Local artisan calls for help to save woodcarving craft in Okahandja
In the quiet bustle of Okahandja’s informal craft spaces, woodcarver Peter Muzarabani stands among his tools and unfinished pieces, representing both the resilience and uncertainty facing many informal artisans in Namibia. Originally from Zimbabwe, Muzarabani has lived in Namibia since 2006 and built a livelihood through wood carving, furniture design and traditional craftwork. Operating mainly from his home in Okahandja and at local trading points in town, he supplies carved products to individual clients, including taxidermy practitioners who commission specialised bone and wood designs.
“I work with people in town and sometimes they call me for specific designs, especially after hunting when bones need to be shaped into requested forms,” he explained. His work ranges from decorative panel carvings and custom furniture pieces to culturally inspired items such as marriage boxes featuring wildlife motifs and traditional decorative designs. He also produces makipa items used in Oshiwambo traditions, worn as necklaces, brooches, wrist ornaments, or decorative buttons.
Despite his experience and versatility, Muzarabani says his greatest ambition is not expansion but continuity passing on the craft to younger generations. “There are boys and girls who want to learn,” he said. “But I can not formally train them because I don’t have the official authority. If something happens during training, I am not covered. That is my biggest challenge.” He believes formal recognition or institutional support would allow him to train apprentices safely and sustainably, ensuring that wood carving and related crafts do not disappear.
However, financial constraints continue to limit his ability to expand into more specialised fields such as ceramic sculpture, which requires expensive materials and kiln access. “I can do pottery and ceramic sculpture, but it needs equipment and resources I don’t have,” he added. Beyond training challenges, he also pointed to broader structural issues affecting informal traders in Okahandja. He referred to a relocation proposal that would have moved artists from their current trading space opposite the Shell service station to the new A1 road, a route now more frequently used by travellers.
According to him, the proposal was rejected by traders due to safety concerns, particularly regarding security for both artisans and tourists who stop to purchase crafts. Since then, many carvers have remained at the Mbangura Wooden Carvers Craft Market, hoping continued tourist flow will sustain their businesses.
“We stayed because there was no clear security arrangement for us and the visitors,” he noted.
Muzarabani believes that government intervention could transform the sector by formalising training structures and supporting local production of crafts currently imported from neighbouring countries.
“The materials are here, the talent is here. What is missing is training support and proper systems so people can learn and survive from this work,” he said.
Despite the challenges, he remains committed to his craft and to mentoring others if given the opportunity.
“I don’t want this work to die. If I get help, I am ready to train others so they can continue,” he said.
