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Harare Bureau
THE arts sector has welcomed the move by Government to enforce the 75 percent local content policy saying the move will boost the livelihoods of the artistes in the country.Speaking after touring Star FM Studios and Natprint in Harare on Thursday, Information, Media and Broadcasting Services Minister Professor Jonathan Moyo said Government will enforce the 75 percent local content to promote local artistes because music is an industry with potential to create employment.
“The young people who got this opportunity out of the 75 percent local content have grabbed the opportunity with their hearts, souls and mind and demonstrated that they can do it. They are as creative as their peers anywhere else.”
Government’s decision to prop up the 75 percent local content policy was well received by stakeholders in the arts sector, with some saying they were already working on different projects to ensure that they benefit.
National Arts Council of Zimbabwe director Elvas Mari said the move was long overdue because the law was passed a few years ago and it was up to the Government to enforce it.
“We are happy that the Government has finally heard us because we have been complaining for some time now to the Government to activate the policy. This goes a long way in marketing our culture to the outside world. We also want 40 percent of the local production to be aired on ZBC TV”, he said.
Artistes who spoke to our Harare correspondent also embraced the idea of 75 percent saying it will boost their popularity.
Veteran artiste Albert Nyathi said while the 75 percent local content was a welcome move, the presenters should be mindful of the different genres.
“75 percent local content policy does not mean playing the same genre. They should play all music from across Zimbabwe,” he said.
Popular dancehall chanter King Shaddy said he was a product of 75 percent local content.
“I am very happy to hear that.
“The local content policy gave birth to the urban groove movement and as one such product, I am very happy because our music will soon be played frequently,” he said.
Sungura artiste Joseph Garakara said the move will help artistes to have more royalties.
“The more the song is played on radio, the more one gets as royalties. The move will help even those artistes who are no longer performing as they will get money from royalties of their yesteryear songs,” he said.
Hapaguti Mapimhidze who is Beverley Sibanda’s manager said this was a good way of promoting local talent.
“We are very happy as you know Bev recently released her new album and we look forward to hear it on radio. This is a new chapter in Zimbabwe’s arts industry,” he said.
Other artistes who spoke glowingly about the policy included Cindy Munyavi, Tehn Diamond, Junior Brown and new kid on the block Edmore Manjovana.
When the 75 percent local content policy was first mulled in 2001, a number of youthful artistes joined what became to be known as the urban grooves movement, a unique Zimbabwean urban music where they showcased their talents.
The pioneers of urban grooves in the form of Extra Large, ExQ, Maskiri, Betty Makaya, Plaxedes Wenyika, Sanii Makhalima, Tambaoga, Leonard Mapfumo, Cindy, Clare Nyakujara, Roki, Uncle Jahunda and Stunner and the more recent artistes among them Winky D, Junior Brown, Tehn Diamond, MMT, Lady Squanda, Final Warning and Born Free Crew, are all products of local content.
These artistes continue to enjoy the benefits brought about by the 75 percent local content. In the past airwaves were dominated by foreign music especially from the United States.
While urban grooves had its teething problems such as sub-standard productions which found their way on the airwaves, the quality of music and productions have since improved with creative producers coming on board.
The genre is now competitive as much as the South African kwaito music, bongo in Kenya and Nigeria’s pop.
Another development which empowered the youths through the 75 percent local content drive was the introduction of national galas where the youths participated in the music extravaganza which were held throughout Zimbabwe.
The youthful musicians were so popular at the national galas that they managed to build a firm fan base making use of the live broadcasts on television as well as on radio.
Online Reporter