Online Reporter
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ZIMBABWE’S once-thriving stone sculpture industry is under siege — and the warning bells are getting louder.
National Arts Council of Zimbabwe (NACZ) chief executive, Napoleon Nyanhi, has issued a passionate rallying call to sculptors across the country.
He is urging them to “break isolation” and embrace collaboration or risk being left behind.
His remarks come as the iconic Tengenenge Arts Community — once the heartbeat of Zimbabwean stone sculpture — continues to crumble.
Once a magnet for tourists and international collectors, Tengenenge is now a shadow of its former self.
The decline intensified after the death of its founder Tom Blomefield in 2020, leaving a vacuum that has proved difficult to fill.
Today, the situation on the ground is very grim.
Some sculptors have abandoned their chisels for gold panning, while others have turned to carving tombstones just to survive — a painful shift for artists once celebrated on the global stage.
Even acclaimed sculptor, Dominic Benhura, who was the leading light, has stepped back, leaving operations in the hands of the local community and the National Gallery of Zimbabwe.
But Nyanhi is not ready to write off the sector.
In a bold and emotional message, he described the current hardships as a temporary setback rather than a permanent collapse.
“My advice to sculptors facing hardship is to view this moment as a pause and reflection phase in a much longer creative journey,” he said.
“Break isolation — it often comes with financial difficulty.
“Reach out to your fellow artists; we are seeing a powerful resurgence of collaboration through artist collectives and village workshops where resources, tools, and commissions are being shared.”
For many artists, who have been working in silos, the message is clear — adapt or perish.
Nyanhi also challenged sculptors to rethink their creative strategies, warning that sticking to old models does not work.
“I also urge you to diversify your approach. While you may be known for large stone pieces, consider creating smaller, more affordable works that appeal to the domestic market or explore functional art,” he said.
And, perhaps, his strongest warning came on the issue of technology — an area where many local sculptors are lagging behind.
“Furthermore, embrace the digital space. We have witnessed sculptors successfully using social media and e-commerce platforms to bypass traditional galleries, connecting directly with the diaspora and international collectors who still deeply value the authenticity of Zimbabwean stone sculpture,” Nyanhi added.
For a sector sitting on piles of unsold artwork, the digital revolution could be the lifeline it desperately needs.
But beyond money and markets, Nyanhi struck a deeply emotional chord, reminding artists of their cultural responsibility.
“Remember that the story of Zimbabwean sculpture is one of resilience against the odds,” he said.
“During these lean times, preserve your creative capital by documenting your work and your process.
“Do not be afraid to pivot or to temporarily offer apprenticeships to younger artists, in teaching you often rediscover your own passion.
“Your legacy is not defined by the hardships you face but by the courage you show in continuing to create through them.”
For Zimbabwe’s sculptors, the message is loud and clear — the stone may be heavy, but the fight is far from over.
derick.khumalo