Comedy of errors or act was scripted and directed badly?

He has been the face of comedy in Kenya for over three decades. He hobnobbed with the high and mighty when he performed at State functions and, he should be well off. But his current state tells a different story.

Benson Wanjau, fondly known as Mzee Ojwan’g, who is now 77, dedicated his life to performing arts, and starred in Darubini and Vitimbi shows that aired on Voice of Kenya television and later Kenya Broadcasting Corporation channels.

Those shows were on air for over 30 years, and it would not be far from the truth to say that he is the father of Kenyan comedy, a thriving sector by local standards given that that there are many who live off their artistry.

For the past two or so weeks, the veteran comedian has been in the limelight not because of a new comedic act, but because he was rushed to Lions SightFirst Eye Hospital in Loresho by a Nairobi politician because he was suffering from partial blindness.

Of course such an act should not have warranted national attention even though he is a much-loved figure. But what got people talking, and worrying, was his frail frame — and the fact that he was helpless, hapless and probably hopeless.

There was an outpouring of emotion — Kenyans were dismayed at his situation as they had expected a  person who had dedicated his life to making the nation laugh to have been rewarded handsomely, and therefore, to be well off.

CUT-THROAT COMPETITION

But things are not always how they seem.

And the story of Ojwan’g’s life is not any different from that of other artistes of yore — the generation of Kenya’s extremely talented artistes who made their mark when the country had only one government-owned television station and the attendant State-run radio stations.

The liberalisation of the airwaves no doubt came with numerous benefits, but at the same time, it brought cut-throat competition, and for artistes like Ojwang — who relied more their talent, and goodwill, considering that they did not have to market their brand or services — it spelled doom.

Ojwang’s script reads like those of many artistes such as Joseph Olita, who played the role of Idi Amin in the Rise and Fall of Idi Amin.

When he died last year, he had nothing to show for his celebrated talent. Then there was Fundi Konde who was a celebrated musician.

He produced amazing music in the ‘60s but died poor. At the time of his death, he was living in a single room, on the outskirts of Nairobi city which was once his playground, literally, as entertainment spots filled to the rafters when he was on the stage.

TIMES ARE LEAN

So, what is the missing link in Kenya’s performing arts industry?

“Until about fifteen years ago, Kenyan artistes earned very little,” offers Gibson Mbugua who played the role of the prosecutor in Vioja Mahakamani, a local comedic court drama which also aired on VoK and KBC.

Even though younger than Ojwan’g, he is a veteran artiste, and they were colleagues considering they were in the same troupe that performed skits during State and government-related functions.

“Times have been lean for performing artistes for a long duration,” he says.

“We started seeing an improvement a few years ago, meaning that the likes of Mzee Ojwan’g did not earn much. The rates started increasing slightly when other TV stations were launched and they started airing local productions.

“Even then, the new, private stations were paying their actors better than us.”

Before Ojwan’g was discharged from Lions SightFirst Eye Hospital, Kenyans got talking, and tweeting and posting all sorts of messages on new media platforms. Even the Cabinet Secretary for Information, Communication and Technology, Fred Matiang’i who visited him in hospital, put in a word edgewise.

But his comments were not taken kindly, more so when he said that artistes should put their act together, take responsibility and invest for their retirement years. He had earlier said that the State broadcaster — which falls under his docket and which had let go of Vitimbi and Vioja Mahakamani troupes — did not owe Ojwan’g a cent, or anything for that matter.

He was blaming the elderly, ailing man who had dedicated his life to entertaining Kenyans, it was said.

Or rather, that was the general opinion — and he was considered an unsympathetic government official living in his own perfect world.

“How could he say that when we used to be paid as little as Sh 800 per show and there were only four shows in a month? ‘prosecutor’ Mbugua posed. “How can you invest that when it is hardly enough to live on?

The CS could not provide an answer, but sympathy for Ojwan’g came from all quarters.

“It would be disrespectful to criticise Mzee Ojwan’g for his situation,” said Charles Bukeko, a comedian and scriptwriter who is  known as Papa Shirandula after the title of a TV show he stars in.

“Ojwan’g joined the industry when there was no money and artistes lived from hand to mouth.

“What is needed is a policy to protect performing artistes. They also need to be trained on the laws that protect their work, and themselves from being used and dumped.”

Bukeko pointed out that Kenya’s performing artistes lacked a platform to stand on and tell the government their problems.

Also, most of them did not understand their rights which made it easier for them to be abused. “Even though artistes sign contracts before appearing in productions, the contracts do not include a clause on whether they would receive royalties,” Bukeko said. “Often, the issue of royalties is treated as a goodwill agreement between the artiste and the company.”

Kimaita Magiri, one of the best, if not the best producer in Kenya today, also said that artistes always sign contracts before the shows are recorded.

He explained that the type of contract one signs determines the benefits he/ she gets from a show.

TYPES OF CONTRACTS

Kimaita once worked at KBC and has conceptualised, directed and produced many award-winning shows for Free-To-Air and PayTV channels in the region,

He said there are three different kinds of contracts. “The type of a contract Mzee Ojwan’g signed saw him give up his rights for the show and that means all the Vitimbi actors do not own the programme’s content,” explained Kimaita, the Managing Director of KenTV, a production house which also runs an online channel.

He added that kinds of contracts signed between producers and artistes include a commissioned show contract which is what most television stations have.

“By signing a contract for a commissioned show, the artiste gives up all the rights to the broadcaster,” Kimaita, whose production house worked such shows as on Tabasamau, Jastorina, Mashtaka and KaaRada, explained.

“A licensed show is one that an independent production house works on and gives a media house to air.

“The third type of a contract is that of a co-production whereby rights to a show are owned equally by the independent production house and the television station.”

On matters royalties, Kimaita pointed out that the percentage is too little to fight for as it has to be shared by all the members of the cast.

“If Mzee Ojwan’g asked for royalties on all the shows that have been aired for all those years, it would not amount to much,” he said, adding that it is mostly five per cent of the show’s profits, less the cost of packaging the production.

“Artistes should not fight so much for royalties but should negotiate good packages.

“They need to be trained on how the industry works so that they know what they are getting themselves into because most of them just do not understand,” Kimaita said.

He advises artistes to employ managers to negotiate on their behalf, help them get the best deals and manage their finances.

Bukeko shares the same views. “A manager is meant to look out for an artiste’s interests and negotiate deals for him or her because some of them do not know how to negotiate.”

Radio presenter and comedian, Felix Odiwuor, popularly known as Jalang’o, said artistes need sound advice on investments.

“What happened to Mzee Ojwan’g is unfortunate but artistes of today just want to make money and be famous without fully understanding what is required. We try to talk to upcoming artistes on the importance of investing and not just living recklessly.”

Though artistes may argue that their pay is barely enough, with the production houses defending themselves that the pay is determined by market forces, what clearly coming from different sources is that performing artistes need an education on how the industry works — and how to manage their finances.