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The creative industry in Zimbabwe has bloomed and it is not completely out of the question to begin asking: “When are we getting our first local arts millionaire?” The sound of good music booms everywhere; in homes, in private vehicles and in entertainment centres and Zimbabweans are enjoying it. The roads are lined with exquisite sculptures and pottery ready to be sold to tourists. Even remote areas have come up with their own products marketed around the world. Who hasn’t heard of the art of the Weya women and the basketry of the Chilelema women of Binga?
Gone are the days when artists were expected to die in poverty; well if any does, it’s not because the arts are no longer paying. It will be because the artist would have failed to seize his or her opportunity.
For a while now Zimbabweans artists have refused to play second fiddle to their international counterparts, often even outshining visiting artistes when performing on the same stage. There was a time when Zimbabwean sculpture was adjudged the best in the world. Many pieces of stone make permanent collections at the most famous museums around the globe. The Zimbabwean Diaspora is alive with artists who have made their mark in foreign lands. Several must be millionaires now!
It has not always been so. Stories of exceptional artistes that died paupers due to mismanagement of their businesses are all too common. Many remember the shack that the late Andy Brown’s coffin lay in before his burial and also a host of other performers that failed to utilise opportunities by mismanaging their portfolios.
The majority of yesteryear musicians’ children literally struggle to survive, scenarios unbefitting of them considering the huge fortunes made and squandered by their departed parents.
Numerous other artistes of various disciplines have just vanished from the scene way before their prowess is documented all owing to the fact that the arts were viewed as hobbies and not business. Zimbabwean arts practitioners say it is a new game altogether where artistes now see their talents as business.
Pamela Samasuwo Nyawiri, a United Kingdom-based designer, attests Zimbabwean art is maturing, but at the same time concedes there is still a lot of work to be done. “Giving a comparison from the 90s where the creative industry was not seen as a career, but as an outlet for just entertainment, that made you no money, it has become less about admiration, but fast becoming a part of the global conversation,” she says.
“While this is so, there is still much to be done in order to ensure that Zimbabwe continues to grow and improve on its articulation of products and services.” Nyawiri says the loopholes are maybe because of the lack of resources and also the current economic structure of Zimbabwe which does not give room to nurture more artistes.
She says quality of work needs to improve for local art to make a lasting impact. “We can agree that it is a viable career, but it is still difficult. There has definitely been some improvement over the years. It is still to be understood that creatives need to eat, pay their rents and send their children to school.”
“Artistes in the new Zimbabwe have to be more innovative, more creative and start writing their own narratives without being sidelined by what South Africans or Nigerians are doing.
“We can only be effective and develop more if our story telling is authentic and is tailored to the Zimbabwean situation. There is much inspiration to be explored. Money is not always the root to success. It is definitely a start, but the quality of our work matters more. It is what will get us noticed.”
United States-based musician Nyani Patient Bote, says art has always been seen as a form of business and said only the few that have taken it as such have made it.
“It is only a few who have taken it as such and have been successful. Most artistes have died in poverty because their works have not been able to sustain their livelihoods. Many factors cause this and examples include the economy, the general public perception about art among others,” he says.
“For example, whites appreciate and support art more than we blacks or Third World countries do. I did not take art as business because I saw it as risky. Success is not guaranteed. I took it as a passion that should carry me if it sales. I took it as a side job too.”
Playwright, actor and producer Daves Guzha says Zimbabweans have always viewed arts as a business.
“I think the concept of seeing it as a business has always been there especially among musicians like Safirio Madzikatire and others. Theatre, however, was a late bloomer in that regard, but since I got into it in 1986, I have always drawn my livelihood from it.
“Granted at that time the majority of conventional theatres saw it as a hobby and community theatre practitioners in various interviews purported that after they had failed in their academic careers they found themselves on the stage.
“But they set themselves on a collision course with some of us who believed the sector was not the dumping ground for failed students. One had to have a genuine desire and see it as a source of livelihood. Visual art — especially stone sculpture, painting as well as craft — has always run itself as a business.”
Patience Tavengwa, co-founder of Almasi, a Zimbabwean-American dramatic arts collaborative organisation, says: “Zimbabwean artistes have to now either adapt or die. We are seeing a lot of foreign funders of the arts pulling out of Zimbabwe Music Association or cutting back on funding for the arts.
“It may be due to austerity measures in their own home countries and the first things to be cut when budgets are trimmed are arts and culture which are viewed as luxuries and humanitarian aid becomes the priority. Grants and donor funding can play a part in supporting or boosting an artiste, but there cannot be 100 percent reliance on that.
“The conversation with donors and funders has also evolved and now they want to know how an artiste plans to sustain a venture beyond the grant. If there is no sustainability plan chances are you may not get the grant. Results and accountability are becoming a big thing, it’s no longer enough to just say I had a show or made a film; funders want to see real impact. So there is a natural move towards entrepreneurship.”
Radio and television personality Zandile Ndlovu aka Zaza said local artistes were waking up to smell the coffee. She said it was no longer the case where artistes forwent everything for the sake of instant fame as they are now employing various strategies to remain relevant as well as monetising their operations.
“And it’s all about reading, understanding and adapting to the current environment we are in, pairing it off with partnerships that ensure more visibility and exposure,” she says.
“Each musical genre, for instance, is different thus the modus operandi and business structure is different. Winky D operates in a market where Zimdancehall is the biggest genre. By having good management, partnering with international and local promoters and having a good pricing strategy for his gigs, he has commanded a good following that pays to watch him. He invests his money in equipment which most artistes don’t do.
Another success story is Jah Prayzah. He has even gone as far as starting a clothing label; affordable berets that his fans buy. His band members are well paid and looked after thus ensuring loyalty and longevity to his sound.”
Zaza says artistes have also realised the importance of partnerships and collaborations which have enabled them to stay abreast with trends.
Daniel Maposa, director of Savanna Trust, says artistes are slowly realising that art is serious business as evidenced by the number of artistes doing their trade on a full-time basis as well as those enrolling in training.
“There are plenty of artistes that are slowly realising that art is not a pastime as evidenced by a number of them taking the employ of the arts on a full-time basis and some getting requisite training in the various aspects of the arts field. The fact that most individual artists, especially musicians, are engaging qualified managers is further evidence of the seriousness that is among artistes as they seek to live from their talent as well as invest for the future,” Maposa said.
“However, there still a lot that needs to be done in terms of capacity development so that the artistes become knowledgeable social entrepreneurs.”
He says it is important that as they transit into a new phase, and when the environment permits the arts sector to thrive, there will be a new breed of artistes that is knowledgeable, skilled, ethical and committed to the development of their individual selves and the sector at large.”
Liverpool-based designer Taya Mahachi says Zimbabwean artistes now see art as a business and career choice because of the range of opportunities available globally. “Artistes in new Zimbabwe should create their own success by working together as a collective unit.Consistency and collaborations are essential, there is need to create concept stores that stock work by a range of local artistes and regular planned events targeted at the consumers.”
Obrien Mudyiwenyama, an actor and cinematographer, says younger artistes were at an advantage being able to read and interact first hand with their counterparts from developed countries. He says this has “given rise to the belief that if they can do it, so can we”.
“Art has always been an industry, and a viable one for that matter. The only challenge is that Government has never seen it as such and therefore a lot of arts genres do not receive any support whatsoever when other business people are always being incentivised even by legislation,” he says.
“It is very unlikely that an arts body can approach a bank and get a loan; very unlikely. But all other businesses have been funded by banks to be where they are. “The management of the arts needs to be improved. Competent people need to be attracted by the artistes to manage their affairs; artists are not administrators. They are creative people.” — nyikamagazine.co.zw
Online Reporter