Online Reporter
Liberty Dube
Entertainment Correspondent
A FRESH wave of solidarity is sweeping through Zimbabwe’s creative community following the establishment of the Artist Welfare union of Zimbabwe (AWUZ) — a grassroots initiative dedicated to safeguarding the welfare of artistes and building sustainable support systems within the industry.
Formed in May last year, the union already counts more than 80 members from across the country.
Its mission is to confront a painful reality that has long haunted Zimbabwe’s creative sector: many artistes, despite dedicating their lives to music, theatre, sculpture, film, and other art forms, often struggle financially throughout their careers and, in some cases, die in poverty without access to basic social protection.
For decades, heart-breaking scenes have unfolded when celebrated artistes fall ill or pass away, leaving fellow creatives and fans scrambling to raise funds for medical treatment or funeral costs.
These public appeals have become an unfortunate hallmark of the arts sector. Now, artistes themselves are stepping forward to rewrite that narrative.
AWUZ aims to establish a structured safety net for creatives through initiatives such as medical aid access, funeral policy support, professional development programmes, and income-generating projects.
Founder, Sarah Dhliwayo-Nkala, a veteran with more than 25 years in the creative industry, emphasised the urgency of collective action.
“We want to change the narrative of artistes being labelled disorganised or irresponsible. The reality is that artistes are working in an informal sector where incomes are irregular, yet the responsibilities of life remain the same.”
She added that the union was also created to support the growing number of young creatives entering the industry each year without the guidance or structures needed to build sustainable careers.
Under the AWUZ model, members contribute a US$1 registration fee and a US$1 monthly subscription, pooling resources into a welfare fund designed to provide assistance during times of need.
Organisers say the contributions may appear small, but they are designed to be affordable to artistes who often survive from one performance or project to another.
The union is also planning monthly gigs and collaborative projects which will, not only generate income, but provide performance opportunities for artistes who struggle to secure bookings.
In Zimbabwe’s competitive entertainment industry, access to stages and audiences is often controlled by promoters and venue owners who operate primarily as businesses.
Dhliwayo-Nkala said promoters sometimes sideline talented artistes simply because they do not command large crowds.
“Promoters and bar owners are businesspeople. They cannot hire everyone at the same time. If you are not pulling crowds it becomes difficult to get bookings. That is why we want to create our own platforms where artistes can practise, perform and improve.”
Beyond performances, AWUZ plans to introduce training programmes and digital workshops to help artistes improve their branding, marketing and presentation.
In an era where online visibility plays a major role in success, organisers say many talented creatives struggle because they lack the skills and knowledge needed to promote their work effectively.
The union intends to use platforms such as WhatsApp and other digital tools to host workshops, offering practical advice on branding, public relations and career management.
“We believe practice makes perfect. Artistes must work on their brands and presentation. A well packaged brand is very saleable, but it takes persistence, sacrifice and proper marketing,” she said.
Another key pillar of the union is social protection for artistes’ families.
The initiative also aims to establish funeral policy support and assistance programmes for widows and children of deceased artistes, ensuring that families left behind do not face financial hardship.
This initiative is particularly significant in an industry where many artistes are unable to access traditional financial services.
Because most creatives operate without formal contracts, payslips or stable monthly incomes, they often struggle to qualify for bank loans, insurance or medical aid schemes.
“As artistes, we are not easily accepted by banks or insurance companies because we do not have regular incomes. Many artistes acquire medical aid policies, but struggle to maintain payments because their income is not consistent. We intend to submit the documentation to the National Arts Council of Zimbabwe as part of the process to formally register the union,” she added.
The organisation recently held its Annual General Meeting on February 27, where members began drafting structures, leadership frameworks and a constitution that will guide the union’s operations.
Since its formation, AWUZ leaders have been travelling around the country meeting artistes, recruiting new members and spreading awareness about the initiative, and they will be in Manicaland on March 28.
For many creatives, the union represents a long overdue step towards professionalising the arts sector and building a safety net for those who dedicate their lives to culture and entertainment.
