The Sunday Mail
Takudzwa Chihambakwe
WHILE the Government might be playing a critical role in developing a robust and creative cultural sector, arts stakeholders seem reluctant to embrace initiatives that promote growth.
Apart from creating content, players in the sector do not seem to have a plan to further develop the industry. Oftentimes, they are extending the begging bowl for funds instead of investing in materially changing their circumstances.
The Second Republic has come up with enabling legislation and policies for the industry to thrive.
The National Arts, Culture and Heritage Policy, including the Culture and Creative Industries Strategy, have since been launched, while principles of the Arts and Culture Bill have been approved by Cabinet.
Sadly, not many of the stakeholders know how to capitalise on existing policies.
Furthermore, lack of cohesion amongst stakeholders is impeding growth.
Without unity of purpose, not much, if anything, can be achieved.
The business community is fully aware of this fact.
This is the reason why they have many lobby groups, namely the Zimbabwe National Chamber of Commerce (ZNCC) and Confederation of Zimbabwe Industries (CZI).
This gives them better bargaining power.
A critical question therefore arises: Who speaks on business and policy for artists?
During the annual Arts Indaba hosted by the National Arts Council of Zimbabwe in 2015, an idea was mooted to form an apex body.
As a result, the Zimbabwe Chamber of Creative Industries (ZCCI) was born.
Part of its mandate was to influence policy formulation through bridging the gap between the sector and authorities, as well as help source funds.
Unfortunately, the association flattered to deceive!
“Egos destroyed the ZCCI,” says Joshua Nyapimbi, who is one of the members of the steering committee.
“Also, we failed to define the business elements. For things to move in the sector, we need to have leaders who are educated on issues of policy development. Most of our creatives are amazing on stage and at producing or directing, but when it comes to articulating policy, they struggle.”
Nyapimbi believes there is need to incorporate cultural policy studies in institutions of higher learning, as is the case in South Africa.
“While there are many graduates from various universities in different arts disciplines, most of them are interested in performance and not policy formulation. We have failed to self-regulate as a sector for the past 40 years and I believe we now need someone to come up with an initiative to professionalise our sector,” he added.
Veteran and award-winning arts practitioner Daves Guzha opines there is need for a change of attitude.
“We are lagging behind as a sector. We now need to put the past behind us and set up an apex body such as the ZCCI to ensure that things start moving and we catch up with where Government is headed,” said Guzha, who was also part of the ZCCI steering committee.
“As things stand, we are really poised for growth as the Government now views us as an industry, not just entertainers. What we simply now need is to get organised and run with the vision. The ZCCI document is there and we do not have to recreate anything.”
Executive director of Savanna Trust Daniel Maphosa sings from the same hymn.
“The setting up of an apex body is long overdue. It will be the sector plan and lobby. However, we need to find out if we have strong grassroots-based institutions, arts associations. It is these associations that will then help form an all-encompassing apex body,” said Maphosa.
But what happened to the ZCCI?
“It still exists. We are quietly encouraging the setting up of self-regulating professional guilds who can then be members of the chamber. The Mbira Guild of Zimbabwe has been formed and its lawyers are in the process of completing the formalisation process. Once that is done, we will join the chamber. It is a long process, as part of what has to be done is to explain the role of a chamber and professional guilds to the creative community,” explained the founding chairperson of the chamber, Albert Chimedza.
He said those that left the chamber were either voted out or simply resigned.
“There was a power struggle between donor proxies and entrepreneurs. The two had different positions on what the chamber should be. In the end, the entrepreneurial approach prevailed, a good thing in my view. The creative community needs to understand the importance of self-regulation,” said Chimedza.
However, he believes there is need to rebuild the chamber from the grassroots.
