The Sunday Mail
FAME and fortune typically go hand-in-glove, but that has not been the case in the country’s Zim dancehall genre, which currently has the most popular artistes in the entertainment industry.
Zim dancehall is arguably the genre of choice in the country at the moment and has helped create household names like Soul Jah Love, Seh Calaz, Ras Caleb, Terminator, Killer T, Shinsoman, Ras Pompy, Freeman, Dadza D, Tocky Vibes, Lady Squanda, Lady Bee, Winky D, Ricky Fire, Empress Shelly, Ninja Lipsy and Bounty Lisa, among many others.
But while the likes of Winky D, born Wallace Chirumiko, have proceeded to reap tangible dividends and make investments through capitalising on their fame, music is yet to pay dividends for most chanters – that is if it is ever going to.
Most of the top acts in Zim dancehall (producers included) still live a pitiable life.
They struggle to make ends meet on a daily basis.
The obvious temptation is to heap blame on piracy, but the problem goes beyond the scourge.
Most upcoming artistes, if not all of them, are desperate for a breakthrough and have in the process sold their talents to bar owners or music promoters for peanuts.
This is the chief reason why Zim dancehall artistes have failed to realise meaningful gains for their sweat on stage despite attracting multitudes of fans during gigs.
Their counterparts in other genres cover up for lost sales through live performances.
Remuneration in Zim dancehall, just like other genres, is generally determined by an artiste’s perceived market value.
While artistes like Tocky Vibes have successfully upped their market worth to promoters, it still remains a challenge for many.
Indications are that a number of artistes are staging gigs for peanuts both inside and outside the borders. Reports show that artistes with an average brand are paid as low as US$40 per show while in some instances some budding artistes have had to be content with just getting transport allowances or nothing.
Abroad, Zim dancehall artistes are getting an average of US$200 per show with consolation coming on the paid return tickets.
Killer T, real name Kelvin Kusikwenyu, recently expressed displeasure over the appearance fees he got abroad.
Surprisingly he still wants to fly and continue to compose songs in praise of foreign trips supporting the view that they do it just to get a feel of flying and crossing borders.
“The foreign gigs have little or nothing to offer for us, performing here (Zimbabwe) is better.
“We only fly for the exposure,” said Killer T aka Chairman.
Musician and Utakataka manager Gift “Shiga Shiga” Katulika argues that Zim dancehall artistes are to blame for the predicament they find themselves in.
“These guys always set themselves up for abuse.
“In their nascent days they charge ridiculously low figures for appearance at a gig while others do not even charge a single cent.
“This sort of creates problems in future since a promoter will have challenges in raising the appearance fee for the same artiste despite a change in fortune,” explained Shiga Shiga.
Often promoters have labelled artistes “big-headed” when they begin to ask for figures they feel they deserve. Artistes have different pay grades depending on form and brand.
But to avoid being exploited, artistes in the genre should come up with agreeable minimum figures to be charged per gig particularly by “new players”.
Promoters defended their payment systems.
They argued that they are flexible and open to negotiations with regards to rewarding artistes that they sign contracts with.
“We always give each and every artiste an equal opportunity for our gigs depending on their form and potential to draw people.
“It should be noted that certain artistes bring value to a gig while others have little or no effect. So when we select artistes that we want to work with for a particular show, others later come in begging to be part of the event even for no pay,” argued Zim dancehall promoters Chipaz, Josh Hozheri and Biggie Chinoperekwei.
Dancehall advocate Godfatha Templeman aka Simbarashe Maphosa, supports the idea of upcoming dancehall artistes staging gigs for little or no charge during their embryonic stages. This, he says, helps in giving upcoming artistes the much-needed exposure and publicity.
Templeman noted that this is the same trend that is used in countries like Jamaica where Zim dancehall was adopted from.
When Elephant Man came to Zimbabwe in 2010, he came with a then little known artiste, Brama, who performed for free but has since become a star.
He also did the same with Jah Thunder.
Artistes like Beenie Man and Coco Tee have also done the same with their protégés.
But the million-dollar question is: will the concept be successful in Zimbabwe?
“Dancehall is different from Hip Hop or R&B that has sponsorship from the corporate world hence a breakthrough is always a challenge.
“Performing for free particularly on big events like Chibuku Road to Fame and cup clashes guarantees upcoming musicians an opportunity to be identified by promoters that attend such gigs,” said Templeman.
“Mid-last year, Tocky Vibes performed at the annual OK Grand Challenge for free after I gave him 15 minutes of my slot but I’m sure this year the same company will not hesitate to call him (Tocky Vibes) for a US$3 000 contract since he went on to impress,” he added.
However, Templeman said he was against promoters that are bent on exploiting artistes despite a shift in market trends.
“What I don’t want are promoters that thrive on exploitation. It is not fair to say because an artiste came playing for free or for a little fee, then he or she should continue to be in the same bracket.
“Market trends and experience should determine pay grades never mind the situation,” said Templeman.
A huge chunk of Zim dancehall artistes grew up in the ghettos and are from impoverished backgrounds hence they are naturally vulnerable.
“Artistes desperately want to market themselves but most of the time they are being taken advantage of by promoters.
“When an artiste performs at a big event involving other artistes, they should get something for their work.
“However, the extent of their remuneration for personal gigs should be determined by the number of people that pay to watch them. This is a serious challenge that we need to address,” added another dancehall advocate, Robert Zhuwao.
