Kelvin Kachingwe
15 September 2007
SOMETIME last year, the country was in mourning following the death of one of its illustrious artistes, Mpundu Mutale, who may not need further introduction to most people.
But just in case, he was a receipient of the Presidents Insignia of Honour for the essential role that he played during the freedom struggle. In addition, and perhaps most important for many people, he literally moved the entire nation, and indeed dignitaries, with his emotional performances of his all-time great, Afrika My Afrika, during African Freedom Day and Independence Day commemorations at State House.
And yet, there was the other side to his life. Mpundu Mutale, who died at the age of 71 after losing his battle against Diabetes in the University Teaching Hospital, spent his finals years as a pauper. So desperate was his situation that he was literally begging for assistance, much the same way street kids do. Only in his case, for resources to enable him undergo for specialist treatment in South Africa.
However, to so say he only needed resources for specialist treatment is not to tell the exact truth. Truth of the matter is that he needed more than that. Other than resources to enable him release audio and video tapes of Afrika My Afrika, he also needed money for his upkeep.
His abode in Chibolya, which this writer visited in 2004, was a sorry sight. It did not look much different from a stable at a pony club. His appearance was that of a disheveled old man in furrowed clothes, hair entwined, lips cracking and a ragged shirt.
"I feel my life is falling apart. Misfortunes are happening in quick succession. First it was diabetes, now I'm too broke to support myself and to have my music and film on the market," he said this writer.
The hugely-built Mpundu Mutale, with a graying beard, was living alone in a makeshift home just behind Lusaka's Soweto market. At one point, he was unable to walk because of diabetes which had caused his feet to swell.
The toes on both feet were turning a greenish colour and amputation would have probably been an option had he managed to go to South Africa for specialist treatment.
In Chibolya, he would go for days without a meal. Most of the time, it was his neighbour, a Mrs Liness Banda, who used to help the artiste from time-to-time.
In explaining Mpundu Mutale's predicament, Mrs Banda called on the government and other well-wishers to come to his aid. She said it was shameful for the man who had contributed so much to the struggle for independence both musically and physically to be in such a state.
Shameful indeed, and yet, it should not be.
In fact, this kind of scenario is not unique to Mpundu Mutale.
A number of artistes have ended-up in similar circumstances especially in time of ill-health or death. The option in most cases has been to appeal to the government and corporate sector that the artiste did some job for assistance. The other has been to hold fundraising shows by the artistes themselves in order to raise money to assist the artiste.
Perhaps those are good initiatives. But should that be the case always? A definite no.
It is therefore with that Yezi-Arts Promotions and Productions has been looking at the establishment of a Social Security Scheme for Artists in Zambia. They have been having consultations over a period of time, leading to the development of a concept of a scheme for artistes.
According to senior partner in Yezi-Arts, Abdon Yezi, the process has been long although they finally have something that can be used in negotiating, and operationalising the proposed Scheme.
"We are also pleased to inform you that we have already made contact with some service providers who are enthusiastic and are currently exploring means and ways of positively responding to this" he says.
What prompted Yezi-Arts to start work on this project was, first, the experience which showed that the artists do not have any stratified and/or organized social security system thereby causing a lot of difficulties to the artists, especially in time of sickness or death to not only the artists but the dependants and families of the artists.
"In most cases, where artists have been found in such situations, the experiences have been depressing and largely depended on goodwill mainly from the artists and in exceptional cases, the public," Yezi, speaking on behalf of his institution, says.
And secondly, it true that artists, have families who depend on them for a source of living, and as such, the vulnerability of the artists can not be over emphasized in such circumstances.
Further, in Zambia, at the current moment, most artists earn resources in a sporadic way mainly depending on artistic fees that is if they come through at all. And as a result of this scenario, it is very difficult to say that they have a systematic income to themselves.
Nevertheless, they may access resources and contribute to the scheme as a way of safeguarding themselves to stressing moments as earlier argued.
But in looking at this aspect, Yezi-Arts have primarily focused on the interests of the service provider and also the artists - as beneficiaries.
In both instances, they have tried to think through what would be the potential benefits taking into account the interest from a business side for the service providers (not ruling out those philanthropic benefits that may arise by being the first to implement such a scheme or indeed the close collaboration that may arise from such interaction).
In addition, they have also taken into account that this initiative may be the first in the country, particularly focusing on the artists. The establishment of the scheme may therefore be seen as a solution to a problem that has perennially existed among the artists.
Kabwata member of Parliament, Given Lubinda, a strong voice for the arts in the noble House and an artiste himself, has welcomed the idea of setting up a Social Security Scheme for Artists, which he says is actually in line with Government's policies to widen the net for Social Security Schemes.
From his interactions with the Ministry of Labour and Social Security, he says he has gathered that they have conducted one or two studies on how to include self employed persons in the Social Security Schemes. They have already targeted Taxi and Bus drivers. The idea of a scheme for artistes shall therefore not be out of context.
"The artists require Social Security for a number of reasons including life assurance as you suggested. The idea is long overdue. Just look at how many artists have been buried courtesy of donations from well-wishers.
"Remember how the Musician PK Chishala was buried in a very humiliating coffin because he had not saved for that fateful but unavoidable day. There are many families that have survived deceased artists whose life has deteriorated upon the demise of the breadwinner.
"Artists are among the most vulnerable in as far as communicable diseases are concerned and Zambia has seen quite a number of artists being reduced to 'cabbage' due to ill health and lack of medical care because of their lack of income during their incapacitation," he says.
And in any case, artists need social security for the sake of formalising the vocation. A person who earns an income, irrespective of its regularity or its volume in a society where there is a lack of a system for him or her to contribute to a Social Security programme is marginalised in many aspects. He says with the rate of westernisation, Zambians shall soon be identified by their Social Security Number rather than their National Registration Card. The artists should for this among other reasons not be left behind.
And in addition, he says there are also occupational risks involved in the arts which may not have been documented, but artists who have suffered from long periods of strumming the guitar or playing the drum are many. There are also artists who have lost fingers or eyes etc during the process of carving, welding, or hammering and planning their artifacts etc. What about those who have either suffered permanent injury or death arising from road accidents?
He however says to make the scheme, it ought to be flexible enough to provide immediate relief in the short-term for such incidents like medical care costs, funerals of family members and for accidents and loss of business arising from circumstances beyond the control of the artiste such as power outage that disturbs a performance etc.
Access to financing has always and shall continue for some time to come to dog artists. A well designed security scheme for artists should be one that has a provision for borrowing at reasonable rates. Naturally this kind of flexibility will increase the cost of the scheme. None-the-less, there is currently stiff competition among Service providers that a well-thought through and well documented proposal will see many of the providers running to host the scheme. A way of making the scheme attractive and bankable is opening up to artists of all the art forms and not limiting it to a particular form.
"My thoughts are drifting towards proposing that premiums are arranged in two ways: Individual (including family) contributions at a pre-determined annual amount paid by the member when as they are capable of so doing; Sector contributions (more in the form of a tax) where by the contribution is inculcated in the cost of the product of the artist in the same fashion that VAT is inculcated.
"The NAC or any such body would be taxed the responsibility of collecting and depositing this contribution. Obviously some will argue that this will lead to overpricing the arts. But what is good that is not costly and how else will consumers of the arts pay for the real sustenance of the artists and the arts," Mr Lubinda, who was an actor with Tikwiza, says.
And once this is developed further, the ministries of Community Development, Local Government, Commerce, and Labour should be engaged to negotiate that taxes paid by artists are worked downwards to allow for the increase in the Social Security Scheme.
And economist Chibamba Kanyama, who is also Zambia State Insurance Corporation (ZSIC) corporate affairs director, has welcomed the idea of a social security scheme saying he has personally met a number of artistes and tried to impress upon them that they need a scheme of this nature.
"Artistes are icons of society and society looks to them not only as role models of art but of success too. The problem in Zambia is that artistes earn very little incomes in relative terms. Most of them are on hands-to-mouth arrangements, performing works of art on adhoc basis.
"I believe that art is a full profession because it has ethics of performance and conduct. As such, artistes should fully be compensated like any other profession like law or medicine. Not many artistes believe that they can have successful and rewarding careers. If anything, art is the only career which accrues royalties for generations," he says.
He however bemoans the fact that Zambian artistes lose their meager fortune from the moment they are indisposed or die. And because of that, he says the insurance cover for artistes should compensate them for any loss of any part of their body such that it affects their incomes. This should include voices, fingers (for guitarist), arms (for dramatists) etc.
In addition, there must be an insurance package covering medical during the time they are indisposed; a funeral expenses package to manage the funeral costs when an artiste of a member of the family dies. This particular package has just been launched by ZSIC and is very affordable, according to Kanyama.
"The monthly premiums which should cover the artistes and family members is hardly over K25, 000 per month) something less than what we spend on talk time," he states.
Further to that, he calls for a personal pension scheme which should take care of the artiste at retirement or family at death. However, to achieve this, artistes ought to organise themselves into a formal institution, which he says is possible and should be done as soon as possible.
That ably argued, one can only hope that artistes will be able to rise to the challenge.
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