Online Reporter
Maria Chiguvari
THE National Arts Council of Zimbabwe (NACZ) has challenged critics to come up with their own awards ceremonies to address perceived shortcomings in the National Arts Merit Awards (Nama), which they organise.
NACZ is often criticised for its opaque selection process. Arts enthusiasts feel the awards, particularly the nominee selection and lead-up to the event, need improvement.
This sentiment was reinforced by the lukewarm reception to the recent announcement of the 23rd Nama nominees.
The ceremony is scheduled to be held in Harare on March 1.
Addressing a press conference last week, NACZ director Napoleon Nyanhi stated that stakeholders should not solely rely on Nama.
“We are not perfect, nor do we claim to be. However, we have tried to ensure the corporate governance and accountability surrounding the adjudication processes are as airtight as possible,” said Nyanhi.
“Our objective is to promote and celebrate artistic excellence. We would like all sectors to have their own awards so that they are not always looking at Nama. We need to recognise everyone, but unfortunately, we cannot do so at Nama.”
However, critics believe that NACZ should focus on perfecting the country’s premier arts event, not creating “other” awards ceremonies.
Winning a Nama is a major achievement for any artiste, as the award is considered superior to any other arts gong in the country.
Furthermore, this is a national event supported by the Government, unlike other privately driven events, which should give it more value.
The objective is simply to create a solid event that resonates with developments in the industry.
Artistes and arts followers believe crucial steps towards achieving a perfect or near-flawless event can begin with eliminating the “vague” and obsolete adjudication system.
They believe a complete overhaul of the system is needed, moving towards a sector-driven approach.
It is believed stakeholders, not NACZ, should take the lead in forming the adjudication committees.
They say the public could play a leading role in selecting nominees in most categories, similar to how they participate in the People’s Choice category.
Currently, many question why high-flying Feli Nandi is not on the nominees list, which includes fellow female musicians like Dorcas Moyo, Tamy Moyo, Shashl and Janet Manyowa.
After the nominees list was released, Feli Nandi’s manager, Connie Mazani, simply said: “I guess they felt she did not deserve it (nomination). We will work harder next year.”
Sungura despite being a popular genre, is also not among the nominees’ list.
A few years ago, Zimdancehall artiste Killer T, through his manager Kudzai Biston, decided to no longer participate in the Nama.
This came after the chanter’s camp felt cheated when he was not awarded the Song of the Year award for his hit track “Takangodaro”.
The award instead went to Jah Prayzah for his song “Mudhara Vachauya”.
In 2014, songbird Edith WeUtonga also publicly criticised the Nama adjudicators for selecting Olivia Charamba as Outstanding Female Musician over herself and Selmor Mtukudzi.
Edith expressed her frustration on Facebook, describing the awards as a misrepresentation of the arts in the country.
“Awards generally create problems worldwide. However, I feel the Nama system has changed in the past two years, which could explain the challenges they are currently facing,” said a former adjudicator, who wished to remain anonymous for professional reasons.
“I was once part of the monitoring team, attending gigs, exhibitions, et cetera, and we would make submissions to a committee of judges who would critique our work. That entire team was dissolved and I am not sure which system they are now using.”
However, NACZ believes it is on the right track.
“Regarding the conversations around the nominees, people disagreeing with some of the choices, and all of that, that is very normal,” said Nyanhi.
“It happens with all awards shows around the world to the extent that Jay Z gets on stage to say why Beyoncé did not win. These are competitive awards; arts are a very emotive thing, especially music.”
Entries for the competition are submitted in two ways: by the artiste or industry monitors. But the role of industry monitors remains unclear, as they are often not identified, leading to speculation. Some suggest the organisers themselves act as the “industry monitors”.
“So, as Nama, we also monitor and submit things through our monitors in the provinces, who submit their reports and lists of artistes they feel were outstanding in their areas that year. But we also need to give every artiste an opportunity to express interest to be fair,” said Nyanhi.
He added that they are open to criticism.
“Nowadays, music, skits and films have become popular because of technology, hence there will be a lot of feedback. People will disagree or talk about who they would have preferred to have been nominated; that is normal, and we do take it, we do look at it, we take it seriously. But we have to sift through it because some are just sour grapes. We consider objective contributions.”
He assured that the adjudication process is thorough and only deserving artistes receive awards.
“I do not see any room for bias in that process because we have put measures in place to ensure people are as objective as possible,” he said.
“The people adjudicating are not even friends, so for them to agree to be biased towards a certain person is quite far-fetched.”
Meanwhile, Nama organisers said preparations are progressing well, and they are ready to host a memorable event.
