Success or Struggle? Burundian Artists disagree on music’s payoff
Although Burundi is struggling with economic hurdles, including fuel shortages and other difficulties, artists, especially singers, disagree on the profitability of the entertainment industry. While some cite a lack of unity, limited government support, and restrictive laws as key obstacles to their financial stability, Vichou Love, a well-known figure in live music in Bujumbura town, preaches discipline and professionalism as the keys to success in the music industry.
Struggles within the entertainment industry
Nduwimana Alvin, better known as Alvin Smith, a singer and filmmaker with 192,000 subscribers and 76 music videos uploaded to his YouTube channel, regrets that producing hit songs does not prevent most Burundian artists from remaining poor.
“In Burundi, an artist can live off their art for one year, two years, maybe three at most, but not beyond that. That’s why you often see artists with high-quality productions who remain poor. It’s deplorable,” regrets Alvin Smith.
On the other hand, Simbizi Patrick, a member of the duo Mirror Team, notes that it is challenging for Burundian artists to rely solely on their craft, although it is not impossible. “In a country like Burundi striving to develop itself at all levels, it’s understandable that citizens, including artists, struggle to satisfy their needs. Worse still, in the artistic field, even though you sweat bullets, you can still live a decent life due to the country’s economic realities,” he notes.
Success costs a sacrifice
Despite the above challenges haunting the no-collar workers, Arthur Banshayeko, a well-known Burundian theater figure known as Arthur Ban, remains optimistic. For him, success comes at a cost. He urges artists to think out of the box and be disciplined.
“As in other ‘free’ professions, artists who make a living from their craft are disciplined workers, strategic thinkers who build new connections every day and who understand the realities of both the local and international markets,” Ban urged.
Artists Need to Learn to Respect Their Craft”
Backing him up, Vichou Love, whose real name is Vianney Nzigamasabo, a well-known figure on the karaoke scene in Bujumbura, the economic city and musical hub of Burundi, urges vocalists to understand that music is a real profession that faces ups and downs and has rules, as any other profession.
“What artists forget is discipline,” he says. “Every artist should ask themselves: Do I really respect my work? Because if you don’t respect what you do, it’s hard for others to do it on your behalf”. He noted, adding that the entertainment industry of Burundi lacks “professionalism.”
He asks: “For example, if a venue manager asks an artist to arrive at 3 p.m. and he shows up at 6 p.m., or he’s told to produce at 6 p.m. and arrives at 11 p.m.—honestly, is that professional? That kind of behavior is what makes some managers feel like the music scene in Burundi isn’t serious at all.”
Beyond discipline and professionalism, Vichou Love adds that playing ear-catching melodies is also a key to earning more. However, he says that this takes willingness. “ It just takes willingness to learn. Many singers possess fundamental music skills that need to be refined. He emphasized.
Even though he makes a living through music, he admits that earning money through music is an uphill battle. He thus urges his colleagues to put in much effort to make it work. “No job has ever been easy. You have to take it seriously. ”He concluded.
Division undermines the industry
Olivier Bright Ndayishimiye, also known as Krazzy Bright, president of the Burundian Musicians’ Association, believes that another major barrier to the development of the artistic industry in Burundi is the lack of unity among its members.
He regrets frequent conflicts among singers, DJs, journalists, event organizers, and music fans. In his view, the entertainment world requires close collaboration among its actors to thrive. Without unity, success is nearly impossible, noted the president.
While Simbizi Patrick agrees with the association president, he regrettably adds that some people in the artistic field focus more on others rather than on improving their own masterpieces. According to him, such a mindset declines the industry.
The Government Must Get Involved in Promoting the Arts Industry
Bizimana Paulin, also known as DJ Paulin, a veteran Burundian event organizer in Burundi, calls for government involvement to support artists.
In an interview with the online TV channel Umukubito last October, he stressed that the government’s role is essential in developing the country’s cultural sector: “The Burundian government must invest in the national arts scene; otherwise, nothing will work. For instance, creating training centers for artists is essential. Singers, for example, need to learn how to produce high-quality songs that meet internationally recognized standards. The government is best positioned to carry out this mission.”
He also laments that, to date, YouTube and other music platforms have not officially recognized Burundian artists due to the lack of required licenses that allow artists to monetize their content. ” Ideally, the government should sign licensing agreements with these platforms so that Burundian artists can be paid, as is done in other countries,” he argues.
He believes that if appropriate structures were put in place, artists’ revenues would increase significantly, and this would also lead to higher tax contributions from the cultural sector. Nduwimana Alvin (Alvin Smith le Frimeur) and Sinzinkayo Allsaint, known for his outstanding karaoke performances in Bujumbura, agree with DJ Paulin’s comments.
Both artists lament a limited investment from the government of Burundi in the arts sector, unlike other countries. As for them, the government should even take the lead in sponsoring local cultural events to encourage and promote creativity.
The Creation of OBDEA: A Stillborn Project?
Despite lamentations from artists, on September 7, 2011, the government of Burundi created the Burundian Office of Copyright and Related Rights (OBDEA), reinforcing the law of September 30, 2005, which aimed to protect and promote artistic creations in Burundi.
According to this law, artists, particularly singers, are granted the exclusive right to exploit their works.For instance, Article 22 in that law states that “An artist has full control over the production, distribution, broadcasting, and adaptation of their songs. This means that no one can use, sell, or modify a work without the express permission of its creator.”
By exercising these rights, singers can legitimately earn income from album sales, online streaming, or even the synchronization of their music in films or advertisements.
Furthermore, Article 24 of the same law states that “any public use of a work entitles the artist to fair compensation.”
For instance, when a song is played in a nightclub, on the radio, on television, or during a public event, the singer must receive financial compensation. This provision aims to ensure that artists are not deprived of the value generated by the dissemination of their art.
Thanks to these legal mechanisms and the collective management provided by the OBDA (Burundian Copyright Office), Burundian artists can effectively monetize their creations and live with dignity from their talent.
However, after a decade, the law remained an invaluable document, leaving artists in poverty while their productions are used every day, profiting others who did not sweat for them.
