National Arts Council of Zimbabwe suspends ZIMURA’s $150 cover band tariff

The directive follows widespread backlash from musicians, venue owners, and copyright holders, as well as growing tensions between NACZ and ZIMURA over copyright regulation and the protection of intellectual property rights.

The dispute erupted after a letter from ZIMURA, dated 25 February 2025, surfaced on social media. The letter instructed a local restaurant to ensure that all bands performing at the venue obtained a ZIMURA licence costing $150 per event. The new policy represented a dramatic shift from the previous $50 annual fee, causing alarm among venue owners and leading to a wave of cancelled bookings for musicians.

In response to complaints from stakeholders, NACZ convened a meeting on 21 March 2025 with ZIMURA representatives, copyright holders, and users of copyrighted material. Concerns raised during the meeting, NACZ said, included the sudden switch from an annual to a per-event tariff, the perceived punitive nature of the fee, and the deviation from international best practices, where licensing fees are typically charged to venues rather than performers.

NACZ suspends tariff and calls for ZIMURA registration

Following a second meeting with copyright holders on 27 March 2025, NACZ reaffirmed its position that while copyright owners deserved due remuneration, the method of implementing the tariff required further discussion.

In a move to restore order, NACZ issued two key directives: “All enforcement of the $150 tariff must be suspended with immediate effect until the registration process, dialogue, and further negotiations are concluded. ZIMURA must regularise its registration with NACZ as an arts association in accordance with the National Arts Council of Zimbabwe Act [Chapter 25:07] and Statutory Instrument 87 of 2006.”

NACZ director Napoleon Nyanhi urged all parties to exercise patience and engage in constructive discussions. “We are committed to ensuring that the intellectual property of our musicians is respected and fairly compensated while also promoting grassroots artistic development,” he said. “We appeal for restraint, civility, and patience on social media and in all spaces of engagement as we work towards a sustainable resolution.”

ZIMURA rejects registration requirement

In response, ZIMURA issued a strongly worded statement rejecting NACZ’s directive, arguing that it was not legally required to register with the council. The collective management organisation asserted that it operates within the provisions of Zimbabwean law and is already registered under the Companies and Other Business Entities Act [Chapter 24:31] and the Copyright and Neighbouring Rights Act [Chapter 26:05].

“ZIMURA is a non-profit organisation and a recognised Collecting Society. We have operated for 43 years without the need for NACZ registration because there is no legal basis for such a requirement,” reads a statement.

ZIMURA further clarified that while its name includes the term “Association,” this does not legally classify it as an “Arts Association” under Zimbabwean law. It argued that no existing regulation mandates it to be registered under two separate Acts of Parliament and that it falls under the jurisdiction of the Ministry of Justice, Legal and Parliamentary Affairs.

“We humbly submit that NACZ has seriously misrepresented what the law requires of ZIMURA,” the statement further reads.

Meanwhile, the Zimbabwe Musicians Union (ZIMU) welcomed NACZ’s directive. “By suspending this punitive fee and fostering dialogue among stakeholders, NACZ has demonstrated its unwavering commitment to safeguarding artists' rights and nurturing a fair, sustainable creative ecosystem. This directive has provided much-needed relief to musicians, venue owners, and other industry players who were burdened by ZIMURA’s unilateral policies.”

What’s happens next?

With NACZ pushing for broader consultation and ZIMURA resisting regulatory changes, the dispute remains unresolved. For now, the suspension of the $150 tariff offers temporary relief to musicians and venue owners. However, the broader debate over copyright enforcement and fair compensation for Zimbabwean artists is far from over.