Online Reporter
LAST year, we carried a front page article in which we highlighted that gospel music star, Sabastian Magacha, received just US$120 in royalties from the Zimbabwe Music Rights Association (ZIMURA) for the entire year.
Magacha is one of the top gospel artists in the country.
We broke it down and it showed that Magacha was getting, on average, just 33 cents a day.
He is not alone in this.
Chief Hwenje has just revealed that he earned just US$80, from his work the entire year, from ZIMURA.
The relationship between ZIMURA and Zimbabwean artists has long been characterised by tension, mistrust, and recurring complaints.
While ZIMURA was established to protect musicians’ intellectual property rights and ensure they earn royalties from the use of their work, many artists feel that the organisation has fallen short of its mandate.
These concerns have fuelled ongoing debates about transparency, accountability, and fairness within Zimbabwe’s music industry.
One of the most common complaints from artists is the lack of clarity in royalty collection and distribution.
Musicians frequently claim they do not understand how ZIMURA calculates royalties or why pay outs are often low or delayed.
For artists who rely on music as their primary source of income, inconsistent payments undermine their livelihoods and discourage creative production.
Many argue that ZIMURA collects licensing fees from broadcasters, event organisers, and businesses but fails to equitably distribute the proceeds to rights holders.
Transparency is another major issue.
Artists have repeatedly called for audited financial reports and clear breakdowns showing how much money is collected and how it is allocated.
The perception that administrative costs consume a disproportionate share of revenue has intensified distrust.
Without open communication and accessible records, ZIMURA struggles to convince musicians that their interests are being prioritised.
Additionally, some artists complain about poor engagement and representation.
They feel excluded from decision-making processes that directly affect their careers.
This has led to accusations that ZIMURA operates more like a gatekeeper than a representative body.
Younger and independent artists, in particular, argue that the system favours established musicians while marginalising emerging talent.
On the other hand, ZIMURA maintains that it operates under difficult conditions.
The organisation has cited challenges such as piracy and limited compliance by music users.
From ZIMURA’s perspective, artists’ expectations sometimes exceed what the current system can realistically generate. However, acknowledging challenges does not absolve the organisation of responsibility.
Trust is the foundation of any collective management organisation and, without it, artists will continue to question ZIMURA’s relevance. Calls for reform, including improved digital tracking systems, regular stakeholder meetings, and independent oversight, reflect a desire for modernization rather than confrontation.
Zimbabwean artists’ complaints against ZIMURA highlight systemic weaknesses that require urgent attention.
While ZIMURA plays a crucial role in protecting musical copyrights, it must evolve to meet artists’ expectations in a changing industry.
Greater transparency, accountability, and meaningful engagement with musicians could transform ZIMURA from a source of frustration into a trusted partner.
Until then, the complaints are likely to persist, symbolising deeper struggles within Zimbabwe’s creative economy.
