by Richard Mudariki

As a visual artist navigating Zimbabwe’s creative landscape, I find the National Cultural and Creative Industries Strategy (NCCIS) both ambitious and necessary. The National Arts Council of Zimbabwe (NACZ) just hosted a formalisation workshop at the Harare International Conference Centre (HICC), a move that signals a shift towards structuring and legitimizing the sector. This 10-year plan (2020-2030), developed by the Ministry of Youth, Sport, Arts, and Recreation, aims to position the Cultural and Creative Industries (CCIs) as a crucial driver of Zimbabwe’s economic and cultural development. It is a well-intentioned effort, but how much of it truly speaks to the realities artists face every day?
One of the biggest challenges we deal with is market access. Locally, opportunities are limited, and selling art in Zimbabwe is a constant hustle. The strategy acknowledges this, emphasizing the need to expand regional and international engagement through export promotion, cultural exchanges, and digital platforms. I appreciate that it proposes leveraging technology for marketing and sales, but I wonder whether the government is willing to invest in making digital platforms more accessible and affordable. Without affordable internet and a well-established e-commerce infrastructure, many of us will remain excluded from these supposed opportunities.
Funding is another major hurdle. The strategy speaks of a government-backed CCIs Development Fund to provide grants and microfinance schemes for creative enterprises. That sounds promising, but will it be transparent, and will the funds reach the artists who need them most? Too often, financial support is bogged down by bureaucracy and gatekeeping. The plan to lobby for private sector investment is also encouraging, but it remains to be seen whether the business community will recognize the arts as a worthy investment.
Then there is the issue of space - literally. Finding affordable studios, exhibition and performance venues is a challenge. The NCCIS acknowledges the need to audit existing infrastructure and renovate state-owned cultural spaces, which I wholeheartedly support. If implemented properly, this could create much-needed spaces where artists can create, collaborate, and showcase their work. Another key pillar of the strategy is intellectual property protection. Piracy is rampant, and artists often struggle to get fair compensation for their work. The proposed revision of the Copyright and Neighbouring Rights Act is long overdue. Strengthening copyright societies and raising awareness among artists about their rights are also positive steps, but enforcement will be the real test. If piracy is not actively tackled, all these policies will be meaningless.

Education and capacity building also feature prominently in the NCCIS. The strategy aims to integrate creative entrepreneurship into school curriculums, promote mentorship programs, and enhance digital literacy. These are fantastic ideas, especially for young artists entering the industry, but will they be practical? Many of us have learned through trial and error, with little institutional support. If training programs are to be effective, they must be led by experienced industry professionals, not bureaucrats.
The media is a powerful tool for promoting the arts, yet mainstream coverage of Zimbabwean CCIs is minimal. The strategy proposes training journalists to improve arts reporting and establishing stronger media partnerships. This could help shift the narrative around the arts from being seen as a hobby to being recognized as a serious industry.
Cultural diplomacy is another area where Zimbabwean artists could benefit significantly. The NCCIS aims to position Zimbabwe’s artistic output as a tool for global engagement through international art fairs, festivals, and trade agreements. This is an exciting prospect, but participation in these opportunities is often reserved for a select few. If the government is serious about cultural diplomacy, it needs to ensure that young and emerging artists are also given these platforms.
A recurring issue in Zimbabwe’s arts sector is governance. The strategy acknowledges that CCIs are fragmented across multiple ministries and proposes a more coordinated approach, including a ‘one-stop shop’ for artists seeking services, funding, and regulatory support. This could simplify processes for artists, but only if it is run efficiently. The revision of outdated legislative frameworks is another positive move, provided that it leads to real, enforceable change rather than mere policy statements.
The final pillar of the NCCIS, safeguarding cultural heritage, is something I deeply resonate with. Our traditions, languages, and artistic expressions need to be preserved and celebrated. The strategy’s focus on documenting and promoting indigenous knowledge and artistic practices is commendable. However, the government must prioritize investment in this area and ensure that preservation efforts are inclusive and not just token gestures.
Ultimately, the NCCIS is a comprehensive strategy that, on paper, addresses many of the issues artists face. But as always, the real challenge lies in implementation. Will artists have a voice in how these policies are enacted? Will funding be accessible and fairly distributed? Will infrastructure projects materialize, or will they remain pipe dreams?
As an artist, I want to believe in this vision. Zimbabwe’s creative scene is brimming with talent and potential, and with the right support structures, we could achieve incredible things. However, we need more than just policy documents - we need action, transparency, and real engagement with the artists who form the backbone of this industry.
Richard Mudariki is an visual artist, cultural producer and entreprenuer. He holds a BA Honours in Cultural Heritage Management, Archaeology and Museum Studies from the Midlands State Univeristy.
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