Dumisani Ndlovu
FOR over two decades, the National Arts Merit Awards (NAMA) have stood as a beacon of recognition within Zimbabwe’s vibrant arts scene.
After the successful hosting of the 23rd edition on March 1 in Harare, a rising tide of discontent threatens to overshadow the glittering accolades, as critics decry the awards’ Harare-centric focus and murky selection processes.
Disgruntled artists called upon NACZ to heed the clarion call for decentralisation—a bold move that could pave the way for a more inclusive celebration of the nation’s diverse artistic talent.
In recent years, the NAMA awards have faced mounting scrutiny, with many stakeholders lamenting the lack of representation from artists outside the capital.
The prevailing sentiment echoes through the corridors of creativity: “The awards have become too predictable, too biased. It’s high time NACZ embraced the rich tapestry of talent that lies beyond Harare’s borders,” asserts one passionate arts enthusiast.
This frustration reverberates among artists and fans alike, who believe that the essence of Zimbabwe’s cultural heritage is being overlooked in the pursuit of familiarity.
The palpable frustration surrounding NAMA reflects a deeper yearning for acknowledgment—a desire for the awards to be a true reflection of Zimbabwe’s multifaceted cultural heritage.
Artists from various provinces, including the likes of Holy10, have raised their voices in protest, lamenting that the current system favours a select few while a plethora of extraordinary talent languishes in obscurity.
“I am deeply hurt and crushed in spirit. Our fans are our best judges, and they deserve to see their favorite artists recognised,” Holy10 confesses, his emotional plea resonating with many who feel that their contributions are all but forgotten
The call for decentralisation has taken on a life of its own, birthing ideas both radical and revolutionary. Village Poet from Shurugwi, a voice of the grassroots, suggests creating an entirely new awards platform dedicated to honouring genuine talent including those from other provinces.
“The Midlands deserves its own platform,” he declares, echoing a growing sentiment among artists who refuse to remain silent in the face of marginalisation.
This grassroots approach, however, has sparked a heated debate: is the solution to create new awards that further fragment the artistic community, or should the National Arts Council of Zimbabwe (NACZ) be held accountable for refining the existing NAMA framework?
The NACZ director, Napoleon Nyanhi, responded to these criticisms with a call for self-empowerment, suggesting that stakeholders should forge their own paths rather than rely solely on NAMA.
“We need NACZ to step up and perfect our premier arts event, not push us to create alternatives,” rebuffed one frustrated artist. The reality is clear: artists are yearning for a more equitable and transparent system that does justice to the diversity of Zimbabwe’s artistic expression.
The controversy surrounding NAMA is far from new; artists such as Killer T and Edith WeUtonga have long vocalised their grievances about the perceived bias inherent in the awards.
“We need clarity on how nominees are chosen. Transparency breeds trust, and without it, the awards risk losing their credibility,” stated another stakeholder.
In response to the growing outcry, a movement is gaining momentum among artists and advocates who are calling for a more inclusive nomination process. One compelling proposal suggests that the public play a pivotal role in selecting nominees, similar to the People’s Choice category. This approach could democratise the awards, allowing for a broader spectrum of voices and talents to be recognised.
