While their lives may look glamorous when they hit the headlines while embarking on a trip abroad, it seems that everything that glitters is not for local tourists artists who often play on the streets to meet when they are in abroad.
Bulawayo has become a renowned exporter of artists abroad, where they are valued for their inventiveness and industry.
Several groups culminated in the way that many followed, as a local artistic series for a rich collection that is perceived as abundant in foreign scenes.
But doyen Cont Mhlanga last week in an interview with Sunday life revealed that the life of tournament groups might seem charming, it was not always because most artists were making money on European streets and selling their craft with few coins thrown their way through well-defined passers-by.
According to Mhlanga, many of them were making their way through the oceans to be paid for a pittance, something that persecuted them when they met with age.
"A lot of people who say they're going to tour do not even get out when they get in. Most do what we call street busking, basically when they play in front of shops and passers-by and throw a few coins. they live by hand, so it's not enough to feed them, they are either burgers or go to schools doing workshops, "Mhlanga said.
This, Mhlanga said, was a problem created by the fact that many had come to the arts for improper reasons.
"I think we have created and sent bad news to talents from across the country, and we have the impression that those who go abroad are the most successful, and we have made it seem as though the abandonment of the country was the most important thing you brought, it did not matter on how you left.
"I am one of the culprits who have created this difficult situation when it comes to international journeys where one goes abroad, but he does not return and does not use what they could learn or get in. We wanted to expose our creative exports in a way that helped them, but in doing so we created the impression that getting on the plane defines success, "he said.
With passport stamps considered a success rate, many have decided to sit on laurels and wait for another big concert outside of the country.
"Another problem we created was the fact that we joined the art to not create content just to go overseas, so they all expect to go overseas, and after the tour they lose their interest in playing at home. all of this is that when you are sitting at home and waiting for another tour, do not improve your skills, "he said.
According to Mhlanga magazine, the period between excursions made artists lazy as they were waiting for another big payday payments from Europe.
However, the end of apartheid in South Africa meant that such behavior was fatal for the Zimbabwean groups.
"Many artists, when they went abroad, cited the work of South African artists, because they did not belong at home and produced their own material, which they could then export for the consumption of viewers abroad.
"The problem is that after 1995, when apartheid ended up in South Africa, many of their groups started a tour and pushed Zimbabwean artists out." The South Africans returned and presented their culture in full, better than we could, so our artists had to resort to the streets, because the South Africans have taken all the premiers, "he said.
Rather than using appropriate channels for overseas tourism, most of the groups said Mhlanga had their personal relationships to get overseas concerts.
"The problem we also have is that most people come to Europe through friends, and when you get a white friend, they are invited to the country through this friend, and they just go and say they are on tour when they actually go out on the street, something , what they should not do at home at all.
"People are going through friends and it's not sustainable and it means you will not make money. Those who have gone through the right structure and maybe two or three groups that have done so are more successful," he said.
While some members of the globetrotting groups later live as fools, the artist and administrator Nkululeko Nkala said that life on the road does not apply.
"An example that I could use is football stars, how many of them have made millions so they will soon fall apart Everything is reduced to individuals We live among artists from groups like Siyaya, Iyasa or Imbizo who bought cars and houses made of money made during the tour, "he said.
Incorrect priorities and poor financial management have pushed many artists to poverty, Nkala said.
"The problem with most artists is that when they get to Europe, the first thing they think is what they'll be wearing when they get home, buying luxury clothes and phones to show people at home place to invest.
"Whether you like it or not, the tour ends, and you have to make sure that on a rainy day you have something to do." "There are local groups that do a lot of money but never see the interior of the plane, he said. Sunday news.