In Southern Africa, townships were established as separate urban areas designated exclusively for Black inhabitants.
These systems were established during the era of colonialism and white minority rule, which imposed restrictions on movement, limited opportunities, and enforced segregation among people.
I spent my childhood in various historical black townships across Zimbabwe, yet Mbare stood out as pioneering.
Mbare occupies a distinctive spot in the country’s collective mindset. It was initially called Harare.
However, in 1982, that name was transferred to the capital city where it is located.
In its illustrious history, it was once the vibrant center of African American urban culture.
In the middle lies Rufaro Stadium, where Bob Marley and the Wailers notably played during Zimbabwe’s independence festivities.
This town was a center of cultural vibrancy, sporting activities, and political engagement, with the local community beer hall acting as an essential meeting spot.
Nowadays, much of this former pub scene lies abandoned.
These formerly bustling public areas mirror a wider disregard for civil infrastructure following Zimbabwe’s independence.
And from this wreckage, new life is emerging.
Among the key influencers in Zimbabwe’s artist-driven initiatives, Moffat Takadiwai has revamped one of these previous taverns into what is now known as the Mbare Art Space.
The vibrant art center revives the structure’s innate essence of coming together, innovation, and community involvement.
Functioning with a lengthy lease granted by the Harare City Council, this charitable venture forms an integral component of an extensive urban regeneration and adaptive repurposing scheme designed to revitalize the city’s cultural framework.
My continuing archival research involves charting and exploring historical and cultural sites such as these.
At this point, Takadiwa recognized the opportunity not only for studios and an exhibition space but also for fostering dialogues and revitalizing the community.
Transforming spaces
Ale houses were set up by British colonial administrators in Zimbabwe (formerly Rhodesia) as a means to exert social control over the African urban populace.
These regulations aimed to manage free time, limit political activities, and create income via alcohol sales.
Through the consolidation of alcohol consumption in government-operated establishments, colonial authorities sought to supervise and control African social activities while also benefiting economically from them.
Located within a converted colonial-period beer garden, Mbare Art Space transforms a previous symbol of segregation into an energetic hub for art and community resurgence.
It transforms a heritage marked by restraint and control into one characterized by creative freedom and empowerment.
This location has transformed into an artistic retreat featuring studios, workspaces, an exhibition hall, and a digital center.
Takadiwa’s perspective draws from international examples, particularly influenced by U.S.-based artist Theaster Gates, known for converting an abandoned bank on Chicago’s South Side into a significant art project.
It transformed into the Stony Island Arts Bank — a combined venue for art, archives, and communal interaction.
In 2019, Takadiwa launched Mbare Art Space with the aim of assisting upcoming artists via guidance and resource availability.
Sticking true to his artistic ethos—breathing new life into discarded materials typically marred by urban blight—he restored an ignored location.
Many of the creators who work in this area emulate his approach, transforming reclaimed and recycled items into striking visual compositions that resonate with both past narratives and future potential.
Upon my arrival, Takadiwa is just leaving, but he quickly invites me to see his studio. Here, pieces destined for his forthcoming involvement in the São Paulo Biennale are gradually coming together.
Renowned for his intricate, richly textured sculptures and woven-like creations crafted from reclaimed items such as computer keyboards, bottle caps, toothbrushes, and toothpaste tubes, Takadiwa has achieved global recognition.
His creations have been acquired by American hip-hop artist Jay-Z as well as significant organizations such as France’s Centre National d’Art Plastique in Paris, the European Parliament Art Collection in Brussels, and the National Gallery of Zimbabwe in Harare.
Collaboration
What Takadiwa is creating goes beyond an art center; it’s a novel platform deeply embedded in tradition yet attuned to contemporary needs.
The website transforms into a continuous exhibition, brought to life by the artists, curators, and community members who engage with it.
Tafadzwa Chimbumu, who oversees the operations, steps in to lead the tour, showing me around the remaining areas of the complex.
The site keeps the essence of its beer hall design, yet it brims with renewed vitality.
Vibrant paintings decorate the surfaces.
Canvas tents covering small structures bring life to the bare brick walls.
There are plans to set up a library here, which will serve as a resource for researchers and artists to explore Zimbabwe’s lesser-known art history.
A significant portion of this history can be found dispersed among various archives and unpublished doctoral theses instead of being compiled into easily accessible publications.
The objective is to gather these materials and enhance their accessibility for the general audience.
Mbare Art Space is increasingly turning into an exhilarating center for cooperation and learning.
For instance, community workshops are conducted by local artists. Nearby educational institutions participate in art education programs.
By means of community engagement and educational initiatives, the center is broadening its influence beyond its local area.
Looking ahead, Mbare Art Space aims to grow its artist-in-residence program, welcoming both domestic and global artists to delve into the environment of Mbare and Zimbabwe as a whole.
In the end, what space provides is something ethereal — a sensation, a recollection, an image of potential realized where history and creativity converge in a common setting.
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