Namibia often celebrates creative talent but rarely treats creative work as serious.
Music, film, design, events and digital media are praised publicly, yet quietly handled as hobbies rather than professions. Budgets for creative work are routinely cut.
Timelines are compressed. Quality is expected without question.
When results are delivered, people are surprised.
That contradiction has become normal, and it is holding the industry back.
I grew up at Tsumeb, a town shaped by extraction.
Copper was taken from the ground, value was created elsewhere and very little was returned to the people who lived there.
Years later, working in Namibia’s creative industry, the pattern feels familiar.
Talent is developed locally, but value, recognition and long-term benefit often leave the country.
After 14 years in the creative industry, building production capability from Namibia and delivering work across southern Africa, one thing has become clear: the problem is not quality. The problem is belief.
Namibian creatives consistently deliver work that meets international standards. Yet they are expected to do so on limited budgets, short timelines and with minimal institutional support.
At the same time, foreign companies are brought in and paid significantly more to deliver services local teams already provide.
When Namibian creatives succeed, it is treated as impressive. When outsiders succeed, it is treated as normal.
This difference reveals a deeper issue. Namibia does not fully trust its own creative capacity.
That lack of trust shows up in contracts, pricing and attitudes. Creatives are asked to justify costs that would not be questioned elsewhere.
They are expected to be flexible, grateful and patient. Sustainability is rarely part of the conversation.
The result is predictable. Many of Namibia’s most skilled creatives leave.
Their departures are often celebrated as success, when in reality it reflects a failure to build viable creative industries at home.
Talent leaving is not inevitable.
It is the outcome of an environment that does not take creative work seriously.
Size is often used as an excuse. Namibia is at times described as too small to support global ambition. However, population has never been a determining factor.
Countries with fewer people than Namibia have built globally influential creative industries because they invested with intention and thought beyond their borders. This moment matters.
Global demand for African stories, perspectives and production has never been stronger. International platforms are actively looking for authentic voices.
The opportunity is real and it is happening now. If Namibia does not step forward, others will continue to tell our stories, define our image and benefit economically from narratives that do not belong to them.
Treating creativity as an industry changes outcomes.
It creates companies instead of gigs, careers instead of side jobs, exports instead of losses. It allows young creatives to imagine futures that do not depend on leaving the country.
The next generation at Tsumeb, Windhoek, Walvis Bay and beyond deserve more than encouragement.
They deserve proof that serious creative work can be built and sustained in Namibia.
That requires a shift in mindset.
Creativity must be seen as economic infrastructure, not a passion project. Creatives must be paid properly, contracted fairly and trusted to deliver.
Namibia does not lack talent; it lacks commitment to treating creativity as real work.
Until that changes, value will continue to leave the country quietly, one project and one person at a time, and we will keep pretending it is normal.
– Popiwa Hauwanga is a social creative entrepreneur. He loves photography and has developed a career in media.
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