The impact of the 2003 national cultural policy on the performing arts industry in Zambia with specific reference to working conditions (original) (raw)
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Performing Arts and Culture Industry and Human Capacity Building in Africa
Research on humanities and social sciences, 2017
Evidently, there is a constant dire need for qualitative and updated human capacity infusion into various key sectors of the economy, the more so, with the intense race by developing countries of the world, particularly, the African countries, craving to establish themselves as significant players in the 21 st Century global economy. The critical role of the various human capacity building agencies in this process at this time cannot be overemphasized. It is against this background that the roles and competencies of the performing arts and culture industry with regards to human capacity building in Africa is being examined in this research. The paper examines the nexus between the performing arts and culture industry and human capacity building. In-depth one-on-one interviews, syndicate group discussions, as well as library research of relevant authorities, were explored and data obtained subjected to qualitative analysis. The performing arts and culture is a discipline and vocation concerned essentially with society and the interrelationships between the culture and the individuals within the society, whereas, human capacity building on the other hand is, to a large extent, related to the cultural industries in its nature and operations.
NIGERIA'S CULTURAL POLICY AND THE NEEDS OF THE PERFORMING ARTS
Nigeria is a country reputed for its rich and diverse cultures from the multi-ethnic nationalities that make it up. Indeed, the diversity of traditions and cultures are evidenced in the nation's more than four hundred and seventy (470) tribes. It is in the bid to ensure that each cultural entity is preserved, projected and promoted, that Nigeria has a cultural policy. The cultural policy is decidedly synonymous with the arts and artists since the arts and artists mainly generate the bulk of what materially, at least, constitutes culture. Of course, culture is derived from material and immaterial products all which are products of the creative ingenuities of artists. It is in line with this reasoning that this paper is written, to determine to what extent the Nigerian Cultural Policy has attended to the needs of the arts and artists, with particular emphasis on the performing arts. The performing arts in every culture make up the major part of such Culture's creative and entertainment industry hence this paper is embarked upon to determine to what extent the policy has accommodated the needs of the performing arts. This is done through a detailed analytical assessment of the cultural policy. Recommendations are then made based on the conclusions drawn from the analysis.
International Journal of Advances in Scientific Research and Engineering, 2019
This dissertation is to investigate the economic diversification of Zambian economy through art and culture. This investigation is conducted in Lusaka through a case study and the study used a mixed research methods approach which incorporate both qualitative and quantitative data and the case study approach is adopted in this study. The study finds that diversification of the economy through art and culture has direct economic benefits include; increase in household income, increase in government revenue, increase in job creation and have multiplier effect on other sectors like tourism, education and health. The other findings is that, it increases and enhances social cohesion , rural development and rural financial inclusion, increase social capital and positive impact people's wellbeing, capability and self-sustenance. The primary recommendation coming out of this study is that government of Republic of Zambia to take serious steps towards the pride of this sector. The government to formulate policies to end piracy and gazettes the rights of artist. Government to create schemes to empower these arts and culture groups and association. Lastly, constant reviewing and monitoring of policies of arts and culture industry. Reviewing the structure and mandate of ministry of arts and tourism for the sole purpose of diversifying of the economy in this sector. The significance and value of this study is to remind and alert the government of the Republic of Zambia the potential of arts and culture industry in stimulating economic development, capacity, ability, and self-sustenance of the nation through economic diversification.
2014
The purpose of this research was to gather information about the production, marketing and distribution of Zambian contemporary music by Zambian musicians. Very little information has been documented about the development of the Zambian music industry, particularly from the perspective of those within the industry. As a result this study attempted to add to this knowledge. To achieve this Pierre Bourdieu’s theoretical concepts of ‘fields’ and ‘habitus’ were used to gain an understanding of what affects the creation of art forms such as music as well as the structures and underlying processes within the music industry. The concept of ‘fields’ usefully framed an explanation of the struggles and connections within the various fields in the industry and a view of the Zambian music industry in relation to the international industry. To gather the data necessary for this research a qualitative approach was utilised involving semistructured in-depth questionnaires from twenty-three interviewees. These interviewees were selected from various sectors of the music industry in an attempt to gain a holistic perspective of the industry in the 21st century. There were four subgroups: the artists (singers, rappers and instrumentalists), managers, radio DJs, and a miscellaneous group made up of the remaining participants, a Sounds Arcade manager, a music journalist, the National Arts Council Chairperson, a Zambia Music Copyright Protection Society (ZAMCOPS) administrator, and the then President of the Zambia Association of Musicians (ZAM). With the limited exposure to formal musical, instrumental and production training, musicians, instrumentalists, managers and studio production personnel interviewed had had to learn their craft on-the-job. This limited knowledge appears to add to the hindrance of the development of careers and the industry, particularly in terms of how to register and distribute music correctly to earn royalties and protect their intellectual property against piracy. From an institutional level piracy is being addressed more forcefully with the introduction of holograms and the tightening of policies and structures to do with the music industry
Unemployment appears to be the greatest challenge militating against the development of the African nations. In Nigeria for instance, eradication of unemployment has become a regular item in the agenda of every government epoch of both military and democratic leaders. This study uses the sociological and the literary methodologies to identify theatrical avenues that are employment opportunities for the artistic director in contemporary Nigeria. The study observes among other things that, the artistic director has the capacity to silence unemployment of the theatre graduate because employment for him (artistic director) generates employment for the rest of the theatre collaborators who include the set and lights designers, makeup artist, costumier, props and sound manager, actors and the management crew amongst others. The study therefore, identify and recommends street protests, burial ceremonies, convocations and matriculations events, campaign rallies, church crusades and services, birthdays and naming ceremonies as potential theatrical experiences that are employment opportunities for the artistic director. It is hope that with this, the unattended challenge of unemployment will be reduced for the theatre graduate in Nigeria. The Theatre Artiste and the Challenges of Unemployment in Nigeria
IJCIRAS, 2024
The importance of providing learning experiences that enable the African child to acquire knowledge and understanding of the traditional music, dance, and drama of their environment and those of their neighbors' is now generally recognized. However, for a while, without this preparation, they will not be able to participate in the life of the communities to which they belong. This study was conducted to look at the status of performing arts education in public primary schools within the Sunyani Municipality. A descriptive survey was used for this study. Questionnaires and interviews were used to collect information from 40 (30 teachers and 10 head teachers) participants. The teachers and head teachers were selected using purposive sampling techniques, respectively. The interview scripts were interpreted using an inductive data analysis technique to identify themes. The Statistical Package for Social Sciences (SPSS v. 24) was used for the quantitative data. The study showed that there is insufficient time allocated for performing arts in the school schedule, lack of available resources (e.g., instruments, textbooks, materials) to support performing arts, and teachers receive insufficient training and professional development in performing arts. It is therefore recommended that the challenges hindering the effective teaching and learning of the performing arts strands and the Creative Arts in the public basic schools be addressed to elevate the status of arts education in the municipality.
The politics of theatre and performance training in Zimbabwe 1980–1996
Theatre Dance and Performance Training, 2014
This article is a contextual analysis of the socio-political and ideological conditions of theatre production in Zimbabwe between 1980 and 1996. In this article I discuss the construction of theatre identities, in what I have chosen to call alternative Zimbabwean theatre, at the level of theatre training. In the field of Zimbabwean alternative theatre, a white dominated theatre organisation, the National Theatre Organisation (NTO), and a black dominated theatre organisation, Zimbabwe Association of Community based Theatre (ZACT), fought ideological and aesthetic wars and competed with each other for occupying the dominant position. These two organisations competed to host theatre festivals, to train theatre artists, to express their views in the media and consecrate their agents. They competed on the right to define national theatre. It was a cultural struggle to assume the power and right to tell others what national theatre ought to be and to enforce national theatrical conventions. It invariably became a power struggle between two theatrical conventions – the NTO theatrical convention with a strong bourgeois illusionistic theatre orientation and the ZACT theatrical convention with a strong performatic orientation. Since both NTO and ZACT trained the same artists, I argue that theatre makers used their own agency to choose what they wanted from the workshop materials and created theatre that was an admixture of dramatic theatre and African performative modes. Keywords: NTO, indigenous text, socialism, performatic, ZACT
2022
Informed by the theory of attitude and original data gathered with dancers in Dar es Salaam and Iringa, this article argues that dancers in Tanzania are dogged by lack of recognition, infrastructural, attitudinal and economic challenges. These problems arise primarily because dancing is largely an ad hoc and autonomous career that employs a considerable number of Tanzanians regardless of their socioeconomic and education background. However, what dancers encounter in the career disappoint many of them particularly when they want to use it to earn a living as terpsichoreans. The article shows that failure of community members and the government to give the performing arts industry, particularly theatre and dancing, the attention it deserves frustrated many artistes including dancers. Thus, the article suggests that government-owned theatrical infrastructures be hired at affordable rates with more theatres to be built to ease the problem of limited venues for theatrical performances. Moreover, dealing with the problem of undervaluing dancers that, subsequently, impact on them economically and how they are perceived also requires a systematic documentation of the contributions of dancers and the theatre industry generally.
The Creative Wealth of Nations: How the Performing Arts Can Advance Development and Human Progress
Working Paper, 2014
Cultural activities are increasingly noted as drivers of meaningful development. But they have yet to gain a prominent place in the architecture of development strategy. The performing arts, discussed here, exhibit direct effects on social progress and economic growth through trade in music, movies, and temporary work permits for artists, for example. Indirect contributions may also include environmental stewardship, tourism, nation branding, social inclusion, cultural democracy, and shifting cultural behaviors. These direct and indirect contributions are not well documented. As such, how is the creative or cultural sector a crucial part of the wealth of nations, and how could the World Bank Group better leverage the performing arts in its development strategy? This discussion provides a broad snapshot, from arts education, to social inclusion, to international trade in services. Key constraints include: the paucity of data and the difficulty of measuring cultural activities, the challenge of intellectual property, and the unclear benefits of cultural tourism. Part I sets the stage. Part II then provides policy options to foster the performing arts as a promising engine for development. Suggestions include: 1. expanding direct involvement in artistic projects, 2. increasing the use of performing arts to address social issues, 3. collecting data, 4. promoting intellectual property training programs, 5. supporting digital platforms in the developing world that advance indigenous music, and 6. funding studies on such areas as cultural tourism. Progress still needs to be made in the discussion of the diverse ways that the performing arts can contribute to meaningful development.