The arts industry in Zimbabwe is a paradox filled with immense talent yet plagued by financial struggles.
From musicians and painters to sculptors and playwrights, local artists contribute significantly to the nation’s cultural and economic identity.
However, instead of reaping the benefits of their creativity, many find themselves trapped in a cycle of economic exploitation.
Underpaid, undervalued, and often denied ownership of their work, Zimbabwean artists face numerous challenges that prevent them from thriving in their craft.
One of the biggest challenges facing Zimbabwean artists is the lack of financial stability.
Most artists work without contracts, making them vulnerable to exploitation by event organisers, promoters, gallery owners, and middlemen.
Musicians, for example, are often promised payment for performances but end up receiving little to nothing due to unclear agreements, unexpected deductions, or outright dishonesty by organizers.
Some are forced to perform “for exposure,” a common excuse used to justify not paying creatives for their work. The problem is even worse for visual artists.
- Mavhunga puts DeMbare into Chibuku quarterfinals
- Bulls to charge into Zimbabwe gold stocks
- Ndiraya concerned as goals dry up
- Letters: How solar power is transforming African farms
Keep Reading
Zimbabwe’s famous stone sculptors, whose work is internationally recognised, rarely receive fair prices for their pieces.
Middlemen buy sculptures at extremely low prices and resell them abroad for thousands of dollars.
Many sculptors live in poverty despite their works being showcased abroad.
Beyond direct financial exploitation, Zimbabwean artists face systemic barriers that prevent them from accessing high-paying opportunities.
The arts sector is largely controlled by a small group of elites who decide which artists get grants, residencies, and international exposure.
Many talented creatives are sidelined simply because they lack the right connections.
In addition, major corporate sponsorships and endorsements often go to well-established artists, leaving upcoming creatives struggling to break into the industry.
This favouritism stifles diversity and innovation, as emerging artists are forced to either conform to industry trends or remain invisible.
The rise of digital platforms is supposed to empower artists by giving them direct access to audiences.
However, Zimbabwean artists still face significant obstacles in this space.
Streaming services like Spotify and Apple Music offer very low royalties, making it difficult for musicians to earn a sustainable income from online streams.
Meanwhile, piracy remains rampant, with many artists’ works being downloaded and shared illegally without any compensation.
Visual artists face similar challenges.
Social media allows them to showcase their work, but without proper copyright protections, and many find their designs stolen and reproduced without permission.
Some international fashion brands have been accused of appropriating Zimbabwean patterns and artistic motifs without crediting or compensating the original creators.
Zimbabwean art is highly sought after by international collectors, yet the artists themselves rarely see substantial profits.
Foreign galleries and auction houses benefit from the growing demand for African art, while Zimbabwean artists often receive only a fraction of their work’s true value.
The lack of a structured, fair-trade art market in Zimbabwe means that foreign buyers dictate prices, leaving local artists with little negotiating power.
To address the economic exploitation of artists in Zimbabwe, systemic reforms must be implemented to protect creatives and ensure they receive fair compensation for their work.
The government, arts organisations and industry stakeholders must collaborate to create policies that safeguard artists from exploitation, promote financial sustainability, and ensure fair trade practices across different sectors of the arts.
One of the most pressing issues in Zimbabwe’s arts industry is the lack of strong copyright protections, which leaves artists vulnerable to intellectual property theft.
Many creatives, particularly musicians, visual artists, and writers, see their work used commercially without consent or proper remuneration.
Musicians often find their songs played on radio stations, used in advertisements, or pirated online without receiving royalties.
The absence of a robust copyright enforcement system means that artists cannot effectively claim ownership of their work or demand fair compensation.
Many young Zimbabwean musicians sign exploitative record deals that give the record label ownership of their music, limiting their ability to earn from album sales, digital streaming, or licensing.
Fair contracts would ensure musicians receive a just share of revenue from their work.
Writers in Zimbabwe, including poets and novelists, also suffer from weak copyright laws.
A clear example is how academic and literary books by local writers are widely used in schools without proper licensing fees being paid to the authors.
Strengthening copyright laws would protect writers from such exploitation and encourage the growth of the literary sector.
Zimbabwe’s film industry has potential but remains underdeveloped due to lack of funding and exploitative contracts.
Many actors in local productions have publicly spoken about being underpaid or not paid at all.
Without standardised contracts and legal protections, actors and filmmakers struggle to sustain themselves financially.
The Youth, Sport, Arts, and Recreation ministry should create a regulatory framework that requires all entertainment industry contracts to be reviewed by legal professionals before signing.
An independent artist rights commission would allow artists to seek recourse when facing contract disputes.
Introducing mandatory minimum wages and revenue-sharing models in the entertainment industry could protect creatives from financial exploitation.
Access to funding remains a significant challenge for artists in Zimbabwe, particularly those without elite connections.
Many talented artists struggle to secure grants, sponsorships, or investment, which limits their ability to produce and distribute their work.
Government and private sector intervention is crucial in ensuring that financial resources are accessible to all artists. Zimbabwe is home to world-class stone sculptors, yet many artists struggle to finance their work.
The lack of government-backed grants means these artists rely on middlemen who buy their sculptures at low prices and sell them internationally for large profits.
Dancers, traditional performers, and theatre groups often lack financial support to stage productions.
For instance, despite being a hub of cultural activity, Bulawayo’s theatre scene has suffered due to lack of investment. Groups such as Umkhathi Theatre Works and Iyasa have been forced to seek international opportunities because local funding is scarce.
The government should establish an arts and culture fund that provides grants to artists across different disciplines.
The corporate sector should be incentivised to sponsor artistic projects through tax breaks, while banks and microfinance institutions should offer low-interest loans for creative entrepreneurs.
Zimbabwean artists, particularly in visual arts and crafts, often face economic exploitation by international buyers who purchase their works at low prices and resell them for significantly higher amounts. There is an urgent need to implement fair-trade policies that ensure artists receive appropriate compensation.
Many foreign buyers exploit artists by purchasing pieces at cheap rates and selling them in international galleries at a premium.
Sculptors in Harare, Mutare, and Victoria Falls have often lamented how their work is undervalued locally but overpriced abroad.
Many Zimbabwean artists produce handwoven textiles, beadwork, and traditional crafts, yet they struggle to access direct markets.
Instead, middlemen and export companies take the majority of profits, leaving artists with little financial gain.
Establishing a National Fair-Trade Arts Association to regulate the sale of Zimbabwean artworks internationally would ensure artists receive fair compensation.
Partnerships with online marketplaces would allow artists to sell their work directly to buyers without intermediaries.
A government-backed certification for authentic Zimbabwean art would prevent foreign exploiters from misrepresenting local works.
The economic exploitation of Zimbabwean artists is a significant barrier to the growth of the country’s creative economy.
Without proper policies, local artists will continue to suffer at the hands of middlemen, foreign buyers, and industry gatekeepers.
Stronger copyright laws, fair contract enforcement, financial support, and fair-trade policies are necessary to create a sustainable arts sector where artists can thrive.
The future of Zimbabwean art depends on systemic change, and it is time for the government, industry players, and society to recognize the true value of the country’s creative talent.
By addressing these issues, Zimbabwe can empower its artists to build sustainable careers, contribute to the economy, and take their rightful place on the global stage.
While policy changes are essential, everyday Zimbabweans also have a role to play.
Supporting local artists by purchasing authentic artworks, attending live performances, and streaming music through legal platforms can make a significant difference.
Artists should not have to leave Zimbabwe to find financial success, and there needs to be a thriving, sustainable arts economy within the country itself.
Zimbabwe is rich in creative talent, but without economic justice, many of its artists will continue to struggle.
The exploitation of Zimbabwean artists is not just an industry issue; it is a national issue that needs urgent attention.
Creativity should be a source of empowerment, not poverty, and until artists receive fair compensation for their work, the full potential of Zimbabwe’s cultural heritage will remain untapped.
*Raymond Millagre Langa is a musician, poet, orator, independent researcher and founder of Indebo edutainment Trust. You can follow on Facebook @Millagre Ray Langa, on X you can follow on #Millagre Langa, email. millagrepapito@gmail.com or indebotrust@gmail.com.
