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Born in 1938 in Chegutu, John Takawira moved with his family to Nyanga - arguably the spiritual heartland of Shona sculpture - at the age of two. Twenty years later his introduction to carving came from Joram Mariga, a relative, and the man recognised as the first of Zimbabwe's stone sculptors. Frank McEwen, the first Director of the National Gallery and the father figure of Shona sculpture, was soon introduced to Takawira's work and immediately recognised his talent. As early as 1963, the National Gallery of Zimbabwe included work by Takawira in its Annual National Exhibition.

In 1969, Takawira joined the rural community of sculptors that McEwen

had established at Vukutu, and he stayed there until its closure in 1976. Takawira derived many subjects from his dreams, which often featured the baboon, the owl and the bateleur eagle. The baboon in particular was much admired by Takawira as an animal that survives simply by stealing what man cultivates. As J.S. Lincoln wrote in his book, The Dream in Primitive Cultures: "The dream among tribal people world-wide is often considered even more real than actuality, since the dream world is the abode of the spirits that control events in the real world...

Dreams are the main areas of contact with the spirits, so it is understandable that they should be an immediate source of much art and mythology."

John Takawira, the oldest of three brothers - all sculptors, had a massive physical presence as well as a massive talent, and his untimely death in 1989 left a correspondingly massive void among the ranks of the 'first generation' of Shona sculptors. John Takawira made an immense contribution to the international reputation that Shona sculpture has earned. No major group exhibition of this art form, or significant collection, would be complete without the inclusion of his work. Described by Frank McEwen as one of the stars of the tremendously successful and important Rodin Museum exhibition (Paris, 1971), his talent and contribution to Zimbabwe's major art form was acknowledged by art critic and writer F. Mor in his book 'Shona Sculpture' published in 1987. "He is consid