A MINISTRY OF OUR OWN: A HISTORIC OPPORTUNITY FOR ZAMBIA'S CREATIVE INDUSTRY
Why the proposed Ministry of Culture and Arts could mark a turning point for film, cultural preservation, creative entrepreneurship and the future of Zambia's arts sector
By Morgan Mbulo | President, National Association of Media Arts (NAMA)
For those of us who have spent decades advocating for the recognition, development and proper administration of Zambia's creative industry, the proposed establishment of a standalone Ministry of Culture and Arts is an extremely encouraging development.
Having practised in the creative industry for approximately 25 years, I can confidently say that this is one of the institutional changes many artists, filmmakers, cultural practitioners and industry leaders have been calling for over a very long period.
I have personally participated in discussions and advocacy surrounding the development of a national film policy, the establishment of a film commission, sustainable funding mechanisms and the need to give the creative industry the institutional recognition it deserves.
Among the issues that have consistently emerged in these discussions has been the need for a ministry dedicated specifically to culture and the arts.
Today, that long-standing aspiration appears to be moving closer to reality.
The Notice of Motion contained in the Supplement to the Votes and Proceedings of Friday, 23 October 2026, proposes the dissolution, realignment and establishment of government ministries and departments under Article 92(2)(d) of the Constitution of Zambia.
The motion, scheduled for parliamentary debate on Tuesday, 27 October 2026, includes the proposed Ministry of Culture and Arts as a standalone portfolio.
This is not yet an accomplished institutional change. Parliamentary approval and subsequent implementation remain important steps. Nevertheless, the proposal itself represents a significant opportunity for Zambia's creative sector.
For those who have advocated for this development over the years, it is a moment worth recognising.
For Too Long, the Arts Have Shared a Ministry With Competing Priorities
One of the greatest challenges facing Zambia's creative industry has been its movement between different ministerial portfolios.
Over the years, culture and the arts have been administered alongside other sectors, including tourism, youth and sport.
Although these sectors have important connections with the creative industry, they also have their own substantial responsibilities, infrastructure requirements and budgetary demands.
I remember writing an article in the Times of Zambia during the period when the arts were under the Ministry of Tourism and Arts.
In that article, I made a rather provocative observation that, in terms of the attention and resources allocated, it sometimes appeared that animals were more important than human beings.
My point was never to undermine tourism, wildlife conservation or the important work of protecting Zambia's natural resources.
Rather, I was drawing attention to what I considered an imbalance in the prioritisation of the creative sector.
Wildlife conservation, tourism infrastructure and the management of national parks commanded considerable attention and resources, while artists continued to struggle with inadequate infrastructure, limited funding and insufficient institutional support.
When the arts were subsequently placed under the Ministry of Youth, Sport and Arts, many of the same concerns remained.
Sport has significant national importance, and its development deserves support. However, from my experience and observation, sporting activities and infrastructure often appeared to receive greater budgetary attention than the creative industry.
The result was that artists, filmmakers, theatre practitioners, musicians and other creatives continued to compete for resources within ministries whose mandates extended far beyond their professional needs.
A standalone Ministry of Culture and Arts would provide an opportunity to address this historical imbalance.
It would mean that the creative sector could have its own institutional leadership, strategic planning processes, policy priorities and identifiable budgetary allocations.
That is an important distinction.
We are not asking government to diminish the importance of tourism, youth development or sport. We are simply saying that the creative industry has grown to a point where it deserves dedicated attention.
The Proposed Ministry Already Provides a Strong Policy Foundation
Having studied the Notice of Motion, I am particularly encouraged by the subjects proposed for allocation to the Ministry of Culture and Arts.
The document identifies responsibilities including:
Arts Policy and Arts Research and Development
Cinematography Policy and Film Policy
Creative Arts Industries
Film Censorship
Culture Policy and Cultural Research
Arts Centres
Theatres and Cinemas Policy
Folklore and Preservation of Oral Traditions
Indigenous Knowledge and National Heritage
Traditional Ceremonies and Traditional Crafts
Visual and Performing Arts
The proposed statutory bodies and institutions include the Film Censorship Board, the National Arts Council of Zambia, the National Heritage Conservation Commission and the National Museum Board.
These are not insignificant responsibilities.
In my assessment, they collectively provide the foundation for a more coherent national creative industry development framework.
For the first time in this proposed arrangement, film policy, cinematography policy, creative industries, arts development, cultural preservation and heritage management would be clearly situated within one dedicated ministerial portfolio.
This would create an opportunity to address several longstanding policy and institutional challenges in a more coordinated manner.
However, the existence of these subjects in a ministerial mandate should not be mistaken for the automatic establishment of the institutions and funding mechanisms the industry needs.
The real test will be how these responsibilities are translated into legislation, budgets, programmes and measurable results.
The Establishment of a Zambia Film Commission Must Be a Priority
As the National Association of Media Arts, we have consistently advocated for the establishment of a properly constituted Zambia Film Commission.
This has been one of the most important institutional reforms we have sought for our industry.
We have prepared submissions, engaged stakeholders and repeatedly raised the need for a dedicated national institution capable of supporting the development, regulation, promotion and commercial growth of Zambia's film and television sector.
The proposed Ministry of Culture and Arts could provide a more suitable institutional home for advancing this agenda.
The inclusion of Film Policy, Cinematography Policy, Creative Arts Industries and Theatres and Cinemas Policy in the proposed mandate is particularly significant.
These responsibilities are closely connected to the functions that a well-structured film commission could perform.
A Zambia Film Commission could help coordinate film production, attract local and international investment, facilitate filming permits, promote Zambia as a filming destination, strengthen industry data collection and support professional development.
It could also facilitate international coproductions, promote distribution opportunities and support the commercial exploitation of Zambian screen content.
Having had opportunities to engage with film institutions and industry stakeholders beyond Zambia, including during professional engagements in Kenya, I have seen the importance of dedicated structures in developing competitive national film industries.
Countries that take film seriously as an economic sector establish systems that make it easier to invest, produce, distribute and earn revenue from content.
Zambia must move in the same direction.
It is important, however, to distinguish the proposed Film Commission from the existing Film Censorship Board.
The two would not necessarily perform the same functions.
While the Film Censorship Board is listed among the institutions proposed under the new ministry, a film commission would require its own clearly defined developmental, promotional and investment facilitation mandate.
That distinction should be considered carefully as government and industry stakeholders develop the necessary institutional framework.
We Must Finally Establish a Sustainable Film and Creative Industry Funding Model
Another issue that must receive urgent attention is financing.
For many years, Zambian filmmakers have struggled to access sustainable production funding.
We have talented writers, directors, cinematographers, editors, actors, animators and producers who possess the capacity to create competitive content.
However, talent alone cannot sustain an industry.
Film production requires financing for development, production, postproduction, marketing, distribution and exhibition.
A standalone Ministry of Culture and Arts would offer an opportunity to develop a properly structured funding model for the sector.
This could include a national film development fund, competitive production grants, development financing, support for emerging filmmakers and incentives designed to attract private investment.
It could also create opportunities for partnerships with financial institutions, corporate sponsors, international development organisations and content distribution platforms.
Importantly, funding must not be limited to established production companies in Lusaka or the Copperbelt.
The creative industry exists throughout Zambia's ten provinces.
Young filmmakers in Kasama, Chipata, Mongu, Solwezi, Mansa, Choma, Kabwe and other parts of the country must have equitable opportunities to participate.
A credible funding framework would require transparent eligibility criteria, professional assessment procedures, independent oversight, accountability and measurable development outcomes.
The objective should not simply be to distribute money.
It should be to build an industry capable of generating employment, intellectual property, export earnings and sustainable businesses.
Cultural Preservation and National Heritage Must Become Part of Our Creative Economy
One of the aspects I find particularly encouraging in the proposed ministry is the inclusion of National Heritage, Traditional Ceremonies, Indigenous Knowledge, Traditional Crafts and the Preservation of Oral Traditions.
Zambia possesses an extraordinary wealth of cultural material that has not yet been fully documented, preserved or commercially developed.
Our traditional ceremonies, languages, customs, folklore, music, dances, crafts and historical narratives are valuable components of our national identity.
They are also sources of creative content.
Imagine a properly coordinated national programme that supports filmmakers, photographers, researchers and cultural practitioners to document traditional ceremonies across the country.
Imagine documentary series examining the origins of our customs, the histories of our chiefdoms, the significance of traditional attire, the development of indigenous music and the knowledge passed from one generation to another.
These productions could become important educational resources for schools, universities, museums, broadcasters and digital platforms.
They could also create employment for writers, researchers, translators, cinematographers, sound professionals, editors and producers.
This is where cultural preservation and the creative economy can work together.
Our traditions should not only be remembered during annual ceremonies.
They should be documented professionally, archived responsibly and made accessible to future generations.
Such initiatives must, of course, respect cultural ownership, community participation, consent and the rights of traditional authorities.
A dedicated ministry could help establish the necessary partnerships and standards to achieve this.
Our Theatres, Cinemas and Arts Centres Need Serious Investment
The inclusion of Arts Centres and Theatres and Cinemas Policy in the proposed mandate is another welcome development.
Across Zambia, creative practitioners continue to face challenges arising from inadequate production facilities, deteriorating theatres, limited cinema infrastructure and insufficient access to affordable rehearsal and performance spaces.
Some of our historical cultural institutions require rehabilitation, modernisation and sustainable management.
We need functional arts centres where young people can learn acting, animation, filmmaking, music production, editing, sound engineering and other creative disciplines.
We also need theatres that can accommodate professional productions and cinemas capable of screening locally produced films.
Without appropriate infrastructure, it becomes difficult to develop an effective creative industry value chain.
A standalone ministry could coordinate a national infrastructure development strategy that includes the rehabilitation of existing facilities and the development of new creative spaces.
This should extend beyond major urban centres.
Provincial and district arts centres could become important hubs for training, production, entrepreneurship and cultural exchange.
The Creative Industry Must Be Recognised as an Economic Sector
For too long, the arts have frequently been viewed primarily through the lens of entertainment.
Yet the creative industry is much more than entertainment.
It is an economic sector capable of generating employment, supporting entrepreneurship, attracting investment and producing intellectual property with commercial value.
A single film production can create opportunities for actors, technicians, transport providers, accommodation establishments, caterers, costume designers, construction teams, equipment suppliers and many other businesses.
The same applies to festivals, music productions, cultural events, animation projects and digital content creation.
When the sector is properly organised, these activities contribute to broader economic development.
A dedicated ministry could help establish reliable industry statistics, support business formalisation, strengthen creative entrepreneurship and coordinate policies that promote investment.
It could also work with other ministries responsible for trade, industry, education, technology and finance to ensure that creative businesses are integrated into national economic development programmes.
The proposed allocation of copyright and intellectual property responsibilities to the Ministry of Industry also makes interministerial coordination particularly important.
The Ministry of Culture and Arts would need to work closely with that portfolio to protect creators' rights and strengthen the commercial value of their work.
Similarly, collaboration with the proposed Ministry of Information and Media would be important for broadcasting, television and local content development.
A standalone ministry should therefore provide focused leadership without isolating the creative sector from other areas of government.
A Ministry Must Come With Resources, Not Just a Name
While I welcome the proposed establishment of the Ministry of Culture and Arts, I believe it is important to emphasise that creating a ministry is only the beginning.
We have advocated for this institutional recognition because we want practical improvements in the lives and businesses of creative practitioners.
The new ministry, if approved, must therefore be accompanied by adequate budgetary allocations, qualified personnel, clear policy priorities and effective implementation mechanisms.
There must be measurable commitments to film industry development, cultural preservation, infrastructure, skills development, market access and sustainable funding.
The National Arts Council of Zambia and other institutions under the proposed ministry must be adequately supported to fulfil their responsibilities.
We must also avoid creating unnecessary administrative duplication.
Where existing institutions can be strengthened, that should be considered. Where new structures are necessary, they should be established with clear mandates and sustainable financing.
Above all, the creative industry must be consulted.
Artists, filmmakers, musicians, theatre practitioners, cultural organisations, creative entrepreneurs and professional associations must have a meaningful voice in shaping the policies that affect them.
A Moment for the Industry to Speak With One Voice
The proposed Ministry of Culture and Arts presents an opportunity for the creative industry to unite around a common development agenda.
For many years, different artistic disciplines have raised similar concerns about funding, policy implementation, infrastructure and institutional support.
We now have an opportunity to bring these priorities together.
As NAMA, we would particularly welcome a structured national dialogue on the establishment of a Zambia Film Commission, a sustainable film funding mechanism, film policy implementation, distribution and exhibition infrastructure, professional training and creative industry investment.
We should also recognise the contributions of the many artists, industry associations, policymakers and cultural advocates who have worked over the years to bring these issues to national attention.
This development is not the achievement of one individual or one organisation.
It represents the aspirations of generations of creative practitioners who have consistently argued that the arts deserve proper recognition.
The Opportunity Is Before Us. Implementation Must Follow.
I regard this proposed development as one of the most encouraging signals for Zambia's creative industry in recent years.
After approximately 25 years of professional involvement in the sector, I understand both the frustration of repeated advocacy and the importance of recognising progress when an opportunity presents itself.
For decades, we have spoken about the need for a dedicated ministry, a national film policy, a film commission, sustainable funding and proper recognition of our creative economy.
The proposed Ministry of Culture and Arts brings several of these longstanding aspirations into sharper institutional focus.
It is particularly encouraging that the proposed mandate already identifies film policy, cinematography policy, creative industries, cultural preservation, traditional ceremonies, national heritage and arts infrastructure as areas of responsibility.
These are the building blocks upon which a stronger and more sustainable creative industry can be developed.
I therefore welcome the proposal and look forward to the parliamentary process and the decisions that will follow.
Should the motion be approved, I hope government will move decisively towards implementation, with meaningful participation from the creative sector.
We have spent many years asking for a ministry of our own. If that opportunity is finally presented to us, we must ensure that it becomes more than an administrative change.
It must become the foundation for a creative industry that is properly funded, professionally organised, economically productive and capable of preserving Zambia's cultural identity for generations to come.
For Zambia's artists, filmmakers and cultural practitioners, this could be the beginning of an important new chapter.
The time to recognise the creative industry as a serious national development priority is now.
Morgan MbuloPresidentNational Association of Media Arts (NAMA)Zambia
27 October 2026
Comments