Namibian creators struggle to make money online

In a rapidly evolving digital landscape, Namibian online creators and digital entrepreneurs are facing significant challenges in monetising their content online.

Information and communication technology minister Emma Theofelus says there are no regulations that prohibit or restrict Namibians from receiving online payments through international payment providers.

“Limitations are often imposed by big technological companies themselves, either due to a lack of business case in Namibia or a perceived lack of interest from Namibian entrepreneurs,” she says.

YouTube, a leading online platform for content creators, notably excludes Namibia from its list of countries where views are monetised.

Theofelus says there is a need for Namibian entrepreneurs to explore opportunities in this market and develop strategies to facilitate monetisation.

“Licenced commercial banks in Namibia are authorised to engage in foreign transactions. The cards they issue also enable them to receive foreign payments. It is, therefore, up to banks or domestic merchants to approach entities like YouTube to monetise their views and receive payments directly into their domestic bank accounts,” she says.

Acknowledging the importance of digital entrepreneurship, Theofelus says the ministry has established a task force to analyse the information and communications technology ecosystem and recommend steps to ensure Namibians benefit from the digital economy.

Theofelus says the ministry had the opportunity to travel to countries where Google, Meta, IBM, Microsoft, YouTube and others have offices, to engage with their policy departments to look into these matters.

“However, the issue related to our population size is always a recurring matter. Efforts are underway to collaborate with financial institutions and international online marketplaces to integrate Namibian products and services into the global e-commerce ecosystem,” she says.

According to the minister, measures to support creatives, including investments in communication infrastructure, strategies to reduce data costs, and funding for initiatives such as the Namibia Film Development Fund, have been put in place.

Theofelus says the ministry has allocated N$6 million to the Namibia Film Commission (NFC) secretariat for the Namibia Film Development Fund.

“This fund is for the promotion of Namibia as a preferred film destination internationally, while developing the local film industry. This will increase opportunities for creatives in the space.”

Theofelus says it is important to note that the creative space is handled by entities like the Ministry of Education, Arts and Culture, through the National Arts Council of Namibia, among others.

VOICE FROM THE CREATIVES

Multitalented singer, songwriter and creative Lize Ehlers shares her struggles with monetising her online presence as a creative professional, despite being in the field for over 15 years.

“Monetisation has been extremely difficult. I was one of the very first people to put my music on Apple Music, back then it was called iTunes, Spotify, etc. And that really took a lot of research, a lot of workshop attendance and understanding what needed to happen already in 2008,” she says.

Ehlers further says she did not monetise her social media because one has to select South Africa as your country, but she tries to monetise in other ways.

“I did not want to do that. I would like to click Namibia and that was not the case for me. The way I monetise is literally by uploading performances if people want to book me, even for online performances, I charge them and they then pay to my account and I then log on at a specific time and perform when people need me to be present, even if it’s online.”

Ehlers emphasises the importance of artists continuing to produce quality work, while also highlighting the potential for monetisation, even without navigating complex regulatory hurdles.

“By focusing on creating excellent content that resonates with audiences, artists can capitalise on their talent and connect with their audience in a meaningful way, potentially leading to financial opportunities,” she says.

Ehlers suggests organising workshops with individuals experienced in monetisation to offer guidance on improving monetisation strategies.

YouTube influencer and creator Sharon Tjimbundu, who has over 124 000 followers on two of her combined social media accounts and receives thousands of views, says monetising content on social media platforms is challenging due to limitations, like the absence of pay-per-view or ad sense options.

“This impacts earning potential for Namibian creatives, including myself. Not being able to monetise your hard work can be discouraging, a lot of creatives give up on their dreams as YouTubers because they want to be like other successful African creators. So much talent goes to waste. I am afraid that if this continues, our young creatives will never see growth within the industry in Namibia and it will be a career path that’s frowned upon by generations to come.”

Tjimbundu says she is exploring alternative avenues, like sponsored content, merchandise sales and crowdfunding.

“However, not everyone gets the opportunity or access to brand campaigns or ambassadorship deals. To address this, implementing localised monetisation features or partnerships with local businesses could enhance opportunities for Namibian creatives on social media platforms,” she says.

UnWrap sent questions to the Bank of Namibia to shed light on accessing international payments through online monetisation platforms but did not get feedback at the time of publication. – unWrap.online