By Farayi Mungoshi

ACTORS, filmmakers, musicians, poets and writers, among many other artistes, once again made their way to the 7 Arts Theatre in Avondale, Harare, for the 16th edition of the National Arts Merits Awards (NAMA).
Despite the large turnout, I could not help but notice that the crowd, in comparison to the one that turned out for the 15th edition of the NAMA last year, was somewhat smaller and seemed better behaved.
There were not as many rowdy and drunken shouts from the audience as in previous years — even the bar was not as busy.
But the atmosphere was still charged and the stage décor was remarkable.
This edition of the NAMA was certainly an improvement, even those watching from home confirmed the 2017 NAMA presentation and projection was much better than the previous ones.
As for me, for the first time I was to attend the NAMA not as somebody’s representative like I did in 2014 when I received my father’s award on his behalf in Bulawayo for his book Branching Streams Flow in the Dark.
I was attending in my own capacity as an author, a feat I never really thought about during the time I was writing Behind the Wall Everywhere.
Even though I have always claimed to be a writer whenever people asked about my career, it was only until the night of February 18 2017 that it finally dawned on me that indeed, I was a writer and, whether I was to win the Literary Award for First Published Creative Work or not, it really did not matter anymore.
I had gained the recognition I needed for Zimbabwe to know what I am capable of.
I felt like I was a winner already by just receiving the nomination.
And unlike any other category, the Literary Award for First Published Creative Work had prize money, not just for the winner, but for all nominees.
That category was sponsored by Dorcas Gwata.
Gwata is a Zimbabwean now based in the UK.
Driven by love for her country and people, and her passion for literature, she reached out to the National Arts Council Zimbabwe (NACZ) to see if she could be of assistance, to help make the NAMA the best they could be.
After a gulp of my favourite red wine to calm my nerves, I took my escort’s hand and walked into the auditorium a bit late.
We were ushered to our seats and sat in silence applauding where need be as people scooped their gongs.
Among the winners that night were Jesesi Mungoshi, Jah Prayzah, Winky D, Mirazvo Productions for their television series Muzita raBaba being aired on ZBC featuring Jesesi Mungoshi, Ammara Brown and Nick Zemura, to name a few.
I was awarded the Literary Award for First Published Creative Work, which I received with shaky hands and sweaty palms.
Being the first born child to multi-award winning parents, I am sure one can understand the kind of pressure I was under.
However, my nervousness soon turned to joy, and I could breathe again.
Not long after I had found my breadth again and given my speech, my joy turned to anger.
There was no prize money for winning the ‘prestigious’ NAMA accolade.
Apart from the gong and certificate, the NACZ could only manage a hamper of detergents from the Spotless outlet for the winners.
Usually NACZ gives prize money of US$500 to award winners but this time there was nothing.
Of course I was devastated when I found out there was no prize money.
The first thoughts that came to mind were questions, better off directed at the organisers of the NAMA.
I wanted to know why the council would insist on continuing to host an event they were clearly struggling with because of finances.
I also thought of the artiste who is struggling to make ends meet day-in-day-out and still finds himself having to borrow a plate of upfu (mealie meal) from next door to feed his family.
Even if he wanted to attend the awards, chances were he couldn’t because of bus fare.
It is therefore a disturbing thought when the NAMA financial woes echo the hard lives of the very artistes they are trying to honour and promote.
In last week’s article, I mentioned there were fewer submissions by artistes this year in comparison to last year.
The reason given by communications and marketing officer for NACZ, Cathrine Mtombeni, was that it was because of low productivity in 2016 due to economic constraints.
I believe the same can be said about the NAMA.
While it was indeed a first class event, at the end of the day one still had to dig deep into his/her own pockets for fuel money to get home despite winning a national award.
And because the NAMA are a national event, there is still need for people to work hand-in-hand to see it meets all its financial targets.
I might have been devastated by the fact there was no prize money but as I reflected again on everything, I realised the responsibility does not fall on NACZ alone.
Gwata is a good example, as she came in her own personal capacity to uplift the arts.
Very few people recognise the arts as a profession that one can make a living from, and as such do not fully appreciate the sacrifice by today’s storytellers. What then do people say when they see families like my family?
Are we lost because we are artistes?
Long after most of us are dead and buried, the stories we tell today shall remain and it is our responsibility as Zimbabweans to treasure our own story and to preserve it.
More needs to be done for the welfare of artistes in Zimbabwe.