Political Implications
Martin Hall writes that the history of Iron Age research south of the Zambezi shows the prevalent influence of colonial ideologies, both in the earliest speculations about the nature of the African past and in the adaptations that have been made to contemporary archeological methodologies. When European colonialists like Cecil Rhodes first saw the ruins, it was seen as a sign of the great riches that the area would yield to its new masters. When Gertrude Caton-Thompson wrote that the builders were indigenous Africans, she still characterised the site as the "product of an infantile mind" built by a subjugated society. Pikirayi suggests that this presentation of Great Zimbabwe was partly with the aim of encouraging settlement and investment in the area. The official line in Rhodesia during the 1960s and 1970s was that the structures were built by non-blacks and the government censored archaeologists who disputed this. According to Paul Sinclair, interviewed for None But Ourselves:
I was the archaeologist stationed at Great Zimbabwe. I was told by the then-director of the Museums and Monuments organisation to be extremely careful about talking to the press about the origins of the Zimbabwe state. I was told that the museum service was in a difficult situation, that the government was pressurising them to withhold the correct information. Censorship of guidebooks, museum displays, school textbooks, radio programmes, newspapers and films was a daily occurrence. Once a member of the Museum Board of Trustees threatened me with losing my job if I said publicly that blacks had built Zimbabwe. He said it was okay to say the yellow people had built it, but I wasn't allowed to mention radio carbon dates... It was the first time since Germany in the thirties that archaeology has been so directly censored.
This suppression of archaeology culminated in the departure from the country of prominent archaeologists of Great Zimbabwe, including Peter Garlake, Senior Inspector of Monuments for Rhodesia, and Roger Summers of the National Museum.
To black nationalist groups, Great Zimbabwe became an important symbol of achievement by black Africans: reclaiming its history was a major aim for those seeking majority rule. In 1980 the new internationally recognised independent country was renamed for the site, and its famous soapstone bird carvings was retained from the Rhodesian flag and Coat of Arms as a national symbol and depicted in the new Zimbabwean flag. After the creation of the modern state of Zimbabwe in 1980, Great Zimbabwe has been employed to mirror and legimitise shifting policies of the ruling regime. At first it was argued that it represented a form of pre-colonial "African socialism" and later the focus shifted to stressing the natural evolution of an accumulation of wealth and power within a ruling elite.
Some of the carvings had been taken from Great Zimbabwe around 1890 and sold to Cecil Rhodes, who was intrigued and had copies made which he gave to friends. Most of the carvings have now been returned to Zimbabwe, but one remains at Rhodes' old home, Groote Schuur, in Cape Town.
Read more about this topic: Great Zimbabwe
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