Online Reporter
Zimpapers Arts and Entertainment Hub
The submission window for the 24th National Arts Merit Awards closes today, with the National Arts Council of Zimbabwe, confirming an impressive response of more than 1 100 entries.
Again, proving that despite the industry challenges, Zimbabwean artists remain hungry for recognition, competition and validation on the national stage.
As of last week, the NACZ had logged 1 117 entries across all categories and organisers said more came late in as creatives dashed to beat tonight’s final deadline.
While NACZ expressed satisfaction with the numbers, the council also returned a sharper, more critical observation: the volume of entries does not always reflect readiness, as many submissions remain technically incomplete.
The council revealed that dozens of artists filled in the online forms, but failed to attach essential supporting materials such as downloadable links to their work, an issue now common in recent editions.
NACZ said these omissions risk disqualifying dozens of creatives unless corrected before midnight.
Still, the council is pleased with the digital shift. Most submissions were lodged online, signalling a sector increasingly aligned with modern administrative systems.
For an industry historically weighed down by paperwork, this year’s digital turnout marks tangible progress.
However, the same enthusiasm has reignited long-standing conversations about the structure and balance of NAMA categories, many of which remain uneven in scope, weight and competitive depth.
Despite the introduction of Fashion and Digital Media categories which somehow was long overdue and welcomed, their placement within the awards structure still raises questions among observers.
The Music and Film categories continue to dominate both in numbers and influence, overshadowing others such as Spoken Word and Dance, which remain limited in subcategories despite their growing national footprint.
Critics argue that while the Film category boasts a well-developed cluster from short films to full-length productions, other sectors remain boxed into narrow definitions that barely reflect Zimbabwe’s vibrant creative landscape.
Theatre retains its classic five sub-categories, yet there is no space recognising online plays, hybrid theatre productions or touring acts, even though these have grown significantly since the Covid era.
Similarly, the Spoken Word section remains only two categories — Outstanding Comedian and Outstanding Poet — despite the explosion of platforms such as YouTube, TikTok and community poetry festivals that have broadened the discipline.
Digital media was introduced precisely to respond to this evolution, but its three sub-categories feel like a starting point rather than a fully thought-out home for Zimbabwe’s booming digital wave.
Even in fashion, critics note that while recognising male and female designers is commendable, the awards still overlook stylists, runway producers, make-up artists and costume designers, who are also key players in the creative ecosystem, especially in pageantry and film. With entries closing today, this critique becomes even more important.
A sector that produces more than 1 100 submissions deserves an awards structure that expands proportionally, reflects new industry realities and ensures fair competitive ground across all creative disciplines.
Meanwhile, as adjudication begins and categories undergo scrutiny, public attention shifts toward the awards ceremony on February 28 at the Harare International Conference Centre.
This year’s event carries added pressure not only because of the high number of entries, but also because NAMA introduces a new team of ceremony hosts, which is Scarlet Media and Events Evolution.
