Learning from Setbacks: ‘Whatever We Failed Before, We Can Try Again with a Different Strategy’ – Insights from Napoleon Nyanhi at Bulawayo Training Workshop

On 19 July 2024, a delegation from the National Arts Council of Zimbabwe (NACZ), led by Director Napoleon Nyanhi and Assistant Director for Art Promotions and Development, B. Gotore, conducted a workshop with artists and arts organizations at the Cillas Conference Centre in Bulawayo.

The NACZ team included Programmes Officers O. Chauke and T. Vuta, as well as Finance Officer B. Chengahomwe. They were warmly welcomed by Cleopatra Dube, the NACZ Provincial Arts Manager for Bulawayo, who expressed her deep appreciation for their visit. She described the workshop as a noble initiative aimed at empowering artists with the knowledge and skills needed to work confidently and professionally in their respective fields. Mr. William Nyandoro, NACZ Programs Officer, also attended and took on the role of secretariat for the workshop.

The event served as a valuable opportunity for creatives from various disciplines to meet the newly appointed NACZ Director, Mr. Nyanhi, who succeeded Nicholas Moyo, the former Director now serving as the Permanent Secretary in the Ministry of Sport, Recreation, Arts, and Culture.

The workshop sessions, led by the NACZ team, focused on empowering participants across various topics to help revitalize and expand the creative and cultural industry. The central theme of the workshop was “Training Workshops for the Creative and Cultural Industry.”

Mrs. Gotore began by providing an overview of the workshop, stressing the importance of equipping artists and arts organizations with the necessary resources, information, and skills to reach their full potential. She then introduced Mr. Nyanhi to the participants.

In his opening remarks, Mr. Nyanhi acknowledged the outstanding contributions of his predecessor, Mr. Moyo, whom he described as a visionary who significantly advanced the industry. Mr. Nyanhi expressed his commitment to continuing the journey and collaborating with artists and organizations to facilitate the industry’s growth and development.

Mr. Nyanhi also emphasized the importance of creating local content that resonates with the community. He referenced the time when local music struggled for airplay, which led to the introduction of the 75% local content policy. He underscored that training the public to appreciate local art is vital. “These are the things we can all do in our spaces within our art genres; we have the responsibility to train the public to appreciate our art,” he explained.

To further highlight the significance of local content, Mr. Nyanhi shared the example of Nollywood films. He described how Nollywood, initially criticized for producing low-quality films, overcame these challenges through determination and eventually achieved great success. Today, Nollywood has grown into a multi-billion-dollar industry, with influential stars whose lifestyles rival those of Hollywood celebrities. Mr. Nyanhi encouraged Zimbabwean creatives to follow a similar path by working diligently, staying focused, and valuing their work.

In closing, Mr. Nyanhi offered an optimistic perspective: “Whatever we have failed before, we can try again with a different strategy. I also want my opportunity to fail if there is a need to fail, but maybe, just maybe, this time we get it right. If of the five things we try, we get one right, that’s good enough in my view.” He invited creatives to share their expectations of him as the new Director, assuring them that he would carefully consider and respond to their feedback.

Mr. Chauke concluded the session with a presentation on “Arts Organisations and Regulations,” covering key topics such as the governing documents of NACZ, the types of arts organizations, the registration process, associated costs, and the reasons for varying fees across different registration packages.

The following are key takeaways from his presentation, which he committed to sharing with artists:

• Effective Expense Management: When planning an event, it is crucial to manage expenses carefully. By saving even a small amount, you create a profit. Every dollar saved contributes to the financial success of the event.
• Understanding Your Audience: It is essential to know your target audience and tailor your event to their specific preferences. He cited the example of the Doek and Slay event, which he considered one of the most successful. The event’s organizers effectively defined their audience by conducting research on women’s interests and crafted activities that resonated with them. “Package your event to suit the tastes of your audience,” he advised.
• Choosing the Right Software: Selecting the appropriate software for an event is critical. The software should be user-friendly, accessible to the target audience, and easy to interpret. Additionally, it should instill confidence in clients, particularly when dealing with services such as ticketing. Opting for credible and reliable software is essential to ensuring smooth operations.
• Importance of Early Planning: Planning is fundamental to successful event management. Early preparation is key, and sticking to a structured plan ensures that all necessary steps are taken. The plan should guide the implementation and hosting of the event. He also emphasized the need for a post-event analysis to evaluate what went well and identify areas for improvement. This process will provide valuable insights for future events.
• Event Branding: When organizing events, it is important to brand them in a way that makes them stand out from the competition. Creating lasting impressions helps elevate the event’s profile and ensures its success.
• The Power of Teamwork: Collaboration is vital in event planning. The effectiveness of the team directly impacts the execution and overall success of the event. A unified approach ensures smoother operations and better results.
• Partnering with Industry Influencers: Engaging with influencers can significantly boost an event’s visibility. He gave the example of approaching individuals like Jeys Marabini, a well-known brand and influencer, who can help attract audiences to your event. Even offering them a brief speaking opportunity or a slot can enhance the appeal and success of the event.
• These insights, he emphasized, are valuable tools for artists and event organizers aiming to enhance their planning, execution, and overall success.

Mr. Vuta presented on the topic “Introduction to Documentation and Research Systems for Arts Organisations.” Below are the key highlights from his presentation:

• For effective financial management, creatives are strongly encouraged to maintain proper documentation. As he stated, “If money is not well managed, it can disappear.” He emphasized the importance of budgeting, noting, “Operating or planning without a budget can lead to overspending or underspending. If you underspend, it may compromise the quality and impact of your event.”
• He also highlighted that maintaining financial records is crucial for establishing a professionally organized brand or organization. Invoices and receipts should be carefully preserved, as they serve as security for both parties. These records can also prove invaluable in situations of dispute, should any party claim they had no dealings with you.
• Furthermore, he stressed the importance of understanding legal documents, particularly contracts. He revealed that many creatives have been engaging in activities that legally require contracts or memoranda of understanding, yet have never signed formal agreements.
• Recognizing that artists’ primary focus is creation, he advised that it is essential for artists to have a dedicated manager who handles the business side of their brand. This includes managing legal documents, public relations, marketing, promotion, brand deals, and exploring other opportunities.
• He also encouraged arts practitioners to become licensed and obtain a registration certificate, as such documents can open doors to valuable opportunities, including funding.
• He emphasized the importance of working with a team in arts management and staying organized through proper documentation. “Whatever dream you have, put it in writing,” he advised, underscoring the need for clear goals and plans. Additionally, he recommended maintaining comprehensive records of operations, including minutes and reports detailing progress, experiences, and challenges faced.
• Marketing, he noted, is a critical component of success. Creatives must have essential marketing documents, such as promotional photos and profiles, to effectively promote their work.
• Finally, he encouraged artists to maintain meticulous records of sales and inventory, ensuring that all documents are kept both physically and digitally. In closing, he urged all creatives to practice good governance in their operations.

Mr. B. Chengahomwe delivered an insightful presentation on Finance, Administration, and Record-Keeping. He also addressed the important topics of “Managing Donor Funds, Project Funds, and Acquittals.”

The following are key takeaways from his presentations:

• Mr. Chengahomwe emphasized several key financial practices for arts organizations:
• Open Bank Accounts: It is strongly encouraged to open a bank account for your organization, institution, or group, rather than using individual accounts.
• Maintain Proper Documentation: As advised by Mr. Vuta, it is essential to maintain thorough documentation. This includes keeping a receipt book and ensuring that all cash received and payments made are properly documented.
• Transparency: Transparency in all financial dealings is crucial for maintaining trust and accountability.
• Treat Art as a Business: Approach your artistic endeavors with a business mindset. Aim for profitability in all your activities.
• Creditor Expectations: When seeking a loan, creditors typically assess your ability to repay based on your financial statements, documentation, and overall integrity.
• Tangible Evidence: “Let us have tangible evidence,” Mr. Chengahomwe emphasized, underscoring the importance of having solid, verifiable records.
• Tax Registration: It is vital for artists and arts organizations to register with ZIMRA to obtain tax clearance. This documentation is essential when applying for grants and significantly increases the likelihood of securing funding.
• Acquittal Process: During the acquittal process, financial statements and receipts are necessary. Be prepared to present these documents to auditors to ensure transparency and qualify for future funding opportunities.
• Follow Your Proposal: It is important to use funds strictly as outlined in your proposal to ensure compliance and proper accountability.
• Maintaining Integrity: Mr. Chengahomwe concluded by highlighting that acquitting funds is not only about financial reporting but also about maintaining integrity. This includes repaying debts, staying financially responsible, and preserving your reputation in the industry.

Mr. Chauke also delivered a presentation on the topic “The CCI Management – Events & Programmes.” He highlighted the distinction between funds and resources, emphasizing that achieving objectives, such as hosting a workshop, requires effective resource mobilization. Relying solely on funds, he explained, could lead to the failure of a project.

• Mr. Chauke emphasized that when you classify your needs as resources, you significantly improve your chances of achieving your goals. He stated, “You need to have a personal connection with individuals who have the potential to support you.”
• He stressed the importance of transforming your attitude, character, and the company you keep in order to effectively mobilize resources for your organization. “If you spend most of your time with people who constantly talk about how bankrupt they are, then forget about having resources for your group,” he remarked. He posed a question to the audience: “How many of you have a dedicated resource mobilizer in your organization?” The response was minimal, prompting him to explain the critical need for a designated person responsible for resource mobilization.
• He further highlighted that as a group or organization, it is essential to project an image or attitude that suggests financial stability. “No one will give money out of sympathy, unless perhaps they are supporting an orphanage,” he explained.
• Mr. Chauke encouraged creatives to start planning strategically to attract funding from government sources, emphasizing the importance of being prepared to be in a strong position to receive financial support.
• He also outlined that some organizations require a formal business plan to access resources. He introduced two key types of business plans: the concept paper and the project proposal.
• In addition, he pointed out that paid subscriptions can serve as another revenue stream for organizations.
• “We need to prepare our organizations to attract money, and I truly hope we can change our attitudes,” he added.
• Mr. Chauke advised creatives to conduct self-introspection before seeking resources. Understanding one’s own value and readiness to receive financial support is critical. “If you don’t even trust yourself, don’t go looking for $5,000 because no one will trust you,” he warned.
• He emphasized the importance of shaping one’s identity, as it directly impacts the ability to attract resources. “If you are a theatre artist, let it be known in your community that your home is that of a theatre artist. When someone comes looking for a theatre artist to fund, the community can confirm that a serious theatre group is based there.”
• “Be known for what you do,” he advised. “Whether you’re a carpenter, a musician, or an artist, make sure your name and your work are recognized.”

The final presentation, focused on branding, was delivered by Mr. Vuta, who discussed the varying qualities of brands—good, better, and bad. He emphasized the importance for artists to cultivate a unique value proposition that gives them a competitive edge, enabling them to stand out in the industry. Mr. Vuta highlighted the significance of utilizing social media platforms effectively, explaining that content related to one’s brand must be shared strategically to attract audiences and create brand opportunities. He also stressed the need for artists to associate their brands with reputable, established brands in order to enhance their own brand’s credibility and reputation.

The artists and arts organizations in attendance expressed their sincere appreciation for the valuable learning opportunity provided. They were encouraged to adopt a professional mindset, preparing themselves to thrive in their respective fields. The workshop was characterized by active participation, with attendees offering thoughtful recommendations and solutions to address the challenges they encounter in an increasingly digital landscape.