When Frederick ‘Lieutenant’ Shitana walked into the Namibian parliament in March, it was more than just another swearing-in event.
It was a proud moment for a man who once sold CDs on the streets and faced pirates stealing his work and that of other musicians.
Shitana’s journey has been far from easy. From working night shifts as a security guard to recording music in his spare time, he has seen the tough side of the industry. But his passion never faded.
“I’m not here to wear suits and clap hands,” Shitana said in a recent YouTube interview with Tutwala Content Creations.
“I came to parliament with a mandate to advocate for content creators and musicians. We’ve suffered enough.”
Known by many for his music, Shitana is now also known as a voice for artists in the National Assembly. His rise from the streets to the parliament shows just how far determination can take you.
“I quit my job when I understood music could actually pay,” he says.
“But that did not make the journey easier. If anything, that is when the real struggle began – piracy, disrespect, and the sheer lack of industry support.”
ACTIVIST AT HEART
Shitana’s enthusiasm to protect intellectual property when it comes to his music has landed him in trouble and courtroom victories.
In 2017, he made the headlines when he was arrested for impersonating a police officer.
The controversial stunt involved hiring someone to pose as law enforcement and issue fines to shops selling pirated copies of his CDs.
While the step raised eyebrows, it also shone a harsh light on the weaknesses in Namibia’s anti-piracy enforcement mechanisms.
In 2019, Shitana scored a milestone when an emloyee at a Windhoek printing shop was convicted of pirating and selling his music.
The case was one of the successful prosecutions under the Copyright and Neighbouring Rights Protection Act of 1994.
The following year, he joined the police at Walvis Bay for raids that led to arrests and seizures of pirated CDs and memory cards.
FROM STAGE TO PARLIAMENT
Shitana was nominated to the Affirmative Repositioning (AR) parliamentary list in 2024.
His nomination came as a surprise to many, although the people who knew his struggles saw it as no surprise.
“This has been my calling all along,” Shitana says.
“Now that I’m in parliament, I’ll push for policies that see musicians and all creatives benefit from the fruit of their work. We need policies that speak to the realities of today, streaming, digital rights and compensation that’s fair.”
Shitana says his first order of business will be to enable Namibian artists to monetise their music on global platforms like YouTube and Spotify.
“Technology has transformed the game, but we’re still working in the analog world. It’s time to update our systems.”
‘ENOUGH IS ENOUGH’
Shitana is not singing solo in his struggle. Across Namibia, artists are singing the same song.
Music activist and artist ProofNana say Namibian artists deserve respect, good treatment and sincere support.
“We’re suffering, not because we’re not talented, but because the system is broken.”
ProofNana specifically points to exploitative practices by event organisers.
“Imagine paying N$300 to N$500 just for a chance to perform. No guarantee. It’s insulting. Often, the line-up is already fixed. It’s a scam.”
He adds: “We’re not asking for charity. We’re asking for fairness. In Nigeria and Ghana, artists are paid properly and treated as professionals. Why not here?”
To ProofNana, music isn’t just a form of entertainment, but a public service.
“We heal, we educate, we unite people. But how are we to survive when we are not even paid?”
His remedy is definite: “If Nascam can’t protect us, then the government must. And if not, then we need a new institution that will.”
Afropop and soukous kwasa musician Msunday says: “When I release a song, I am creating jobs.
“Right from producers and sound engineers to photographers, make-up artists, designers and dancers – it is a full value chain.”
He estimates one can employ over a dozen creative professionals.
“Even for productions, I employ videographers and photographers. This is an ecosystem.”
Msunday nevertheless has fears for the future.
“Back in the day, we sold CDs and made money. Now one person buys a CD, copies it to his phone, and it goes around the entire nation on WhatsApp within minutes. Nobody makes anything.”
He stresses the need for new legislation suited for the digital age.
“We need to monetise streaming. YouTube needs to activate Namibian monetisation. If not, this business will collapse.”
The same sentiments are echoed by artist John K.
“We put so much into production, such as studio time, visuals and promotion, but there is no reciprocity. These streaming platforms are not paying Namibians.
“We need legislation that forces platforms to compensate local artists. It’s that simple.”
NEW HOPE FOR ARTISTS
Namibian Society of Composers and Authors of Music (Nascam) chief executive Albert Nicanor acknowledges the challenges faced by local musicians, especially upcoming ones, and promises that change is coming.
“At Nascam we’re committed to protecting artists’ rights,” he says.
“We collect royalties, issue licences, and are implementing systems like WIPO Connect to improve efficiency.”
He admits the current Copyright and Neighbouring Rights Protection Act is outdated.
“That’s why we’re pushing for the copyright bill of 2021. It will bring stricter penalties and introduce tech safeguards.”
However, Nicanor says they face real challenges with artists, such as inactive bank accounts, non-compliance from broadcasters and rural access issues.
“We’re now working with MTC for bulk payments and renegotiating licences with broadcasters,” he says.
Nicanor confirms plans to partner with institutions like the Namibia University of Science and Technology for awareness campaigns and academic collaborations.
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