Zimbabwe 2016 report

Policies and Measures
CULTURAL POLICIES AND MEASURES
Name of the measure Scope of the measure Nature
The National Constitution of Zimbabwe (Amendment No. 20) National legislative
National Intellectual Property Policy National regulatory
Culture Week Celebrations National, International institutional
The National Tourism Policy National regulatory
The Disabled Persons Act National regulatory
The 75% Local Content Policy National regulatory, institutional
INTERNATIONAL CULTURAL COOPERATION
Name of the measure Scope of the measure Nature
Ratification of Conventions Local, Regional, International regulatory, financial
Participation and Hosting International Expos International institutional
Cultural Exchange Programmes International institutional
PREFERENTIAL TREATMENT
Name of the measure Scope of the measure Nature
Enhancing the production of cultural goods and activities through a duty rebate facility (Duty Free SI 136 of 2003) National legislative
North – South Exchange International institutional
Building competencies in management and business skills in the culture sector National institutional
INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL
Name of the measure Scope of the measure Nature
Draft National Cultural Policy National, International legislative, regulatory
Arts and Culture Festival Guidelines National regulatory
Constitution of Zimbabwe (Amendment No: 20 2013) National legislative, regulatory
EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9b
Name of the measure Scope of the measure Nature
Equal Participation of Women and Men in Cultural Expressions Regional, National, International regulatory, institutional
CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITY
Name of the measure Scope of the measure Nature
Promotion and Protection of the Rights of Women Working in the Arts and Culture Sector Regional, National, International legislative, regulatory, institutional
YOUTH
Name of the measure Scope of the measure Nature
Promotion of skills acquisition through vocational training. National legislative, regulatory, financial, institutional
❭ CULTURAL POLICIES AND MEASURES

National Intellectual Property Policy

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • To ensure that the rights of different ethnic cultural groupings and creators of cultural content are respected
  • To promote and facilitate the effective creation, protection, management and use of IP as a strategic tool for economic social, cultural and technological development.
  • To create linkages between the economic objectives development priorities and resources.
  • To assist practitioners acquire appropriate knowledge and skills in the management of intellectual property systems.
  • Promote a culture that values, respects and protects the results of creative thought, innovation and invention.
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
c.3. the main feature of the measure: 

The Policy recognizes the implication and place of the IP to the Zimbabwe Agenda for Socio Economic Transformation ( ZIMASSET). It points out that “innovation and creativity are central to economic growth and development and that IP has become a significant factor in both creating and using ideas that are translated into knowledge and inventions to promote innovation and economic growth”. The draft policy recognizes the key role of IP in driving economic development. Attached to the draft policy is a report on needs evaluation development oriented IP plan for Zimbabwe. The report gives a background to IP development strategy and needs evaluation. The Action Plan for implementing the national IP policy has six goals:

 

  • Facilitation of the use of IP for economic development
  • Facilitation of the use of IP for science, technology and innovation
  • Facilitation for the use of IP in other sectors
  • Facilitation for the use of IP rights for growth and competitiveness of SMEs
  • Facilitation of the use of IP rights in social development
  • Facilitation for the use of IP for cultural development

 

A Government Committee on intellectual property was set up in 2012. In December 2014 a draft Intellectual policy was produced by the inter-ministerial committee on intellectual property and was distributed to stake holders in arts and culture and in particular organisations of creators and rights holders. This draft policy reviewed and validated   at a meeting held in December in Harare with the participation of a representative of World Intellectual Property Organisation (WIPO) and African Regional Intellectual Property Organisation.

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The Policy read in tandem with the Copyright and Neighbouring Rights Act seeks to promote artistic work. According to the Act, artistic work means “a graphic work, photograph, sculpture or collage, irrespective of its artistic quality or an architectural work or a work of artistic craftsmanship”. The Policy empowers collecting societies like ZIMURA and ZIMCOPY to:

 

  • Act for owners of copyright in the management of their rights
  • Represent owners of copyright in the negotiation  and administration of licence schemes
  • Negotiate or grant licences either as owners or prospective owners of copyright.

 

The Policy, thus, seeks to promote the right of producers of cultural goods thereby safeguarding their livelihoods. Zimbabwean artists are being hard hit by the piracy scourge, thus, the Policy seeks, among other things to counter the effects of piracy. The Policy is expected to protect artists from the exploitation of their works and the violation of their rights

 

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Justice, Legal and Parliamentary Affairs
f.2 Financial resources allocated to implement the measure: 

It is difficult to determine

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

Culture Week Celebrations

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • To promote cultural diversity by showcasing different types of cultural expression
  • To encourage inclusive, equitable and vibrant participation by communities in the arts , culture and heritage sectors
  • To create employment for producers of creative goods
  • To promote and preserve Zimbabwean culture and identity
  • To inculcate values of tolerance and intercultural dialogue
  • To bring together diverse arts and cultural activities of the sub-region and other parts of the world for public consumption.
  • To instil pride in local cultures while depicting Zimbabwe's varied unhu/ubuntu as well as cultivate in us a sense of belonging.
  • To promote cultural practices and improve understanding and cooperation among people from different cultures.
  • To provide an opportunity for the people in Zimbabwe to appreciate the diversity of the arts and cultures of the world.
  • To provide a forum for the exchange of ideas and views between artists and other cultural workers within the sub-region, African continent and the world.
  • Emphasise the need for preservation, appreciation and promotion of all arts and cultural initiatives.
  • To improve understanding and cooperation among people from different cultures.
c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The week long Culture Week programme provides an opportunity for people to deepen their understanding of cultural diversity. A National Launch heralds the beginning of Culture Week. The National Launch is done in provinces on a rotational basis. The programme will be having a theme which is crafted annually. The theme revolves around issues to with cultural diversity. Provinces throughout the country will be having their own provincial launches as well as other activities in the districts.

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 
  • The adoption of strategies, which will yield public appreciation, participation and consumption of our diverse arts and culture products.’
  • Increased appreciation and understanding of the Zimbabwean culture
  • Preservation   of the Zimbabwe cultural norms and values
f.1 Name of agency responsible for the implementation of the measure: 
National Arts Council of Zimbabwe
f.2 Financial resources allocated to implement the measure: 

Culture Week The financial resources vary on an annual basis. In some instances the Culture Week gets support for the parent ministry but in most instances the NACZ funds

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

The Disabled Persons Act

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • To achieve equal opportunities for  disabled persons by ensuring that they obtain education and employment, participate fully in  sporting, recreation and cultural activities
  • To enable disabled persons, so far as possible to lead independent lives
  • To prevent discrimination against disabled persons resulting from or arising out of their disability
  • To encourage and secure the rehabilitation of disabled persons within their own communities and social environment
  • Encourage the use and development of forms of communication suitable for persons with physical or mental disabilities.
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
c.3. the main feature of the measure: 

The Disabled Persons Act came into force in 1992. According to the Act, a disabled person is, “a person with a physical, mental or sensory disability, including a visual, hearing or speech functional disability which gives rise to physical, cultural or social barriers inhibiting him or her from participating at an equal level with other members of society in activities, undertakings or fields of employment that are open to other members of society”. The Act makes provisions for the welfare of disabled persons as well for the appointment and functions of a Director for Disabled persons’ affairs. It provided for the establishment of a National Disability Board.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 
  • Mainstreaming of disability issues in every facet of life
  • Development of programmes for the welfare of people living with disabilities, especially work programmes consistent with their capabilities and acceptable to them or their legal representatives
  • Fostering social organizations aimed at improving the quality of life of persons with all forms of disability
  • Putting in place appropriate measures to ensure that buildings and amenities to which the public has access are accessible to persons with disabilities
  • Having access to medical, psychological and functional treatment
  • Provision of special facilities for their education
  • Provision of State funded education and training where needed.
f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Social Services, Labour and Social Welfare
f.2 Financial resources allocated to implement the measure: 

Treasury allocation

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

The 75% Local Content Policy

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • Availing opportunities to local artists by increasing the listenership base for their works
  • Boosting of creativity as artists will be motivated to produce high quality products
  • Employment creation throughout the value chain especially of music
  • Preservation and promotion of Zimbabwean culture

 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
institutional
c.3. the main feature of the measure: 
  • Increase in broadcasting and airing local productions
  • Empowerment of local artists
  • Enhancement of creativity amongst artists
  • Opening up of more players in broadcasting services
  • Brings about a sense of pride in national culture and heritage
d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

Zimbabwean artist in general and musicians in particular were getting a raw deal from radio and television stations. The Disc Jockeys, prior to the introduction of the 75% local content policy, were not playing local music on air. They were mainly interested music from outside Zimbabwe’s borders which they felt was more popular than local music. The fortunes of musicians improved with the introduction of the policy which sought to improve the lot of musicians. The Policy also revolutionized Zimbabwean music as more genres found their way onto the music market. The rise of the Urban Grooves and the Zimdancehall movement can be directly traced to the introduction of the policy. The opening up of the air waves has provided opportunities for more players in radio and television. These have become important platforms for the expression of cultural diversity.

f.1 Name of agency responsible for the implementation of the measure: 
Zimbabwe Broadcasting Corporation
f.2 Financial resources allocated to implement the measure: 

N/A

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

The National Tourism Policy

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • To encourage development of a national identity and promote a culture of national pride through tourism.
  • To promote gender equality and empower women and youth to participate in mainstream economic activities through tourism.
  • To improve the quality of life for Zimbabweans through equitable geographic distribution of tourism products.
  • To leverage all the social and economic roles of tourism to advance Zimbabwe’s interests.
  • To instill a sense of National pride in all Zimbabweans and build social and national cohesion.
  • To provide easy entry into the mainstream economy by all sections of society with emphasis on women and youth.

 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
c.3. the main feature of the measure: 

The Policy was crafted after consultations between the Ministry of Tourism and Hospitality Industry, the Zimbabwe Tourism Authority (ZTA) , Zimbabwe Council for Tourism and the academia. One aspect of the policy is that of tapping into religious tourism. Out of 1,1 billion global tourism arrivals recorded in 2013, religious and faith based tourism brought in 300 million, which is a huge chunk. The country now needs to demonstrate the significance of the church as a market. Another aspect of the Policy is regional marketing and promotion of tourist resorts. Each region or province of the country is a tourism hub.  The Policy also provides for the enshrinement of liberation struggle battles. In the past, Zimbabwe has been failing to turn the various venues of liberation war battles into tourist attractions. The Policy also provides for the rebranding of the various ruins dotted around the country into ancient cities. Ruins suggest abandonment while ancient cities give them the contemporary importance of historical times.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The National Tourism Policy is envisaged to result in an upsurge of tourist arrivals thereby improving the economy in general. It is also expected to instill a sense of pride in Zimbabweans in their country’s rich natural heritage. Revenue streams from new markets such as churches are expected to rise as a result of the policy. Zimbabweans are expected to have an increased appreciation of their history and heritage.

 

f.1 Name of agency responsible for the implementation of the measure: 
- Ministry of Tourism and Hospitality Industry, ZTA
f.2 Financial resources allocated to implement the measure: 

-The total amount that the Ministry of Tourism and Hospitality Industry received for programmes during the period under review is $68295.

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

The National Constitution of Zimbabwe (Amendment No. 20)

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 

In 2013 Zimbabwe adopted a new National Constitution with a section on culture. The constitution recognizes the diversity in cultural expression with recognition given to the different ethnic groups some them previously considered as minority groups:

 

  • Promotion and preservation of cultural values and practices which enhance the dignity, well being and equality of Zimbabweans
  • Preserve and protect Zimbabwe’s heritage
  • To preserve and protect the dignity of traditional institutions
  • Promote and advance the use of all languages used in Zimbabwe, including sign language and to create conditions for the development of the languages

 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
c.3. the main feature of the measure: 

In relationship to culture, the Constitution recognizes the diversity of culture. It also recognizes the sixteen indigenous languages of Zimbabwe and gives them prominence as an important form of cultural expression. The languages so recognized in the constitution are:

Chewa

Chibarwe

English

Kalanga

Koisan

Nambya

Ndau

Ndebele

Shangani

Shona

Sign Language

Sotho

Tonga

Tswana

Venda

Xhosa

 

The constitution also recognizes the role of traditional leadership as custodians of culture and gives them a role of leading the promotion and preservation of culture in their respective communities.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The Constitution resulted in the recognition of languages which had been accorded inferior status. Marginalised groups like those who are hard of hearing are expected to benefit as sign language is now recognized in the constitution. Some of the sixteen languages are now being examined at Grade 7 level. Traditional institutions are expected to benefit immensely from the constitution which urges the State and all institutions and agencies of government at every level to take measures to ensure due respect for the dignity of traditional institutions.

f.1 Name of agency responsible for the implementation of the measure: 
Government of Zimbabwe
f.2 Financial resources allocated to implement the measure: 

N/A. It’s difficult to determine the financial resources allocated to the culture component.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ INTERNATIONAL CULTURAL COOPERATION

Ratification of Conventions

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measure: 
  1. Ratification of the Conventions on protection of the cultural expressions and safeguarding of the cultural heritage is a critical international statement about Zimbabwe’s commitment to the arts and culture, its immigrant communities, indigenous cultural freedom of expression, cultural diversity and human rights, foreign aid and international co-operation. Ratification of the Convention enables the preservation of diverse cultural values and norms and safeguarding of the cultural heritage at the local, regional, national and international for its continuity, transmission and development. Ratification as well as protects and boost existing and emerging cultural industries that are contributing to the growth of the Zimbabwean economy.  Also ratification enables cultural cooperation within set standards and framework that encourages uniformity and standardisation of operations while fostering dialogue and exchange of information on existing legal frameworks and best practices.  Moreover, synergies are created between civil society actors in Zimbabwe and the civil societies in developed countries including partnerships for development. Civil societies through such networks will therefore, widen their knowledge base and will assess the needs of communities and provide valuable information and innovative ideas regarding improvement and efficient application of preferential treatment frameworks and schemes.
c. What is: 
c.1. the scope of the measure: 
Local
Regional
International
c.2. the nature of the measure: 
regulatory
financial
c.3. the main feature of the measure: 

The main feature of the measure is the promotion, preservation of diverse cultural values, norms and safeguarding of the cultural heritage at the local, regional, national and international level for its continuity, transmission and development through putting safeguarding measures as well as information sharing with developed countries on best practices among other measures hence preserving the National identity and pride. The Universal Declaration of Human Rights of 1948 article 27 articulates this basic right of preserving varied and critical cultural heritage which are both tangible and intangible. Zimbabwe ratified the UNESCO convention on the means of prohibiting and preventing the illicit import, Export and transfer of ownership of cultural property in (1970) as a measure to protect national identity. In 2003 the UNESCO Convention for the safeguarding of the intangible cultural heritage was ratified hence the proclamation of Mbende Jerusarema Dance as a Masterpiece of the Oral and Intangible Heritage of Humanity with Murewa Culture Centre acting as the reference place for safeguarding purposes. The dance is performed by the community of Murewa and Uzumba Maramba Pfungwe (UMP) in the North Eastern Districts of Zimbabwe. The ancient fertility dance is celebrated yearly through a festival organised by the National Arts Council of Zimbabwe.

 

In addition, Zimbabwe ratified the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. In Zimbabwe the convention is implemented through the creation of hybrid arts and culture festivals that are organised in all provinces. Among these festivals is Jikinya Dance festival that is held annually by the National Arts Council of Zimbabwe aiming at encouraging primary school children to appreciate and perform Zimbabwean traditional dances thus promoting and preserving Zimbabwe’s cultural heritage for posterity. However, Zimbabwe is working towards ratification of the SADC Protocol on Culture, Information and Sport.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The benefits of ratifying Conventions create a conducive environment in which the diversity of cultural expressions may be affirmed and renewed for the benefit of all societies. This is in the spirit of the convention that aims to ensure that all societies and individuals enjoy the assortment of cultural expressions with openness, balance and freedom. At the same it promotes the nation’s development as well as creating a favourable image for the country, hence fostering cultural tourism making a socio-cultural and economic contribution to the sustainable development of Zimbabwe. Moreover, ratification fosters socio-cultural continuity between past, present and future generations thus ensuring that certain values and norms are practiced and passed from generation to generation freely. In addition the nation benefits from a network of State Parties that aims at engaging in genuine international cooperation, assistance and exchanges of experience that is perpetuated by respect of society’s freedom of expression.

 

At the same time, it reaffirms the ties that bind culture, development and dialogue and establishes an innovative platform for international cultural cooperation. To this end, the Convention aims to: (a) create conditions for cultures to flourish and to interact freely in a mutually beneficial manner; (b) give recognition to the distinctive nature of cultural activities, goods and services as vehicles of identity, values and meaning; (c) identify new arrangements for international cooperation, which is the keystone of the Convention; (d) reaffirm the sovereign rights of States to maintain, adopt and implement policies and measures that they deem appropriate for the protection and promotion of the diversity of cultural expressions on their territory, while ensuring the free flow of ideas and works.

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Rural Development, Preservation and Promotion of National Culture and Heritage National Arts Council of Zimbabwe National Archives National Museums and Monuments Culture Fund Trust Nhimbe Trust
f.2 Financial resources allocated to implement the measure: 

Culture Fund of Zimbabwe Trust total funding for the year 2015 that was channeled to arts and culture projects amounted to $1 023 418.37. The allocation was as follows

PROJECT NAME, RECEPIENT & (USD )GRANT
1 MULTI-LINGUAL MUSIC CD AND DVD                      Albert Nyathi    20,000.00
2 OWN YOUR RUBBISH               Laurie Macpherson            23,500.00
3 INTERNATIONAL IMAGES FILM FESTIVAL FOR WOMEN (II FF) ICAPA Trust      35,000.00
4 WOMEN’S ARTS FESTIVAL (WAFEST)            Young Voices Network       35,094.00
5 WOMEN IN ENTREPRENEURSHIP DIALOGUE STIMULUS Hub       30,000.00
6 PRACTICE NORMS THAT REINFORCE GENDER EQUALITY (TV SERIES) Afrovision Entertainment 50,000.00
7 TRADITIONAL VILLAGE AT GREAT ZIMBABWE National Museums and Monuments      19,000.00
8 PROMOTING AN UNDERSTANDING OF DISABILITY RIGHTS Zimbabwe Deaf Media Trust       17,610.00
9 INTWASA ARTS FESTIVAL KOBULAWAYO      Intwasa Arts Festival         17,000.00
10 BEITBRIDGE INTERNATIONAL FESTIVAL OF ARTS Beitbridge Arts Festival      15,000.00
11 JIBILIKA DANCE FESTIVAL Jibilika Dance Trust               18,000.00
12 GALLERY DELTA FOUNDATION FOR ART AND THE HUMANITIES Gallery Delta Foundation  20,000.00
13 ZIMBABWE INTERNATIONAL BOOK FAIR (ZIBF) 2015 Zimbabwe International Book Fair     50,000.00
14 CAPACITY BUILDING OF DRAMATIC ARTISTS PROJECT Almasi Productions           20,000.00
15 EMPOWERING COMMUNITIES THROUGH ARTS AND CULTURE Pamberi Trust   &n

T

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ INTERNATIONAL CULTURAL COOPERATION

Participation and Hosting International Expos

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measure: 
  1. An Expo is a global event that aims at bringing people together and share ideas, experiences while educating the public, entertaining while promoting progress and fostering international cooperation. It is organized by a host country that invites other countries to exhibit. However, due to the diversity of its participants Expos offer a multifaceted event where unique exhibitions, diplomatic encounters, business meetings, public debates and live shows take place at the same time. Expos basically are a marketing platform that is devised to sell specific ideas and products that members of the public can recognise and associate with a specific country. Normally countries thrive to invest and display those unique aspects peculiar to their Nations at these expos cognisant of the impact and impression created by diverse activities. In addition expos to a greater extend are platforms that promote freedom of expression.
c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The main feature of this measure is that an Expo brings the whole world together to devise solutions to a fundamental challenge of humanity. The major challenge is then coined to be the theme of the Expo. In Milan 2015(Italy) where Zimbabwe exhibited at its pavilion mainly the crocodile burger and baobab drink, the theme was "Feeding the planet, energy for life".  Zimbabwe also participated in Shanghai Expo in 2010 whose theme was ‘Better City – Better Life’ and China created a "Shanghai Manual - A Guide for Sustainable urban development in the 21st Century" that was availed to participants.  192 countries as well as 50 international organizations participated with more than 73 million people having had visited. In 2015 Zimbabwe also participated at the 56th International Art Exhibition in Biennale (Venice).        

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

Participation in expos is paramount because through the expo conferences, workshops, debates as well as diplomatic and professional meetings that are organized participants from different countries exchange ideas, come up with solutions and develop new cooperation ties. New networks are vital for the social and economic development of every nation because normally the ties extend beyond expos translating to signing of memorandums for different aspects like Cultural Exchange programme or business contracts that foster nation development.

 An Expo is one of the few events that attract millions of visitors hence posing a critical opportunity for a country to strengthen its international image and strategically position itself as a key player in the international arena.  However apart from participating in International Expos, Zimbabwe can bid to be the hosting country and that will boost the improvement of infrastructures and transportation networks that will benefit its citizens even after the Expo. Also it will generate employment and job creation and improves business and investment opportunities of the country.

Expos are also refreshing, informative and educative. Various entertainment activities are always lined up to give visitors a refreshing feeling as they move around pavilions gathering information as well as being educated. Expos pose an opportunity for countries to strengthen their cooperation ties with the host country and other participating countries, as well as promote their local products

f.1 Name of agency responsible for the implementation of the measure: 
Government through the Ministry of Industry and Commerce (Milan Expo) National Gallery of Zimbabwe (Biennale Expo). Since Zimbabwe signed the Convention we have been able to participate at 3 Venice Biennales, a debut for any African country.)
f.2 Financial resources allocated to implement the measure: 

The amount for Bienalle Exhibition that was expended amounted to $300 000. Part of the funding was used for mobility of the visual artists who were exhibiting and these included Chikonzero Chazunguza, Masimba Hwati and Gareth Nyandoro.

g. Name of NGOs and /or private companies engaged in the implementation of the measure

Name                              Type of Entity                            Type of Involvement

Venice is mainly funded by the Government                                   $270 000

Culture Fund                                                 Civil Society            $7455

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
Local
International
i.2 What were the main conclusions?: 

Venice is an important showplace that the country needs to keep participating. Besides benefiting the individual artists it has benefited the Zimbabwean visual arts as a whole a lot of collaborative exhibitions were born out of Venice. Many of the artists who have shown in Venice have been very successful in their career

i.3 Which indicators were used to determine impact?: 

The number of projects that came out as a result of the Biennale as well as the number of awards those local artists who have participated in the Venice Bienanale have won after the event. Quite a number of artists have signed contracts with gallerists abroad artists like Portia Zvavahera, Virginia Chihota and Misheck Masamvu.

 

❭ INTERNATIONAL CULTURAL COOPERATION

Cultural Exchange Programmes

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measure: 

To promote respect and understanding for other cultures hence promoting cultures to flourish in their diversity cross cultural skills in a globalised world. It is fundamental that nations as they interact they understand each other’s values and norms for the relationships to last. Cultural exchange also adds value to lives by inspiring new forms of artistic expression. Visitors create new networks and learn how to talk and interact with people from other cultures. In addition, cultural exchange programmes helps individuals to adjust and learn about new environments.

c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The main feature of the measure is to promote respect and deepening understanding for other cultures while strengthening relations. The more people learn to cooperate and collaborate there is mutual understanding of each other’s way of life which then translates to promotion of international friendship and goodwill. In learning institutions such as the Midlands State University, the university enrolls international students and a Culture day is set aside to celebrate the varied cultures paving a way to improve the cultural foundation of everyone.  

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

A better understanding, respect for other cultures and signing of Cultural Exchange agreements. In 2014, the then Minister of Sport, Arts and Culture Honourable Andrew Langa on the 22nd of September 2015, signed an exchange agreement with Chinese Culture Minister Cai Wu. The three year exchange programme that was signed at Grand Hotel in Beijing was in accordance with cultural agreement that was signed between China and Zimbabwe on May 14, 1981 in Beijing. According to the agreement in arts and culture both countries will periodically facilitate cultural trips for a government delegation (ministry policy makers and senior arts and culture programme administrators and managers) of four to six persons. Moreover, it was agreed that both countries would send a performing art troupe not exceeding 20 persons to visit and perform in either country for 10days as often as possible

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Rural Development, Preservation and Promotion of National Culture and Heritage National Arts Council of Zimbabwe National Arts Gallery Arts and Culture Organisations Embassies
f.2 Financial resources allocated to implement the measure: 

N/A. There is a lot of fluidity hence the figures are difficult to determine

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ PREFERENTIAL TREATMENT

Enhancing the production of cultural goods and activities through a duty rebate facility (Duty Free SI 136 of 2003)

Context of the measure: 
PREFERENTIAL TREATMENT
b. Key objectives of the measure: 
  • To provide rebate of duty on music, sound, recording and broadcasting equipment imported by registered arts organizations.
  • To establish a window for the importation of musical instruments to promote creativity in the production of music
  • To promote the importation of quality public address systems for the promotion of consumption of musical products in public spaces.
  • To promote government policy trajectory in the area of music and broadcasting in Zimbabwe
  • To encourage the wide distribution of creative products through high quality broadcasting avenues.
  • To contribute to employment creation in the music industry

 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
c.3. the main feature of the measure: 
  • The Statutory Instrument gives preferential treatment to creators, producers and distributors in the music, film and broadcasting sectors an opportunity to import equipment duty free.
  • the applicant has to be registered with the National Arts Council of Zimbabwe (NACZ) as defined in the  NACZ Act [Chapter 25:07]
  • The Statutory Instrument covers only music instruments, public address systems, recording and broadcasting equipment but excludes spare parts and consumables.
  • The equipment imported under the facility should be used in the entertainment industry and cannot be sold within a period of five (5) years.
  • The duty free clearance certificate is issued by the Commissioner General (of Taxes) after being satisfied that the applicant meets the requirement as recommended by the National Arts Council of Zimbabwe

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

Growth of the Zimbabwe Creative sector

The measure has broadly promoted the diversity of cultural expressions in Zimbabwe and the following were the targets;

  • Involvement of youths in the creation, production and distribution of music and film products in Zimbabwe
  • Increased number of female musicians and film producers in Zimbabwe.
  • An increased quota of local content in broadcasting arena so as to promote creativity and consumption of local creative products thus contributing to the economy of the country.
  • Increased number studios and broadcasting players in the creative industry, thus contributing to employment creation.
  • The measure is expected to spur the growth of the film and music sector for both creators and producers alike.
f.1 Name of agency responsible for the implementation of the measure: 
Zimbabwe Revenue Authority (ZIMRA)
f.2 Financial resources allocated to implement the measure: 

N/a

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

The upholding in 2013 by government of a statutory instrument  of 2003  that allows duty-free  importation of instruments by cultural and creative industry players is one measure that have broadly promoted the diversity of cultural expressions in Zimbabwe. The measure was responsible for the establishment of many audio and video recording studios whose products have become the backbone of the viability and promotion of the diversity of cultural expressions.

The instrument has over the years now saw the growth of music by young people and young females getting their space alike. The period saw the growth of urban grooves and the current rolling ZimDancehall.

 

i.3 Which indicators were used to determine impact?: 
  1. Register of licensed broadcasting houses
  2. Register of licensed recording studios and agencies
  3. Register of remittances to rights and royalties companies
  4. Reports from registered promoters

 

❭ PREFERENTIAL TREATMENT

North – South Exchange

Context of the measure: 
PREFERENTIAL TREATMENT
b. Key objectives of the measure: 
  • To provide avenues for creation of exchange programmes covering skills, expertise and products.
  • To establish cooperation through exchange of creative products within cooperating countries.
  • To provide support and enhance mobility within Zimbabwe of visiting artists and practitioners.
  • To encourage collaboration between people in general and artists in particular in areas of performing and visual arts.
  • To promote technology transfer in various scope of the creative industries.

 

c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 
  • Cooperation for sustainable development in the culture sector through initiation of programmes by developed countries to benefit artists and cultural practitioners in Zimbabwe.
  • Programmes in the culture sector designed in Zimbabwe and tapping from the exchange and expertise from the developed countries.
  • Collaborations with International organizations by artists and organizations in Zimbabwe for the strengthening of cultural productions and management capacities in Zimbabwe.
  • Facilitation of clearance on the mobility of culture sector players from the developed world, through enabling polices. 
  •  Skills training, information exchange, product showcasing and human resource capacity building in Zimbabwe by partner organizations from developed countries.
  • Development assistance in monetary terms for organizations and programmes in Zimbabwe.    

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The measure has broadly promoted the Growth of the Zimbabwe culture sector and the following were the targets;

  • Transference of skills and technology in the areas of cultural practitioners, cultural industries and businesses.
  • Increased number of cultural exchange programmes, goods and services between partnering organizations and collaborating nations
  • New business models and new forms of marketing, communication, presentation, promotion and distribution of culture products, goods and services.
  • An increased appetite of new and improved local productions within local markets and external markets.
f.1 Name of agency responsible for the implementation of the measure: 
None specifically
f.2 Financial resources allocated to implement the measure: 

N/A

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

The measure was responsible for the establishment of a number of festivals with an international component in the last decade. The festivals were a platform to showcase productions by international groups from the developed countries. Some festivals used that opportunity to create skills training programmes on the sidelines in order to facilitate skills and knowledge transfer. These visits by international artists opened opportunities for exchange programmes, to some reciprocal in nature.

 

The instrument has over the years now saw the growth of culture sector with its products being become the backbone of the promotion of the diversity of cultural expressions.

i.3 Which indicators were used to determine impact?: 
  1. Records of international culture practitioners and productions coming to Zimbabwe.
  2. Records of programmes of cooperation by various players
  3. Statistics of attendances and patronage of programmes that are products of the measure
  4. Register of agreements and levels of renewals by cooperating partners.
  5. Records of residencies given to Zimbabweans in developed countries.

 

❭ PREFERENTIAL TREATMENT

Building competencies in management and business skills in the culture sector

Context of the measure: 
PREFERENTIAL TREATMENT
b. Key objectives of the measure: 
  • To promote professionalism in the creative sector through capacity building of practitioners.
  • To engage training partners within and outside Zimbabwe in areas of arts management and business.
  • To organize capacity building programmes for the culture sector to strengthen competencies in both artistic and entrepreneurial skills.
  • To provide support for the development of business models based on best practices from across the globe in the creative industries.  
  • To promote information and technology transfer in various areas of the cultural industries.
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 
  • National arts Council of Zimbabwe made a call to professionalize the sector in the period 2010 – 2020 and since then promoted the building of capacity and competencies of the practitioners in the culture sector.
  • Training programmes done by various organizations drawing skilled and competent facilitators in Zimbabwe and abroad for the purpose of meeting the set goals.
  • Collaborating with Foreign agencies for development of business and entrepreneurial training models for the creative industries and tapping from the systems and expertise from the developed countries.
  • Collaborations with educational institutions for the strengthening of the training programmes in both arts management and entrepreneurial development. 
  • Certification of trained individuals.
d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The measure did impact greatly in the sector and contributed to the growth of business in the cultural industries and the following were the targets;

  • Transformed thinking by artists and preferences of adoption of best practices in the execution of their businesses.
  • Increased number of arts managers and administrators, overseeing the business side of the artist portfolio. 
  • Fostering private sector uptake and investment in the culture sector
  • Functioning business models and new forms of marketing, communication, presentation, promotion and distribution of culture products, goods and services.
f.1 Name of agency responsible for the implementation of the measure: 
National Arts Council of Zimbabwe
f.2 Financial resources allocated to implement the measure: 

N/A

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

The measure was responsible for the increased periodic reporting by the culture sector thereby allowing organizations to take stock of their work and measure accordingly. There has been an increased engagement and signing of artists as brand ambassadors by various companies and organizations. This is clear testimony of the confidence that clients have on the sector, because of the way the culture sector now packages itself.

The trainings in arts management, adjudication and entrepreneurship drew a lot of support from the sector and were oversubscribed at all times. There has also been observed that practitioners yean for new knowledge to take their works to the next level.

 

The instrument has over the years also empowered the sector to be better advocates of the promotion of the diversity of cultural expressions.

 

i.3 Which indicators were used to determine impact?: 
  1. Registration into companies and trusts by various practitioners.
  2. Increased number of bank accounts by artists and arts organizations.
  3. Engagement of competent administrators and managers by artists and arts organizations.
  4. Increased level of corporate governance and improved services by players in the creative industries. 
  5. Records of reports submitted by players in the culture sector.
  6. Increased community participation and appreciation of culture sector goods, services and practitioners. 

 

❭ INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL

Draft National Cultural Policy

Context of the measure: 
INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL
b. Key objectives of the measure: 

The Draft Cultural Policy of Zimbabwe is in sync with the country’s home-grown Constitution that clearly articulates the aspirations of the people. It also strives to be consistent with the African Union Charter for Cultural Renaissance and aspiration number 5 of the African Union’s Agenda 2063 among other international Conventions, Protocols and Agreements that the Zimbabwe Government is party to. Its objectives are as follows:

 

  • To create a culturally vibrant, cohesive and progressive Zimbabwean society where various forms of arts, culture and expressions thereof serve to showcase as well as celebrate the nation’s diverse heritage;

 

  • To create an enabling environment that allows for inclusive, equitable and energetic participation by all Zimbabweans in the arts, culture and heritage sectors for greater social cohesion, economic empowerment and nation-building;

 

  • To give due recognition to the distinctive nature of cultural activities, goods and services in the country as well as acknowledge them as vehicles of identity, values, meaning, socio-economic empowerment and nation-building;

 

  • To encourage individuals, groups and communities, state as well as non-state actor institutions to contribute towards safeguarding Zimbabwe’s culture, artistic expression, tangible as well as intangible heritage for posterity;

 

  • To strengthen the role that Zimbabwe’s rich national heritage and culture, premised on the virtues and values of Ubuntu/Unhu, could play in the nation’s growth and sustainable development;

 

The Draft Cultural Policy contains the following as key strategic areas of focus (priority areas):

  1. Safeguarding Zimbabwean Cultural Identity
  2. Appreciation and Respect for Indigenous Zimbabwean Identities and Cultural Diversity
  3. Safeguarding Zimbabwean Heritage
  4. Promotion of Indigenous Knowledge
  5. Cultural and Creative Industry Development
  6. Infrastructure Development
  7. Education and Training and
  8. Culture and International Relations.
  9. Resource Mobilisation
c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
legislative
regulatory
c.3. the main feature of the measure: 

The Draft Cultural Policy contains the following as the main feature on the integration of Culture in Sustainable Development at National and International levels:

 

Zimbabwe recognizes that culture is one of the mainsprings of development. It also acknowledges the important need to consider the cultural aspects of development as being just as important as its economic aspects. The imperative therefore is for all Zimbabweans to fully participate in and enjoy the country’s heritage and culture, as well as the artistic expressions thereof. It is in society’s unfettered participation as mentioned above that sources of livelihood will be positively affected resulting in better economic activity of each community.

 

The Draft Cultural Policy acknowledges that cultural identity and diversity are rich assets for individuals and societies within the country. In order to fully benefit present and future generations, the protection, promotion and maintenance of cultural identity and diversity are essential requirements for sustainable social and economic development.  This therefore is inevitably the basis for supporting the deliberate integration of culture in Zimbabwe’s development policies at all levels, for the creation of conditions conducive to sustainable development as well as to foster aspects relating to the protection and promotion of the diversity of cultural expressions.

 

A robust institutional framework for ease of coordination and implementation of the draft policy constitutes the backbone of this document. The following ministries are identified and mandated to ensure effective integration of culture into sustainable development:

 

  • Ministry of Rural Development, Preservation and National Culture and Heritage – core mandate of arts, culture and heritage the National Arts Council of Zimbabwe, the National Gallery of Zimbabwe, National Library and Documentation Services, National Museums and Monuments of Zimbabwe, National Archives of  Zimbabwe, Chiefs and Local Authorities
d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

Safeguarding Zimbabwean Cultural Identity: The State Party’s cultural identity shall be safeguarded and preserved for posterity in the global village we call world today.

 

Appreciation and Respect for Indigenous Zimbabwean Identities and Cultural Diversity: Cultural identities and diversity define the different people of Zimbabwe and such traits need to be appreciated and respected with equal measure.

 

Safeguarding Zimbabwean Heritage: The country’s rich heritage is a national treasure whose safeguarding is apriority.

 

Promotion of Indigenous Knowledge: Indigenous knowledge is critical for development to take. It must be harnessed for the benefit of local communities.

 

Cultural and Creative Industry Development: This economic facet is awash with business opportunities and sustainable livelihoods. It needs to be supported and nurtured for the benefit of the people, particularly those endowed with innate artistic skills.

 

Infrastructure Development: Appropriate, purpose-built and accessible infrastructure is required for the creative industries to blossom.

 

Education and Training: The full integration and development of the arts, culture and heritage in education and training is of paramount importance. It enhances cultural expressions.

 

Culture and International Relations: As a member of the community of nations, Zimbabwe needs to ensure the visibility, practice and appreciation of Zimbabwean culture locally and abroad.

 

 

 

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Rural Development, Preservation and National Culture and Heritage – core mandate of arts and culture, and its agencies, the National Arts Council of Zimbabwe, the National Gallery of Zimbabwe, National Library and Documentation Services, Natio
f.2 Financial resources allocated to implement the measure: 

In order for the Draft Policy to be fully implemented by Government and various stakeholders, it is imperative to ensure funding and resource mobilisation support across the board. Funding and resource mobilisation therefore are facets which involve the active participation of internal and external stakeholders. Existing Government instruments that may also be invoked to ensure the implementation of the Draft Policy are key to its functionality. According to the Draft Policy, the State Party pledges to:

 

  • To give financial and technical support to reclamation, repatriation, preservation and protection of Zimbabwean archives and historic places within and outside the country.
  • To support the promotion and development of the cultural and creative industries.
  • To promote investment in the sector.
  • To support the growth of the sector through tax incentives
  • To develop sustainable funding models for the growth of the cultural and creative industries.
  • To create private and public partnerships for the development of the sector.
  • To facilitate technical and material investment for the growth of arts, culture and heritage.
h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL

Arts and Culture Festival Guidelines

Context of the measure: 
INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL
b. Key objectives of the measure: 

Festivals are the most effective way for communities to flaunt their cultural expressions. Besides, festivals are of economic value to the communities in which they are hosted. As a result, they constitute an economic activity whose importance to the economic development of the host communities is immense. As economic ventures, arts and culture festivals through their inherent value chain create employment and business opportunities to the host localities.

 

Given the importance of Arts and Culture Festivals, particularly as a platform for diverse artistic and cultural expressions, the regulatory body (National Arts Council of Zimbabwe) crafted general guidelines for the hosting of all Arts and Culture Festivals in the country. The guidelines ensure that festivals are held in line with the country’s aspirations in-so-far as the development of the creative industry is concerned over and above efforts to safeguard cultural identity, heritage and their attendant expressions. The Festival Guidelines were designed to ensure the following:

 

  • Registration of all Arts and Culture Festivals with the National Arts Council of Zimbabwe for purposes of documentation and information management.

 

  • Appropriate naming of the respective festivals for example, one genre festival shall be referred to as such, music festival, dance festival, theatre festival and not as an arts festival that normally is multi-disciplinary in content.

 

  • Ensuring that festivals are self-sustaining in nature. Free festivals are permissible as well but organisers are encouraged to secure adequate funding.

 

  • Promotion of good corporate governance, transparency and accountability by ensuring that a properly constituted Board of Directors is in place for the various Arts and Culture Festivals especially when such festivals receive donor funds.

 

  • Ensuring that each festival has a proper programme indicating venues, 

scheduled activities and the number of days.

 

  • An Arts and culture Festival shall have a theme at any given time that guides all proceedings and shall assist in impact ass
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
c.3. the main feature of the measure: 

Influenced by the Convention, the main feature of the measure is its ability to give a platform to marginalized cultural expressions to be showcased. The guidelines promote local participation by communities in the provision of services to the festival as well as giving preference to the locally-based artists and cultural practitioners. That way, indigenous and previously neglected cultural expressions are given a platform to be marketed. Besides, the guidelines give direction and formal status to those cultural expressions that are viewed as routine cultural practices by the communities yet they constitute integral components of cultural expressions of the communities concerned. The guidelines also are part of efforts to regulate and formalize the activities of the expressive sector through the enhancement of data collection, preservation and promotion of cultural expressions threatened with extinction. Localized Arts and Culture Festivals present employment opportunities for local people while contributing to the development of the communities as well through establishment of appropriate infrastructure for hosting the festivals. Localized Arts and Culture Festivals also contribute immensely to the unearthing of those respected cultural expressions the local people hold dear and are eager to share with the rest of the country

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The measure seeks to create a level ground in terms of giving equal opportunities to all cultural expressions. Further, the guidelines give parameters on the status and nature of each festival in terms of scope, format and the hiring of service providers including artists and cultural practitioners to be involved. Cognisant of the fact that the arts and culture sector is an important component of economic activities, the guidelines also seeks to usher in professional ethics in the sector, particularly on the issues good governance, transparency and accountability. Through the same guidelines, marginalized cultural expressions are given ample time to be flaunted alongside major ones. The desire is to unearth, preserve and promote those cultural expressions threatened with extinction. In addition, the guidelines promote the involvement of local artists and cultural practitioners, particularly in festivals happening in their respective areas. Cultural expressions happen in communities and through the framework provided by the guidelines, community involvement is enhanced. Integration of culture in sustainable community development is also enhanced through implementation of the festival guidelines.

f.1 Name of agency responsible for the implementation of the measure: 
All festival organisers at all levels local, national and international; Harare International Festival of the Arts, Intwasa Arts Festival koBulawayo, Murehwa Culture Centre, Great Limpopo Culture Fair, Zimbabwe International Film Festival, Nhimbe Trust an
f.2 Financial resources allocated to implement the measure: 

Most festival organisers are self-funding and they fundraise each year for the hosting of their respective festivals

g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
Name: 
HIFA
Type of Entity: 
NGO
Type of Involvement: 

Operationalisation of the guidelines

Name: 
Intwasa Arts Festival koBulawayo
Type of Entity: 
NGO
Type of Involvement: 

Application of the festival guidelines

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

Major lessons drawn from the review sessions are itemized below:

  • Cultural expressions are very dynamic just like society itself. New creations and expressions regularly emerge and stakeholders in the culture sphere need to be constantly on the lookout for new developments.
  • The guidelines are a fertile ground for the cross-fertilisation of the diversity of cultural expressions through exchange programmes.
  • The framework created by the guidelines promotes peace, harmony and peaceful co-existence in communities. Festivals are rallying points by nature and are also used for mass communication strategies designed to promote community development.
  • The guidelines act as catalysts for the nurturing of professionalism in the arts and culture sector.
  • Arts and culture education is enhanced through the guidelines as they provide the basis through which mainstreaming of arts and culture education into the formal education trajectory is attained.

 

i.3 Which indicators were used to determine impact?: 

The indicators used in determining the impact of the implementation of the measure were:

 

  • Number of festivals held at district, provincial and national levels;
  • Participation of minority groups in the festivals with a special focus on youths, women, artists and cultural practitioners living with disabilities.
  • Use of indigenous languages;
  • Governance of entities organising the festivals;
  • Festival documentation, programmes, reports both narrative and financial and other relevant documentation;
  • Review meetings of the festivals;
  • Number of networks created.
❭ INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL

Constitution of Zimbabwe (Amendment No: 20 2013)

Context of the measure: 
INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL
b. Key objectives of the measure: 

To give impetus to the recognition of sixteen languages namely Chewa, Chibarwe, English, Kalanga, Koisan, Nambya, Ndau, Ndebele, Shangani, Shona, Sotho, Tonga, Tswana, Venda, Xhosa and Sign Language as official means of communication.

 

To lay the basis for the prescription of other languages as official means of communication through an Act of Parliament.

 

To give the power to the State and all its institutions and agencies to ensure that all officially recognized languages are treated equitably and to take into account the language preferences of people affected by governmental measures or communications.

 

Language is pivotal in cultural expressions. Measures brought about by the Constitution are both legislative and regulatory. Previously marginalised and so-called minority languages are now being treated just like the other dominant languages. Use of indigenous languages therefore enhances cultural expressions particularly in the intangible realm. People from all over the country through the constitutional provisions can now fully express themselves in their own mother languages, giving the nation an opportunity to unearth those cultural expressions that were hitherto “suppressed” owing to languages. The situation is further buttressed by the opening up of radio and television stations with some of them dedicated to using indigenous languages as a medium of communication. Furthermore, the Zimbabwean Constitution fully recognizes the role of Traditional Leaders who are considered to be the custodians of the Zimbabwean culture and its attendant expressions both in the tangible and intangible forms. According to the Constitution under Article 16, it is the obligation of the State and all its institutions and agencies and indeed all Zimbabwean citizens to preserve and protect Zimbabwe’s Cultural Heritage while at the same time respecting the dignity of traditional institutions.      

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
regulatory
c.3. the main feature of the measure: 

The main feature of the measure is informed by the constitutionality of cultural matters. By virtue of making culture matters constitutional, the State party is alive to the fact that culture and its attendant expressions is a fundamental aspect of people’s lives. All aspects of culture including language are therefore matters of constitutionalism. Zimbabwean citizens in their diversity are therefore duty-bound to respect all tenets of the supreme law of the land and through that alone, respect the cultural diversity of the land and their respective expressions. Today in Zimbabwe the diversity of cultural expressions are treated with the same reverence just like other constitutional provisions like human rights, property rights, citizenship and many other constitutional matters.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

In relation to culture and its expressions, the constitutional measure ensures that the citizen of Zimbabwe:

 

  • Respect cultural diversity;
  • Use indigenous languages in official communication as well as expressing themselves culturally;
  • Respect traditional leadership that is the custodian of the country’s revered Ubuntu/Hunhu that is the epitome of the Zimbabwean culture;
  • Preserve, promote and market the nation’s cultural heritage in tangible and tangible forms (including cultural expressions) as an important component of world culture;
  • Through the respect and elevation of culture, exploit business opportunities presented by cultural industries for the benefit of communities and the nation at large;
  • Use the cultural sphere as a sustainable source for life-long sources of livelihoods;
  • Ensure that community development at whatever level takes cognizance of peoples’ cherished values, beliefs and ethos;
  • Encourage marginalised and often overlooked communities of the nation to fully participate in programmes and activities designed to flaunt national culture;
  • Preserve, promote and document cultural practices threatened with extinction;
  • Promote peaceful co-existence and harmony through absolute respect for cultural diversity.
f.1 Name of agency responsible for the implementation of the measure: 
Mainly the State and all its institutions and agencies
f.2 Financial resources allocated to implement the measure: 

Treasury allocation for the responsible Ministry and all its institutions and agencies working in the area of arts and culture.

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9b

Equal Participation of Women and Men in Cultural Expressions

Context of the measure: 
EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9b
b. Key objectives of the measure: 

: Keeping abreast with global trends, particularly those falling under the realm of the UN, UNESCO included, the State Party adopted affirmative action that promotes women participation on an equal footing with men in all spheres of life. In some instances, entry requirements in institutions of higher learning are crafted to promote women participation. The area of cultural expression, critically the performing arts genre for long periods was viewed as a predominantly male domain and women who ventured into it were classified as people of loose morals. This measure was also designed to quell this misplaced notion. Accordingly, the women folk enjoy equal opportunities like their male counterparts in all spheres of life, be it economic, social or political. In pursuit of this measure, infrastructure for cultural expressions is being upgraded to meet the minimum requirements that ensure full participation of the women folk in that area. Another intention of the measure is to have cultural expression programmers and activities being spearheaded by women. Zimbabwe now has women ensembles in dance, theatre and other genres of the arts. All female dance groups have become a permanent feature on entertainment circuits, bolstering the participation of women in cultural expressions. The visual arts sector, particularly the craft and fashion disciplines are largely dominated by women and it is another intention of this measure to upscale the participation of women in such fields.

c. What is: 
c.1. the scope of the measure: 
Regional
National
International
c.2. the nature of the measure: 
regulatory
institutional
c.3. the main feature of the measure: 

This measure is further buttressed by provisions of the Gender Equality Policy and the Domestic Violence Act. These two pieces of legislation besides criminalizing gender violence and violence against women provide fertile ground for effective women empowerment. The measure also deliberately assumes an all inclusive approach where all women benefit; marginalised women, women living with disabilities, women facing life limiting illnesses, oppressed women and young women and girls in all situations. The girl child in particular is the target of tailor-made programmes and activities whose implementation is the responsibility of the State Party and a large number of civil society organisations. The measure vigorously fights for the rights of the women in education, including arts and culture education. This measure proved to be a master-stroke in fighting male bigotry in the field of the arts. Through the narrow-mindedness of a male-dominated, the participation of the women folk in cultural expressions was hampered and this measure is a panacea to this problem. Equal opportunities for both sexes in the creative sector with zero tolerance to discrimination and preconceived ideas define the thrust of the measure.  

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

: Women constitute 52% of the State Party’s population. Besides, women play a central role in family life, communities and ultimately the entire nation. They are the custodians of the socialization process that introduces children to socially acceptable values and beliefs. Arguably, women occupy a central role in inculcating cultural expression values in children. The family unit, a critical component of cultural life and its attendant expressions is nurtured generally by women. Through this measure, the following are the expected results:

 

  • Equal opportunities for women and men, particularly in the creative sector.
  • Total emancipation and empowerment of women socially, economically and politically.
  • Zero discrimination in all spheres of life based on gender.
  • Elevation of women status at all levels of society.
  • Identification and nurturing of women’s innate artistic talent at whatever level on equal footing with that of men.
  • Ensuring the State Party’s involvement in the promotion of current transversal issues at any given time.

 

f.1 Name of agency responsible for the implementation of the measure: 
The State Party and all its institutions and agencies and civil society organisations working in the area of women empowerment.
f.2 Financial resources allocated to implement the measure: 

Treasury allocation for ministries responsible for women affairs, including health and education.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITY

Promotion and Protection of the Rights of Women Working in the Arts and Culture Sector

Context of the measure: 
CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITY
b. Key objectives of the measure: 
  • To empower women economically and socially while transforming them into innovative economic players in all facets of the economy including the creative sector.

 

  • To raise awareness amongst women artists and cultural practitioners in relation to the National Gender Policy and the Domestic Violence Act. 

 

The issue of gender equality in Zimbabwe is being addressed through the Gender Policy with the Domestic Violence Act becoming a vital supportive piece of legislation. Issues of gender equity, disparity and equality can be traced to the historical background that ascribed male domination as the norm since time immemorial. Women for a long period of time played second-fiddle to their male counterparts. The Gender Policy becomes particularly important in that women play an important role in cultural expressions. They are critical in inculcating primary cultural expression values and beliefs to children. Women through socialization processes play a fundamental role in moulding children – instilling in them ethics that shape acceptable personality values as dictated by culture, values and beliefs as components of the national philosophy. Occupying such a critical position in society, women therefore are the front-runners in the teaching of cultural expressions. As cardinal pillars in family life, it is through women that children are introduced to socially acceptable behaviour that finds traction in cultural expressions from a very young age. As primary players in the socialization process, women therefore need to be empowered economically and socially so that they become strong agents for social development that is imbued with cultural expressions as well. Despite their central role in society’s development, women are faced with a plethora of challenges spanning the economic and social spheres in which they are sometimes treated as second-class citizens. This happens notwithstanding the multitude of roles that women play in the socio-economic life of any community. Zimbabwe’s Gender Policy and the Domestic Violence Act are two pieces of legisla

c. What is: 
c.1. the scope of the measure: 
Regional
National
International
c.2. the nature of the measure: 
legislative
regulatory
institutional
c.3. the main feature of the measure: 

: Constituting 52% of the State Party’s population, women represent a constituent of people in dire need of affirmative action in all facets of life, be it social, economic and even political. The imbalance in professional opportunities that women were subjected to also affected the creative sector. Furthermore, the arts and culture sector for decades was viewed by the general population as a haven for “failures” in life, an area for people with loose morals. No sane woman therefore was expected to join the sector, patriarchal in nature and populated by “non-conformist” people. All these negative views were held against the sector’s positive pivotal contribution to cultural expressions in general and the potential to grow national economies. The realization by the State Party of the sector’s potential contribution to the economy and the value chain that such genres as music creates, jolted government into action, hence the crafting of the Gender Policy whose tentacles spread to the creative sector as well.  

 

Following years of marginalization and enduring a second class status, women through the Gender Policy are now competing with their male counterparts at the same level, enjoying equal opportunities in any aspect of life. As the majority in the country women are now actively participating in arts and cultural activities boosting the nation’s cultural expressions. Favourite areas that they concentrate on include fashion creation, basketry (weaving), cosmetics (make-up), dance, acting, music, beadwork, sculpting and many others including those that used to be male-dominated. Through the Gender Policy and the Domestic Violence Act, gender equality and equity and women’s rights in whatever facet of life including economic spheres like the creative sector have given birth to massive areas for advocacy work designed to facilitate the realization of women’s full potential in those areas. Admittedly owing to their “privileged” status in what used to be male-dominated professions in the ar

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 
  1. The Gender Policy is designed to eradicate gender-based exploitation, discrimination, unfair treatment of women and enhance women socio-economic empowerment in all economic facets. The policy advocates for men and women to compete on equal footing with success being determined by individual talent as opposed to sex. Success in the creative sector is determined by both innate talent and skills acquired, hence the need to level the playing field being cognisant of the disparities spawned by inequalities based on gender. Chiefly, the measure is also intended to attain the following in respect of the creative sector:
  • Availing equal opportunities to both women and men in the creative industry locally, nationally, regionally and internationally.
  • Provision of both financial and material resources to all actors in the arts and culture sector. Women and men must enjoy equal access to financial and material resources as and when they require them.
  • Identification, nurturing, marketing and promotion of artistic talent to the level of full actualization for both sexes without prejudice. 
  • Respecting cultural diversity in communities, country, region and international stage irrespective of the gender aspect.
  • Women’s rights are human rights, respecting human rights in totality in all aspects of the arts and culture.
f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Women’s Affairs, Gender and Community Development and other women focused civil society organisations
f.2 Financial resources allocated to implement the measure: 

Besides an allocation from Treasury, women’s issues receive financial and material support from the donor community. Development organisations, local, regional and international ones always have a component on women’s issues under their funding regimes. Such funding opportunities bolster the State Party’s allocation to the responsible Ministry. Civil society organisations in their numbers are seized with women’s issues, particularly empowerment programmes and activities, issues to do with reproductive health, HIV and Awareness campaigns, domestic violence, education and training (Women’s University in Africa domiciled in Zimbabwe is a key example). The efforts of all these organisations when combined add up to substantial funding opportunities for women’s issues. The funding also covers issues to do with cultural expressions. As a result, the number of women in the arts and culture sector increased significantly covering women with diverse backgrounds. The State Party’s funding for women in arts and culture is availed to all Ministries that have a component on women issues, the Ministry of Women’s Affairs, Gender and Community Development, Ministry of Industry and Commerce, Ministry of Small Scale and Mediums Enterprises and the Ministry of Youth Development, Indigenisation and Economic Empowerment. The Ministries’ combined allocations for women’s issues, including the allocation for the creative sector add up to substantial funding.

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ YOUTH

Promotion of skills acquisition through vocational training.

Context of the measure: 
YOUTH
b. Key objectives of the measure: 
  1. : Equipping youths with skills that will enable them to create own

                     employment in the creative industries.

 

The then Ministry of Youth Development, Employment Creation and Cooperatives turned Youths Training Centres from institutions that offered off-the-shelf courses into Vocational Training Centres that offer training programmes informed by the existing business and employment opportunities in the creative industries. Through the Training for Enterprise Programme, vocational skills are offered in music, clothing technology, metal fabrication and other areas addressing specific business and employment opportunities in a particular province. The Ministry of Youth, Indigenisation and Economic Empowerment replaced the old ministry and scaled-up the vocational training programme, creating synergies with similar privately-run and local authority-owned vocational training centres as well as conducting youth exchange programmes at regional and international levels.

 

Buttressed by the National Youth Policy and the Zimbabwe Agenda for Sustainable Socio-Economic Transformation (the nation’s economic policy) the programme seeks to equip the youths with survival skills in equal measure with spiritual and physical well-being. Embedded in the training programme are cultural values and beliefs that inform the Zimbabwean national consciousness. The youths are given equal opportunities regardless of sex, race, tribe or creed. As a matter of vocational training that covers all sectors of industry including the creative sector, the Training for Enterprise concept is the backbone of vocational training in Zimbabwe. The principle guides vocational training in both public and private institutions. Each province has a Provincial Vocational Training Centre with district ones complimented by private centres. The Zimbabwe Youth Council a statutory body provides another policy framework and registers youth groups in various industries. The creative sector is

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
regulatory
financial
institutional
c.3. the main feature of the measure: 

While it is largely accepted that artistic expression or talent are innate in nature, it is increasingly becoming important to identify, nurture and ultimately promote the talent. The major feature of this measure is the acquisition and sharpening of new and potential artistic talents respectively. Recognizing the importance of the young people in cultural expressions, the State Party through the Ministry of Youth, Indigenisation and Economic Empowerment converted Youth Training Centres into fully-fledged Vocational Training Colleges in all provinces of the country offering skills training in areas spanning the visual arts, performing arts and other economic sectors. The skills trajectory under the programme has entrepreneurship as one of its key learning area. As a measure, this intervention is designed to evoke the creative spirit of young artists and cultural practitioners, particularly in the beneficiation and value addition in cultural expressions. In addition, cultural expressions by the young people epitomize popular culture of the day, particularly in the performing arts genre. In some cases cultural expressions are inseparable from the way people live and the measure seeks to induce enterprise development in those cultural expressions people view as ordinary, routine practices yet they are imbued with business opportunities. Through Training for Enterprise activities, existing cultural practices are converted into business opportunities in local communities. Zimbabwe is blessed with such manifestations of cultural expressions that find traction in the production of functional art products, namely basketry, localized crafts and traditional dances peculiar to certain parts of the country. It is these cultural expressions that policy for Enterprise Development was crafted with special focus on the youths. The premise of the policy framework is to encourage young women and men who are artistically gifted to express themselves in a business manner.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

: The intervention was designed to reorient training offered in the then Youth Training Centres moving away from off-the-shelf routine training programmes into entrepreneurship-driven training programmes that speak to existing business opportunities in a particular province. The expected direct result was the production of entrepreneurs in all sectors of the economy including the creative sector who would then exploit existing business opportunities. Employment creation would be enhanced through the churning out of business minded creative practitioners. The thrust is to produce through vocational training employment creators as opposed to job seekers. Besides, the initiative is designed to economically and socially empower the youths and women who happen to constitute the largest percentage of the Zimbabwean population. Skills acquisition and the requisite funding are effective poverty alleviation strategies that the programme seeks to address as a precursor to total poverty eradication. As a national programme, the Training for Enterprise initiative seeks to equip both rural and urban youths and women with the necessary skills to create sustainable sources of livelihoods particularly in the creative sector that hitherto had been relegated to the periphery of the main economic activities. With the creative sector occupying the centre-stage of the training programme, the Training for Enterprise Programme has as one of its intended outputs the mainstreaming of arts education and training and its attendant cultural expressions into the main economic activities otherwise read as formalization of the arts and cultural sector as an important facet of the State Party’s economic activities. Vocational training therefore becomes a vehicle through which marginalised sections of the population are empowered through facilitation for the establishment of micro to medium scale enterprises in all sectors of the economy including the creative sector. The pillars for the training programme are the National Youth Policy, Vocational Training Policy and to some extent the Gend

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Youth, Indigenisation and Economic Empowerment working in collaboration with its agencies, Zimbabwe Youth Council, Youth and Women Associations and key stakeholders in the youth development area.
f.2 Financial resources allocated to implement the measure: 

: Besides private funding and donors who provide funding for the programme, the State Party through Treasury always allocates funding for vocational training. The allocation is a statutory requirement. The Training for Enterprise Programme also attracts donor funding. During its early implementation stages, substantial support both in financial and material forms was provided by the United Kingdom’s Department for International Development (DFID). With the establishment of Boards of Trustees at the Provincial Vocational Training Centres, retention of funds was introduced while strategic business units were also established that generated funds for the centres. As an example of entrepreneurship, strategic business units are also used as demonstrations during training sessions. With dwindling support from Treasury, the vocational training centres are becoming more and more centres of excellence in terms of generating income. At some Provincial Training Centres notably Magamba in Manicaland and Kaguvi in Midlands, the strategic business units are in the form of creative expressing such as fashion and design, functional art products peculiar to the surrounding communities and innovative metal work products. All these initiatives are designed as extra revenue streams for the centres and their programmes. Agricultural activities, particularly horticulture are proving to be viable revenue sources as most vocational training centres are situated on agricultural land. In essence, the centres are becoming more and more self-sustaining in terms of funding.

g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
Name: 
Glen Forest Training Centre
Type of Entity: 
NGO
Type of Involvement: 

complimenting enterprise development in vocational training covering the creative sector.

 

Name: 
Empretec Zimbabwe
Type of Entity: 
Private company
Type of Involvement: 

Specialist Entrepreneurship Training in the arts and culture sector.

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

The main conclusions laid bare the importance of offering demand-driven and business related vocational courses particularly in the creative sector. In addition, it was noted that the arts and culture sector is awash with business opportunities that the youths (men and women) can undertake in order to eke out sustainable livelihoods. The production of functional art products while it is a component of cultural expressions is a viable business opportunity that attracts customers nationally, regionally and internationally. One of the conclusions was that the State Party through ineffective funding and support was leaving the arts and culture sector out of its mainstream economic activities at the expense of the youth who happen to the major practitioners in this sector. In addition, many cultural expressions were not being recognized, especially those emanating from marginalized communities. In point form the conclusions were as follows:

 

  • Vocational training programmes must be in sync with existing business opportunities in any particular area, particularly courses in the creative sector;
  • The arts and culture sector constitute a vital economic activity whose effective exploitation leads to the enjoyment of sustainable livelihoods by the practitioners;
  • Functional art products are a vital component of cultural expressions especially those produced by marginalised communities;
  • The creative sector, particularly where it involves issues to do with arts and culture is a vital component of a nation’s identity in the community of nations;
  • Enhancement of cultural expressions, particularly its diversity in training can be attained through exchange programmes at national, regional and international levels;
  • Entrepreneurship in the arts and culture sector as a vital aspect of the skills acquisition trajectory is a critical component of the economic development process for any nation.
i.3 Which indicators were used to determine impact?: 

Indicators used in determining impact: Following the evaluation of the programme, a tracer study of the graduates was conducted to determine the impact of the training programme. At provincial levels, the study focused on businesses established as a direct result of the training offered. In an economy facing challenges like Zimbabwe’s, the focus was on the establishment of micro and small enterprises and entrepreneurial practices in ventures undertaken. While other sectors of the economy require modest financial input as start-up capital, the creative sector, particularly the performing arts genre by its nature requires very little funding as capital injection. To determine impact, the study strove to establish the number of arts groups formed in terms of gender and specific areas of focus – dance, music, drama (theatre) and spoken word. In addition, new creations were used as indicators of impact where practitioners as a result of the vocational training intervention created new productions some of which were influenced by digital technology. The issue of professional conduct in the creative sector was also used in determining the impact of training wherein practitioners who underwent the training programme where assessed on how they conduct themselves in relation to customer care, public relations, costing of their productions and general professional conduct. Special focus was also placed on women artists and cultural practitioners with the aim of establishing their competitiveness in a hitherto male-dominated environment.

Name of the designated official signing the report
Title:
Ms
Family Name:
CHITEPO
First Name:
THOKOZILE
Position:
PERMANENT SECRETARY
Organization:
MINISTRY OF RURAL DEVELOPMENT PRESERVATION AND PROMOTION OF NATIONAL CULTURE AND HERITAGE
❭ CULTURAL POLICIES AND MEASURES

National Intellectual Property Policy

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • To ensure that the rights of different ethnic cultural groupings and creators of cultural content are respected
  • To promote and facilitate the effective creation, protection, management and use of IP as a strategic tool for economic social, cultural and technological development.
  • To create linkages between the economic objectives development priorities and resources.
  • To assist practitioners acquire appropriate knowledge and skills in the management of intellectual property systems.
  • Promote a culture that values, respects and protects the results of creative thought, innovation and invention.
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
c.3. the main feature of the measure: 

The Policy recognizes the implication and place of the IP to the Zimbabwe Agenda for Socio Economic Transformation ( ZIMASSET). It points out that “innovation and creativity are central to economic growth and development and that IP has become a significant factor in both creating and using ideas that are translated into knowledge and inventions to promote innovation and economic growth”. The draft policy recognizes the key role of IP in driving economic development. Attached to the draft policy is a report on needs evaluation development oriented IP plan for Zimbabwe. The report gives a background to IP development strategy and needs evaluation. The Action Plan for implementing the national IP policy has six goals:

 

  • Facilitation of the use of IP for economic development
  • Facilitation of the use of IP for science, technology and innovation
  • Facilitation for the use of IP in other sectors
  • Facilitation for the use of IP rights for growth and competitiveness of SMEs
  • Facilitation of the use of IP rights in social development
  • Facilitation for the use of IP for cultural development

 

A Government Committee on intellectual property was set up in 2012. In December 2014 a draft Intellectual policy was produced by the inter-ministerial committee on intellectual property and was distributed to stake holders in arts and culture and in particular organisations of creators and rights holders. This draft policy reviewed and validated   at a meeting held in December in Harare with the participation of a representative of World Intellectual Property Organisation (WIPO) and African Regional Intellectual Property Organisation.

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The Policy read in tandem with the Copyright and Neighbouring Rights Act seeks to promote artistic work. According to the Act, artistic work means “a graphic work, photograph, sculpture or collage, irrespective of its artistic quality or an architectural work or a work of artistic craftsmanship”. The Policy empowers collecting societies like ZIMURA and ZIMCOPY to:

 

  • Act for owners of copyright in the management of their rights
  • Represent owners of copyright in the negotiation  and administration of licence schemes
  • Negotiate or grant licences either as owners or prospective owners of copyright.

 

The Policy, thus, seeks to promote the right of producers of cultural goods thereby safeguarding their livelihoods. Zimbabwean artists are being hard hit by the piracy scourge, thus, the Policy seeks, among other things to counter the effects of piracy. The Policy is expected to protect artists from the exploitation of their works and the violation of their rights

 

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Justice, Legal and Parliamentary Affairs
f.2 Financial resources allocated to implement the measure: 

It is difficult to determine

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

Culture Week Celebrations

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • To promote cultural diversity by showcasing different types of cultural expression
  • To encourage inclusive, equitable and vibrant participation by communities in the arts , culture and heritage sectors
  • To create employment for producers of creative goods
  • To promote and preserve Zimbabwean culture and identity
  • To inculcate values of tolerance and intercultural dialogue
  • To bring together diverse arts and cultural activities of the sub-region and other parts of the world for public consumption.
  • To instil pride in local cultures while depicting Zimbabwe's varied unhu/ubuntu as well as cultivate in us a sense of belonging.
  • To promote cultural practices and improve understanding and cooperation among people from different cultures.
  • To provide an opportunity for the people in Zimbabwe to appreciate the diversity of the arts and cultures of the world.
  • To provide a forum for the exchange of ideas and views between artists and other cultural workers within the sub-region, African continent and the world.
  • Emphasise the need for preservation, appreciation and promotion of all arts and cultural initiatives.
  • To improve understanding and cooperation among people from different cultures.
c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The week long Culture Week programme provides an opportunity for people to deepen their understanding of cultural diversity. A National Launch heralds the beginning of Culture Week. The National Launch is done in provinces on a rotational basis. The programme will be having a theme which is crafted annually. The theme revolves around issues to with cultural diversity. Provinces throughout the country will be having their own provincial launches as well as other activities in the districts.

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 
  • The adoption of strategies, which will yield public appreciation, participation and consumption of our diverse arts and culture products.’
  • Increased appreciation and understanding of the Zimbabwean culture
  • Preservation   of the Zimbabwe cultural norms and values
f.1 Name of agency responsible for the implementation of the measure: 
National Arts Council of Zimbabwe
f.2 Financial resources allocated to implement the measure: 

Culture Week The financial resources vary on an annual basis. In some instances the Culture Week gets support for the parent ministry but in most instances the NACZ funds

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

The Disabled Persons Act

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • To achieve equal opportunities for  disabled persons by ensuring that they obtain education and employment, participate fully in  sporting, recreation and cultural activities
  • To enable disabled persons, so far as possible to lead independent lives
  • To prevent discrimination against disabled persons resulting from or arising out of their disability
  • To encourage and secure the rehabilitation of disabled persons within their own communities and social environment
  • Encourage the use and development of forms of communication suitable for persons with physical or mental disabilities.
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
c.3. the main feature of the measure: 

The Disabled Persons Act came into force in 1992. According to the Act, a disabled person is, “a person with a physical, mental or sensory disability, including a visual, hearing or speech functional disability which gives rise to physical, cultural or social barriers inhibiting him or her from participating at an equal level with other members of society in activities, undertakings or fields of employment that are open to other members of society”. The Act makes provisions for the welfare of disabled persons as well for the appointment and functions of a Director for Disabled persons’ affairs. It provided for the establishment of a National Disability Board.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 
  • Mainstreaming of disability issues in every facet of life
  • Development of programmes for the welfare of people living with disabilities, especially work programmes consistent with their capabilities and acceptable to them or their legal representatives
  • Fostering social organizations aimed at improving the quality of life of persons with all forms of disability
  • Putting in place appropriate measures to ensure that buildings and amenities to which the public has access are accessible to persons with disabilities
  • Having access to medical, psychological and functional treatment
  • Provision of special facilities for their education
  • Provision of State funded education and training where needed.
f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Social Services, Labour and Social Welfare
f.2 Financial resources allocated to implement the measure: 

Treasury allocation

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

The 75% Local Content Policy

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • Availing opportunities to local artists by increasing the listenership base for their works
  • Boosting of creativity as artists will be motivated to produce high quality products
  • Employment creation throughout the value chain especially of music
  • Preservation and promotion of Zimbabwean culture

 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
institutional
c.3. the main feature of the measure: 
  • Increase in broadcasting and airing local productions
  • Empowerment of local artists
  • Enhancement of creativity amongst artists
  • Opening up of more players in broadcasting services
  • Brings about a sense of pride in national culture and heritage
d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

Zimbabwean artist in general and musicians in particular were getting a raw deal from radio and television stations. The Disc Jockeys, prior to the introduction of the 75% local content policy, were not playing local music on air. They were mainly interested music from outside Zimbabwe’s borders which they felt was more popular than local music. The fortunes of musicians improved with the introduction of the policy which sought to improve the lot of musicians. The Policy also revolutionized Zimbabwean music as more genres found their way onto the music market. The rise of the Urban Grooves and the Zimdancehall movement can be directly traced to the introduction of the policy. The opening up of the air waves has provided opportunities for more players in radio and television. These have become important platforms for the expression of cultural diversity.

f.1 Name of agency responsible for the implementation of the measure: 
Zimbabwe Broadcasting Corporation
f.2 Financial resources allocated to implement the measure: 

N/A

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

The National Tourism Policy

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 
  • To encourage development of a national identity and promote a culture of national pride through tourism.
  • To promote gender equality and empower women and youth to participate in mainstream economic activities through tourism.
  • To improve the quality of life for Zimbabweans through equitable geographic distribution of tourism products.
  • To leverage all the social and economic roles of tourism to advance Zimbabwe’s interests.
  • To instill a sense of National pride in all Zimbabweans and build social and national cohesion.
  • To provide easy entry into the mainstream economy by all sections of society with emphasis on women and youth.

 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
c.3. the main feature of the measure: 

The Policy was crafted after consultations between the Ministry of Tourism and Hospitality Industry, the Zimbabwe Tourism Authority (ZTA) , Zimbabwe Council for Tourism and the academia. One aspect of the policy is that of tapping into religious tourism. Out of 1,1 billion global tourism arrivals recorded in 2013, religious and faith based tourism brought in 300 million, which is a huge chunk. The country now needs to demonstrate the significance of the church as a market. Another aspect of the Policy is regional marketing and promotion of tourist resorts. Each region or province of the country is a tourism hub.  The Policy also provides for the enshrinement of liberation struggle battles. In the past, Zimbabwe has been failing to turn the various venues of liberation war battles into tourist attractions. The Policy also provides for the rebranding of the various ruins dotted around the country into ancient cities. Ruins suggest abandonment while ancient cities give them the contemporary importance of historical times.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The National Tourism Policy is envisaged to result in an upsurge of tourist arrivals thereby improving the economy in general. It is also expected to instill a sense of pride in Zimbabweans in their country’s rich natural heritage. Revenue streams from new markets such as churches are expected to rise as a result of the policy. Zimbabweans are expected to have an increased appreciation of their history and heritage.

 

f.1 Name of agency responsible for the implementation of the measure: 
- Ministry of Tourism and Hospitality Industry, ZTA
f.2 Financial resources allocated to implement the measure: 

-The total amount that the Ministry of Tourism and Hospitality Industry received for programmes during the period under review is $68295.

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CULTURAL POLICIES AND MEASURES

The National Constitution of Zimbabwe (Amendment No. 20)

Context of the measure: 
CULTURAL POLICIES AND MEASURES
b. Key objectives of the measure: 

In 2013 Zimbabwe adopted a new National Constitution with a section on culture. The constitution recognizes the diversity in cultural expression with recognition given to the different ethnic groups some them previously considered as minority groups:

 

  • Promotion and preservation of cultural values and practices which enhance the dignity, well being and equality of Zimbabweans
  • Preserve and protect Zimbabwe’s heritage
  • To preserve and protect the dignity of traditional institutions
  • Promote and advance the use of all languages used in Zimbabwe, including sign language and to create conditions for the development of the languages

 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
c.3. the main feature of the measure: 

In relationship to culture, the Constitution recognizes the diversity of culture. It also recognizes the sixteen indigenous languages of Zimbabwe and gives them prominence as an important form of cultural expression. The languages so recognized in the constitution are:

Chewa

Chibarwe

English

Kalanga

Koisan

Nambya

Ndau

Ndebele

Shangani

Shona

Sign Language

Sotho

Tonga

Tswana

Venda

Xhosa

 

The constitution also recognizes the role of traditional leadership as custodians of culture and gives them a role of leading the promotion and preservation of culture in their respective communities.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The Constitution resulted in the recognition of languages which had been accorded inferior status. Marginalised groups like those who are hard of hearing are expected to benefit as sign language is now recognized in the constitution. Some of the sixteen languages are now being examined at Grade 7 level. Traditional institutions are expected to benefit immensely from the constitution which urges the State and all institutions and agencies of government at every level to take measures to ensure due respect for the dignity of traditional institutions.

f.1 Name of agency responsible for the implementation of the measure: 
Government of Zimbabwe
f.2 Financial resources allocated to implement the measure: 

N/A. It’s difficult to determine the financial resources allocated to the culture component.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ INTERNATIONAL CULTURAL COOPERATION

Ratification of Conventions

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measure: 
  1. Ratification of the Conventions on protection of the cultural expressions and safeguarding of the cultural heritage is a critical international statement about Zimbabwe’s commitment to the arts and culture, its immigrant communities, indigenous cultural freedom of expression, cultural diversity and human rights, foreign aid and international co-operation. Ratification of the Convention enables the preservation of diverse cultural values and norms and safeguarding of the cultural heritage at the local, regional, national and international for its continuity, transmission and development. Ratification as well as protects and boost existing and emerging cultural industries that are contributing to the growth of the Zimbabwean economy.  Also ratification enables cultural cooperation within set standards and framework that encourages uniformity and standardisation of operations while fostering dialogue and exchange of information on existing legal frameworks and best practices.  Moreover, synergies are created between civil society actors in Zimbabwe and the civil societies in developed countries including partnerships for development. Civil societies through such networks will therefore, widen their knowledge base and will assess the needs of communities and provide valuable information and innovative ideas regarding improvement and efficient application of preferential treatment frameworks and schemes.
c. What is: 
c.1. the scope of the measure: 
Local
Regional
International
c.2. the nature of the measure: 
regulatory
financial
c.3. the main feature of the measure: 

The main feature of the measure is the promotion, preservation of diverse cultural values, norms and safeguarding of the cultural heritage at the local, regional, national and international level for its continuity, transmission and development through putting safeguarding measures as well as information sharing with developed countries on best practices among other measures hence preserving the National identity and pride. The Universal Declaration of Human Rights of 1948 article 27 articulates this basic right of preserving varied and critical cultural heritage which are both tangible and intangible. Zimbabwe ratified the UNESCO convention on the means of prohibiting and preventing the illicit import, Export and transfer of ownership of cultural property in (1970) as a measure to protect national identity. In 2003 the UNESCO Convention for the safeguarding of the intangible cultural heritage was ratified hence the proclamation of Mbende Jerusarema Dance as a Masterpiece of the Oral and Intangible Heritage of Humanity with Murewa Culture Centre acting as the reference place for safeguarding purposes. The dance is performed by the community of Murewa and Uzumba Maramba Pfungwe (UMP) in the North Eastern Districts of Zimbabwe. The ancient fertility dance is celebrated yearly through a festival organised by the National Arts Council of Zimbabwe.

 

In addition, Zimbabwe ratified the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions. In Zimbabwe the convention is implemented through the creation of hybrid arts and culture festivals that are organised in all provinces. Among these festivals is Jikinya Dance festival that is held annually by the National Arts Council of Zimbabwe aiming at encouraging primary school children to appreciate and perform Zimbabwean traditional dances thus promoting and preserving Zimbabwe’s cultural heritage for posterity. However, Zimbabwe is working towards ratification of the SADC Protocol on Culture, Information and Sport.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The benefits of ratifying Conventions create a conducive environment in which the diversity of cultural expressions may be affirmed and renewed for the benefit of all societies. This is in the spirit of the convention that aims to ensure that all societies and individuals enjoy the assortment of cultural expressions with openness, balance and freedom. At the same it promotes the nation’s development as well as creating a favourable image for the country, hence fostering cultural tourism making a socio-cultural and economic contribution to the sustainable development of Zimbabwe. Moreover, ratification fosters socio-cultural continuity between past, present and future generations thus ensuring that certain values and norms are practiced and passed from generation to generation freely. In addition the nation benefits from a network of State Parties that aims at engaging in genuine international cooperation, assistance and exchanges of experience that is perpetuated by respect of society’s freedom of expression.

 

At the same time, it reaffirms the ties that bind culture, development and dialogue and establishes an innovative platform for international cultural cooperation. To this end, the Convention aims to: (a) create conditions for cultures to flourish and to interact freely in a mutually beneficial manner; (b) give recognition to the distinctive nature of cultural activities, goods and services as vehicles of identity, values and meaning; (c) identify new arrangements for international cooperation, which is the keystone of the Convention; (d) reaffirm the sovereign rights of States to maintain, adopt and implement policies and measures that they deem appropriate for the protection and promotion of the diversity of cultural expressions on their territory, while ensuring the free flow of ideas and works.

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Rural Development, Preservation and Promotion of National Culture and Heritage National Arts Council of Zimbabwe National Archives National Museums and Monuments Culture Fund Trust Nhimbe Trust
f.2 Financial resources allocated to implement the measure: 

Culture Fund of Zimbabwe Trust total funding for the year 2015 that was channeled to arts and culture projects amounted to $1 023 418.37. The allocation was as follows

PROJECT NAME, RECEPIENT & (USD )GRANT
1 MULTI-LINGUAL MUSIC CD AND DVD                      Albert Nyathi    20,000.00
2 OWN YOUR RUBBISH               Laurie Macpherson            23,500.00
3 INTERNATIONAL IMAGES FILM FESTIVAL FOR WOMEN (II FF) ICAPA Trust      35,000.00
4 WOMEN’S ARTS FESTIVAL (WAFEST)            Young Voices Network       35,094.00
5 WOMEN IN ENTREPRENEURSHIP DIALOGUE STIMULUS Hub       30,000.00
6 PRACTICE NORMS THAT REINFORCE GENDER EQUALITY (TV SERIES) Afrovision Entertainment 50,000.00
7 TRADITIONAL VILLAGE AT GREAT ZIMBABWE National Museums and Monuments      19,000.00
8 PROMOTING AN UNDERSTANDING OF DISABILITY RIGHTS Zimbabwe Deaf Media Trust       17,610.00
9 INTWASA ARTS FESTIVAL KOBULAWAYO      Intwasa Arts Festival         17,000.00
10 BEITBRIDGE INTERNATIONAL FESTIVAL OF ARTS Beitbridge Arts Festival      15,000.00
11 JIBILIKA DANCE FESTIVAL Jibilika Dance Trust               18,000.00
12 GALLERY DELTA FOUNDATION FOR ART AND THE HUMANITIES Gallery Delta Foundation  20,000.00
13 ZIMBABWE INTERNATIONAL BOOK FAIR (ZIBF) 2015 Zimbabwe International Book Fair     50,000.00
14 CAPACITY BUILDING OF DRAMATIC ARTISTS PROJECT Almasi Productions           20,000.00
15 EMPOWERING COMMUNITIES THROUGH ARTS AND CULTURE Pamberi Trust   &n

T

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ INTERNATIONAL CULTURAL COOPERATION

Participation and Hosting International Expos

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measure: 
  1. An Expo is a global event that aims at bringing people together and share ideas, experiences while educating the public, entertaining while promoting progress and fostering international cooperation. It is organized by a host country that invites other countries to exhibit. However, due to the diversity of its participants Expos offer a multifaceted event where unique exhibitions, diplomatic encounters, business meetings, public debates and live shows take place at the same time. Expos basically are a marketing platform that is devised to sell specific ideas and products that members of the public can recognise and associate with a specific country. Normally countries thrive to invest and display those unique aspects peculiar to their Nations at these expos cognisant of the impact and impression created by diverse activities. In addition expos to a greater extend are platforms that promote freedom of expression.
c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The main feature of this measure is that an Expo brings the whole world together to devise solutions to a fundamental challenge of humanity. The major challenge is then coined to be the theme of the Expo. In Milan 2015(Italy) where Zimbabwe exhibited at its pavilion mainly the crocodile burger and baobab drink, the theme was "Feeding the planet, energy for life".  Zimbabwe also participated in Shanghai Expo in 2010 whose theme was ‘Better City – Better Life’ and China created a "Shanghai Manual - A Guide for Sustainable urban development in the 21st Century" that was availed to participants.  192 countries as well as 50 international organizations participated with more than 73 million people having had visited. In 2015 Zimbabwe also participated at the 56th International Art Exhibition in Biennale (Venice).        

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

Participation in expos is paramount because through the expo conferences, workshops, debates as well as diplomatic and professional meetings that are organized participants from different countries exchange ideas, come up with solutions and develop new cooperation ties. New networks are vital for the social and economic development of every nation because normally the ties extend beyond expos translating to signing of memorandums for different aspects like Cultural Exchange programme or business contracts that foster nation development.

 An Expo is one of the few events that attract millions of visitors hence posing a critical opportunity for a country to strengthen its international image and strategically position itself as a key player in the international arena.  However apart from participating in International Expos, Zimbabwe can bid to be the hosting country and that will boost the improvement of infrastructures and transportation networks that will benefit its citizens even after the Expo. Also it will generate employment and job creation and improves business and investment opportunities of the country.

Expos are also refreshing, informative and educative. Various entertainment activities are always lined up to give visitors a refreshing feeling as they move around pavilions gathering information as well as being educated. Expos pose an opportunity for countries to strengthen their cooperation ties with the host country and other participating countries, as well as promote their local products

f.1 Name of agency responsible for the implementation of the measure: 
Government through the Ministry of Industry and Commerce (Milan Expo) National Gallery of Zimbabwe (Biennale Expo). Since Zimbabwe signed the Convention we have been able to participate at 3 Venice Biennales, a debut for any African country.)
f.2 Financial resources allocated to implement the measure: 

The amount for Bienalle Exhibition that was expended amounted to $300 000. Part of the funding was used for mobility of the visual artists who were exhibiting and these included Chikonzero Chazunguza, Masimba Hwati and Gareth Nyandoro.

g. Name of NGOs and /or private companies engaged in the implementation of the measure

Name                              Type of Entity                            Type of Involvement

Venice is mainly funded by the Government                                   $270 000

Culture Fund                                                 Civil Society            $7455

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
Local
International
i.2 What were the main conclusions?: 

Venice is an important showplace that the country needs to keep participating. Besides benefiting the individual artists it has benefited the Zimbabwean visual arts as a whole a lot of collaborative exhibitions were born out of Venice. Many of the artists who have shown in Venice have been very successful in their career

i.3 Which indicators were used to determine impact?: 

The number of projects that came out as a result of the Biennale as well as the number of awards those local artists who have participated in the Venice Bienanale have won after the event. Quite a number of artists have signed contracts with gallerists abroad artists like Portia Zvavahera, Virginia Chihota and Misheck Masamvu.

 

❭ INTERNATIONAL CULTURAL COOPERATION

Cultural Exchange Programmes

Context of the measure: 
INTERNATIONAL CULTURAL COOPERATION
b. Key objectives of the measure: 

To promote respect and understanding for other cultures hence promoting cultures to flourish in their diversity cross cultural skills in a globalised world. It is fundamental that nations as they interact they understand each other’s values and norms for the relationships to last. Cultural exchange also adds value to lives by inspiring new forms of artistic expression. Visitors create new networks and learn how to talk and interact with people from other cultures. In addition, cultural exchange programmes helps individuals to adjust and learn about new environments.

c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 

The main feature of the measure is to promote respect and deepening understanding for other cultures while strengthening relations. The more people learn to cooperate and collaborate there is mutual understanding of each other’s way of life which then translates to promotion of international friendship and goodwill. In learning institutions such as the Midlands State University, the university enrolls international students and a Culture day is set aside to celebrate the varied cultures paving a way to improve the cultural foundation of everyone.  

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
No
e. What are the results expected through the implementation of the measure?: 

A better understanding, respect for other cultures and signing of Cultural Exchange agreements. In 2014, the then Minister of Sport, Arts and Culture Honourable Andrew Langa on the 22nd of September 2015, signed an exchange agreement with Chinese Culture Minister Cai Wu. The three year exchange programme that was signed at Grand Hotel in Beijing was in accordance with cultural agreement that was signed between China and Zimbabwe on May 14, 1981 in Beijing. According to the agreement in arts and culture both countries will periodically facilitate cultural trips for a government delegation (ministry policy makers and senior arts and culture programme administrators and managers) of four to six persons. Moreover, it was agreed that both countries would send a performing art troupe not exceeding 20 persons to visit and perform in either country for 10days as often as possible

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Rural Development, Preservation and Promotion of National Culture and Heritage National Arts Council of Zimbabwe National Arts Gallery Arts and Culture Organisations Embassies
f.2 Financial resources allocated to implement the measure: 

N/A. There is a lot of fluidity hence the figures are difficult to determine

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ PREFERENTIAL TREATMENT

Enhancing the production of cultural goods and activities through a duty rebate facility (Duty Free SI 136 of 2003)

Context of the measure: 
PREFERENTIAL TREATMENT
b. Key objectives of the measure: 
  • To provide rebate of duty on music, sound, recording and broadcasting equipment imported by registered arts organizations.
  • To establish a window for the importation of musical instruments to promote creativity in the production of music
  • To promote the importation of quality public address systems for the promotion of consumption of musical products in public spaces.
  • To promote government policy trajectory in the area of music and broadcasting in Zimbabwe
  • To encourage the wide distribution of creative products through high quality broadcasting avenues.
  • To contribute to employment creation in the music industry

 

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
c.3. the main feature of the measure: 
  • The Statutory Instrument gives preferential treatment to creators, producers and distributors in the music, film and broadcasting sectors an opportunity to import equipment duty free.
  • the applicant has to be registered with the National Arts Council of Zimbabwe (NACZ) as defined in the  NACZ Act [Chapter 25:07]
  • The Statutory Instrument covers only music instruments, public address systems, recording and broadcasting equipment but excludes spare parts and consumables.
  • The equipment imported under the facility should be used in the entertainment industry and cannot be sold within a period of five (5) years.
  • The duty free clearance certificate is issued by the Commissioner General (of Taxes) after being satisfied that the applicant meets the requirement as recommended by the National Arts Council of Zimbabwe

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

Growth of the Zimbabwe Creative sector

The measure has broadly promoted the diversity of cultural expressions in Zimbabwe and the following were the targets;

  • Involvement of youths in the creation, production and distribution of music and film products in Zimbabwe
  • Increased number of female musicians and film producers in Zimbabwe.
  • An increased quota of local content in broadcasting arena so as to promote creativity and consumption of local creative products thus contributing to the economy of the country.
  • Increased number studios and broadcasting players in the creative industry, thus contributing to employment creation.
  • The measure is expected to spur the growth of the film and music sector for both creators and producers alike.
f.1 Name of agency responsible for the implementation of the measure: 
Zimbabwe Revenue Authority (ZIMRA)
f.2 Financial resources allocated to implement the measure: 

N/a

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
No
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

The upholding in 2013 by government of a statutory instrument  of 2003  that allows duty-free  importation of instruments by cultural and creative industry players is one measure that have broadly promoted the diversity of cultural expressions in Zimbabwe. The measure was responsible for the establishment of many audio and video recording studios whose products have become the backbone of the viability and promotion of the diversity of cultural expressions.

The instrument has over the years now saw the growth of music by young people and young females getting their space alike. The period saw the growth of urban grooves and the current rolling ZimDancehall.

 

i.3 Which indicators were used to determine impact?: 
  1. Register of licensed broadcasting houses
  2. Register of licensed recording studios and agencies
  3. Register of remittances to rights and royalties companies
  4. Reports from registered promoters

 

❭ PREFERENTIAL TREATMENT

North – South Exchange

Context of the measure: 
PREFERENTIAL TREATMENT
b. Key objectives of the measure: 
  • To provide avenues for creation of exchange programmes covering skills, expertise and products.
  • To establish cooperation through exchange of creative products within cooperating countries.
  • To provide support and enhance mobility within Zimbabwe of visiting artists and practitioners.
  • To encourage collaboration between people in general and artists in particular in areas of performing and visual arts.
  • To promote technology transfer in various scope of the creative industries.

 

c. What is: 
c.1. the scope of the measure: 
International
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 
  • Cooperation for sustainable development in the culture sector through initiation of programmes by developed countries to benefit artists and cultural practitioners in Zimbabwe.
  • Programmes in the culture sector designed in Zimbabwe and tapping from the exchange and expertise from the developed countries.
  • Collaborations with International organizations by artists and organizations in Zimbabwe for the strengthening of cultural productions and management capacities in Zimbabwe.
  • Facilitation of clearance on the mobility of culture sector players from the developed world, through enabling polices. 
  •  Skills training, information exchange, product showcasing and human resource capacity building in Zimbabwe by partner organizations from developed countries.
  • Development assistance in monetary terms for organizations and programmes in Zimbabwe.    

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The measure has broadly promoted the Growth of the Zimbabwe culture sector and the following were the targets;

  • Transference of skills and technology in the areas of cultural practitioners, cultural industries and businesses.
  • Increased number of cultural exchange programmes, goods and services between partnering organizations and collaborating nations
  • New business models and new forms of marketing, communication, presentation, promotion and distribution of culture products, goods and services.
  • An increased appetite of new and improved local productions within local markets and external markets.
f.1 Name of agency responsible for the implementation of the measure: 
None specifically
f.2 Financial resources allocated to implement the measure: 

N/A

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

The measure was responsible for the establishment of a number of festivals with an international component in the last decade. The festivals were a platform to showcase productions by international groups from the developed countries. Some festivals used that opportunity to create skills training programmes on the sidelines in order to facilitate skills and knowledge transfer. These visits by international artists opened opportunities for exchange programmes, to some reciprocal in nature.

 

The instrument has over the years now saw the growth of culture sector with its products being become the backbone of the promotion of the diversity of cultural expressions.

i.3 Which indicators were used to determine impact?: 
  1. Records of international culture practitioners and productions coming to Zimbabwe.
  2. Records of programmes of cooperation by various players
  3. Statistics of attendances and patronage of programmes that are products of the measure
  4. Register of agreements and levels of renewals by cooperating partners.
  5. Records of residencies given to Zimbabweans in developed countries.

 

❭ PREFERENTIAL TREATMENT

Building competencies in management and business skills in the culture sector

Context of the measure: 
PREFERENTIAL TREATMENT
b. Key objectives of the measure: 
  • To promote professionalism in the creative sector through capacity building of practitioners.
  • To engage training partners within and outside Zimbabwe in areas of arts management and business.
  • To organize capacity building programmes for the culture sector to strengthen competencies in both artistic and entrepreneurial skills.
  • To provide support for the development of business models based on best practices from across the globe in the creative industries.  
  • To promote information and technology transfer in various areas of the cultural industries.
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
institutional
c.3. the main feature of the measure: 
  • National arts Council of Zimbabwe made a call to professionalize the sector in the period 2010 – 2020 and since then promoted the building of capacity and competencies of the practitioners in the culture sector.
  • Training programmes done by various organizations drawing skilled and competent facilitators in Zimbabwe and abroad for the purpose of meeting the set goals.
  • Collaborating with Foreign agencies for development of business and entrepreneurial training models for the creative industries and tapping from the systems and expertise from the developed countries.
  • Collaborations with educational institutions for the strengthening of the training programmes in both arts management and entrepreneurial development. 
  • Certification of trained individuals.
d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The measure did impact greatly in the sector and contributed to the growth of business in the cultural industries and the following were the targets;

  • Transformed thinking by artists and preferences of adoption of best practices in the execution of their businesses.
  • Increased number of arts managers and administrators, overseeing the business side of the artist portfolio. 
  • Fostering private sector uptake and investment in the culture sector
  • Functioning business models and new forms of marketing, communication, presentation, promotion and distribution of culture products, goods and services.
f.1 Name of agency responsible for the implementation of the measure: 
National Arts Council of Zimbabwe
f.2 Financial resources allocated to implement the measure: 

N/A

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
No
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

The measure was responsible for the increased periodic reporting by the culture sector thereby allowing organizations to take stock of their work and measure accordingly. There has been an increased engagement and signing of artists as brand ambassadors by various companies and organizations. This is clear testimony of the confidence that clients have on the sector, because of the way the culture sector now packages itself.

The trainings in arts management, adjudication and entrepreneurship drew a lot of support from the sector and were oversubscribed at all times. There has also been observed that practitioners yean for new knowledge to take their works to the next level.

 

The instrument has over the years also empowered the sector to be better advocates of the promotion of the diversity of cultural expressions.

 

i.3 Which indicators were used to determine impact?: 
  1. Registration into companies and trusts by various practitioners.
  2. Increased number of bank accounts by artists and arts organizations.
  3. Engagement of competent administrators and managers by artists and arts organizations.
  4. Increased level of corporate governance and improved services by players in the creative industries. 
  5. Records of reports submitted by players in the culture sector.
  6. Increased community participation and appreciation of culture sector goods, services and practitioners. 

 

❭ INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL

Draft National Cultural Policy

Context of the measure: 
INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL
b. Key objectives of the measure: 

The Draft Cultural Policy of Zimbabwe is in sync with the country’s home-grown Constitution that clearly articulates the aspirations of the people. It also strives to be consistent with the African Union Charter for Cultural Renaissance and aspiration number 5 of the African Union’s Agenda 2063 among other international Conventions, Protocols and Agreements that the Zimbabwe Government is party to. Its objectives are as follows:

 

  • To create a culturally vibrant, cohesive and progressive Zimbabwean society where various forms of arts, culture and expressions thereof serve to showcase as well as celebrate the nation’s diverse heritage;

 

  • To create an enabling environment that allows for inclusive, equitable and energetic participation by all Zimbabweans in the arts, culture and heritage sectors for greater social cohesion, economic empowerment and nation-building;

 

  • To give due recognition to the distinctive nature of cultural activities, goods and services in the country as well as acknowledge them as vehicles of identity, values, meaning, socio-economic empowerment and nation-building;

 

  • To encourage individuals, groups and communities, state as well as non-state actor institutions to contribute towards safeguarding Zimbabwe’s culture, artistic expression, tangible as well as intangible heritage for posterity;

 

  • To strengthen the role that Zimbabwe’s rich national heritage and culture, premised on the virtues and values of Ubuntu/Unhu, could play in the nation’s growth and sustainable development;

 

The Draft Cultural Policy contains the following as key strategic areas of focus (priority areas):

  1. Safeguarding Zimbabwean Cultural Identity
  2. Appreciation and Respect for Indigenous Zimbabwean Identities and Cultural Diversity
  3. Safeguarding Zimbabwean Heritage
  4. Promotion of Indigenous Knowledge
  5. Cultural and Creative Industry Development
  6. Infrastructure Development
  7. Education and Training and
  8. Culture and International Relations.
  9. Resource Mobilisation
c. What is: 
c.1. the scope of the measure: 
National
International
c.2. the nature of the measure: 
legislative
regulatory
c.3. the main feature of the measure: 

The Draft Cultural Policy contains the following as the main feature on the integration of Culture in Sustainable Development at National and International levels:

 

Zimbabwe recognizes that culture is one of the mainsprings of development. It also acknowledges the important need to consider the cultural aspects of development as being just as important as its economic aspects. The imperative therefore is for all Zimbabweans to fully participate in and enjoy the country’s heritage and culture, as well as the artistic expressions thereof. It is in society’s unfettered participation as mentioned above that sources of livelihood will be positively affected resulting in better economic activity of each community.

 

The Draft Cultural Policy acknowledges that cultural identity and diversity are rich assets for individuals and societies within the country. In order to fully benefit present and future generations, the protection, promotion and maintenance of cultural identity and diversity are essential requirements for sustainable social and economic development.  This therefore is inevitably the basis for supporting the deliberate integration of culture in Zimbabwe’s development policies at all levels, for the creation of conditions conducive to sustainable development as well as to foster aspects relating to the protection and promotion of the diversity of cultural expressions.

 

A robust institutional framework for ease of coordination and implementation of the draft policy constitutes the backbone of this document. The following ministries are identified and mandated to ensure effective integration of culture into sustainable development:

 

  • Ministry of Rural Development, Preservation and National Culture and Heritage – core mandate of arts, culture and heritage the National Arts Council of Zimbabwe, the National Gallery of Zimbabwe, National Library and Documentation Services, National Museums and Monuments of Zimbabwe, National Archives of  Zimbabwe, Chiefs and Local Authorities
d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

Safeguarding Zimbabwean Cultural Identity: The State Party’s cultural identity shall be safeguarded and preserved for posterity in the global village we call world today.

 

Appreciation and Respect for Indigenous Zimbabwean Identities and Cultural Diversity: Cultural identities and diversity define the different people of Zimbabwe and such traits need to be appreciated and respected with equal measure.

 

Safeguarding Zimbabwean Heritage: The country’s rich heritage is a national treasure whose safeguarding is apriority.

 

Promotion of Indigenous Knowledge: Indigenous knowledge is critical for development to take. It must be harnessed for the benefit of local communities.

 

Cultural and Creative Industry Development: This economic facet is awash with business opportunities and sustainable livelihoods. It needs to be supported and nurtured for the benefit of the people, particularly those endowed with innate artistic skills.

 

Infrastructure Development: Appropriate, purpose-built and accessible infrastructure is required for the creative industries to blossom.

 

Education and Training: The full integration and development of the arts, culture and heritage in education and training is of paramount importance. It enhances cultural expressions.

 

Culture and International Relations: As a member of the community of nations, Zimbabwe needs to ensure the visibility, practice and appreciation of Zimbabwean culture locally and abroad.

 

 

 

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Rural Development, Preservation and National Culture and Heritage – core mandate of arts and culture, and its agencies, the National Arts Council of Zimbabwe, the National Gallery of Zimbabwe, National Library and Documentation Services, Natio
f.2 Financial resources allocated to implement the measure: 

In order for the Draft Policy to be fully implemented by Government and various stakeholders, it is imperative to ensure funding and resource mobilisation support across the board. Funding and resource mobilisation therefore are facets which involve the active participation of internal and external stakeholders. Existing Government instruments that may also be invoked to ensure the implementation of the Draft Policy are key to its functionality. According to the Draft Policy, the State Party pledges to:

 

  • To give financial and technical support to reclamation, repatriation, preservation and protection of Zimbabwean archives and historic places within and outside the country.
  • To support the promotion and development of the cultural and creative industries.
  • To promote investment in the sector.
  • To support the growth of the sector through tax incentives
  • To develop sustainable funding models for the growth of the cultural and creative industries.
  • To create private and public partnerships for the development of the sector.
  • To facilitate technical and material investment for the growth of arts, culture and heritage.
h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
No
i. Has the implementation of the measure been evaluated?: 
No
❭ INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL

Arts and Culture Festival Guidelines

Context of the measure: 
INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL
b. Key objectives of the measure: 

Festivals are the most effective way for communities to flaunt their cultural expressions. Besides, festivals are of economic value to the communities in which they are hosted. As a result, they constitute an economic activity whose importance to the economic development of the host communities is immense. As economic ventures, arts and culture festivals through their inherent value chain create employment and business opportunities to the host localities.

 

Given the importance of Arts and Culture Festivals, particularly as a platform for diverse artistic and cultural expressions, the regulatory body (National Arts Council of Zimbabwe) crafted general guidelines for the hosting of all Arts and Culture Festivals in the country. The guidelines ensure that festivals are held in line with the country’s aspirations in-so-far as the development of the creative industry is concerned over and above efforts to safeguard cultural identity, heritage and their attendant expressions. The Festival Guidelines were designed to ensure the following:

 

  • Registration of all Arts and Culture Festivals with the National Arts Council of Zimbabwe for purposes of documentation and information management.

 

  • Appropriate naming of the respective festivals for example, one genre festival shall be referred to as such, music festival, dance festival, theatre festival and not as an arts festival that normally is multi-disciplinary in content.

 

  • Ensuring that festivals are self-sustaining in nature. Free festivals are permissible as well but organisers are encouraged to secure adequate funding.

 

  • Promotion of good corporate governance, transparency and accountability by ensuring that a properly constituted Board of Directors is in place for the various Arts and Culture Festivals especially when such festivals receive donor funds.

 

  • Ensuring that each festival has a proper programme indicating venues, 

scheduled activities and the number of days.

 

  • An Arts and culture Festival shall have a theme at any given time that guides all proceedings and shall assist in impact ass
c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
regulatory
c.3. the main feature of the measure: 

Influenced by the Convention, the main feature of the measure is its ability to give a platform to marginalized cultural expressions to be showcased. The guidelines promote local participation by communities in the provision of services to the festival as well as giving preference to the locally-based artists and cultural practitioners. That way, indigenous and previously neglected cultural expressions are given a platform to be marketed. Besides, the guidelines give direction and formal status to those cultural expressions that are viewed as routine cultural practices by the communities yet they constitute integral components of cultural expressions of the communities concerned. The guidelines also are part of efforts to regulate and formalize the activities of the expressive sector through the enhancement of data collection, preservation and promotion of cultural expressions threatened with extinction. Localized Arts and Culture Festivals present employment opportunities for local people while contributing to the development of the communities as well through establishment of appropriate infrastructure for hosting the festivals. Localized Arts and Culture Festivals also contribute immensely to the unearthing of those respected cultural expressions the local people hold dear and are eager to share with the rest of the country

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

The measure seeks to create a level ground in terms of giving equal opportunities to all cultural expressions. Further, the guidelines give parameters on the status and nature of each festival in terms of scope, format and the hiring of service providers including artists and cultural practitioners to be involved. Cognisant of the fact that the arts and culture sector is an important component of economic activities, the guidelines also seeks to usher in professional ethics in the sector, particularly on the issues good governance, transparency and accountability. Through the same guidelines, marginalized cultural expressions are given ample time to be flaunted alongside major ones. The desire is to unearth, preserve and promote those cultural expressions threatened with extinction. In addition, the guidelines promote the involvement of local artists and cultural practitioners, particularly in festivals happening in their respective areas. Cultural expressions happen in communities and through the framework provided by the guidelines, community involvement is enhanced. Integration of culture in sustainable community development is also enhanced through implementation of the festival guidelines.

f.1 Name of agency responsible for the implementation of the measure: 
All festival organisers at all levels local, national and international; Harare International Festival of the Arts, Intwasa Arts Festival koBulawayo, Murehwa Culture Centre, Great Limpopo Culture Fair, Zimbabwe International Film Festival, Nhimbe Trust an
f.2 Financial resources allocated to implement the measure: 

Most festival organisers are self-funding and they fundraise each year for the hosting of their respective festivals

g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
Name: 
HIFA
Type of Entity: 
NGO
Type of Involvement: 

Operationalisation of the guidelines

Name: 
Intwasa Arts Festival koBulawayo
Type of Entity: 
NGO
Type of Involvement: 

Application of the festival guidelines

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

Major lessons drawn from the review sessions are itemized below:

  • Cultural expressions are very dynamic just like society itself. New creations and expressions regularly emerge and stakeholders in the culture sphere need to be constantly on the lookout for new developments.
  • The guidelines are a fertile ground for the cross-fertilisation of the diversity of cultural expressions through exchange programmes.
  • The framework created by the guidelines promotes peace, harmony and peaceful co-existence in communities. Festivals are rallying points by nature and are also used for mass communication strategies designed to promote community development.
  • The guidelines act as catalysts for the nurturing of professionalism in the arts and culture sector.
  • Arts and culture education is enhanced through the guidelines as they provide the basis through which mainstreaming of arts and culture education into the formal education trajectory is attained.

 

i.3 Which indicators were used to determine impact?: 

The indicators used in determining the impact of the implementation of the measure were:

 

  • Number of festivals held at district, provincial and national levels;
  • Participation of minority groups in the festivals with a special focus on youths, women, artists and cultural practitioners living with disabilities.
  • Use of indigenous languages;
  • Governance of entities organising the festivals;
  • Festival documentation, programmes, reports both narrative and financial and other relevant documentation;
  • Review meetings of the festivals;
  • Number of networks created.
❭ INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL

Constitution of Zimbabwe (Amendment No: 20 2013)

Context of the measure: 
INTEGRATION OF CULTURE IN SUSTAINABLE DEVELOPMENT - AT NATIONAL LEVEL
b. Key objectives of the measure: 

To give impetus to the recognition of sixteen languages namely Chewa, Chibarwe, English, Kalanga, Koisan, Nambya, Ndau, Ndebele, Shangani, Shona, Sotho, Tonga, Tswana, Venda, Xhosa and Sign Language as official means of communication.

 

To lay the basis for the prescription of other languages as official means of communication through an Act of Parliament.

 

To give the power to the State and all its institutions and agencies to ensure that all officially recognized languages are treated equitably and to take into account the language preferences of people affected by governmental measures or communications.

 

Language is pivotal in cultural expressions. Measures brought about by the Constitution are both legislative and regulatory. Previously marginalised and so-called minority languages are now being treated just like the other dominant languages. Use of indigenous languages therefore enhances cultural expressions particularly in the intangible realm. People from all over the country through the constitutional provisions can now fully express themselves in their own mother languages, giving the nation an opportunity to unearth those cultural expressions that were hitherto “suppressed” owing to languages. The situation is further buttressed by the opening up of radio and television stations with some of them dedicated to using indigenous languages as a medium of communication. Furthermore, the Zimbabwean Constitution fully recognizes the role of Traditional Leaders who are considered to be the custodians of the Zimbabwean culture and its attendant expressions both in the tangible and intangible forms. According to the Constitution under Article 16, it is the obligation of the State and all its institutions and agencies and indeed all Zimbabwean citizens to preserve and protect Zimbabwe’s Cultural Heritage while at the same time respecting the dignity of traditional institutions.      

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
regulatory
c.3. the main feature of the measure: 

The main feature of the measure is informed by the constitutionality of cultural matters. By virtue of making culture matters constitutional, the State party is alive to the fact that culture and its attendant expressions is a fundamental aspect of people’s lives. All aspects of culture including language are therefore matters of constitutionalism. Zimbabwean citizens in their diversity are therefore duty-bound to respect all tenets of the supreme law of the land and through that alone, respect the cultural diversity of the land and their respective expressions. Today in Zimbabwe the diversity of cultural expressions are treated with the same reverence just like other constitutional provisions like human rights, property rights, citizenship and many other constitutional matters.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

In relation to culture and its expressions, the constitutional measure ensures that the citizen of Zimbabwe:

 

  • Respect cultural diversity;
  • Use indigenous languages in official communication as well as expressing themselves culturally;
  • Respect traditional leadership that is the custodian of the country’s revered Ubuntu/Hunhu that is the epitome of the Zimbabwean culture;
  • Preserve, promote and market the nation’s cultural heritage in tangible and tangible forms (including cultural expressions) as an important component of world culture;
  • Through the respect and elevation of culture, exploit business opportunities presented by cultural industries for the benefit of communities and the nation at large;
  • Use the cultural sphere as a sustainable source for life-long sources of livelihoods;
  • Ensure that community development at whatever level takes cognizance of peoples’ cherished values, beliefs and ethos;
  • Encourage marginalised and often overlooked communities of the nation to fully participate in programmes and activities designed to flaunt national culture;
  • Preserve, promote and document cultural practices threatened with extinction;
  • Promote peaceful co-existence and harmony through absolute respect for cultural diversity.
f.1 Name of agency responsible for the implementation of the measure: 
Mainly the State and all its institutions and agencies
f.2 Financial resources allocated to implement the measure: 

Treasury allocation for the responsible Ministry and all its institutions and agencies working in the area of arts and culture.

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9b

Equal Participation of Women and Men in Cultural Expressions

Context of the measure: 
EMERGING TRANSVERSAL ISSUES: Resolution 5.CP 9b
b. Key objectives of the measure: 

: Keeping abreast with global trends, particularly those falling under the realm of the UN, UNESCO included, the State Party adopted affirmative action that promotes women participation on an equal footing with men in all spheres of life. In some instances, entry requirements in institutions of higher learning are crafted to promote women participation. The area of cultural expression, critically the performing arts genre for long periods was viewed as a predominantly male domain and women who ventured into it were classified as people of loose morals. This measure was also designed to quell this misplaced notion. Accordingly, the women folk enjoy equal opportunities like their male counterparts in all spheres of life, be it economic, social or political. In pursuit of this measure, infrastructure for cultural expressions is being upgraded to meet the minimum requirements that ensure full participation of the women folk in that area. Another intention of the measure is to have cultural expression programmers and activities being spearheaded by women. Zimbabwe now has women ensembles in dance, theatre and other genres of the arts. All female dance groups have become a permanent feature on entertainment circuits, bolstering the participation of women in cultural expressions. The visual arts sector, particularly the craft and fashion disciplines are largely dominated by women and it is another intention of this measure to upscale the participation of women in such fields.

c. What is: 
c.1. the scope of the measure: 
Regional
National
International
c.2. the nature of the measure: 
regulatory
institutional
c.3. the main feature of the measure: 

This measure is further buttressed by provisions of the Gender Equality Policy and the Domestic Violence Act. These two pieces of legislation besides criminalizing gender violence and violence against women provide fertile ground for effective women empowerment. The measure also deliberately assumes an all inclusive approach where all women benefit; marginalised women, women living with disabilities, women facing life limiting illnesses, oppressed women and young women and girls in all situations. The girl child in particular is the target of tailor-made programmes and activities whose implementation is the responsibility of the State Party and a large number of civil society organisations. The measure vigorously fights for the rights of the women in education, including arts and culture education. This measure proved to be a master-stroke in fighting male bigotry in the field of the arts. Through the narrow-mindedness of a male-dominated, the participation of the women folk in cultural expressions was hampered and this measure is a panacea to this problem. Equal opportunities for both sexes in the creative sector with zero tolerance to discrimination and preconceived ideas define the thrust of the measure.  

 

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

: Women constitute 52% of the State Party’s population. Besides, women play a central role in family life, communities and ultimately the entire nation. They are the custodians of the socialization process that introduces children to socially acceptable values and beliefs. Arguably, women occupy a central role in inculcating cultural expression values in children. The family unit, a critical component of cultural life and its attendant expressions is nurtured generally by women. Through this measure, the following are the expected results:

 

  • Equal opportunities for women and men, particularly in the creative sector.
  • Total emancipation and empowerment of women socially, economically and politically.
  • Zero discrimination in all spheres of life based on gender.
  • Elevation of women status at all levels of society.
  • Identification and nurturing of women’s innate artistic talent at whatever level on equal footing with that of men.
  • Ensuring the State Party’s involvement in the promotion of current transversal issues at any given time.

 

f.1 Name of agency responsible for the implementation of the measure: 
The State Party and all its institutions and agencies and civil society organisations working in the area of women empowerment.
f.2 Financial resources allocated to implement the measure: 

Treasury allocation for ministries responsible for women affairs, including health and education.

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITY

Promotion and Protection of the Rights of Women Working in the Arts and Culture Sector

Context of the measure: 
CURRENT UNESCO GLOBAL PRIORITY: GENDER EQUALITY
b. Key objectives of the measure: 
  • To empower women economically and socially while transforming them into innovative economic players in all facets of the economy including the creative sector.

 

  • To raise awareness amongst women artists and cultural practitioners in relation to the National Gender Policy and the Domestic Violence Act. 

 

The issue of gender equality in Zimbabwe is being addressed through the Gender Policy with the Domestic Violence Act becoming a vital supportive piece of legislation. Issues of gender equity, disparity and equality can be traced to the historical background that ascribed male domination as the norm since time immemorial. Women for a long period of time played second-fiddle to their male counterparts. The Gender Policy becomes particularly important in that women play an important role in cultural expressions. They are critical in inculcating primary cultural expression values and beliefs to children. Women through socialization processes play a fundamental role in moulding children – instilling in them ethics that shape acceptable personality values as dictated by culture, values and beliefs as components of the national philosophy. Occupying such a critical position in society, women therefore are the front-runners in the teaching of cultural expressions. As cardinal pillars in family life, it is through women that children are introduced to socially acceptable behaviour that finds traction in cultural expressions from a very young age. As primary players in the socialization process, women therefore need to be empowered economically and socially so that they become strong agents for social development that is imbued with cultural expressions as well. Despite their central role in society’s development, women are faced with a plethora of challenges spanning the economic and social spheres in which they are sometimes treated as second-class citizens. This happens notwithstanding the multitude of roles that women play in the socio-economic life of any community. Zimbabwe’s Gender Policy and the Domestic Violence Act are two pieces of legisla

c. What is: 
c.1. the scope of the measure: 
Regional
National
International
c.2. the nature of the measure: 
legislative
regulatory
institutional
c.3. the main feature of the measure: 

: Constituting 52% of the State Party’s population, women represent a constituent of people in dire need of affirmative action in all facets of life, be it social, economic and even political. The imbalance in professional opportunities that women were subjected to also affected the creative sector. Furthermore, the arts and culture sector for decades was viewed by the general population as a haven for “failures” in life, an area for people with loose morals. No sane woman therefore was expected to join the sector, patriarchal in nature and populated by “non-conformist” people. All these negative views were held against the sector’s positive pivotal contribution to cultural expressions in general and the potential to grow national economies. The realization by the State Party of the sector’s potential contribution to the economy and the value chain that such genres as music creates, jolted government into action, hence the crafting of the Gender Policy whose tentacles spread to the creative sector as well.  

 

Following years of marginalization and enduring a second class status, women through the Gender Policy are now competing with their male counterparts at the same level, enjoying equal opportunities in any aspect of life. As the majority in the country women are now actively participating in arts and cultural activities boosting the nation’s cultural expressions. Favourite areas that they concentrate on include fashion creation, basketry (weaving), cosmetics (make-up), dance, acting, music, beadwork, sculpting and many others including those that used to be male-dominated. Through the Gender Policy and the Domestic Violence Act, gender equality and equity and women’s rights in whatever facet of life including economic spheres like the creative sector have given birth to massive areas for advocacy work designed to facilitate the realization of women’s full potential in those areas. Admittedly owing to their “privileged” status in what used to be male-dominated professions in the ar

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 
  1. The Gender Policy is designed to eradicate gender-based exploitation, discrimination, unfair treatment of women and enhance women socio-economic empowerment in all economic facets. The policy advocates for men and women to compete on equal footing with success being determined by individual talent as opposed to sex. Success in the creative sector is determined by both innate talent and skills acquired, hence the need to level the playing field being cognisant of the disparities spawned by inequalities based on gender. Chiefly, the measure is also intended to attain the following in respect of the creative sector:
  • Availing equal opportunities to both women and men in the creative industry locally, nationally, regionally and internationally.
  • Provision of both financial and material resources to all actors in the arts and culture sector. Women and men must enjoy equal access to financial and material resources as and when they require them.
  • Identification, nurturing, marketing and promotion of artistic talent to the level of full actualization for both sexes without prejudice. 
  • Respecting cultural diversity in communities, country, region and international stage irrespective of the gender aspect.
  • Women’s rights are human rights, respecting human rights in totality in all aspects of the arts and culture.
f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Women’s Affairs, Gender and Community Development and other women focused civil society organisations
f.2 Financial resources allocated to implement the measure: 

Besides an allocation from Treasury, women’s issues receive financial and material support from the donor community. Development organisations, local, regional and international ones always have a component on women’s issues under their funding regimes. Such funding opportunities bolster the State Party’s allocation to the responsible Ministry. Civil society organisations in their numbers are seized with women’s issues, particularly empowerment programmes and activities, issues to do with reproductive health, HIV and Awareness campaigns, domestic violence, education and training (Women’s University in Africa domiciled in Zimbabwe is a key example). The efforts of all these organisations when combined add up to substantial funding opportunities for women’s issues. The funding also covers issues to do with cultural expressions. As a result, the number of women in the arts and culture sector increased significantly covering women with diverse backgrounds. The State Party’s funding for women in arts and culture is availed to all Ministries that have a component on women issues, the Ministry of Women’s Affairs, Gender and Community Development, Ministry of Industry and Commerce, Ministry of Small Scale and Mediums Enterprises and the Ministry of Youth Development, Indigenisation and Economic Empowerment. The Ministries’ combined allocations for women’s issues, including the allocation for the creative sector add up to substantial funding.

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
No
❭ YOUTH

Promotion of skills acquisition through vocational training.

Context of the measure: 
YOUTH
b. Key objectives of the measure: 
  1. : Equipping youths with skills that will enable them to create own

                     employment in the creative industries.

 

The then Ministry of Youth Development, Employment Creation and Cooperatives turned Youths Training Centres from institutions that offered off-the-shelf courses into Vocational Training Centres that offer training programmes informed by the existing business and employment opportunities in the creative industries. Through the Training for Enterprise Programme, vocational skills are offered in music, clothing technology, metal fabrication and other areas addressing specific business and employment opportunities in a particular province. The Ministry of Youth, Indigenisation and Economic Empowerment replaced the old ministry and scaled-up the vocational training programme, creating synergies with similar privately-run and local authority-owned vocational training centres as well as conducting youth exchange programmes at regional and international levels.

 

Buttressed by the National Youth Policy and the Zimbabwe Agenda for Sustainable Socio-Economic Transformation (the nation’s economic policy) the programme seeks to equip the youths with survival skills in equal measure with spiritual and physical well-being. Embedded in the training programme are cultural values and beliefs that inform the Zimbabwean national consciousness. The youths are given equal opportunities regardless of sex, race, tribe or creed. As a matter of vocational training that covers all sectors of industry including the creative sector, the Training for Enterprise concept is the backbone of vocational training in Zimbabwe. The principle guides vocational training in both public and private institutions. Each province has a Provincial Vocational Training Centre with district ones complimented by private centres. The Zimbabwe Youth Council a statutory body provides another policy framework and registers youth groups in various industries. The creative sector is

c. What is: 
c.1. the scope of the measure: 
National
c.2. the nature of the measure: 
legislative
regulatory
financial
institutional
c.3. the main feature of the measure: 

While it is largely accepted that artistic expression or talent are innate in nature, it is increasingly becoming important to identify, nurture and ultimately promote the talent. The major feature of this measure is the acquisition and sharpening of new and potential artistic talents respectively. Recognizing the importance of the young people in cultural expressions, the State Party through the Ministry of Youth, Indigenisation and Economic Empowerment converted Youth Training Centres into fully-fledged Vocational Training Colleges in all provinces of the country offering skills training in areas spanning the visual arts, performing arts and other economic sectors. The skills trajectory under the programme has entrepreneurship as one of its key learning area. As a measure, this intervention is designed to evoke the creative spirit of young artists and cultural practitioners, particularly in the beneficiation and value addition in cultural expressions. In addition, cultural expressions by the young people epitomize popular culture of the day, particularly in the performing arts genre. In some cases cultural expressions are inseparable from the way people live and the measure seeks to induce enterprise development in those cultural expressions people view as ordinary, routine practices yet they are imbued with business opportunities. Through Training for Enterprise activities, existing cultural practices are converted into business opportunities in local communities. Zimbabwe is blessed with such manifestations of cultural expressions that find traction in the production of functional art products, namely basketry, localized crafts and traditional dances peculiar to certain parts of the country. It is these cultural expressions that policy for Enterprise Development was crafted with special focus on the youths. The premise of the policy framework is to encourage young women and men who are artistically gifted to express themselves in a business manner.

d. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention?: 
Yes
e. What are the results expected through the implementation of the measure?: 

: The intervention was designed to reorient training offered in the then Youth Training Centres moving away from off-the-shelf routine training programmes into entrepreneurship-driven training programmes that speak to existing business opportunities in a particular province. The expected direct result was the production of entrepreneurs in all sectors of the economy including the creative sector who would then exploit existing business opportunities. Employment creation would be enhanced through the churning out of business minded creative practitioners. The thrust is to produce through vocational training employment creators as opposed to job seekers. Besides, the initiative is designed to economically and socially empower the youths and women who happen to constitute the largest percentage of the Zimbabwean population. Skills acquisition and the requisite funding are effective poverty alleviation strategies that the programme seeks to address as a precursor to total poverty eradication. As a national programme, the Training for Enterprise initiative seeks to equip both rural and urban youths and women with the necessary skills to create sustainable sources of livelihoods particularly in the creative sector that hitherto had been relegated to the periphery of the main economic activities. With the creative sector occupying the centre-stage of the training programme, the Training for Enterprise Programme has as one of its intended outputs the mainstreaming of arts education and training and its attendant cultural expressions into the main economic activities otherwise read as formalization of the arts and cultural sector as an important facet of the State Party’s economic activities. Vocational training therefore becomes a vehicle through which marginalised sections of the population are empowered through facilitation for the establishment of micro to medium scale enterprises in all sectors of the economy including the creative sector. The pillars for the training programme are the National Youth Policy, Vocational Training Policy and to some extent the Gend

f.1 Name of agency responsible for the implementation of the measure: 
Ministry of Youth, Indigenisation and Economic Empowerment working in collaboration with its agencies, Zimbabwe Youth Council, Youth and Women Associations and key stakeholders in the youth development area.
f.2 Financial resources allocated to implement the measure: 

: Besides private funding and donors who provide funding for the programme, the State Party through Treasury always allocates funding for vocational training. The allocation is a statutory requirement. The Training for Enterprise Programme also attracts donor funding. During its early implementation stages, substantial support both in financial and material forms was provided by the United Kingdom’s Department for International Development (DFID). With the establishment of Boards of Trustees at the Provincial Vocational Training Centres, retention of funds was introduced while strategic business units were also established that generated funds for the centres. As an example of entrepreneurship, strategic business units are also used as demonstrations during training sessions. With dwindling support from Treasury, the vocational training centres are becoming more and more centres of excellence in terms of generating income. At some Provincial Training Centres notably Magamba in Manicaland and Kaguvi in Midlands, the strategic business units are in the form of creative expressing such as fashion and design, functional art products peculiar to the surrounding communities and innovative metal work products. All these initiatives are designed as extra revenue streams for the centres and their programmes. Agricultural activities, particularly horticulture are proving to be viable revenue sources as most vocational training centres are situated on agricultural land. In essence, the centres are becoming more and more self-sustaining in terms of funding.

g. Name of NGOs and/or private companies engaged in the implementation of the measure, if any: 
Name: 
Glen Forest Training Centre
Type of Entity: 
NGO
Type of Involvement: 

complimenting enterprise development in vocational training covering the creative sector.

 

Name: 
Empretec Zimbabwe
Type of Entity: 
Private company
Type of Involvement: 

Specialist Entrepreneurship Training in the arts and culture sector.

 

h. Was this measure introduced or revised in order to: 
h.1. Implement the provisions of the Convention?: 
Yes
h.2. Support/nurture policy discussion inspired by the Convention?: 
Yes
h.3. Other reasons unrelated to the Convention?: 
Yes
i. Has the implementation of the measure been evaluated?: 
Yes
i.1 At what level the evaluation was conducted?: 
National
i.2 What were the main conclusions?: 

The main conclusions laid bare the importance of offering demand-driven and business related vocational courses particularly in the creative sector. In addition, it was noted that the arts and culture sector is awash with business opportunities that the youths (men and women) can undertake in order to eke out sustainable livelihoods. The production of functional art products while it is a component of cultural expressions is a viable business opportunity that attracts customers nationally, regionally and internationally. One of the conclusions was that the State Party through ineffective funding and support was leaving the arts and culture sector out of its mainstream economic activities at the expense of the youth who happen to the major practitioners in this sector. In addition, many cultural expressions were not being recognized, especially those emanating from marginalized communities. In point form the conclusions were as follows:

 

  • Vocational training programmes must be in sync with existing business opportunities in any particular area, particularly courses in the creative sector;
  • The arts and culture sector constitute a vital economic activity whose effective exploitation leads to the enjoyment of sustainable livelihoods by the practitioners;
  • Functional art products are a vital component of cultural expressions especially those produced by marginalised communities;
  • The creative sector, particularly where it involves issues to do with arts and culture is a vital component of a nation’s identity in the community of nations;
  • Enhancement of cultural expressions, particularly its diversity in training can be attained through exchange programmes at national, regional and international levels;
  • Entrepreneurship in the arts and culture sector as a vital aspect of the skills acquisition trajectory is a critical component of the economic development process for any nation.
i.3 Which indicators were used to determine impact?: 

Indicators used in determining impact: Following the evaluation of the programme, a tracer study of the graduates was conducted to determine the impact of the training programme. At provincial levels, the study focused on businesses established as a direct result of the training offered. In an economy facing challenges like Zimbabwe’s, the focus was on the establishment of micro and small enterprises and entrepreneurial practices in ventures undertaken. While other sectors of the economy require modest financial input as start-up capital, the creative sector, particularly the performing arts genre by its nature requires very little funding as capital injection. To determine impact, the study strove to establish the number of arts groups formed in terms of gender and specific areas of focus – dance, music, drama (theatre) and spoken word. In addition, new creations were used as indicators of impact where practitioners as a result of the vocational training intervention created new productions some of which were influenced by digital technology. The issue of professional conduct in the creative sector was also used in determining the impact of training wherein practitioners who underwent the training programme where assessed on how they conduct themselves in relation to customer care, public relations, costing of their productions and general professional conduct. Special focus was also placed on women artists and cultural practitioners with the aim of establishing their competitiveness in a hitherto male-dominated environment.