When disaster strikes, it can erode not only livelihoods but also the aesthetic heartbeat of communities sustained by art, beauty and commerce.
For Dickson Shinga, a sculptor based at Chitungwiza Arts Centre, a career-threatening injury that resulted in the amputation of his right leg could have marked a full stop. Instead, it became a comma or a pause before resurgence.
Two years after the accident, Shinga has reclaimed his creative voice, chiselling striking depictions of cheetahs from spring stone, cobalt stone and green opal.
Each sculpture captures the sinewy grace and watchful poise of Africa’s fastest land animal, frozen mid-vigil atop imagined kopjes and woodland perches.
Born and raised in Rusape, Shinga moved to Harare and later Chitungwiza after completing Form Two, seeking employment in a tightening job market.
Faced with unemployment and low-paying opportunities, he turned to visual art, a pursuit that began as a hobby but steadily grew into a profession.
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His early inspiration came from Richard Makohwa, a respected fine artist known for his expressive carvings of wildlife. Makohwa introduced Shinga to the fundamentals of chipping soapstone, mentoring him until he could confidently execute detailed works with minimal supervision. One of Shinga’s early pieces, a rhinoceros sculpture, reportedly secured first place in a local market showcase, bringing encouragement to both mentor and protégé.
Today, Shinga’s twin cheetah monuments portray family groups perched on elevated terrain, surveying forests and open plains for potential prey. The compositions evoke both vigilance and vulnerability, a reminder of the delicate balance between predator and survival in the wild.
In nature, cheetahs often leave their cubs concealed in tall grass while hunting, returning with food once a kill is secured. Adult cheetahs are capable of remarkable bursts of speed and athletic leaps when pursuing prey.
Through textured stone and careful contouring, Shinga interprets these survival instincts into enduring form.
The muscular tension in each sculpture mirrors his own resilience, a craftsman reshaping both stone and circumstance.
“Visual art business is a bit slow these days and we are all waiting for visiting tourists to make some purchases of my works of imagination,” Shinga said.
His remarks reflect broader challenges facing Zimbabwe’s sculpture industry, where international tourism remains a vital market driver. As visitor numbers fluctuate, so too do the fortunes of artists whose livelihoods depend on gallery sales and cultural exports.
Yet, within the chiselled lines of his cheetahs lies a quiet optimism, a belief that art, like wildlife, adapts and endures.
Cheetahs are primarily circadian hunters, favouring early morning and late afternoon pursuits to avoid competition with larger predators such as lions and hyenas. Unlike big cats, they rely on acceleration rather than strength, reaching speeds of 100 to 120km/h in short bursts. Their distinctive tear marks help to reduce glare from the sun while focusing on prey.
These behaviours make cheetahs highly sought-after sightings in safari destinations across southern and eastern Africa. Wildlife tourism operators frequently market cheetah tracking experiences, contributing significantly to conservation funding and local economies. Reliable cheetah populations can enhance a park’s international appeal, drawing photographers, researchers and eco-tourists eager to witness the species’ speed and elegance firsthand.