RECORDED MUSIC INDUSTRY OVERVIEW
Zimbabwe
Africa
Potential of Recorded Music
MEDI aims to highlight music’s potential as a global tool to reduce poverty and drive economic growth by estimating its worldwide value. This includes projecting how that value could increase if every country had supportive institutions in place, such as appropriate legislation, infrastructure, and policies, and if music achieved full market penetration. We are currently collecting data in each country to support this analysis.
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Local Impact
Over time, MEDI will conduct country-level economic and social impact assessments to better understand how to unlock sustainable growth within national music ecosystems.
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Socioeconomic Indicators
EXPLANATORY NOTES: Data via UN Population Fund (UNFPA). Accessed 24/10/2024. 2024 estimate based on UNFPA World Population Prospects 2022 data.
17,020,322
EXPLANATORY NOTES: Data via World Bank Development Indicators database. Accessed 24/10/2024.
$58,583
EXPLANATORY NOTES: Data via World Bank, using national accounts data, and OECD National Accounts data files. Accessed 02/04/2025.
$2,156.03
5.34%
EXPLANATORY NOTES: Data via World Bank, using national accounts data, and OECD National Accounts data files. Accessed 01/04/2025.
EXPLANATORY NOTES: Data via World Bank, Poverty and Inequality Platform. Accessed 19/09/2024.
50.3%
EXPLANATORY NOTES: Data via IMF World Economic Outlook. Accessed 01/04/2025.
92.2%
EXPLANATORY NOTES: Data via US Census Bureau International Database (IDB). Accessed 01/04/2025.
EXPLANATORY NOTES: Data via World Bank, using United Nations Population Division database. Accessed 24/10/2024.
32.52%
EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 04/11/2024.
8.76%
EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 04/11/2024.
14.3%
EXPLANATORY NOTES: Poverty rate at $2.15 a day (2017 PPP) (% population). Data via Poverty and Inequality Platform, The World Bank. Accessed 16/04/2025.
39.75%
EXPLANATORY NOTES: Data via International Telecommunication Union (ITU) DataHub. Accessed 31/03/2025.
32.60%
EXPLANATORY NOTES: Data via World Bank Global Financial Inclusion Database. Accessed 01/04/2025.
50.63%
EXPLANATORY NOTES: Data via World Bank Global Financial Inclusion Database. Accessed 01/04/2025.
0.49%
EXPLANATORY NOTES: Data via Cable.co.uk. Accessed 01/10/2024.
$43.75

Industry Infrastructure
Collective Management Organisations
Authors & Publishers
Performers
None
Producers
None
Voluntary Joint Ventures & Umbrella entities for licensing users
None
Associations
Music Authors
None
Music Publishers
None
Music Performers
Sound Recording Producers/Labels
Other
Music Export Office
None
Joint Industry Body
None
Policies
Culture Policy/Strategy
Music Policy/Strategy
Legal Framework
Digital and Performance Rights Treaties
Other Treaties
National Copyright Legislation
National Treatment
-
Zimbabwe protects works of foreign authors who are citizens of country party to the Berne Convention or TRIPS Agreement, domicile or reside or is a body corporate incorporated in Zimbabwe or a country party to the Berne Convention or TRIPS Agreement, as well as works first published in Zimbabwe or a country party to the Berne Convention or TRIPS Agreement.
Qualifying foreign authors enjoy protection concerning performance rights and digital exploitation of the eligible works. -
Sound recordings are protected as works in Zimbabwe; therefore, the same eligibility criteria as for works apply to sound recordings (phonograms) and producers of phonograms.
Zimbabwe protects foreign performers if the performance takes place in Zimbabwe or a country party to the Berne Convention or TRIPS Agreement, or any other country if a performer during the performance was a citizen, domiciled or residing in Zimbabwe or a country party to the Berne Convention and TRIPS Agreement.
Qualifying foreign performers and producers of phonograms enjoy protection concerning performance rights and digital exploitation of their fixed performances and phonograms, respectively. -
“National Treatment” refers to the assimilation of the treatment of foreign right holders to that of domestic right holders. It is a basic rule of most international conventions and mandates that foreign rights holders from contracting countries must receive the protection within any other contracting country as that country grants to its own nationals, ensuring equal rights under the scope of the relevant convention.
General national treatment obligations are set out in Article 5 of the Berne Convention and Article 2 of the Rome Convention, providing that the members of respective conventions must grant to each other’s nationals the rights provided in the convention. Berne Convention also extends the national treatment to “the rights which their respective laws do now or may hereafter grant to their nationals,” while Rome Convention members are not obliged to extend national treatment to the rights of performers and producers of phonograms which are accorded under their national law over and above the rights enshrined in the Rome Convention.
The criteria for eligibility for protection are provided in Article 3 of the Berne Convention and Articles 4 and 5 of the Rome Convention. With regards to national treatment of producers of phonograms, members of the Rome Convention may reserve the right not to apply either the criterion of fixation or that of publication of the phonogram.
As per WIPO, the total number of members to the key treaties above is as follows:
Berne Convention: 181 Members
Rome Convention: 98 Members
WIPO Copyright Treaty: 118 Members
WIPO Performances and Phonograms Treaty: 114 Members
TRIPS Agreement: 166 MembersThis is a high-level overview concerning national treatment of music authors, performers and producers of phonograms; for comprehensive and detailed provisions, refer to the laws of each country. The overview:
1) details only the criteria applicable to foreign rights holders, without including the broader set of qualification rules for domestic protection that do not concern them,
2) is limited to performance rights and digital exploitation of recorded music, including works and other protected objects:
- “Performance rights” include radio and TV broadcasting, public performance, and communication to the public,
- “Digital exploitation” includes reproduction rights, distribution rights, communication to the public and making available rights.
The term "based on reciprocity" used in the overview for some countries means that Country A will protect the works of authors or other right holders who are nationals of Country B that is not a member of treaties Country A is a party to, and whose works or other protected objects were first published outside of Country A, only if Country B offer similar copyright protection to Country A’s authors or other rights holders and works and other protected objects respectively first published in Country A.
The term "treaty" in the overview includes conventions and international agreements.
Music Consumption
Domestic Repertoire Quotas
Yes
There is a domestic repertoire quota for broadcasters which varies depending on the broadcaster type.
Radio broadcasters must ensure that at least (a) 75% of the music broadcast consists of Zimbabwean music; and (b) 10% of the music broadcast consists of music from Africa.
Subscription radio broadcasters must ensure that at least (a) 30% of the music broadcast consists of Zimbabwean music; and (b) 10% of the music broadcast consists of music from Africa.
Television content regulations are variable depending on type of service offered. See Broadcasting Services Act, Sixth Schedule for full details.
The full text of the quotas may be found in the Sixth Schedule (Section 11(3)) - Local Content Conditions of the Zimbabwe Broadcasting Services Act.
Digital Streaming Services
GLOBAL STREAMING SERVICES
REGIONAL STREAMING SERVICES
DOMESTIC STREAMING SERVICES
Key Risks and Opportunities
Risks
An extremely high inflation rate poses a significant risk to any investment, as it erodes purchasing power, increases operational costs, and creates economic instability, making long-term financial planning challenging.
Poverty and income inequality limit the disposable income available for music consumption and other services, potentially hindering the growth of the music market.
Exceptionally high mobile data cost is a major barrier to the widespread adoption and consumption of digital music streaming services, limiting reach and revenue potential for the music industry, and potentially hindering digital infrastructure development.
The absence of collective management for performers’ and producers’ rights results in lost revenue, while Zimbabwe’s non-adherence to key international digital treaties and the neighbouring rights convention limits protection for its creators abroad. This can hinder international collaboration, licensing, cross-border royalty collection, and the full enforcement of digital rights.
Opportunities
The large youth demographic represents a significant potential consumer base for music and creative content.
The comparatively high mobile money account usage offers an alternative for financial transactions in a largely unbanked population. This can be leveraged for digital music sales, subscriptions, and artist payments, bypassing the limitations of low credit card ownership and supporting infrastructure for digital payment systems.
The existence of culture and music policies indicates governmental recognition of the creative sector, providing a framework for collaboration and potential policy support for DFI initiatives.