By Fezile Mkhatshwa
A 2019 study by UNESCO (Culture & Working Conditions for Artists) has revealed that the arts industry is the largest youth employer globally. This insight aligns with the vision of the Eswatini Copyrights and Neighboring Rights Society (ESWACOS) Executive Director, Mmeli Hlanze, who sees a tremendous opportunity for the arts to bridge Eswatini’s youth unemployment crisis.
Locally, the situation is quite dire for the youth. According to the National Labor Market Skills Project (NLMSP), youth unemployment in the country stands at an alarming 48.2%.
Speaking to this publication, Hlanze emphasized that the arts industry functions just like any other economic sector and requires formal structures to ensure its success. He stressed the need for professional bodies and associations to regulate the industry, alongside government support for students pursuing art-related courses.
He likened this to the structured support available for agriculture through courses that are tailored to the sector’s economic needs.
“All industries are built on professionals who sustain the industry. The creative industry is no different,” Hlanze explained.
“We need lawyers who will specialize in copyright law and entertainment law. We need finance people who will learn and specialize in financing for the creative sector. Just as the country can create financing for agriculture, and for everything else, we now need more people who go and learn about financing the creative sector so that such systems can then flow smoothly for this sector as well.”
One initiative that the association is working on to help the arts industry is the structured collection and distribution of royalties. Hlanze explained that this system is at the core of ensuring that creatives are fairly compensated for the use of their intellectual property.
The royalties’ initiative is designed to professionalize the sector by ensuring that everyone who contributes creatively – be it musicians, producers, or visual artists – receives a fair share of the earnings generated from the commercial use of their work.
Hlanze elaborated on ESWACOS’s role as an intermediary between broadcasters and artists. Licensed TV and radio stations in Eswatini, under the Eswatini Communications Commission (ESCCOM), are mandated to pay copyright fees for locally produced music and artworks. These fees are then distributed to artists, ensuring they are compensated for their work.
“As ESWACOS, we aim to create job opportunities for young people through the creative sector because copyrights support the industry as a whole. When artists receive payment, they, in turn, pay photographers, legal fees, producers, and graphic designers—stimulating employment in the process,” Hlanze stated.
From April 1, ESWACOS intensified its engagement with broadcasters to formalize the collection of copyright fees for the financial year. This initiative includes enhanced monitoring of on-air content using advanced tracking systems that will accurately determine royalty charges.
The Executive Director noted that while this effort has been ongoing, recent findings will inform the legal framework required to streamline the process.
To assess the potential impact of this initiative, ESWACOS conducted a survey concluding in April. The survey aimed to quantify the number of artists involved in the sector and gauge the financial benefits they could receive.
“Initially, we were mapping all musicians in the country. So far, 370 respondents have contributed to our database, providing a starting point. We have since begun training sessions across the kingdom to educate them on copyright essentials,” Hlanze revealed.
One challenge identified through this process is artists’ reluctance to engage with copyright literature, which could hinder the initiative’s effectiveness. Hlanze stressed that for ESWACOS to advocate for artists’ rights, it is crucial that artists first take the matter seriously themselves.