National Music Policy: Glossy and far-fetched or tangible ideas?

The Kenyan music industry has existed in name only. It has essentially been a group of passionate players winging it. There has, however, been a clamour for structures to govern and grow the sector.

Last year, the government formulated the National Music Policy 2015, but the process of interpreting and implementing the policy has been bogged down by politics, misinformation and vested interests. Many players still don’t know or fully understand the contents of the policy, much less the Bills that need to be passed to actualise it. The facts are usually lost in personal opinions, arguments and counter arguments. It remains to be seen if the promises of the policy will be realised, or if they will remain solely on paper.

Music entrepreneur Buddah Blaze has been there and done it. “It’s about time the government intervened; Kenyan musicians have suffered for far too long. Young artistes need to be able to look up to successful legends that they can emulate. But when legendary artistes are dying in poverty, how do we expect the next generation to take up music?” he asks.

Blaze is the editor of one of Kenya’s first entertainment magazines, PHAT, and is currently the talent manager for Coke Studio.

“The structures proposed will help stabilise the industry and hopefully help us catch up with Nigeria and South Africa. Although government intervention comes with its own challenges, it’s a welcome move,” he says.

For starters, the policy provides a legal framework for the government to play an active role in music, as opposed to being a third wheel. This means there will be government institutions and employees whose 9-5 job will be the development of Kenyan music. These institutions will include the National Music Board, National Music Tribunal, Music Industry Development Fund, and the National Institute of Music, all co-ordinated by The National Music Council.

The immediate effect of this will be creation of jobs for experienced music professionals and an opportunity for the government to tap into their knowledge base to grow the sector. Each of these parastatals will cater to a wide range of industry needs that include music education, music funding, settlement of disputes, creating demand for Kenyan music, documenting Kenyan music, research to develop the sector and enforcing existing intellectual property laws.

Implementing any policy ideally takes years. So are artistes and shareholders being promised too much? Will all these promises be delivered?

Producer and artiste Robert Kamanzi, popularly known as RKay, says implementation of the policy will be the biggest challenge.

KENYAN HALL OF FAME

“It’s a good one,” he says of the policy. “It’s working in other countries so there’s a chance it will work for us. The only issue is that not everybody appreciates and consumes Kenyan content. Majority of the people want to, but media houses are not broadcasting enough local content.”

If Kamanzi got his wish granted, first to be implemented would be a rule that users of music obtain licences to correctly remunerate musicians.

“Paying for musical works would be ideal to end the “Pay for Play” nuisance; artistes could even educate themselves with the money they get. I would wish that broadcasters also adhere to the 60 per cent local content rule,” he says.

The policy promises to enforce the rule on the 60 per cent local content requirement. The main argument against this has always been the perceived lack of quality local content to fill the allocated airspace. But if other provisions of the policy are properly implemented, Kenyans might soon be spoilt for choice.

It is no secret that the country lacks an authentic musical identity. Copying and pasting of foreign sounds has been truly mastered. In contrast, Nigeria, Congo and South Africa have ruled global stages for decades by incorporating their traditional rhythms with modern tunes. The policy does well to recognise this and proposes the development of a national inventory of folk music.

The document commits the government to fund and facilitate research, study and performance of traditional music. Such programmes have been very successful in South Africa, for instance, where traditional music is big, even in pop culture. 

On piracy, the policy strives to consolidate government efforts to combat the menace. It commits the government to elevate copyright protection to international standards by applying globally accepted best practices. The government is expected to take steps to ensure artistes benefit from the rights and protections provided in international and national legislation.

Much has been said about Kenya’s music standards, with deejays, producers, entertainment journalists and regular fans complaining about the quality. If well implemented, the document could see the establishment of quality standards to govern the sector.

Award shows and reward schemes for the music industry have also been on a downward spiral after Chaguo la Teeniz and KISIMA fell by the wayside. Groove Awards have remained the only credible platform, and the effect on gospel music has been evident. Should this framework become a reality, more award shows would be put in place and a “Hall of Fame” set up to recognise top industry players.

The Music Trust Fund, the Music Development Fund and the Music Industry Development Fund will be in great focus as this Bill is made into law. These facilities are meant to fund projects for both up-and-coming and existing artistes. This is expected to not only boost artistes but music professionals who otherwise abandon the industry in search of other lucrative areas.

The government will also ensure the establishment of a digital copyright licensing system that, if well managed, could turn Kenyan artistes into millionaires.   

On paper the policy sounds glitzy. It could greatly assist aspiring artistes — unlike pioneers such as Nameless who had to survive without proper structures.

“The proposals are good, but there are too many ideas complicating the actualisation process. We have to come to the table devoid of personal interests and work together for the benefit of the industry,” says Nameless.

The veteran musician is concerned that some artistes have not fully understood the Policy.

“There’s too much mistrust, misinformation and propaganda clouding the debate. Although public participation is a critical element of law making, it has been difficult to get all the players to be on the same page. People need to understand that it’s still a policy being moved into a Bill. Let’s not fight what we don’t understand. If we get good leadership and manage this process well, I believe we will get good results,” he adds.

Certainly, much more than ink and paper will be needed to solve the many problems facing the industry... but this is definitely a step in the right direction.