaning “daughters-in-law,” is pluralized to signify the collective responsibility and sisterhood among married women in traditional society.
Further into the exhibition, a towering effigy draped in cascading fine brooms dominates the space. This piece, Vamwene (mother-in-law), contrasts with the kneeling figures, hinting at the power dynamics between mothers-in-law and daughters-in-law. It symbolizes how a once-subservient daughter-in-law may, over time, evolve into a venerated matriarch.
The title Ndishonongoreiwo references a traditional practice where daughters-in-law demand compensation for performing ceremonial duties. This custom is observed in various contexts, including weddings and funerals. For instance, when a new bride enters her husband’s home, she must be paid (kushonongorwa) at different stages: upon entering the homestead, the house, and unveiling her face. Similarly, at funerals, daughters-in-law sweep the yard, prepare water for mourners, and only complete their tasks after receiving tokens of appreciation.
One interactive piece, My Sweeping Signature, invites audience participation. Sheets of paper marked with sweeping patterns are displayed alongside blank sheets and colored crayons for visitors to create their own “sweeping signatures.” This not only engages the audience but also reinforces the idea that sweeping techniques vary by individual, revealing insights into one’s mood and circumstances.
Another striking work, Chivanze I, is a soil-based rectangular installation featuring a broom, small piles of sweepings, and a wooden bowl with money—highlighting the cultural significance of the doorstep area in traditional homes. Chivanze II, a sand-on-paper painting, captures the distinct patterns left on the ground after sweeping, complete with bare footprints.
The video installation Kutsvaira features nine women sweeping in a synchronized rhythm, paying homage to different stages of womanhood as revealed through physical attributes and attire. Nguvaira dzemutsvairo I & II elevates the humble broom into a framed artwork, subtly challenging Western art conventions and the reliance on expensive foreign materials.
Mutsvati’s work is more than conceptual art—it is an immersive experience deeply rooted in indigenous knowledge systems. Ndishonongoreiwo is a poignant reminder of the undervaluation of women’s labor, sparking reflection and dialogue. The exhibition is not just an observation of cultural traditions but an invitation to engage, respond, and reconsider societal norms surrounding women’s contributions.
