by Richard Mudariki

The Louvre Museum in Paris, the world's most visited and one of the most iconic cultural institutions, is facing a crisis. Reports have surfaced highlighting the museum’s deteriorating conditions - overcrowding, lack of proper maintenance, and an overall decline in visitor experience. The situation has sparked public outcry in France, with many expressing concern that a symbol of French cultural pride is being neglected. In response, French President Emmanuel Macron has pledged to take action, implementing a plan to modernize and restore the institution. His government’s intervention acknowledges the Louvre’s significance not just as a tourist attraction, but as a custodian of France’s artistic and historical heritage.
This situation resonates deeply with developments back home in Zimbabwe, where the National Gallery of Zimbabwe in Harare has recently secured a US$500,000 grant from the Mellon Foundation for renovations. While this funding is a welcome boost, it raises important questions about the long-term sustainability of our cultural institutions and the role of local governments in their upkeep. The National Gallery of Zimbabwe, much like the Louvre, is more than just a building - it is a space that preserves, nurtures, and showcases the artistic legacy of our nation.

Institutions like the National Gallery of Zimbabwe were built during colonial times, and today they serve as repositories of historical and artistic memory. While they were once designed to serve colonial interests, they have since evolved into places where we assert our identity, tell our own stories, and shape our future. However, the responsibility of maintaining these institutions has largely been left to external benefactors rather than local governments, raising concerns about self-reliance in cultural preservation.
A recent exhibition at the National Gallery of Zimbabwe in Harare by leading visual artist Admire Kamudzengerere, titled "Our Father’s Inheritance Does Not Allow Us to Sleep," speaks directly to the weight of heritage and legacy. Through this exhibition, Kamudzengerere delved into themes of identity, history, and inheritance, prompting reflection on how we engage with the past and what responsibilities come with what has been left to us. His thought-provoking body of work serves as a powerful reminder that heritage is not static - it is a living, evolving force that demands active stewardship.
Arts and culture are the backbone of any nation that envisions a future for itself. The preservation of our artistic and cultural institutions is not merely an act of nostalgia but an investment in national identity and economic potential. Countries that invest in their cultural infrastructure create vibrant creative economies, attract tourism, and foster a sense of national pride. Zimbabwe can and must take deliberate steps to protect its rich artistic heritage, not only relying on external grants but developing sustainable local funding mechanisms. This could be through increased budget allocations, public-private partnerships, or even innovative crowd-sourced funding initiatives that engage citizens in the process of cultural preservation.
A crucial element to this discussion is the question of the return of stolen African artifacts housed in Western museums that has been headlining many online news publications. The demand for repatriation of African art and cultural objects is gaining momentum, yet this movement also exposes the inadequacies of local institutions in maintaining these treasures. If African governments and institutions cannot guarantee the proper preservation and exhibition of repatriated artifacts, it weakens the case for their return. While countries like France, Germany, and Belgium have begun the process of returning stolen objects, there is an urgent need for African nations to invest in state-of-the-art museums that can house these invaluable pieces safely and meaningfully.
The Louvre’s crisis serves as a warning: even the most prestigious cultural institutions can fall into disrepair if neglected. France has recognized this and is taking action. Zimbabwe, too, must recognize the importance of its cultural institutions and take proactive steps to ensure they remain spaces of artistic excellence and national pride. The Mellon Foundation’s grant is a step in the right direction, but it should not be the only solution. Our heritage is our responsibility, and it is up to us to ensure that future generations inherit institutions that reflect our history, aspirations, and identity.
Richard Mudariki is an artist, cultural producer and entreprenuer. He hold BA honours in Cultural Heritage Management, Archaeology and Musuem Studies from the Midlands State Univeristy
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