For years, I have been invited to the homes and offices of Zimbabwean socialites, businessmen and expatriates to appraise and proffer advice on their "collections and taste in art". Usually, it is the expatriates who have shown better taste and knowledge of the local arts, and have styled their houses with collectable, tasteful Zimbabwean stone sculpture, metal artworks by notable artists, and painters of great stature; whilst we locals only give lip service to indigenisation.

Whilst Zimbabweans talk about indegenisation, it was appalling and disheartening to see a prominent banking figure and stalwart for "indigenisation" (the rule rather than exception), with only "imported" gaudy, cheap prints and paintings from the Far East, North Arabic Africa, Australia and Britain - obviously expensive, but without monetary, aesthetic or cultural value.

I have, unfortunately, also seen corporate bankers and cultural attaches, and some Government institutions been led astray and coerced into buying mediocre "non-gratis" useless, unsaleable, indefinable and unresolved, "rehashed" sculptures from would-be sculptors from Tengenenge, Guruve, Mvurwi and Chitungwiza. Or else they buy art from "reputable national art institutions" that employ, self-appointed, untaught "au fait" "experts", curators and exhibition officers who cannot see beyond size and gaudy colours and the limitations of their personal acumen and taste.

I have visited houses and lodgings of famous artists and not seen other artists' works on display - except their own, and these are usually for sale.

True artists appreciate and collect art - both, their own and other artists' artworks and ingenuity when they see it. On the other hand, I have witnessed, visual artists in Mozambique, Tanzania, Zambia, including the Native American and Inuit artists, appreciating, buying and exchanging each other's artworks.

This is one way of collecting, safeguarding and conserving the visual cultural heirlooms of contemporary indigenous artists, and cultivating a culture of connoisseurship.

A Connoisseur: Is one who has been trained to develop taste with works of art and fine craftsmanship. He or she must have first-hand knowledge of media and methods used, also have a thorough practical and academic grounding in art history.

Works copied, directly or indirectly of other artists or crafts persons' should be avoided - and are not collectable. Further, the collector could face prosecution from the original artist.

The old adage - "seek advice before you purchase a work of art" holds true today more than ever.

Dr Tony Monda holds a PhD in Art Theory and Philosophy and a Doctorate of Business Administration (DBA) in Post-Colonial Heritage Studies. He is a writer, art critic, practising artist and corporate image consultant.