We, the undersigned, hereby voice our concerns and stand in solidarity against the exploitative practices and unfair treatment experienced by theatre artists that are to participate in the UNIMA Theatre Festival. The festival, aimed at celebrating theatre and creativity, is unfortunately marred by several issues that undermine the integrity and welfare of participating artists.

1. Financial Exploitation of Theatre groups: 
The proposed remuneration of MK100,000 to theatre groups is an insult to the efforts and dedication of Malawi's theatre artists. The festival organizers a university that has conducted research and understand the theatre industry as well as recognize the struggles faced by artists should ensure meaningful financial returns rather than mere token gestures disguised as "appreciation." 

The financial compensation offered seems more of a symbolic gesture or an afterthought, rather than a genuine acknowledgment of the immense creative energy, time, and resources invested by these theatre groups. The discrepancy between the purported understanding of the industry and the insufficient compensation provided only exacerbates the sense of exploitation felt by the artists.

Additionally, it’s quite perplexing that UNIMA, an institution of higher learning is seemingly contributing to the exploitation of Theatre artists in Malawi. This raises concerns about the values being imparted to students who are expected to become theatre practitioners upon graduation. It intensifies a prevalent assertion that graduates from the University, particularly those who studied drama and theatre, often find themselves employed in banks rather than pursuing careers in the industry they were trained for. This trend suggests a lack of respect for the theatre industry from the institution, prompting a question about the alignment between the institution’s teachings and the practical realities of the creative sector.

2. Intimidating Terms and Conditions:
The festival's terms and conditions impose fines on theatre groups without clear, fair guidelines. The language used is intimidatory and coercive, contradicting established policies outlined in the National Cultural Policy and the Malawian constitution, which advocate for artist protection. Further to this, the intimidating and dictatorial terms and conditions which the UNIMA Festival is asking theatre groups to commit to and sign are going against the spirit of collaboration, creativity, and fairness that festivals should embody. They are discouraging participation, stifling artistic expression, and are a recipe towards damaging relationships essential for a successful and vibrant arts community.

3. Improper Categorization of Theatre Groups:
Renowned professional groups like WAZ Art Theatre and Tauka Arts Theatre being labeled as amateurs raises concerns about the festival's criteria for classification, leading to a sense of demeaning among established theatre groups. These groups have contributed a lot to the Theatre industry in the country we thus wonder how the University of Malawi through the Department of Theatre are demeaning these reputable groups. Such classification has a damaging impact on how the audience will perceive the groups in question. 

4. Lack of Transparency:
Insufficient information provided about the festival, including a comprehensive festival profile explaining its objectives, outcomes, and clear-cut information, raising doubts about the festival's legitimacy and objectives. We believe that transparency regarding festival objectives and expected outcomes is essential for fostering informed decisions, aligning artistic visions, efficient resource planning, mutual accountability, building credibility, and facilitating artistic development, all of which contribute to a successful and rewarding festival experience for both organizers and artists.

5. Exploitation of Intellectual Property:
Restrictions on recording performances while the festival retains rights without transparently outlining the scope of use of recorded material lead to concerns about intellectual property exploitation.

Transparent guidelines on the usage of recorded material are imperative. These guidelines should explicitly state the purposes for which the festival intends to use the recordings, any limitations on their usage, and how artists' rights will be safeguarded in the process. Without such transparency, artists are left vulnerable to potential exploitation of their intellectual property.

6. Unexplained Nonrefundable Commitment Payment:
The demand for a nonrefundable commitment fee of MK10000 without clear clarification on its use raises questions about financial transparency and equity for groups offering their services. This is strange as the festival is not providing any logistical support to the Theatre groups we thus wonder what the commitment fee is meant to be used for. In addition, without a clear explanation for the fee, we perceive the commitment fee as an unjustifiable expense. This fee will burden smaller or independent groups, thus hindering their ability to participate in the festival and potentially limiting the diversity of performances.

7. Publishing of Theatre Groups without Commitment:
Publishing festival programs featuring theatre groups without their commitment to participate indicates a lack of consideration for the groups' consent and may mislead attendees. Further to this publishing programs with the names of groups that haven't committed to participating in a festival is misleading, disrespectful of the groups' autonomy, and could potentially harm the festival's credibility and planning. It's essential to respect the decisions and commitments of the participating groups while ensuring accurate representation in festival programs.

8. Absence of Artist Protection:
The festival's failure to cover artists in case of injury during performances disregards the general well-being and safety of theatre artists, which is unacceptable. As organiser of the festival they are supposed to consider issues of safety for Artist thus when the UNIMA festival says they will not be liable for injuries incurred by performing artist at the festival. We believe that

Artists are integral to the festival's success, and ensuring their safety is a fundamental ethical responsibility. Their well-being should be a top priority during performances and throughout their involvement in the event.

9. Lack of Supportive Facilities:
Limiting access to shows for theatre artists, pushing them to spend exorbitant amounts and limiting their access to festival events, hindering the creative process through networking and collaboration. We believe festival are platforms where artist meet to learn, share, network and collaborate which limiting access for performing artist only to the days they are performing going against this concept which is adhered to worldwide unless this is a new model that the University is trying to develop. 

We urge the organizers of the UNIMA Theatre Festival to address these pressing concerns and rectify the mentioned issues to ensure fair treatment, transparency, and the rightful respect for the artistic community. Failure to address these issues will compel us to take further action to protect the rights and dignity of theatre artists in Malawi.

Sincerely,