Creatives embrace NDP6, demand action

Artists and industry players have cautiously welcomed the sixth National Development Plan (NDP6).

However, they say it will only deliver meaningful change for Namibia’s creative sector if backed by targeted investment, broader vision and genuine consultation.

Launched last month by president Netumbo Nandi-Ndaitwah, NDP6 aims to increase the creative industry’s contribution to the gross domestic product from zero in 2024 to 2.8% by 2030, grow exports to 1.5% and raise sector employment from 0.2% to 2%.

It proposes strengthening infrastructure, training and funding, as well as improving production, distribution and consumption of creative goods and services.

However, many artists say the plan underestimates the realities on the ground.

Decaying community halls and neglected performance venues have forced creatives into costly commercial spaces, while access to equipment, safe performance spaces and consistent funding remains limited – especially for youth and rural talent.

Lize Ehlers, co-chief executive of Drag Night Namibia and Song Night Namibia, says she supports the plan’s priorities but fears implementation may fall short.

“Decades of talented creatives struggling without sustainable income, professional training or market access prove how urgent the gaps are,” she says. “If implemented with urgency and accountability, NDP6 can finally bridge them. But right now, access to infrastructure and funding is still a privilege.”

Ehlers calls for policy-driven systems to distribute and monetise Namibian art regionally and internationally. She suggests private sector incentives, export-ready programmes and a national digital marketplace for creative products.

“The target of 2% employment by 2030 is realistic, but only if artists are at the decision-making table, there’s data transparency and audits ensure resources reach youth, women and rural creatives,” she says.

Award-winning musician Big Ben has raised concerns about what he describes as a “narrow” intellectual property (IP) focus in NDP6, warning that it risks sidelining large segments of the industry.

“This heavy reliance on IP-centric revenue overlooks direct sales of physical art, commissioned work, live performances and services like sound engineering or costume design,” he says.

“Such a limited definition risks creating a monoculture of revenue generation.”

He argues that policy support will inevitably flow to areas neatly fitting the IP model, ignoring service providers, event specialists and manufacturers already employing Namibians.

“Ticket sales for a live performance pay performers, technicians and venue staff immediately.

This is a different, equally vital revenue stream,” Big Ben says. “Without recognising these contributions, the industry will be less resilient.”

He urges the government to consult active industry players, conduct detailed research and quantify the sector’s economic footprint.

“You cannot grow an industry you do not understand or measure. Without targeted data on sub-sectors, jobs and revenue, interventions will be guesswork.

That leads to political gimmicks, not real empowerment,” he says.

NDP6 also highlights low awareness of intellectual property rights and the absence of an integrated industry data system as ongoing challenges.

It promises initiatives to improve youth and women’s participation, build skills and expand arts appreciation nationwide.

For many in the sector, the policy’s ambitions are welcome – but action will be the true test.

As Ehlers put it: “A successful policy is one where art becomes a legitimate economic driver, supported by infrastructure, education, funding and access – so creatives thrive, not just survive.”

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