the sculpture has continued to be exhibited in the art capitals of the world and great acclaim has accrued to contemporary artists such as Dominic Benhura and Tapfuma Gutsa and the art form itself. Support and encouragement has come from many sources. Sponsors of a variety of sculpture communities, of which those at Tengenenge and Chapungu have been most influential. Further Communities have developed post-independence, for example the Chitungwiza Arts Centre, which was an initiative involving the United Nations Development Programme and the Zimbabwe Ministry of Education and Culture, which provided the land. Commercial sponsors in Zimbabwe, including AVAC Arts, the Baringa Corporation, the Nedlaw Investment and Trust Corporation, Zimre Holdings Limited, BAT (who part-fund the Workshop School of the National Gallery) and Mobil (who support the "Zimbabwe Heritage" annual exhibition at the Gallery). The Zimbabwean Government, especially through its support for the National Gallery, which now has regional centres in Bulawayo and Mutare in addition to commissioning pieces of art such as a statue of Robert Mugabe. Patrons who buy works or write forewords to catalogues for international exhibitions. Examples of well-known individuals in this category include Richard Attenborough, Richard E. Grant, and Joshua Nkomo. Other notable contributors to the sector include AVAC Arts founded by Terrence T. Musiyiwa. AVAC Arts founded in 2003 created one of the first websites in Zimbabwe which promotes international art trade from Zimbabwe. The idea was to show how the internet can be used as a tool to promote adaptation and utilization of new technologies towards improved art community livelihoods in Zimbabwe. A group of specialist dealers who display the works in their galleries worldwide and communicate their own enthusiasm for this art form to visitors, who by viewing, purchasing, and enjoying the objects spread that enthusiasm. Roy Guthrie quoted a 1991 article in The Sunday Telegraph in his introduction to an exhibition in South Africa to remind art lovers that "There is a widespread assumption today that art must necessarily be international.... But against this trend one finds isolated pockets of resistance, which suggest that good art can (and perhaps must) be a local affair – the product of a particular place and culture. And one of the most remarkable in the contemporary world is the school of sculptors that has flourished among the Shona tribe of Zimbabwe in the last 30 years... placed beside the dismal stuff so beloved of the