Central Zimbabwe contains the "Great Dyke" – a source of serpentine rocks of many types including a hard variety locally called springstone.
An early pre-colonial culture of Shona peoples settled the high plateau around 900 AD and "Great Zimbabwe", which dates from about 1250–1450 AD, was a stone-walled town showing evidence in its archaeology of skilled stone working.
The walls were made of a local granite and no mortar was used in their construction.
When excavated, six soapstone birds and a soapstone bowl were found in the eastern enclosure of the monument, so art forms in soapstone were part of that early culture.
However, stone carving as art had no direct lineage to the present day and it was only in 1954 that its modern renaissance began.
This was when Frank McEwen became advisor to the new Rhodes National Gallery to be built in Harare and from 1955 to 1973 was its founding director (it opened in 1957).
The Gallery had been intended to bring non-African art to Harare but when McEwen created the Workshop School to encourage new work in painting and sculpture, the local community of artists re-discovered latent talents for stone sculpture.
Joram was introduced to McEwen and soon they were in regular contact: Mariga exhibited at the Gallery extensively from 1962 but always worked on his own in his spare time and later at his studio in Greendale, Harare.

Later, McEwen would remember him thus:
The sculptural expansion developed in only 34 years.
To give a true example, among others arriving from different parts of the country came Joram Mariga.
He was not the first to come to the workshop, but one of the best...He brought me a little milk jug carved in soft stone.
I realised this was an English milk jug for an Englishman who loved his tea!
I asked if he could make a head.
The head came, made also for an Englishman, in the style of airport art as acquired by tourists. "
If you made a figure for your own family or your ancestors?"
I asked. "
Oh, that would be different."
The figure came, this time of pure African concept - the enlarged head, seat of the spirit, a frontal static pose, a visage staring into eternity with formally posed arms and clenched fists.
It was pre-Columbian in nature, as if a spirit image applied to stone could create similar results in spite of a difference of race, place and time.

The milk jug and two of Joram's early stone sculptures were part of McEwen's bequest to the British Museum.

After 1962 Mariga abandoned the use of soft soapstone and began to use larger, harder blocks of serpentine that he found in the course of his work.
He also began working with new tools.
As his technique developed, he taught numerous others what he had discovered.
These other artists included his former roadbuilders, as well as artists such as Joseph Ndandarika who were sent to train with him by McEwen.

By 1967, Joram was arguably the leading Zimbabwean sculptor, and his compatriots followed working in newer stones such as serpentine and springstone that he pioneered.
One of his sculptures was depicted on a Rhodesian postage stamp, part of a set issued on 12 July 1967 to commemorate the Tenth Anniversary of the opening of the Rhodes National Gallery.
Other stamps in the set illustrated works by Auguste Rodin, Roberto Crippa and M. Tossini.
In 1966, the first Tengenenge serpentine springstone deposit was discovered by Crispin Chakanyuka, a former apprentice of Mariga's who was working for Tom Blomefield.

1969 was an important year for the new sculpture movement, because it was the time when McEwen took a group of works to the Museum of Modern Art in New York and elsewhere in the USA, to critical acclaim.
It was also the year that his wife Mary (née McFadden) established Vukutu, a sculptural farm near Inyanga, which the artists could work.
Mariga found the location for the McEwens and was promised by them that he would lead the artistic commune.
After he was suspected of harboring ZANU insurgents and transferred to a distant region, McEwen refused to have Mariga at Vukutu and installed Sylvester Mubayi as the leader.

Th
Central Zimbabwe contains the "Great Dyke" – a source of serpentine rocks of many types including a hard variety locally called springstone. An early pre-colonial culture of Shona peoples settled the high plateau around 900 AD and "Great Zimbabwe", which dates from about 1250–1450 AD, was a stone-walled town showing evidence in its archaeology of skilled stone working. The walls were made of a local granite and no mortar was used in their construction. When excavated, six soapstone birds and a soapstone bowl were found in the eastern enclosure of the monument, so art forms in soapstone were part of that early culture. However, stone carving as art had no direct lineage to the present day and it was only in 1954 that its modern renaissance began. This was when Frank McEwen became advisor to the new Rhodes National Gallery to be built in Harare and from 1955 to 1973 was its founding director (it opened in 1957). The Gallery had been intended to bring non-African art to Harare but when McEwen created the Workshop School to encourage new work in painting and sculpture, the local community of artists re-discovered latent talents for stone sculpture. Joram was introduced to McEwen and soon they were in regular contact: Mariga exhibited at the Gallery extensively from 1962 but always worked on his own in his spare time and later at his studio in Greendale, Harare.
Later, McEwen would remember him thus:
The sculptural expansion developed in only 34 years. To give a true example, among others arriving from different parts of the country came Joram Mariga. He was not the first to come to the workshop, but one of the best...He brought me a little milk jug carved in soft stone. I realised this was an English milk jug for an Englishman who loved his tea! I asked if he could make a head. The head came, made also for an Englishman, in the style of airport art as acquired by tourists. "If you made a figure for your own family or your ancestors?" I asked. "Oh, that would be different." The figure came, this time of pure African concept - the enlarged head, seat of the spirit, a frontal static pose, a visage staring into eternity with formally posed arms and clenched fists. It was pre-Columbian in nature, as if a spirit image applied to stone could create similar results in spite of a difference of race, place and time.
The milk jug and two of Joram's early stone sculptures were part of McEwen's bequest to the British Museum.
After 1962 Mariga abandoned the use of soft soapstone and began to use larger, harder blocks of serpentine that he found in the course of his work. He also began working with new tools. As his technique developed, he taught numerous others what he had discovered. These other artists included his former roadbuilders, as well as artists such as Joseph Ndandarika who were sent to train with him by McEwen.
By 1967, Joram was arguably the leading Zimbabwean sculptor, and his compatriots followed working in newer stones such as serpentine and springstone that he pioneered. One of his sculptures was depicted on a Rhodesian postage stamp, part of a set issued on 12 July 1967 to commemorate the Tenth Anniversary of the opening of the Rhodes National Gallery. Other stamps in the set illustrated works by Auguste Rodin, Roberto Crippa and M. Tossini. In 1966, the first Tengenenge serpentine springstone deposit was discovered by Crispin Chakanyuka, a former apprentice of Mariga's who was working for Tom Blomefield.
1969 was an important year for the new sculpture movement, because it was the time when McEwen took a group of works to the Museum of Modern Art in New York and elsewhere in the USA, to critical acclaim. It was also the year that his wife Mary (née McFadden) established Vukutu, a sculptural farm near Inyanga, which the artists could work. Mariga found the location for the McEwens and was promised by them that he would lead the artistic commune. After he was suspected of harboring ZANU insurgents and transferred to a distant region, McEwen refused to have Mariga at Vukutu and installed Sylvester Mubayi as the leader.
Th
Joram Mariga