The Rise of Zimbabwe’s Creative Economy – Opportunities and Challenges

Art Buzz – Zimbabwe’s creative economy — encompassing music, film, fashion, design, literature, crafts, visual arts, and digital content — is emerging as a vital engine for national growth.

Once considered a peripheral sector, the creative industries are now at the forefront of cultural expression, innovation, and economic empowerment.

As the country seeks new pathways toward sustainable development, the creative economy is proving to be more than an artistic pursuit — it is a viable contributor to GDP, job creation, and social transformation.

Globally, the creative economy is valued at over US$2 trillion, accounting for nearly 10% of GDP in some countries.

Africa’s share, though still growing, is rapidly expanding as governments, investors, and international organizations recognize the transformative power of culture-based industries.

Zimbabwe, blessed with immense talent and rich cultural heritage, is strategically positioned to capitalize on this boom.

According to the National Arts Council of Zimbabwe (NACZ), the creative sector contributes significantly to employment, particularly among youth and women. In a nation where over 60% of the population is under 35, the creative economy presents an inclusive platform for innovation, entrepreneurship, and self-employment.

From the digital music revolution to fashion labels that blend tradition and modernity, Zimbabwean creatives are carving out space in both local and international markets.

Technology has been a game-changer for Zimbabwe’s creative economy.

Platforms such as YouTube, TikTok, Facebook, and Spotify have opened global stages for local artists, allowing them to bypass traditional gatekeepers.

Musicians like Jah Prayzah, Freeman, and Gemma Griffiths, as well as filmmakers such as Joe Njagu and Sunungurai Dombo, have leveraged digital tools to reach audiences beyond borders.

In fashion, local designers are showcasing their collections to global markets through Instagram, while visual artists are turning to NFTs (non-fungible tokens) and online galleries to monetize their work.

The rise of content creators and digital storytellers has given Zimbabwean narratives a modern voice — rooted in heritage, yet dynamic in style.

However, digital transformation has also revealed gaps.

Limited access to affordable internet, inadequate infrastructure, and lack of digital literacy hinder many talented creatives from fully participating in this global marketplace.

Without strategic investment in connectivity and skills training, the digital divide risks marginalizing rural and low-income artists.

Zimbabwe’s creative industries draw deeply from its cultural wealth — the stone sculpting traditions of Tengenenge, the musical rhythms of mbira, and the oral storytelling practices that continue to inspire contemporary literature.

This cultural reservoir is a unique selling point that distinguishes Zimbabwean creativity in the global arena.

Tourism and cultural industries are closely linked. Initiatives like the National Gallery’s exhibitions, the Zimbabwe International Film Festival, and the Harare International Festival of the Arts (HIFA) not only promote local talent but also attract visitors and investors.

The potential for cultural tourism — from heritage sites like Great Zimbabwe to craft markets in Binga and Victoria Falls — remains largely untapped.

By branding Zimbabwe as a hub of creativity and heritage, the country can harness culture as soft power — a means of enhancing national identity, international visibility, and economic resilience.

Government recognition of the creative sector has grown in recent years. The Ministry of Sports, Arts, Recreation and Culture has prioritized creative industries in national development strategies, aligning with Vision 2030 goals as espoused by the President His Excellency Dr. ED. Mnangagwa and the African Union’s Agenda 2063.

Policies such as the National Culture and Creative Industries Strategy (NCCIS) seek to formalize, fund, and promote the sector through capacity-building, partnerships, and market access initiatives.

The Creative Economy Working Group, involving stakeholders from government, academia, and industry, is also exploring frameworks to enhance investment and protect intellectual property rights.

Yet, policy implementation remains inconsistent. Many creatives still operate informally, facing challenges such as lack of funding, weak copyright enforcement, and limited access to finance. The absence of robust data on the sector’s economic contribution further complicates planning and advocacy.

There is an urgent need for a coordinated national framework that recognizes creatives as entrepreneurs — not hobbyists — and provides structured support from production to distribution.

One of the biggest hurdles in Zimbabwe’s creative economy is access to finance.

Traditional banks often view creative ventures as high-risk due to intangible assets and irregular cash flows.

As a result, many artists rely on personal savings or informal funding, which limits growth and scalability.

To unlock potential, Zimbabwe could emulate models such as creative industry funds, venture capital for cultural enterprises, and tax incentives for investors.

Public-private partnerships (PPPs) can help bridge gaps in infrastructure — such as studios, art centers, and digital labs — while international collaborations can bring in both expertise and exposure.

The rise of creative hubs and incubators — such as Moto Republik and the Music Crossroads Academy — shows how targeted investment can nurture talent, foster collaboration, and create sustainable ecosystems.

Despite the challenges, opportunities abound. The global appetite for African content is surging, from Netflix commissioning local films to fashion houses drawing inspiration from African textiles.

Zimbabwean creatives can tap into this wave by leveraging authenticity, storytelling, and craftsmanship.

Exporting creative products — be it music, crafts, or digital media — can generate foreign currency and diversify the economy.

Education and training institutions, including universities and technical colleges, have a crucial role to play in equipping young creatives with business, marketing, and technological skills.

Furthermore, collaborations across the Southern African Development Community (SADC) region can strengthen networks, increase visibility, and open markets.

For Zimbabwe to realize the full potential of its creative economy, a multi-sectoral approach is essential.

Government must create enabling policies; financial institutions must develop innovative funding models; and the private sector must view creativity as a profitable investment.

At the same time, artists must embrace professionalism, continuous learning, and digital literacy.

Associations, unions, and collectives can amplify their voice, advocate for fair remuneration, and safeguard rights.

Ultimately, the rise of Zimbabwe’s creative economy is not just about economics — it is about identity, innovation, and inclusion.

It is about transforming talent into trade, culture into capital, and creativity into a cornerstone of national development.

If nurtured with vision and investment, Zimbabwe’s creative economy can become a powerhouse — telling our stories, shaping our future, and inspiring the world.