### The new status of the artist in the DRC: an odyssey towards recognition and professionalization
In a world where cultural contributions play a crucial role in shaping national identities and in socio-economic development, the Democratic Republic of Congo (DRC) takes a decisive step with the adoption of a draft decree to establish the status of artists and culture professionals. This initiative, carried by the Minister of Culture, Arts and Heritage, Yolande Elebe Ma Ndembo, is a lever to professionalize a long neglected sector, while giving it a clear structure and rights.
### In -depth reform
At the heart of this reform is a need to make the Congolese cultural universe not only visible, but also viable. The artists, who are often perceived as simple volunteers or amateurs, see their status revalued. This recognition is fundamentally important, because it transforms the look that society poses on them. Get from shadow to light requires concrete steps: social protection, continuing education and, above all, financial autonomy.
Financial autonomy is particularly crucial in a country where culture can represent a significant source of income. However, artists must also be aware of their responsibilities, especially tax. The decree stipulates that this tax obligation is not simply a constraint, but a means of ensuring the sustainability of the sector through its contributions to public finances.
### International comparison: inspiring models
To understand the potential impact of this reform, it is relevant to observe how other countries have addressed the question of the status of artists. Let us take example in France, where the law on the status of the artist makes it possible not only to guarantee copyright, but also to supervise the various forms of support for artistic creation, from direct aid to social protections. According to an INSEE study, artists in France generated more than 10 billion euros in cultural exports in 2020. This example underlines how a solid legal framework can both support creators and enrich the national economy.
In Africa, countries like Senegal and Côte d’Ivoire have also initiated similar reforms, implementing mechanisms that promote direct support for artistic creation. The DRC can draw inspiration from these models to enrich its decree, by integrating incentive measures such as cultural incubators and mobility aid for artists.
### Professionalization issues
However, the path to professionalization is not limited to legislative provisions. The implementation of this decree will require close collaboration between artists, authorities and private sector players. It appears crucial that the government is investing in ad hoc cultural infrastructure as creation and dissemination spaces, otherwise the artists will be faced with a lack of visibility and access to remunerative markets.
One of the major challenges remains the question of copyright, still in its infancy in the DRC. The adoption of a robust legal framework to protect the creations of artists is essential to guarantee their income and their creativity. As such, a concerted dialogue with collective management organizations could be initiated to establish clear standards.
### to a new cultural economy
The potential of the Congolese cultural sector is immense. Statistics show that the cultural industry can contribute up to 7% of GDP in certain emerging economies. In the DRC, where cultural wealth is undeniable (from music to theater, including plastic arts), the valorization of this wealth could transform economic dynamics.
For artists, the path is paved with new challenges, but also opportunities. The implementation of an associative dynamic, as recommended by the decree, could catalyze the emergence of a sustainable cultural ecosystem. By grouping together, artists can defend their rights collectively, share resources and bring back funds to finance their projects.
### a promise to assess
At the dawn of this new era for Congolese artists, the decree on the status of artists represents a breath of hope. But he must be considered a promise to assess in the light of the results he will generate. The vigilance of cultural actors, citizens and the media will be essential to ensure that this momentum does not turn into a mirage, but actually contributes to the enrichment and emancipation of a fundamental sector for the identity and development of the DRC.
It is time for cultural actors to speak, to claim their place, but also to act together to make this promise a tangible reality which benefits not only to artists, but to all Congolese society. The way is drawn, remains to shake up habits so that the virtuous circle of culture really takes off.