The National Theatre of Namibia (NTN) recently came under heavy attack from disgruntled local musicians complaining that exorbitant venue hire charges are making it almost impossible for musicians to perform at the state theatre in Windhoek.
As a result, only sponsored acts and foreign entertainers can afford to use the venue, threatening to turn it into a white elephant in the long run.
The NTN, with the vision that reads “to nurture, develop, present and preserve quality performing arts for the enjoyment of all Namibians”, first came into the spotlight on this issue after gospel star Patricia Ochurus was unable to pay to stage her play at the venue in April.
Although she managed to pay the asking price for the scheduled act with the help of friends, the gifted singer was not pleased with the treatment she received from NTN staff.
“To start with, the people working in that office have never been artists and they don’t have the empathy for performers. I can’t really understand why an institution which is apparently in partnership with you makes you pay the full amount and not meet you halfway,” she says,
“Everyone at the NTN, apart from Nelago Shilongoh, whom I didn’t deal with directly, were hell-bent on frustrating me to the point that I almost gave up. However, I am a strong woman and my dream to pull off my show no matter what, was a great motivating factor.”
Ochurus couldn’t understand that while the person usually hired by the NTN to do the sound was willing to offer his services for free, NTN staff still insisted she should pay, even though they knew she didn’t have a sponsor.
“All that my so-called partners helped me with was to allow me to have the rehearsals for free. My time was constantly shifted because they needed the money the other people paid to use the dance rehearsal room. I would have expected the NTN to at least take care of the production part and only allow me to pay for the venue and the overtime of the staff.”
Ochurus, who was the lone organiser and coordinator of the play, points out that the most frustrating part during her show a fortnight ago was that different people would constantly ask her the same thing as if there was no coordination among staff.
“The most shocking part is that my last two performances were stopped because we didn’t start on time. The production manager threatened to switch off the lights and cut the microphones if I dared her. It could have been different if she had an artistic background,” Ochurus says.
Ochurus is not the only artist with gripes against the NTN. Award-winning reggae star Ras Sheehama also complained during a recent interview with The Weekender that the NTN was out of bounds for live music performers, unless they had a sponsor.
“The venue is just too expensive and with the Warehouse Theatre now closed, there is no place live performers in Windhoek can call home anymore. I understand it is the mandate of the NTN to promote live performances, but right now, it is the other way around,” Sheehama said.
“It is really ridiculous that a big city like Windhoek doesn’t have a top-class venue where we can stage our shows with a world-class sound system and lighting. The money they charge is just too much. Live performers in Namibia are appreciated more outside the country.”
He agreed with Ochurus that those in charge of looking after the interests of artists in Namibia do not have the best interests of artists at heart.
“Starting right on top at the Directorate of Arts, right down to the people at the NTN, they simply refuse to listen to our plight. That’s because they don’t understand the plight of the artists because they don’t know what it takes to be a performer,” Sheehama said
“We have developed a culture of attending music festivals outside our country. The arts councils in other countries stage world-class festivals and the Namibian artists just wait and pray that we get invited. What a disgraceful position we find ourselves in.”
Sheehama said the country has a drastic shortage of innovative leadership in the arts sector and performing arts will soon die out if nothing is done to save the situation.
“It’s about time that people working on boards must realise that their mandate is to serve the artists. Our country has been independent for over 30 years, but it just seems that we are still learning to get our act together as a free country.
“My humble advice to our government is to build a cultural village where artists can go do rehearsals and the place can also be hired out at a reasonable and affordable fee. With the NTN out of our reach, we are now resting our last hopes on our own government.”
He said if artists are paid well during the few festivals staged by the City of Windhoek and corporate Namibia, it will enable the artists to work harder and produce quality music that will be on par with that of other top musicians on the continent.
“We must take ownership of this country and build the music industry,” he said.
Erna Chimu, another award-winning singer, too believes the NTN should make the venue more affordable since it is subsidised by the government.
“That place is so unaffordable for artists because you have to pay an after-hours fee, which is costing one an arm and a leg. It will remain a white elephant unless sponsors get on board. The artists are already struggling to make ends meet,” Chimu said.
“Why should we pay after hours if all the shows only happen at night? Why can’t the NTN staff stay at home and only work after hours? To pay for sound equipment, technicians, lighting, posters and the live band is not child’s play. How much will you make from the door?”
Chimu questioned why it is even called a national theatre if it only benefits its own staff.
Shilongoh, who initially asked The Weekender to send her questions in writing, later excused herself from answering any questions without input from the NTN board.
“The feedback requires comprehensive answers, as some of the issues presented are on board level,” she stated.
Shilongoh added that a public discussion on the matter was necessary, and indicated the NTN should be able to express itself on the issue in January.
