75pc local content pays dividends

 

Since 2001, a number of youthful artistes joined what became to be known as the urban grooves movement, a unique Zimbabwean urban music where they showcased their talents.

In its manifesto, dubbed “Taking Back the Economy, Indigenise, Empower, Develop and Create Employment”, Zanu-PF said the youths have particularly benefited from the policy which has seen the mushrooming of new talent which is internationally competitive.

“An example of indigenisation is how the music in particular but also the entertainment industry indigenised as a result of Zanu-PF’s progressive policy that requires that at least 75 percent of all broadcasting content should be local.

“The youth have particularly benefited from this policy which has seen the mushrooming of new talent which is internationally competitive.
“The success of the policy requiring 75 percent local content as a matter of law demonstrates quite clearly that indigenisation is effective.”

Already there are prospects of a vibrant arts industry in the next five years that seeks to celebrate Zimbabwean culture.
“Over the next five years, the Zanu-PF Government will use assets from indigenisation to empower the youth to create a national entertainment industry with international quality to celebrate Zimbabwean culture and creativity and to project it on the international scene,” Zanu PF said.

From the pioneers of urban grooves in the form of Extra Large, ExQ, Maskiri, Betty Makaya, Plaxedes Wenyika, Sanii Makhalima, Tambaoga, Leonard Mapfumo, Cindy, Clare Nyakujara, Roki, Uncle Jahunda and Stunner, to the more recent artistes among them Winky D, Junior Brown, Tehn Diamond, Tatea Da MC, Lady Squanda, Final Warning and Born Free Crew.

These artistes continue to enjoy the benefits of the 75 percent local content although previously the airwaves were dominated by foreign music especially from the United States.
While urban grooves had its teething problems such as sub-standard productions which found their way on the airwaves, the quality of music and productions have since improved with creative producers coming on board.

The genre is now competitive as much as the South African kwaito music, bongo in Kenya and Nigeria’s pop.
Another development which empowered the youths through the 75 percent local content drive was the introduction of national galas where the youths participated in the music extravaganza which were held throughout Zimbabwe.

The youthful musicians were so popular at the national galas that they managed to build a firm fan base making use of the live broadcast on television as well as on radio.

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