Crumbs for Malawi music

Foreign artists have come and gone, millions of kwacha externalised. Yet, little has been done to push Malawian artists to another level, to strike a mark in other countries.

In recent times, the Malawi stage has seen foreign acts in performance. Just to mention a few: Nigeria’s Naeto C, Ice Prince and P Square (the duo that rocked Lilongwe last week); South Africa’s Zahara, Yvonne Chakachaka, Professor, Rabecca Malope, Ladysmith Black Mambazo; Zambia’s Mampi and Orga Family; even Kanda Bongoman, who has lost much of his musical steam, last year made a killing in Malawi.

Each of the foreign acts costs more or a little less than $20 000 (about K8 million). When the foreign acts perform alongside Malawians, the Malawian groups mostly get no more than K500 000.

The gap is too wide.

What is choking Malawi music so much that musicians have to be paid crumbs during such foreign performances?

Paul Okenye, the other P in the P Square duo, wrapped it up last week after their two-hour electric performance at Lilongwe Golf Club. In a nutshell, he believed musicians grow internationally when they are appreciated in their countries. Charity begins at home.

“We are what we are today because of Nigerians. Malawians, you should support your musicians so that one day they can be like P Square,” said the member of Africa’s number one group.

Paul and his twin brother Peter are signed by American music icon Akon’s Konvict Music. He had hope: “I hope to see one day a Malawian musician performing in Nigeria.”

When the Nigerians left the stage, patrons who had to cough up either K10 000, K15 000 or K25 000, began vacating the venue although several Malawian musicians were yet to perform.

Although some people felt Malawi music is mediocre, others on social media sites expressed dismay.

One music follower wondered why Malawians can pay K10 000 when a foreigner performs, but fail to part with K2 000 for a Malawian artist. Another wondered how a Malawian artist costing no more than K400 000 is deemed to be on the higher side when the Nigerians carted home millions.

Maskal was dropped at the eleventh hour and one of the organisers affirmed they dropped Maskal because he was ‘on the higher side’.

Daud Suleman, Nyimbo Music Company director, echoed Paul’s words, saying Malawians are not doing enough to raise their music.

“Rumour has it P Square went away with millions while the Malawian performers were getting no more than K500 000. That way, how can Malawi musicians develop to a level where they can access quality international production? With such paltry amounts, how can we get equipment to meet international standards. The money Malawian acts get is just enough to break even, there is no way we can move forward,” said Suleman, whose company recently signed Fortress, a duo that performed at the P Square ‘Experience It’ concert.

He said unless the corporate world and Malawians do more to promote their local artists, Malawi music will continue playing second fiddle.

“We have to invest more in music if we are to improve our sound and visuals to meet international standards for live performances,” said Suleman.

He said currently, Malawians are willing to pay hefty amounts for foreign shows and peanuts for the country’s acts.

In a Facebook post, Davis Njobvu of Edgar ndi Davis shared Suleman’s view.

“Malawian artists cannot afford a mere Toyota Corolla from their work. They are used as slaves by companies, individuals and even government [officials] when they want to add colour to their events, products or to promote their image. Yet they despise the very artists treating them like beggars,” he said.

Njobvu observed that it is a Malawian notion ‘to kiss the ground foreign stars tread’.

“We despise our own in a typical Malawi style. This way, we will never achieve anything whether in sports, art, politics or anything. Do Malawi’s sons and daughters have no voices to sing with? No hands to play the guitar? No legs to dance with? If your answer is that they have all the above, then I will ask you one more question: Do Malawians have eyes and ears?”

 Musicians Association of Malawi (MAM) president Chimwemwe Mhango said not only are Malawian musicians paid peanuts at the expense of foreign acts, promoters are also not following rules and regulations set up by the association. He cited Article 9 of the MAM constitution as one of the rules promoters trample on.

“It stipulates that any foreign act performing in the country should pay an affiliation fee of $50 per artist. If there are nine artists, then $450 will have to go to MAM. But promoters have not been doing that and I was meeting the [Tourism and] Culture Ministry to discuss how we can start implementing this,” said Mhango.

On the disparities, he said it was unfortunate that Malawian musicians should be getting crumbs where foreign acts cart home huge sums.

“It is a mockery to the country. We will be meeting to discuss how we can follow the Kenyan example. In Kenya, artists put their foot down that if they are sharing the stage with a foreign artist, they would get no less than a certain amount. We want to come up with a ceiling as well,” he observed.

Mhango said in the absence of a record company, Malawi musicians cannot grow beyond the borders. Music labels export much of the music and musicians.

“It is high time people shelved the idea that foreign things are better. The absence of a record label, which can link with other international companies like Sony, we will continue leaving no marks on the international scene,” said Mhango.