Online Reporter
Trust Khosa
Zimpapers Arts and Entertainment Hub
IMAGINE being known by thousands, yet struggling to make ends meet. In Zimbabwe’s vibrant creative world, fame and fortune often feel like two separate destinies.
Musicians, actors, writers and artists capture the nation’s heart, but behind the spotlight, many face a relentless hustle for financial stability.
Some stars rise to fame only to face serious challenges, sometimes resulting in near pauper’s burials.
Paradzai Mesi, the frontman of the popular sungura outfit, Njerama Boys, falls into this category of a typical example of such decline.
Taruvinga “Sugar Sugar” Manjokota is another musician whose career took a downturn, leading to a difficult life after fame. Patrick “Bonus” Mukwamba, once a popular musician, faced similar struggles, his career declining after initial success.
The Gringo drama series featured actors Lazarus Boora (Gringo) and Fanuel Tonganayi (Phirimoni), both of whom experienced considerable financial hardships before their deaths.
Speaking to The Sunday Mail Entertainment, seasoned administrators, successful managers and legendary artists suggested several practical steps creatives can take to bridge this gap.
It is a journey from being celebrated to becoming sustainable, proving that with the right strategies, fame can indeed become a foundation for lasting fortune.
Many still believe it is never too late to convert fame into fortune, as modern-day creatives are living larger than some yesteryear legends who are struggling to make ends meet. National Arts Council of Zimbabwe (NACZ) chief executive, Napoleon Nyanhi, who has been working with creatives for the greater part of his life, shared his thoughts on this debate.
He firmly believes the narrative can be altered so that fame translates into fortune.
“The first thing creatives should do to convert fame into money is to register their artworks as intellectual property,” he said.
“If an artwork or collection belongs to someone, its rightful owner should register it to establish ownership.
“Formalisation of the sector is also essential for creatives to realise their potential. They need to register with the National Arts Council of Zimbabwe and engage a professional manager, which can help them access bank loans.”
Nyathi noted that addressing the knowledge gap was another important area that creatives must take seriously if they want to earn money from their artworks.
“Creatives should admit that they don’t know everything to succeed. Some artists have reached a ceiling, but are still stuck in the past, an area they must take seriously,” he said.
Similar sentiments were echoed by Ngonidzashe Munetsiwa, who manages his comedienne wife Tarisai Chikocho, better known as Madam Boss.
“From the onset, creatives should know what they want in life, whether to make people laugh or to make money,” he pointed out.
“For a creative to make money, there is a need for a professional manager. Formalising operations is another prerequisite; for instance, when dealing with the corporate world, they require things like a tax clearance certificate, as they prefer to work with organised and professional individuals.”
Munetsiwa urged creatives to steer clear of controversy.
“Of course, my wife is into comedy and content creation, but one thing that has caught the attention of the corporate world is that she doesn’t use vulgar language,” he said.
“As you know, no organisation wants to associate their brand with someone who is loose-tongued, a serious area most creatives need to work on to make money.”
The popular artist manager also urged creatives to embrace technology if they wished to succeed
“In this era, you need to monetise your content online, and many people are now earning a living through these initiatives. Of course, data is expensive, but at times you need to sacrifice to ensure that you realise something from your content,” he said.
Gospel legend, Baba Machanic Manyeruke, urged creatives to be humble, respectful and focused on making money.
“Some of us come from that generation of creatives where professionalism, humility and consistency have taken us this far,” asserted Manyeruke.
He also advised creatives to diversify.
“When we make money as creatives, we need to invest it wisely to avoid the blame game. We also need professional managers in our ranks to assist us,” he said.
Award-winning filmmaker, author and journalist, Retired Major Special Matarirano, who represented Zimbabwe with pride at the 2025 Rivers International Film Festival in Nigeria, urged creatives to fully utilise their fame.
“Famous artists should first understand that being known and recognised is crucial for developing brand equity,” he said.
“Hence, they should utilise their fame to create monetary partnerships with corporations that desperately need brand endorsements and charge reasonably for their influence.”
He urged artists to produce popular content that resonates with their established identity. Since they already have public recognition, they must convey content that the general audience desires and is willing to pay for,” he said.
“People are ready to pay for what entertains them. Artists should invest their energies in researching what people want, developing quality content, assigning monetary value to it and selling their craft.
“What we have in Zimbabwe is not a thoroughly developed artistic sector; too many creatives leave their efforts to chance rather than engaging in calculated artistic work. It’s high time we approach art as a science, ensuring our methods can be scientifically tested and proven.”
Podcaster, radio presenter and content creator, Yahya Goodvibes, whose real name is Mitchel Mutongwizo, emphasised that monetising content is the way forward, even though many lack access to larger platforms.
“As local creatives, we generally lack active access to monetisation through direct payments from social media platforms like Facebook or Instagram due to banking system incompatibilities,” she noted.
“Numerous factors limit us, preventing us from monetising our social accounts and receiving payments from Meta or Google. For instance, it’s challenging to access PayPal in Zimbabwe, impacting many creatives.”
She encouraged creatives to engage big companies as brand ambassadors.
“Some local companies have recognised the power of social media, paving the way for creatives to engage with them,” she said.
“This has opened opportunities for socialites and celebrities to become brand ambassadors, allowing for direct payments from companies while utilising social media platforms to raise awareness.”
Some departed artists who achieved both fame and fortune include Oliver “Tuku” Mtukudzi, Simon “Chopper” Chimbetu and Mbuya Stella Chiweshe, among others. Living legends, who enjoy success while remaining humble, include Alick Macheso, Jah Prayzah, Winky D, Charles Charamba and his wife Olivia, among others.
There is also a new crop of creatives, such as Comic Elder (real name Leroy Tadiwanashe Zaware), Comic Pastor (Prosper Ngomashi) and Mai TT (Felistas Murata), who are doing well.
However, some have squandered their riches, while others failed to capitalise when the sun was shining for them.
As such, fame can indeed match one’s fortunes if it is well managed.
By embracing professionalism, understanding the industry and leveraging their platforms effectively, contemporary creatives have every opportunity to transform their fame into lasting financial success.
