Assignment Writing Servicehttp://StudyHub.vip/AN-INVESTIGATION-INTO-THE-PROBLEMS-FACE

1. LUPANE STATE UNIVERSITY
AN INVESTIGATION INTO THE PROBLEMS FACED BY
DIRECTORS IN MANAGING UPCOMING PERFORMING
ARTS GROUPS. A CASE STUDY OF SIMUNYE SIMUNYE
ARTS.
BY
VUYANI C. MGUNI
LO11 0165C
A DISSERTATION SUBMITTED TO THE DEPARTMENT OF
LANGUAGES OF LUPANE STATE UNIVERSITY IN PARTIAL
FULFILMENT OF THE REQUIREMENTS FOR THE
BACHELOR OF ARTS HONOURS DEGREE IN LANGUAGE
AND COMMUNICATION STUDIES.
APRIL 2015
SUPERVISOR: C. MOYO

3. i
DEDICATIONS
This research is dedicated to my adoring sweetheart Lethukuthula Ncube and our
forthcoming children.

4. ii
ACKNOWLEDGMENTS
Distinct recognitions go to my supervisor Mr C. Moyo. This research would not have been
efficacious without your mentorship and effort to make it flawless. Mr and Mrs Mguni, my
heartfelt gratitude goes to you. To my brothers, Nhlanhla and Mbongeni your concern over
my studies is forever appreciated. To my fellow classmates, Frequency Zulu, Doctor
Sibanda, Talent Sibanda and Ezrah Mukunga, I would like to thank you for your profound
help in this study. Paramount thankfulness goes to Lethukuthula Ncube as she stood as a
pillar of strength and never one day stopped her genuine support on me throughout my
studies. I also extend my honest appreciation to all the scholar‟s l used their resources in the
study and all who contributed information for this study.

5. iii
ABSTRACT
This research investigates the problems faced by directors in managing upcoming
performing Arts groups with reference to Simunye Simunye Arts Group. It focuses on
identifying specific problems faced by the directors and group members. The study seeks to
find strategies that could be adopted to overcome these challenges. The Contingency theory
was adopted as the analytical framework. Data was collected through focus group
discussions, key informant interviews and questionnaires. The research observes that
directors are incapacitated by challenges such as lack of funding, insignificant female
membership, shortage of rehearsal space, poor leadership and management skills. The
research concludes that these impediments make it difficult to manage upcoming performing
Arts groups. The research recommends that to remedy the problems the disequilibrium
technique should be used. Leadership and management programmes should be integrated
into the Arts curriculum system so that both the director and group members are at par in
terms of knowledge skills and commitment so that they can work in symbiosis to develop the
group and Arts industry at large.

6. iv
TABLE OF CONTENTS
Dedications …..……………………………………………………..………………… i
Acknowledgements ……………..……………………………………….………...…… ii
Abstract ……………….……………………………………………………..………………. iii
Chapter 1: Introduction to the study
1.0 Area of investigation…………...……………………………………………………… 1
1.1 Objectives……………………………………….………..……………………………. 2
1.2 Justification of the study………………………………………..……………………… 2
1.3 Research methodology………………………………………………………………… 3
1.4 Literature review………………………………………………………………............. 5
Chapter 2: Background Information
2.0 Introduction …………………………………………………………………….…....... 8
2.1 Theoratical framework …………………………………….………………………….. 8
2.2 Background of Simunye Simunye Arts………………………..…………………….. 12
2.3 Record of directors since its creation ……………………….……………………….. 13
2.4 Conclusion …………………………………………………………………………….... 14
Chapter 3: Data presentation and analysis
3.0 Introduction …………………………………………………………………………........ 15
3.1 Shortage of Funding ………………………………………………………………….... 15
3.2 Lack of female membership …………………………………………………...……… 17

7. v
3.3 Shortage of rehearsal space …………………………………………………..… 19
3.4 Lack of leadership and management knowledge ……………...……………. 21
3.5 Lack of professionalism ……………………………………………………………... 22
3.6 Perceptions on women in leadership and management roles………………. 23
3.7 Conclusion ………………………………………………………………………….. 25
Chapter 4: Conclusions and recommendations
4.1 Recommendations and conclusions ….......................................................... 26
References ………..………………………………………………………………………. 30

8. 1
1.0 AREA OF INVESTIGATION
Simunye Simunye Arts is located in Tshabalala at Indlovu Youth Centre. The
directors of the Simunye Simunye Arts are inhabitants of the Tshabalala community.
This investigation was concerned with the management techniques employed by
these directors and managers in managing the performing arts group as the writer
has witnessed several breakups and splits happening within the performing arts
group since its very existence.
The writer observed that upcoming performing arts groups are failing to penetrate
into the mainstream Arts industry, as there were many factors inhibiting these groups
into making it. Taking into account that the Performing Arts Industry is a breadbasket
for many families, the failure of these upcoming performing arts group to reach the
mainstream had direct effects on the families of the performers.
The writer observed that directors encountered many problems in managing these
arts groups. It was because of those problems that directors or managers faced in
managing the upcoming performing arts group that made the writer carry out the
study.

9. 2
1.1 OBJECTIVES
The objectives of the study are:
1. To identify specific problems that directors face when managing performing
arts groups.
2. To identify strategies that could be used to overcome problems faced by
both directors and group members.
3. To recommend strategies that can be adopted to attain good
management.
1.2 JUSTIFICATION OF THE STUDY
Directors will benefit in that they will have at their disposal the identified strategies to
overcome the identified problems, as there is need to uphold performing arts groups
as they embed the society‟s culture in their performances.
This study can lead arts directors to hold workshops or staff development programs
aimed at solving the identified problems thereby harnessing mainstream performing
arts groups with upcoming performing arts groups. This study will serve as a guide or
referral point to the inspired to-be directors or managers of performing arts groups,
as they will have at their disposal the collage of expert tips from various arts
directors. To assist the researcher to come up with rightful strategies for enabling
upcoming directors in Bulawayo conquer the problems they experienced in
managing the performing art groups.

10. 3
1.3 RESEARCH METHODOLOGY
The research applied the qualitative approach as the research was more concerned
with the opinions, experiences of directors and group members towards the problem
thereby producing subjective data. The analysis on the significance of both
leadership and management programmes therefore found answers to the questions
that management knowledge had a significant bearing on the development of Arts
and that of the success of the Simunye Simunye Arts. The research used the aid of
focus group discussions, questionnaires and one on one interviews.
Questionnaires were the main research instrument, as the majority of respondents
wanted confidentiality. The questionnaires were given to group members and
directors of the Simunye Simunye Arts because the majority of the respondents were
part of the group from its birth, so their contribution was greatly valued. Interviews
were also used to beef up the information gaps revealed by the questionnaires as
interviews allowed more room for probing further than the questionnaire. The
committee, the director of the Simunye Simunye Arts was interviewed, as interviews
are more personal than just filling the questionnaire. Owimuladi (2012) stated that
“an interview is a conversation with a purpose”.
The researcher used focus group discussions and in-depth interviews. These
research methods were preferred mainly because of their advantages they had
compared to other methods .The Focus group approach related to the concept of
„Applicability‟, in which subjects were selected because of their knowledge of the
study area (Burrows & Kendall, 1997) and was appropriate to the study because it
found out their personal opinions on the problems encountered when managing. One
of the distinct features of focus-group interviews was its group dynamics; hence the

11. 4
type and range of data generated through the social interaction of the group are
often deeper and richer than those obtained from the one-to-one interviews (Thomas
et al. 1995). Focus groups provided information about a range of ideas and feelings
that individuals had about certain issues, as well as illuminated the differences in
perspectives between groups of individuals. The method is the best for the research
because different perspectives are brought out. The method because of its nature
encouraged participation as respondents were confident in group discussions than
individual interviews.
More points were brought out as the group members were aiding each other in a
collective style. The disadvantage of focus group interviews, particularly in the
research, was that some interviewees were intimidated by other focus group
members, who imposed some answers as “acceptable”. Besides the intimidation by
other group members, some interviewees wanted to be known as the providers of
the information and wanted to remain anonymous for different reasons. In focus
group Interviews, such interviewee‟s participation was stifled hence it withheld the
best that came out of the interviews.

12. 5
1.4 LITERATURE REVIEW
This section looked at the literature which had been done on the subject matter of
management and leadership programmes which were the guide and the essential
part of any research. In the literature review, the sources consulted included text
books, journals and internet sources.
Knowledge Management Terms (2009; 4) notes that:
management is the organizational process that includes strategic planning,
setting objectives, managing resources, deploying the human and financial
assets needed to achieve objectives, and measuring results.
(Knowledge Management Terms, 2009; 4)
There by this shows that every member of the organisation had some management
and reporting functions as part of their job and thus management functions were not
meant for managers and supervisors. If every member of the organization had an
obligation towards management, there was need for everyone to have sufficient
knowledge about management so that all members were at par and had a better
understanding.
Effective management is highly dependent on people (managers), sometimes
hundreds or thousands of them to implement it, and that goes without saying,
that without individuals, a business cannot exist. Analysis of business failures made
over many years showed that a high percentage of these failures were due to
unqualified or inexperienced management. Management, as an essential activity,
ensured the coordination of individual efforts towards achieving group goals.
According to Rosenberg (1983; 126) “the aim of every manager is to establish an

13. 6
environment in which people can achieve group goals with the least amount of
time, money, materials and personal dissatisfactions”.
Cengage (2006; 99) notes that “the process of management is defined by the
functions of management, which are distinct from accounting, finance, marketing,
and other business functions.” These functions provided a useful way of
classifying information about management, and most basic management texts
since the 1950s were organized around a functional framework.
Rainy (1991; 66) postulates, “Leadership is primarily concerned with the critical
functions of championing the organization‟s vision, setting direction and steering the
course”. This clearly showed that management and leadership tallied on some points
but distinction were made as both were characterized with problems similar to each
other.
Byers (1997; 56) notes that “leadership is a process when one individual affects
the rest of the group in order to achieve defined aims of an organization or a
group”. Organisationally, leadership has a direct impact on the effectiveness of
costs, revenue generation, service, satisfaction, earnings, market value, share price,
social capital, motivation, engagement and sustainability.
Northouse (2007; 19) notes that “for a leader to establish successful followership, he
must possess five traits which include intelligence, self-confidence, determination,
integrity and sociability”. The sociability trait provided the leader the ability to create
and enhance shared meaning and generate true followership. According to Banutu-
Gomez (2004; 56) “a leader must have the intelligence to identify changing
environmental factors and possess the self-confidence and determination to make
significant organizational changes”.

14. 7
According to Banutu-Gomez (2004), Covey (2006), Rowe (2003) and Wheatley
(2004) “servant leaders place their follower‟s interest before their own, emphasize
their follower‟s personal development and empower their followers”. Banutu-Gomez
(2004; 143) states that to succeed, leaders must teach their followers not only how to
lead: leadership, but more importantly, how to be a good follower: followership”.
Pepper (2003; 26) notes that the servant leader actively recruits exemplary followers
and is open to input from them, which enhances leader-follower trust. Moreover the
servant leader is willing to sacrifice themselves out of love for others and in the face
of difficulty willingly accepts fault for negative outcomes. Banutu-Gomez (2004; 144)
states that "people need structure, order and predictability to avoid a feeling of
powerlessness in the organisational setting”. Thus servant leaders are able to
overcome the paradox of teaching employees to become independent and use
critical thinking while maintaining their subordinate status.
The researcher believes that there is need for these two processes to be harnessed
together and sheltered with conditions that contributed to the success of their
partnership in Performing Arts Organizations.

15. 8
Chapter 2
2.0 Introduction
This chapter explores the theoretical framework and its relevancy to the research.
The chapter includes a brief summary about the Simunye Simunye Arts group and a
record of directors of the Simunye Simunye Arts ever since its creation.
2.1 THEORATICAL FRAMEWORK.
Scott (1987; 156) notes that “the term contingency theory, which has since been
used to designate this body of theory, was coined by Lawrence and Lorsch in their
(1967) book Organization and Environment: Managing Differentiation and
Integration”.
Dobák–Antal (2010; 123) notes that:
The contingency theory was developed by improving previous concepts
(Taylor, Fayol and Weber) which described recommendations that appeared
effective under any circumstances. However, contingency theory supposes
that under different circumstances different solutions may prove effective.
(Dobák–Antal, 2010; 123)
This is considered as one of the primary insights of the theory, because
instead of propagating universally applicable organisation-management principles.
The theory demonstrates that different circumstances require different organisational
structures as Baranyi (2001) states.

16. 9
The Contingency approach to management is based on the idea that there is no one
best way to manage. According to the contingency perspective, stable environments
suggest mechanistic structures that emphasise centralisation, formalisation,
standardisation and specialisation to achieve efficiency and consistency.
Certainty and predictability permit the use of policies, rules and procedures to
guide decision making for outline tasks and problems.
Unstable environments suggest organic structures which emphasize
decentralization to achieve flexibility and adaptability. According to the
Contingency theory, no leadership style is best in all situations. Success depends
upon a number of variables which include the leadership style, qualities of the
followers and aspects of the situation.
According to Fielder (1964; 68) “the main idea of this early theory is that leadership
effectiveness (in terms of group performance) depends on the interaction of two
factors: the leader's task or relations motivations and aspects of the situation”.
The contingency approach to leadership was influenced by two earlier research
programs endeavoring to pinpoint effective leadership behavior. During the 1950s,
researchers at Ohio State University administered extensive questionnaires
measuring a range of possible leader behaviors in various organizational contexts.
Although multiple sets of leadership behaviors were originally identified based on
these questionnaires, two types of behaviors proved to be especially typical of
effective leaders: (1) consideration, leader behaviors that include building good
rapport and interpersonal relationships and showing support and concern for
subordinates and (2) initiating structure, leader behaviors that provided structure

17. 10
(e.g., role assignment, planning, scheduling) to ensure task completion and goal
attainment.
The contingency approach helps managers to identify misfits between their
structures and contingencies such as size and diversification, which in turn are parts
of the strategy of the organisation. Great debates have arisen over the years as
some scholars agree and disagree with some of the perceived views which the
contingency approach pursues. Contingency theories of both management and
leadership remain an important contribution to the understanding of leadership and
management.
According to contingency theory, the characteristics of the environment affect an
organization‟s ability to obtain resources. To maximize the likelihood of gaining
access to resources, managers must allow an organization‟s departments to
organize and control their activities in ways most likely to allow them to obtain
resources, given the constraints of the particular environment they face. In other
words, how managers design the organizational hierarchy, choose a control system,
and lead and motivate their employees is contingent on the characteristics of the
organisational environment.
Due to the vast number of perspectives present and the changes in the Contingency
theory literature and the prevalence of criticism among scholars, the research is
more concerned about the view that said “there is no one way to manage and also
that there is no one leadership style which fits in all situations” which leaved room for
change and improvement if ever need was, which the researcher found it sufficient to
the study.

18. 11
The relevance of the contingency theory in the research is that it allows the
combination of different techniques from different disciplines so as to attain a
common goal. The collage of both management and leadership skills and knowledge
worked to the best of advantage as its main aim was attaining a certain goal.
The contingency approach is sufficient to the study because it emphasises the need
for every member of an organisation to have a background of management and
leadership knowledge so that conversing and application are not problematic. It also
asserts that every member has an obligation or task that they have to carry out
within the organisation which indeed requires them to apply the little knowledge they
have so that they become at par with the organisation‟s vision or mission. This
directly means that all Arts group‟s members have an entire responsibility over the
success or failure of the Arts group as all of them are required to play their roles fully.
The theory is relevant to the study because it denounces the notion of individualism
and the dependency syndrome by promoting teamwork within the members of the
particular organization. It also emphasises on the need to have great relationship
with other members of the organization so that we can co-relate and help each other
achieve the set goals and objectives. The fact that leading requires a following truly
shows the need to establish good relations so that the inter-exchange of information
does not distort or change someone thoughts on their duties and tasks. The director
has to be on the same page with all his or her members of the Arts group so that
they help each other attain the set goals fully.
The contingency theory is of relevance to the study because it urges all members of
the organisation to be at the same level with the vision of the organisation and also
be free to address hidden issues within the organisation and themselves as

19. 12
members so that it stimulates self-growth and tightens relations within them. There is
need to raise the disequilibrium once in a while so that people know how to partner
up with each other so that progress is achieved because misconceptions and
negativity hinders or affected the organisation‟s success and personal growth.
2.2 BACKGROUND OF SIMUNYE SIMUNYE ARTS
The Simunye Simunye Arts group was formed in 2000 from Nkulumane High school
in Bulawayo, with seven members who comprised of four girls and three boys. It was
under the leadership of Nkosinothando Moyo who played the role of being a director.
Due to disputes and squabbles that result in firing of directors or dismantling of the
group, the director‟s post has been shared amongst the group members. The current
executive director of Simunye Simunye Arts is Ralph Malingwa who also happens to
be part of the founding members of the group. .
The Simunye Simunye Arts group has been to several countries in the world touring
and as a result, they have gained favor in which they try to uphold the Zimbabwean
culture. The group has performed with well-established artists such as Oliver
Mtukudzi, the late Tongai Moyo, Cool Crooners, Mbira dzenharira, Zahara (SA) and
Jeys Marabini. The group has also performed at big functions like COMESA,
Zimbabwe Tourism Night, Sanganai Hlanganani Tourism Expo, Miss Zimbabwe
Environment, Ibumba festival, Intwasa festival, 21st
Movement Gala, NAMA Awards,
World AIDS Commemorations and COSAFA.
The Simunye Simunye Arts produced a production called “Bitter Crescendos” which
advocated for visibility of Arts in Zimbabwe and it tackles the neglected factors that

20. 13
affect Arts. The project on the other hand is fighting for the formation of Ministry Of
Culture rather than Ministry of Education, Sports and Culture.
The group specializes in dances such as Afro fusion and traditional dances, which
include imbube, tap-dance, mbaqanga, jerusalema, dinhe, mbakumba, muchongoyo,
chinyambira, amabhiza, setape, Isitshikitsha, gumboot dance, mzansi and indlamu.
The Simunye Simunye Arts is an upcoming Arts group which has a board of
directors whereby people are employed to hold and take stock of the profits and
serves as a means of earning. Currently the group is made up of 10 members (8
males and 2 females).
2.3 RECORD OF DIRECTORS SINCE ITS CREATION
The table below shows the record of Simunye Simunye Arts group directors from its
creation to its current existence.
YEAR IN OFFICE DIRECTOR’S DETAILS
2000 to 2005 Nkosinothando Moyo
2006 Natwell Mvurwi
2007 to 2011 Future Dube
2012 to 2013 Tichaona Karuma
2014 to present Ralph Malingwa

21. 14
2.4 CONCLUSION
The chapter has fully outlined and explored the theoratical framework used and it
has justified why the researcher carried out the study using the above mentioned
theoratical framework. Brief information about the Simunye Simunye Arts and its
Directors since its creation was noted so that it helps in mapping a clear view about
the group.

22. 15
Chapter Three
3.0 Introduction
This chapter is a presentation and analysis of data gathered from 10 questionnaires,
one on one interview and focus group discussions by members of the Simunye
Simunye Arts Group. The findings on the problem faced by directors are discussed
according to thematic issues raised by the respondents.
3.1 Shortage of funding.
Ralph Malingwa (interview 25/03/15), indicated that the group faces a major
challenge in sourcing funds because the income determined the stability of the
group. Their families depend on the income generated by the group into which every
participant has a take home package. The failure of the group to acquire funds has a
direct effect on the member‟s performance and also on their families. For a cordial
relationship to exist between members and the director and the whole group as a
whole, satisfaction and determination are motivated by the take home packages.
The view is supported by Towse (2010; 203) as she notes that “there is considerable
variation in the sources of income for non-profit performing Arts groups as
performances are ephemeral meaning that there are supplied at a specific moment
in time and when the performance is over it disappears”. Prince Msipha (interviewed
25/03/15) stated that the group lost sponsorship and has been struggling to get back
to their feet because funds are essential in their existence as they have took dance
as a profession. He further stated that the neglect upcoming performing Arts groups
received from potential sponsors made it hard for the group to get proper funding.
Sponsors are concerned about ripping large profits from shows and other events
they sponsored.

23. 16
Furthermore, due to lack of funds, the group had to release some of its talented
members because some members thought that the management misused funding in
which the management tried to acquire funding from sponsors. Funds were used to
book appointments with those potential sponsors who in turn never returned good
deals back to the group. The contingency theory is of the view that there is no one
way to manage which therefore shows that management of organizations is not
systematic as sometimes decisions are made as an emergent strategy. The fact that
the group applied emergent strategies showed that the reality on the plan book did
not necessarily complement with the reality which the groups was in. Thus there was
need to adopt and apply some measures so as to articulate duties fully. The group
faced a problem in managing when the plan book reality was inapplicable to the
reality which leaved room for improvement and adjustment.
Banutu-Gomez (2004; 133) notes that a leader must have the intelligence to identify
the changing environmental factors and possess the self-confidence, determination
to make significant organisational changes. He (Ralph) also stated that sometimes
they performed for peanuts just to keep up appearances and raise income so that
the group managed to run its administrations and errands effectively. Accountability
and transparency are vital in the management of funds so that no member feels
excluded from having his or her word heard.
There were significant changes made for the group to be in their existence given that
they lost sponsorship. The lack of funding affects the day to day running of the
Simunye Simunye Arts group as it is in dire need of working capital or sponsorship
so as to take care of their administration expenses in the production and service
delivery of the final product. The fact that they alternated to perform for peanuts
shows that the group is led by someone who has the determination and hope that

24. 17
things were one day going to get better as they strived for excellence without being
sponsored.
3.2 Lack of female membership.
The Simunye Simunye Arts group faces a challenge of lack of female membership
which indicates the lack of hope in women who want to pursue Arts (dance). Due to
the waves of gender empowerment and equal rights, there is need for women to take
up arms and join the struggle in Arts and make their voices heard. The Arts industry
is a public sphere for women to express their skills and oppressed opinions. There is
need for women to take up the roles and bring something home for their families as
Zimbabwe is currently recovering from the 2002 era economic meltdown. Women
are urged to join the Arts industry as they are significant in the struggle and
preservation of culture. The view is supported by the Culture Fund Bassline Report
(2010) which notes that
The proportion of women in the sector is low but growing and that women who
are in leadership are 20% of music groups. Women are often involved in
this sub-sector usually at school going age; thereafter social issues limit
their participation. (Culture Fund Bassline Report, 2010)
There is need to interrogate the low participation of women in Arts as both men and
women have a pivotal role to play in the preservation of culture.
Furthermore the group aims at spreading diversity and vies for the empowerment of
women. It is so distressing to see young women in the community engaging in social
ills like prostitution whilst the Simunye Simunye Arts group is in dire need for women
membership (Prince Msipha interviewed 25/03/15). He urged women to turn

25. 18
idleness into productivity and get involved with upcoming performing Arts group as
there are widespread varieties of opportunities embedded in the industry waiting to
be seized. The respondent‟s view is supported by the contingency theory which
entails that there is no one to manage. This shows that both male and female
counterparts stand a fair chance to be involved in managerial activities of an
organisation.
The group ever since its creation has never elected a female member into top
positions as from start there was always a deficit in the number of women. Men are
the majority of the group and therefore issues to do with voting will always be biased
to men because there are more men than women. There is need for those women to
be empowered as they too stand a chance to take the group to greater heights as all
members have to display their capabilities in performing the assumed duties.
The female respondents noted that it‟s not that they don‟t want to be involved in
managerial related activities of the group. The opposition and discouragement they
get from other members makes them shun away from such opportunities. The
contingency theory notes that all members of the organization have a significant role
to play in the management of the organization. Thus there is need to interrogate why
these women are secluded from taking part in these activities. This has a negative
impact on the management of the group. The females feel inferior to the situation
and end up resorting to exiting the group which ends up destroying the team spirit of
team work within the group. Finding a replacement for the female takes a while
which therefore leaves the group crippled till the replacement is found.
Internal social pressures cause a decrease in the number of female participation in
the Arts Industry. Leeosa Makoni (interviewed 18/01/15) household roles limit time

26. 19
availability for involvement in activities related to the culture sector, some of
which are executed at night. The unsupportive social systems and stereotypes
related to women performing at night functions jeopardize chances for marriage and
thus an early-age of terminating careers in the performing Arts sector. She noted that
society plays a pivotal role in decision making as the society can generate negative
perceptions about the girl child if ever she joins a performing Arts group.
Leading performing arts groups comprise of both men and women, although
others are purely male in membership. Women within the culture sector play less
influential roles in the various establishments. In the performing Arts sub-sector,
women are in leadership in 10-15% of establishments. In Hwange, only two out of 30
performing arts groups are managed by women (Culture Fund Bassline Report
2010). However, it is important to note that women have made significant
contributions to the sector. Therefore there is need for women to join these
upcoming performing Arts groups as that participation can yield better and
outstanding results which might lead them to becoming leaders or managers of
performing Arts groups.
3.3 Shortage of rehearsal space.
Rehearsal space stages as a great threat to the Simunye Simunye Arts group‟s
management. 90% of the respondents pointed that the group faces a big challenge
of acquiring rehearsal space. The rehearsal space they use is currently under a time
allocation system which plays a pivotal role in detecting how they perform as a
group. Some of the group‟s members stay far from Tshabalala and therefore for
them to get to the Training Centre on time is challenging. Most of them have children
whom they supposed to leave with all meals prepared and some are ferried to

27. 20
school. 40% of the respondents pointed that time balancing affects the group‟s
performance as some members arrive late or during the commencement of training
into which mastery of the dance concept takes time. As a result they start afresh so
as to compensate the late ones. 90% of the respondents proposed that if upcoming
groups could own their own rehearsal space, creativity and artistry can be achieved
as focus will shift from time-balancing to mastery of concepts. Due to limited
rehearsal space, they are made to compromise for the sake of progress and
squeeze in some concepts which take more time to be finally polished. The director
specified that the fact that they have no rehearsal space has a direct effect on what
and how the group is managed.
The respondent‟s view is reinforced by Hissom (2009; 11) by stating that
“environmental factors impact the effectiveness of different organizational forms”.
Thus this shows that environmental change can lead to the increase or decrease in
the size of a organisation and also limits the chances of development. This suggests
that if performing Arts groups have stable environments, they have higher chances
of achieving efficiency and consistency. According to Gale (2006; 196)
Certainty and predictability permit the use of policies, rules, and
Procedures to guide decision making for routine tasks and
problems. Unstable environments suggest organic structures which
emphasize decentralization to achieve flexibility and adaptability.
(Gale 2006; 196).
Thus this therefore leaves room for improvement or change of environment for the
betterment of the organisation as far as development is concerned.

28. 21
3.4 Lack of leadership and management knowledge.
Patrick Moremoholo (interviewed 15/02/15) indicated that lack of leadership and
management related knowledge widens the gap between the director and group
members. He stated that directors are not managing the group‟s members only but
also their family‟s futures too. Their families depend on the income made by the
group as such maximum responsibility and management is supposed to be applied.
One bad decision made by the director has a direct bearing towards their families.
He pointed out that some directors they had before took advantage of the fact that
some members in the group didn‟t have knowledge and manipulated them. He
opened up about the major reason for the split of the group in 2011. The director and
his management team took the authority to their hands and went over their
responsibilities and misused the group‟s hard earned revenue to satisfy their own
hungers. There is need to be concerned about both the uprightness of the group and
the assessment of the director‟s capabilities in articulating the set tasks effectively.
Furthermore, basic management and leadership knowledge is a requisite to
understand management related affairs. Basic management and leadership
knowledge is vital for both the director and the group members as issues of
transparency and accountability will be achieved (Larrington Mudare interviewed
23/03/15). They (directors) should use that knowledge and defend the group‟s
mission and vision than lead the group to their death. Directors should show some
uniqueness and skill so that they can have a good followership because people get
inspired through works they see their directors do for them as a whole. Directors
must bear in mind that everyone has the capacity to lead people in both positive and
negative ways, so they should treat that directorship position with dignity and respect
rather than a means to an end.

29. 22
The respondent‟s view is supported by Knowledge Management Terms (2009) report
which state that “every member of the organization has some management and
reporting functions as part of their job". Greenleaf (1977; 13) states “followers need
to become healthier, wiser, freer, more autonomous and more likely to become
leaders”. Thus this suggests that both the directors and group members (followers)
must have some form of basic knowledge in leadership and management so that
they can be at par, co-relate and help each other become better people in society.
30% of the respondents noted that they face a challenge in understanding why some
decisions were made the way there were made and it is succinct to say it is the
widening gap between the director and group member‟s knowledge which results in
the intensification of doubting and other negative factors.
3.5 Lack of professionalism.
Lack of professionalism between directors and group members postures as a great
challenge towards the management of the Simunye Simunye Arts group. The major
challenge that directors face in managing upcoming performing arts groups is the
failure of both members of the group to act professional in terms of inter-dating each
other. The tendency to fuse business with pleasure is becoming popular within
upcoming performing Arts group‟s members. The male counterpart finds his female
equals attractive and vis-à-vis which results in courtship. Administering of authority is
difficult because people tend to manipulate the co-relations they have with the
director.
According to a Ralph Malingwa, “it is true that sometimes some women are
pushed by their vulnerability to accept sexual harassment from male
counterparts in order to get special treatment”. There must be clear-cut rules that

30. 23
defend the susceptible to such pressure as those choices lead to career end and
other uncomplimentary outcomes. He urged women to stay focused on their goals so
that they don‟t compromise their futures with a couple of moments of pleasure.
People in the Arts Industry are role models to numerous people and for such
behavior to be performed; it can result in perplexing other people‟s mindsets to
deviate from hard work. There is need for artists to respect their dreams and other
people‟s dreams as one mistaken turn can lead to extreme failure of the entire group
as a whole.
The respondent‟s views are in line with the view of Banutu-Gomez (2004) that “a
leader must also manifest a high level of integrity and be able to instill this integrity
and value in others”. Thus this suggests that leaders have to develop strong
interpersonal relationships that are open and accountable to followers and also
maintain personal integrity and trust. Smith (2004) notes that “a leader believes it is
their responsibility to go beyond reminding followers of the rules and requirements
and instead lead by example”. Thus this shows that both the director and group
members have a responsibility to practice professionalism at all cost as it can lead to
other pressures which might form hindrances towards development.
3.6 Perceptions on women in leadership and management roles.
Duduzile Mafu (interviewed 19/03/15) indicated that them as women are not worried
about the number of the few women in the culture sector but about the quality of the
few women in this industry. Unfortunately they do not have credible role models and
again they fight so much within their groups and that makes it difficult to vote women
into leadership and management posts. The inequity of low involvement of women in

31. 24
the directorship was inherited from previous generations where women had limited
opportunities for school and those who went opted for non-technical subjects or
courses.
“Gender issues are not adequately addressed in the culture sector, male
directors will not understand it if a female says she wants to leave the rehearsal
early because of her child or when the female cannot dance because she is
on her periods. Male directors are not that bad but they need to understand
women well enough but on the contrary, women directors are the worst as they
tend to have this mean attitude, this super woman attitude that makes life
miserable for other female artists. Sometimes they think that they are better
off with male directors”.
These views were raised by women during the focus group which was held during a
rehearsal at Indlovu youth centre comprising of different female participants from
other performing Arts groups.
Most of the women in Arts related sectors are uneducated or have little or less
knowledge about management and leadership. If a woman is to be given a
leadership post she should have the qualities to deserve that post (Ralph Malingwa
interviewed 25/03/15). He further indicated that women are too emotional hence
objectivity lacks in some scenarios and hence their leadership will be based on
emotions.
The respondent‟s views are supported by Almaz (1991) as women have been
denied equal access to education, training, and gainful employment

32. 25
opportunities, and their involvement in policy formulation and decision making
processes has been minimal. Obviously, women play a vital role in the community by
taking care of all societal activities. However, they do not enjoy the fruits of their
labor and suffer from political, economic and cultural marginalization.
In most patriarchic societies, females are regarded as the inferior of the species. Due
to this, women are denied access to both honored and utilitarian roles open
only to males. Such roles as administration, disposal of property and leadership
roles in societal affairs are exclusively belonging to males. There is a belief that
women are docile, submissive, patient, tolerant of monotonous work and violence,
for which culture is used as a justification (Almaz 1991).
3.7 Conclusion.
The chapter discussed the themes that were the outcome of the focus group
discussions, questionnaires and in-depth one-on-one interviews conducted. It is a
record of what both men and women perceived to be problems affecting the
development of upcoming performing Arts groups and also the perceptions on
women in leadership and management related activities. The next chapter offered
recommendations and conclusions.

33. 26
Chapter Four
4.1 Recommendations and Conclusions.
The study found out that there are a vast number of problems which directors or
managers faced when managing upcoming performing Arts groups. It is because of
those problems which make it hard or which hinder Arts groups from developing and
penetrating into the mainstream Arts industry.
The respondents gave significant information which hailed on the empowerment of
women into leadership and management roles and it also emphasized on the
importance of women to join the Arts sector as they too have a pivotal role to play in
the preservation of our society‟s cultures. The crying out of performing Arts group on
the need for women to participate in the Arts sector shows the levels of hope to
which they can help in the development of the Arts sector as far as development is
concerned.
The issue of lack of funding was considered to be one of the major determinants
which affect the way in which the directors of Arts group issue out or act out their
directorship. All the respondents both male and female agreed on the fact that there
is need for upcoming performing Arts groups to have a steady capital or a working
capital so that the day to day administrations of the organization are fully carried out
without being affected by compromise. They also indicated that it is of paramount
importance for sponsors to donate funds to these upcoming performing Arts groups
as they play key roles in preserving the cultures and as such the public has a
responsibility over the welfare and development of these upcoming performing Arts
groups. There is need to shield and defend these Arts groups as they are doing an
excellent job in preserving the society‟s cultures.

34. 27
The respondents indicated that the income made by the group is not sufficient for
their general upkeep as the group is under debts such that the income raised is
subject to clearing debts. The lack of funds provides problems in the procurement of
rehearsal space as the rehearsal space is a vital as it contributes to the motivation of
the group members to feel at home and also it governs the group‟s growth. The
sense of belonging of individuals can help yield positive attitudes which can
strengthen the spirit of team work.
Another important finding in this study is the lack of professionalism within the Arts
industry as both directors and group members fail to act in accordance which results
in the sexual harassment of women who fail to handle things professional. The
problem of lack of professionalism has direct effect on the director together with the
group members as it can hinder the group from development. Lack of
professionalism can be a cause of other problems which might lead to the death of
the upcoming performing Arts group.
Furthermore, the findings showed the dire need for leadership and management
programmes in organizations which result in the widening of the gap between the
director and the group members. The fact that all the female respondents indicated
that they had no basic knowledge of leadership and management shows the need to
educate the girl child so as to elevate her chances of making it into the top
leadership and management roles. There is need for group members to understand
how leadership and management work so that they can easily access the director‟s
effectiveness in articulating his set tasks.
The researcher recommended the application of raising the disequilibrium system to
solve problems to do with the internal relations of group members. The system aims

35. 28
at advocating for total commitment and professionalism in that the group members
must freely identify hidden issues between them the group members so that they can
partner up for progress sake.
There is need for mainstream performing Arts groups to hold staff development
training programmes aimed at helping others develop so that the upcoming
performing Arts group can benefit too. By equipping the upcoming performing Arts
groups with the adequate information, there is an increase in their chances of
penetrating into the mainstream Arts industry. There is need to do away with the
tendency of separating upcoming and mainstream performing Arts groups as all of
the groups are both playing different roles in the preservation of culture and also it
keeps the Arts industry as a source of stable employment for artists.
The researcher recommended that, there should be promotion of qualified and
technically competent women in and into leadership roles in the Arts sector. The
regulatory authority should develop a clear gender policy to deliberately promote
women in the Arts sector. The researcher recommended that there should be 50/50
representation of men and women in power as all have different significant roles in
the conservation of the Arts sector as far as development is concerned.
The researcher recommended the adoption of some marketing strategies that can
help persuade, convince and attract potential sponsors that can in turn fund the
upcoming performing Arts groups. There is need to employ people who have vast
knowledge on marketing such that they can use their capabilities towards the
development of the group. There is need to put women in the fore-front in some
marketing roles as men are generally hostile than women in seeking funding. Donors

36. 29
could say funding will be made accessible to groups where females are present and
with representation in management so as to empower women in the Arts sector.
There is requirement for a gender strategy for the culture sector which aims at
balancing the scales of gender representation because much effort is put on
stereotyping the other gender than focusing on the development of the Arts sector as
a whole.
Overall, the study showed that the Arts industry is characterised with problems which
make it stiff for upcoming performing Arts groups to penetrate into mainstream. It is
because of these problems which managers face which result in the demise of
performing Arts groups.

37. 30
REFERENCES
Books, Journals and Organisation Documents
Almaz, E. (1991) - Perspectives on Gender and Development. Addis Ababa
University, Addis Ababa.
Banutu-Gomez, M. B. (2004) – Great leaders teach exemplary followership and
serve as servant leaders. Journal of American Academy of business, Cambridge.
Bennis, W. (1999) – The end of leadership: exemplary leadership is impossible
without full inclusion, initiatives and co-operation of followers. Organizational
Dynamics. Sage Publication. Retrieved 29 September 2014
Burrows D. & Kendall S. (1997) - Focus groups: What are they and how can they be
used in nursing and health care research? Social Sciences in Health, Sage, London.
Byers, P.Y. (1997) - Organizational Communication. Sage publication. Retrieved 28
March 2015.
Cengage, E. M. (2006) - Management Functions: Encyclopedia of Management.
Retrieved 14 February 2015
Covey, S. R. (2006) - Servant leadership. Sage Publication. Retrieved 29 September
2014
Fielder, F. E. (1964) - A theory of leadership effectiveness. New York: Academic
Press.
Gale, T. (2006) - Contingency Approach to Management. Sage Publication.
Retrieved November 3, 2014.
Greenleaf, R. (1977b) - Servant-Leadership: A Journey into the Nature of Legitimate
Power and Greatness, Paulist Press, New York.
Hissom, A. (2009) – Introduction to management technology. Sage publications.
Retrieved 26 December 2014.
Knowledge Management Terms (2009) – 20 January 2009 Management Summit.
Sage Publication. Retrieved on 5 October 2014

38. 31
Northouse, P. G. (2007) - Leadership: Theory and practice (Fourth ed.). Sage
Publications. Retrieved 29 January 2015
Pepper, A. (2003) - Leading professionals: A science, a philosophy and a way of
working. Journal of Change Management. Retrieved 29 September 2014
Rainy, H.G. (1991) - Understanding and managing public organizations. Jossey-
Bass. San Francisco.
Rosenberg, J. M. (1983) - Dictionary of Business and Management. John Wiley &
Sons Inc.
Rowe, R. (2003) - Leaders as servants. New Zealand Management. Sage
Publications. Retrieved 29 September 2014
Smith, B. N. (2004) - Transformational and servant leadership: Content and
contextual comparisons. Journal of Leadership and Organizational Studies. Sage
Publications. Retrieved 30 March 2015.
Towse, R. (2010) – A textbook of Cultural economics. Cambridge University Press.
Cambridge.
INTERVIEWS
Duduzile Mafu interviewed on 19 March 2015, Bulawayo
Larrington Mudare interviewed on 23 March 2015, Bulawayo
Leeosa Makoni interviewed on 18 January 2015, Bulawayo
Patrick Moremoholo interviewed on 15 February 2015, Bulawayo
Prince Msipha interviewed on 25 March 2015, Bulawayo
Ralph Malingwa interviewed on 25 March 2015, Bulawayo

39. a
APPENDIXES USED IN THE STUDY

40. b
APPENDIX A
ACADEMIC RESEARCH QUESTIONNAIRE: AN INVESTIGATION INTO THE PROBLEMS FACED BY
DIRECTORS IN MANAGING UPCOMING PERFORMING ARTS GROUPS. A CASE OF SIMUNYE
SIMUNYE ARTS.
This is a questionnaire on the research topic above, which is being carried out by Vuyani C. Mguni,
an undergraduate student at Lupane State University, Zimbabwe, pursuing a Bachelor of Arts
Honours Degree in Language and Communication Studies. Your response is highly valued and greatly
appreciated; hence it will be kept confidential. Thank you in advance
*Required
SECTION A
Please indicate which field best describes your daily work*
Artist
Arts Trainer
Arts Administrator
Other
SECTION B
Do you have basic knowledge of what management is all about?
Yes
No
Do you think Simunye Simunye Arts provides a platform for management related programmes*
Yes
No
In your opinion, which specific problems does the entire group face? *
In your view, which possible ways can upcoming performing arts groups use to penetrate into the
mainstream Arts Industry?*

41. c
SECTION C
Is Simunye Simunye Arts, through its various programmes, benefiting the arts sector?
Yes
No
What recommendations can you give on improving management of upcoming arts group as far as
development is concerned? *

42. d
APPENDIX B
INTERVIEW TEMPLATE
(Please fill in the following details)
1. What is leadership? (in your own words)
2. What is the difference between good leadership and bad leadership? (in your own
words)
3. Describe the director or manager roles? (in your own words)
`
4. What is management? (in your own words)

43. e
5. Which specific problems does the entire group face? (in your own words)
6. What led to the separation/ division/ breakaway/ split of the group? (in your own
words)
7. Any possible solutions that can help make the group grow in one spirit. (in your own
words)
8. Which possible ways can upcoming performing arts groups use to penetrate into the
mainstream Arts Industry?

44. f
9. How relevant is performing arts in Zimbabwe? (in your own words)