In her New York Times exposition, “Exhibit Rouses Ghosts of Zimbabwe’s Past,” Celia W. Dugger addresses the general and political public by illustrating the effects of an absolute government upon Zimbabwe’s austere history and its citizens today. Through both primary andsecondary evidence, she describes a now banned art exhibit by Owen Maseko, who was arrested under the charges of affronting the President and “communicating falsehoods prejudicial to the state (A6),” and may be sentenced to at least twenty years for his crimes.

The artist’s work demonstrated the themes of suppression, discrimination, violence and fear through a visual interpretation of the 1983-1987 genocide that was formally committed by President Mugabe and more directly through his creation of the Fifth Brigade,also known as the “Gukurahundi” (pronounced guh-kura-HUN-di).

Dugger discusses not only the conflict and the stifling it has produced, but as well the effects on previous protests, Zimbabwe’s upcoming election, and suggests how the elimination of its current tyrant ruler would move towards change in the future. Dugger’s elucidation does not merely state her opinion, but rather uses the voices of Zimbabwean people to depict the critical status of this issue that has continued to flourish for a quarter of a decade.

The vocal point of the article notes the oppression that the people of Zimbabwe face in their fight for the freedom of expression, which further reveals the politicide that is occurring through its current government. In order for her audience to fully grasp the concept at hand, the author uncovers the history that President Mugabe and his informants are attempting to bury forever.

Maseko poses with his work

From 1983-1987, the country’s arbitrary ruler used brutality and manipulation in order to asphyxiate his opponent’s Ndebele supporters by slaughtering tens-of-thousands of the tribe’s citizens. The physical reminisces of such genocide “are still buried in pit latrines, mine shafts and shallow graves (A1).” However, as Dugger reveals through an interview with Ms. Thabitha Khumalo, a member of Parliament, the memories of such horrendous acts will never be lost. Like most, her recollections are unsettling: February 12,1983. She was 12 years old. She said soldiers from the Fifth Brigade, wearing jaunty red berets, came to her village and lined up her family. One soldier slit open her pregnant aunt’s belly with a bayonet and yanked out the baby. She said her grandmother was forced to pound the fetus to a pulp in a mortar and pestle normally used to make cornmeal. Her father was made to rape his mother.Her uncles were shot point blank (A1, A6).

Although such ghastly tactics are not knowingly seen today, Dugger demonstrates how the President uses similar uses of manipulation and violence in order to control the fate of his elections, and the indefinite future ruling of the country. The main focus of the article best depicts this idea of oppression, in which Owen Maseko’s exhibit was closed and shut down due to its offense towards President Mugabe. His paintings were to“contribute to the reconciliation (A6)” of the affair, and were created on his own time with his own means of living.

President Robert Mugabe, Zimbabwe

Although equally abrupt, such acts by the government are not rare for the people of Zimbabwe. Anyone who chooses to criticize the President and his former or present set of actions are written off as traitors, and could ultimately lead to the individual’s demise. Such control has left deep fears and seeds of hate within the Zimbabwean public, either of which will control the country’s future – whether it is continued partial autocracy or a movement of Democratic change. The people’s latter desire and their willingness to vote against Mugabe, however, is a great personal risk.

As shown, Dugger writes her article impartially in order to allow the reader to merely recognize the issue(s) at hand, in order to note the importance of national identity and the freedoms and liberties that we as individuals may take for granted. Although her article produces the right effect for change,there still seems to be gaps within the President’s involvement. She states major conflicts that he has brought about, including protests in the North Korean’s invitation to the South Africa World Cup and their creation of a statue representing Mugabe’s opponent, due to the North Korean’s involvement of training and equipping the Gukurahundi. Yet, she does not inform the audience of his overall faults and plans to“heal the nation.” His political cynicism is used to span his own profits,instead of using his efforts towards the ethics and responsibilities of his country. This can be seen in his connection with white farmers, who produce the majority of the Zimbabwe’s export income, and his otherwise promises to equalize the land for his people as a whole. He produces talk, but no action.From this, his country has gone from being the ‘Jewel of Africa’ to a heavily depleted economy.

Celia Dugger, Journalist

In summary, Celia W. Dugger’s delineation of the suppression and violence that the people of Zimbabwe continue to face is well established, and denotes how important our voices really are. Maseko’s paintings held their own voice –saturated in red paint, tears of blood and wordless screams (A6) – yet from the surface they merely depicted the lives lost and not the initial perpetrator.President Mugabe’s offense towards such portrayals only demonstrates his guilt and humiliation of the fact. He shows two faces, one of good and one of evil –which one we choose to acknowledge is our choice, but in the end we must ask ourselves, “Where is the line drawn?”

Work Cited Dugger, Celia. “Art Exhibit Stirs Up theGhosts of Zimbabwe’s Past.” New York Times 23January 2011, printed NY ed.: A1+ A6.