The Sunday Mail
ZIM DANCEHALL artistes, it seems, can only hunt in packs and never as individuals, which has resulted in them failing to earn big, money-wise.
A dancehall gig poster can easily be mistaken for a national gala advertisement.
Individually dancehall artistes have no power to command a huge crowd, a phenomenon that has led to promoters booking an average of 10 artistes per gig, which has the downside of lowering earnings per performer.
Often promoters have been the ones that smile all the way to the bank after raking in thousands of dollars through gate-takings.
Reports indicate that some artistes are paid as low as US$40 per gig while in worse scenarios budding artistes have had to be content with just getting transport allowances or nothing completely.
Remuneration is generally determined by an artiste’s perceived market value.
Artistes currently getting preferential treatment and better remuneration include the high-flying Tocky Vibes, Winky D, Shinsoman, Soul Jah Love, Seh Calaz and Sniper.
A sizeable number of dancehall artistes that spoke to this publication revealed that they were concerned about the figures they were being paid by promoters, particularly after major gigs that would have attracted thousands of people.
Admission at most Zim dancehall gigs is usually pegged at US$5 per person and the events attract crowds of not less than 3 000 individuals.
“It is difficult for us to negotiate for better deals since in most cases the promoters just dictate figures they wish to pay us. We have little or no option over the matter so we end up settling for whatever is on offer,” they argue.
The “underrated” artistes believe they add equal value to the gigs just as much as the “big names” that are treated like royalty.
They opine each and every one of them has a following and brings with him/her a certain number of fans to the show.
Rising dancehall artiste Mostaff aka Mostivity notes that payment systems vary from promoter to promoter and the type of gig in question.
He, however, admits the genre has not been rewarding for upstarts particularly through group involvement.
“Payment systems vary with contracts signed between an artiste/promoter and the kind of involvement to the concert. For an ordinary show we get more compared to when we feature as a group, say, for a birthday bash or clash. This is the reason why I have resorted to focusing more on solo shows,” explained Mostaff.
Raising concern with promoters typically creates problems for the artistes that are generally from a disadvantaged background. The promoters have often responded by cutting ties with artistes they deem problematic.
On the flipside promoters contend their payment systems are fair and standard.
They argue that artistes (mostly budding) beg them to be included on line-ups that would sometimes have been meant for a limited number of performers.
Also they say the revenue they get through gate-takings services a number of expenses incurred during and after organising gigs.
“For every show we have a particular number of artistes that we work with. However, to create equal opportunities, we end up bringing rookies on board to rub shoulders with seasoned artistes.
“But it should be noted that the artistes belong to different grades hence get varying sums. The seasoned artistes among themselves also have different pay grades depending on form and brand,” said a Harare-based promoter.
Recently, Soul Jah Love and Seh Calaz are reported to have raked in US$250 per minute each during their Sting 2014 performance which lasted for 15 minutes while their colleague Killer T had to be “content” with wowing the crowd for free.
The Mbare-based chanter had to beg to be part of the event after organisers of the event left him out.
