One home for every discipline the Council represents: music, dance, theatre, comedy, visual art, craft, fashion, film and writing. Discovered, booked, sold, reported and paid for.
Work moves through Facebook posts and a gallery that takes half. No storefront, no reach beyond friends.
A three-week run promoted on posters and a WhatsApp status. Half-empty houses for a good production.
Lodges two hours away would hire them monthly and have no way to find or contract them.
Finds a sound recordist by asking around, then has nowhere to screen the finished work.
Invisible, unbookable, unsellable, unreported. Every discipline, the same story.
No listing. No published rate. No contract. No receipt. And no way to know if anyone will arrive.
Every artist and creative body, every discipline, verified, and bookable through a desk that actually answers.
Tickets to shows, and a shop for the art itself: paintings, craft, fashion, books.
The newsroom and the national what's-on calendar. The reason people come back every week.
Advertising, sponsorship and featured placement, for brands who want this audience and artists who want reach.
The shopfront Zambian art has never had.
| Discipline | How it earns on the platform |
|---|---|
| Music | Bookings · ticketed shows · multi-city tours |
| Traditional dance & music | Bookings · cultural experiences · the ceremony calendar |
| Stage & community theatre | Ticketed runs · commissions · touring dates |
| Comedy | Ticketed nights · corporate and MC work |
| Visual arts & crafts | Direct sales · commissions · exhibition listings |
| Fashion | Garment sales · runway shows · styling commissions |
| Film & media arts | Crew hire · casting calls · screenings and festivals |
| Creative writing | Book sales · paid readings · festival slots |
| Adjudicators | Paid judging engagements for competitions and awards |
| Venues, crew & services | Space hire · sound, lighting, stage, photography, costume |
A real profile, a published rate, and a request an accounts department can process.
The artist never has to log in. Their manager answers a WhatsApp, which is what they do all day anyway.
Unanswered requests are chased on their own. The first draft of every reply to a manager is written and waiting, ready to send or edit.
Event listings, artist bios and shop descriptions are drafted from what the artist submits, then approved in a click.
The What's On newsletter assembles itself from the calendar. A person reads it and presses send.
Public questions answered around the clock. Invoices, receipts, reminders and reconciliation raised without anyone typing them.
Plays, exhibitions, screenings, concerts and ceremonies. One calendar for the whole country.
A directory is visited when somebody needs to book. A few times a year.
News and what's-on are visited every week.
Auditions and casting calls, commission briefs, residencies, grant deadlines, festival submissions and competitions, posted once and seen nationally.
Theatres, galleries, halls, studios and rehearsal rooms, with capacity, rates and availability, bookable like anything else.
Sound, lighting, stage, photography, video, make-up, costume and set. The invisible half of every production, finally findable.
Entry management, media upload, panel scoring and results, ready if the Council ever wants the Ngoma entries run on it.
A Makishi masked-dance performance, a drumming session, a basket-weaving workshop, a studio or gallery trail.
Kuomboka each March–April, N'cwala in February, Likumbi Lya Mize each August, whose Makishi masquerade is on UNESCO's intangible heritage list.
A band, a play or an exhibition runs Lusaka, Kitwe, Ndola and Livingstone as one campaign instead of four improvised stops.
MTN MoMo, Airtel Money and Zamtel Kwacha locally. Visa and Mastercard for corporates, embassies and anyone buying from abroad.
Held until the performance happens or the work ships. The buyer is covered against a no-show, the artist against a cancellation.
Payout straight to the artist's or manager's mobile money. This is the part that usually fails here, and the part that earns trust.
The Council exists to develop and promote all the arts. This is that promotion arm, built and run for it.
“Verified” means something because the Council says it. No private marketplace can borrow that.
What is booked, sold, staged and attended, by discipline and by province. Evidence for the Ministry and for UNESCO.
A share of revenue flows back into the Council's own grant-making rather than out of the Treasury.
The Council owns the platform and everything it earns. We build it, train your team, and keep it running behind them.
Twelve weeks from start to handover, with the public launch at week four. The newsroom and the calendar ship first on purpose: they build the audience every later phase depends on. These dates assume introductions to the associations and content sign-off arrive as scheduled.
The Council keeps every kwacha the platform earns. Advertising and ticket fees alone are designed to cover its running cost.
Public launch at week four with the newsroom, the calendar and a roster drawn from every one of the Council's associations. Selling and earning by week ten. Trained, documented and handed to your team by week twelve. All we need to begin is a half-day session to agree scope and meet the associations.