By Chantelle Muzanenhamo
As the National Arts Council of Zimbabwe (NACZ) gears up for the 23rd National Arts Merit Awards (Nama), the selection of this year’s nominees has ignited fresh debate on the transparency and credibility of the awards.
Scheduled to take place in Harare on March 1, 2025, the ceremony is already attracting criticism regarding its nomination process and fairness.
In a recent press conference, NACZ director Napoleon Nyanhi urged disappointed stakeholders to take action if they feel the awards are lacking.
“We are not perfect, nor do we claim to be. We encourage every sector within the arts to establish their own awards, rather than relying solely on Nama,” he stated.
The backlash escalated after the nominees were revealed, with many expressing surprise at notable omissions, including popular artists like Feli Nandi.
While winning a Nama is a highly coveted achievement recognized as the pinnacle of artistic success in Zimbabwe, many believe that the awards could benefit from notable reforms.
Artists stress that the current adjudication system feels outdated, often relying on anonymous “industry monitors” whose roles remain unclear. Some suggest that a more open, sector-driven approach involving public participation in nominee selection would create a more equitable and representative awards event.
Historical grievances against the Nama have surfaced, as artists recall instances of perceived unfairness in past awards.
For example, Zimdancehall artist Killer T withdrew from participation after feeling cheated when he lost out on the Song of the Year award. Similarly, artist Edith WeUtonga has openly criticized the NACZ for what she deemed misrepresentation in the awards process.
Nyanhi acknowledged the complexity of awards and the emotional investments artists have in their work while defending the NACZ’s commitment to objectivity.
“Disagreements over nominees are commonplace in any awards show, We aim to ensure that the adjudication process is as fair as possible,” he added.
While the awards are intended to celebrate and elevate the diverse talents within the creative landscape, the central criticisms reveal deep-seated concerns about transparency, representation, and fairness