Improving the Situation of Fine Arts Industry in Botswana: Challenges & Solutions?
WeekendLife
KEITH PHETLHE
In this era of the 21st century, the fine art industry in the developing countries like Botswana continue to face developmental challenges. This situation has compelled researchers to pose some crucial questions as way of showing the growing concern on the development of art industry in Botswana, and perhaps beyond the borders where I believe local talent has the capacity to expand and develop further. Some of the questions I attempt to answer in this article are as follows:
how much do Batswana know about the fine arts? How can the fine arts be supported by the government and private sector? What has been done so far to improve this industry and how can these efforts be supported further? How can we improve the fine arts in local languages as part of marketing the tourism industry? What can the Ministry of Arts and Culture do improve the situation of the fine art industry in Botswana? What is does it mean to perceive the fine arts as an industry, and how can they be perceived as profitable enterprise in Botswana?
My attempt to answer the questions above does emanate from my perspective as a scholar and researcher within the humanities, and it does not in any way suggest that I want speak from a ‘a holier-than-thou’ attitude. My goal is only to examine the situation of the fine arts in Botswana, exclusively, and present an argument that despite their potential to grow or develop the economy of Botswana, the fine arts continue to suffer neglect. This unfortunate situation persists despite the amount to local talent and amount of resources channeled towards financing the study of the Humanities and Arts in the local tertiary institutions.
To understand the arts, we are obliged to define them from the local perspective, from the aesthetic way of conceptualizing and contextualizing; in terms of how the arts are generally perceived by communities in Botswana and their communal function. In addition, we need to learn from countries abroad such as Greece, Italy and perhaps the US, and appreciate how such countries have historically approached the area of the fine arts as an enterprise.
Emphasizing the definition, the fine arts constitute any creative activity, material or immaterial/tangible or intangible that is consumed by the society for their aesthetic appeal or beauty and their communal function. This definition is theory based and therefore complex, but it can be simplified to mean fine arts include any work creative work of art that is produced and consumed in Botswana. Some examples include, poetry, film, folklore, music and dance, sculpture, theater and performance arts e.t.c Already, these works of art can be seen across Botswana in the malls, our clothes and jewellery, villages and arts centers such as the Thapong Visual Arts and the National Museum.
The list is endless and this is because they are a way of life- culture. Other examples include, sculptures and monuments that decorate significant buildings in Botswana, the glaring displays of artifacts at the main-mall or at the entrance of business places like Bull and Bush or Botswana Craft. Oodi College of Fine Arts, Limkokwing University and, the University of Botswana produce abled citizens who graduate with Art degrees from these universities every year.
Many locals produce immense talent mostly seen during the annual president holidays and other cultural activities; for example Oodi Weavers, Dithubaruba, Mbungu wa ka Thimana and Motlhaolosa Poetry Ensemble, to mention but a few cultural groups that exist in Botswana. However, the critical question that remain unanswered is, how can we utilize these artistic skills profitably? Perhaps the answer should be somewhere between where our national priorities lie and our general attitude to the arts. We must have a ‘collective responsibility’ that views art as an enterprise worthy of financial support and constant monitoring and the availing of arts endowments.
Efforts done thus far which come with the package of the money won from the president day competitions should encourage investors to look further and invest in the art market, especially those who are into the the tourism and hospitality businesses. As a noted poet and culture activist Moroka Moreri has argued elsewhere in an exclusive interview, ‘artists need not to have circular jobs, but they should be given grants and loans to pursue the arts’. I can’t agree more. My own view which corroborates Moroka Moreri’s understanding is that this is the only positive way to promote the growth of the art industry in our country. However, proper, administration, management, and accountability are required to ensure the sustainability of these programs.
Based on my observations, artists in Botswana continue to be exploited by consumers due to the following reasons: many generally don’t view art as business, and therefore fail to understand when an artist such as a poet or musician expects a payment for the artistic services rendered. Culturally, art across many African societies including Botswana was done for entertainment purposes (and other social functions) and the idea of profiting from it is a new development that proves that our culture is continually adapting.
I have personally performed poetry and rendered my services as the MC during some occasions only to be shocked when I was told that I had volunteered, or when a payment was fully determined by my consumer until I started to rethink ways of making my clients realize that my artistic services should be paid for. There are many other artists who continue to face this challenge, and are swallowed by unemployment despite the talent they possess.
Furthermore, I have also observed that many are times when people who sit as judges or adjudicators for the art competitions are largely unqualified amateurs with a very poor background in the arts. This is a problem and will probably continue to pose as a challenge to the proper development of the arts in Botswana. I think it is fitting to suggest that artistry in Botswana needs a proper administration, which should be handled by the people who are not only passionate about the arts, but also those art administrators who are trained to handle budget and profits reaped from artistic enterprises.
How then can we improve the fine art industry in Botswana? We first need to ensure quality and appreciate the fact that the arts should occupy a significant role in the domains of our society and our economy. Therefore, our art production should be critical at all times, thus responding and maneuvering themes and topical issues of importance in the society. We also need to have artists who are prepared to produce the arts and a society that is equally prepared to consume and support local art.
This is the first major step to safeguard our ‘cultural economy’ through the use of arts in Botswana. Currently in Botswana, private and government financial institutions like banks, CEDA, National Development banks often given loans or grants to support businesses but despite this, the arts continue to be poorly supported however. Is it too risky to sponsor or make an investment in the arts? Hardly. Arts continue to flourish in the so called developed countries because of the way they are viewed.
Artists who want to build their artistic portfolio should also be supported financially to pave their way to becoming art entrepreneurs. This can be done by private investors and through the government programs. Secondly, we need to change our view towards the arts and think of the arts as a component that can have a commercial value. If we do so, our art industry with see growth both locally and internationally.
In conclusion, what can we learn from other countries where the art industry is flourishing? We can learn that art in any given society has a functional value, hence Botswana is no exception. The importance of the fine arts goes beyond entertainment, the arts are important repositories of our cultures. Through art, members of our societies, including the Minority groups will have their voice in the affairs of their society.
As I have argued elsewhere, during the conference hosted by the Department of English under the theme of The Competing and Complementary Role of English in Africa, I argued that we must incorporate other local languages into the extracurricular activities in our schools as a first step into shaping an inclusive and diversified education. In this article, I have defended the current situation of the fine arts in Botswana by highlighting on the challenges and possible solutions to the outlined challenges.
KEITH PHETLHE pursues a Ph.D in Comparative African Literature with a minor in Film Studies from Ohio University, College of Fine Arts. He is a member of the African Literature Association. He does research on Postcolonial Theory, Translation, African Languages & Literatures, Language Education & Film. kp406314@ohio.edu
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Dr Lame Pusetso comes to writer’s rescue
Multi award winning author of fifteen (15) books, Dr Lame Pusetso has put together a platform to empower local writers. Dr Pusetso is a President and Chairperson of the Executive Board of Kasapa Society.
She is also the Managing Director of Poeticblood Publishers and an owner of an online bookstore dubbed Mind and Soul Bookstores. Dr Pusetso has reiterated her commitment to helping upcoming authors, writers and poets in establishing their crafts and capitalizing on them.
In an exclusive interview this week, she said that she has put together a platform dubbed Botswana Literature Awards, which have fourteen categories.
When quizzed on what the awards stand for, Dr Pusetso said “writing as a form of art in Botswana is a skill that many have and have always been exploring. As a publisher, I have met different writers from all walks of life and some indicating that there isn’t enough motivation to keep going.”
In Botswana and according to the writer, there has been a limited representation of appreciation of authors. This is despite their efforts year in year out.
The whole intention of these awards really is to honor and recognize the hard work that local authors put in, when doing what they know best (writing).
“This is a way of appreciating their creativity and we will be doing this across all genres. The awards also act as a motivational tool to young writers who still have dreams of becoming best selling authors. Quite frankly, their works are of great importance and we cannot afford to let that slide like that.”
Dr Pusetso emphasized that all the winners will walk away with an award, a certificate and complimentary gifts to take home. “The two winners of Best Overall Author and Best Young Author will in addition receive book publication deals which includes book distribution and marketing for a year.
She gave a clearer picture of how authors can be a part of the literature awards.
“The awards are open to every author from the age of 7, must be a Motswana, and their book should have been published before or by 2022. For authors with more than one book, they are allowed to compete with only one book for one category, and different books for different categories.”
The young writer pinned hope on institutional collaborations, in order to stage the second edition of the awards next year, saying “We believe with these awards, the different institutions and stakeholders will show interest in helping nurture the literature scenario in Botswana.”
“It will also give authors hope and light to keep writing and penning down their stories for the benefit of all. We anticipate to host the next edition in 2024 with assistance from all interested parties.”
THE LITERATURE AWARDS CATEGORIES
Dr Pusetso stressed that there are fourteen (14) categories, and they are: Religious or Faith Based Book, Poetry Book, Children’s Book, Multi-lingual Writer, Best Collaboration, Setswana Novel, English Novel, Motivational Book, Best Young Author (7-13), Overall Best Author, Best Theory, Best Online Writer, Best Media Writer (Honor Award) and Honor Award (Long Serving Best Author).
EXPLAINING SPECIAL AWARDS
Best Media and Honor Award, Dr Pusetso said are not based on submissions but nomination by the committee. “For Honor Award, we want to appreciate the individual who has inspired the Botswana writing scenario over the years and even assisted numerous authors as both a writer and a community leader.”
The Best Media Writer award is meant to appreciate a journalist who is actively taking part in appreciating and helping authors in marketing, advertising and affording them a platform to showcase their works through their writing skills.
Meanwhile, the Botswana Literature Awards will be held on the 29th April and they are partially sponsored through the literacy grant. This is a grant under the Botswana National Library Services which falls under the Ministry of Youth, Gender, Sports and Culture.
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Women’s Awards hit the ground running
The second edition of the much-anticipated Women’s Awards Botswana will be going down on the 27th May 2023 in Gaborone at Travel Lodge. The organizers of the prestigious awards have announced finalists, with three nominees per category.
Women’s Awards Botswana is established to empower women and celebrate them from all walks of life and across sectors. The awards raise awareness for women to be granted equal participation, particularly in decision-making positions, as one way of breaking the gender bias.
They also seek to celebrate the outstanding achievements of women from diverse industries in Botswana. Taking a closer look at the categories, He for She award celebrates and shines a light on men who stand and support women.
These are men who advocate for inclusion of women, men who stand against GBV and men who promote any service that can better women life. Her Abilities award looks into women who have shown determination to keep moving and achieve any goal they have set for themselves, regardless of their disability.
Other awards are self-explanatory. They celebrate women in arts, culture and entertainment, agriculture, creativity, innovation and technology, tourism and hospitality, community impact as well as organization supporting women.
ORGANIZER SPEAKS ON CRITERIA USED
When speaking in an interview, Founder and Director of Women’s Awards Botswana, Bofelo Zebe, said in their first edition, they had fifteen categories, which was enough for a piloting project.
“But we left out many industries or lines of work. After the event, we received reviews and suggestions, and there was an intensive evaluation that led to us increasing the categories to eighteen for this second edition.”
He said the nominees were voted in by the public, adding that the finalists were judged by a panel with the support of votes from their supporters.
When shedding light on what winners take home, Zebe indicated that there is an award trophy, certificate and goodie bags for all categories but “we are working to have financial sponsors jump on board so that winners and nominees can receive monetary incentives. We are also busy at work trying to retain our previous sponsors.”
THE 2023 WOMEN’S AWARDS BOTSWANA NOMINEES
HE FOR SHE AWARD
Desmond Lunga, Tlhabo Kgosiemang and Christopher Seagateng
BEST WOMAN IN ARTS, CULTURE AND ENTERTAINMENT
Ditshupo Mosoboloko, Thanolo Keutlwile and Seneo Mabengano
HER ABILITIES AWARD
Koketso Seleke, Goabo Kgasa and Mumsie Odirile
SPORTS WOMAN OF THE YEAR
Naledi Marape, Ouname Mhotsha and Keamogetse Kenosi
WOMAN FASHION DESIGNER OF THE YEAR
Montle Rantatana, Lesedi Matlapeng and Trudy Bakwena
BEST WOMAN IN AGRICULTURE
Nomathemba Masuku, Basadi Molelekeng and Keolebogile Keabetswe
BEST WOMAN IN CREATIVITY, INNOVATION AND TECHNOLOGY
Marang Mbaakanyi, Didintle Moreki and Thandeka Palai
BEST WOMAN IN TOURISM AND HOSPITALITY
Masego Keleadile, Wapula Matshambane and Tshepo Phokoje
YOUNG WOMAN OF THE YEAR
Bridget Gothaang, Waone Makobo and Kimberly Matheakgomo
WOMAN OWNED SME BUSINESS OF THE YEAR
Suits Africa, Nomlu Nail Bar and Sunflower Desserts
BEST WOMAN OWNED BUSINESS
Prezlin Clothing and Dawn Bell Academy
FEMALE MUSIC ARTIST OF THE YEAR
Mpho Sebina, Dato Seiko and Priscilla K
BEST ORGANIZATION SUPPORTING WOMEN
Sekao Foundation, The Fighters Support Group and Single Mothers Living with HIV
BEST WOMAN WITH COMMUNITY IMPACT
Lebopo Bulayani, Nanzelela Chaitezvi and Kebadile Wasenda
MEDIA WOMAN OF THE YEAR
Poppy Sello, Keikantse Shumba and Kedi Lezozo
FAVOURITE PERSONALITY OF THE YEAR
Marang Selolwane, Palesa Molefe and Masi Sithole
BEST WOMAN IN LEADERSHIP
Naseem Lahri, Neo Bogatsu and Lily Rakorong
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AMANDA BLACK RETURNS TO SELF WITH NEW SINGLE “NGUWE”
“NGUWE” SETS THE TONE TO HER FORTH STUDIO ALBUM
Johannesburg, Friday, 17th March 2022- ” Amanda Black returns with her signature mix of Afro Pop, hip hop, R&B, and deeply-rooted Xhosa influences to deliver an inspirational message of returning to self and self-love with her new single “Nguwe” .
Available all digital platforms.
The single comes as Amanda Black gears up to release her forth studio album, featuring new songs with her signature sound infusing R&B Soul and tribal African melodies. As she grows and discovers herself as an individual, a spiritual being and a musician, Amanda is on a journey of self-discovery. The music reflects on the better and more hopeful space she has come to in this journey, the single “Nguwe” sets the tone and follows the theme of the upcoming album. The music is about falling in love with self , honoring yourself by self-acceptance. The overall theme and message is spiritual reconnection and trusting herself with her music.
Surfacing in 2016, that album was certified platinum a scant three weeks after its release and went on to earn Black numerous nominations and awards – including three South Africa Music Awards, two Metro Awards and a BET International Artist Of The Year nomination.
Most importantly, Amazulu’s mix of Afro Pop, hip hop, R&B, and deeply-rooted Xhosa influences secured Black a devoted fanbase that stretched right across the country. These music lovers quickly embraced her gift for telling authentic coming-of-age African stories through songs that touched on the universal experiences of love and heartbreak, of finding and losing yourself, of having hopes and dealing with fears.
But, in the background, Black was discovering that the road to becoming a fulltime artist wasn’t easy – even one marked by commercial and critical success straight out of the gate.
Of course, when she began singing in church as a child growing up in the Eastern Cape, and even when she studied Music Education at Nelson Mandela Metropolitan University, Black never imagined it would all be plain sailing. She knew there was no guarantee that, when she boarded a Greyhound bus headed for Johannesburg, she would return home with a story of success to tell. Too many talented musicians from her home town had made that same journey but had never returned – an experience captured with poignant insight on “Bayile”, one of Power’s standout tracks.
Still, Black never expected she’d have to expend so much energy standing up for her artistic rights after she’d become one of South Africa’s most popular and awarded artists. There was even a moment when she thought, “what am I doing this for?”. “The music industry is not what it looks like from the outside,” the 25-year-old says, with just a flash of emotion. “Becoming a singer is not what you imagine. It’s a lot harder and a lot deeper. At that time, I asked myself, ‘do you even still love music’. I truly didn’t know if I could continue to keep fighting to be treated with respect and fairness. There was a part of me that thought maybe music should just be a hobby – that I should just return to that happy place where I play my music and sing, for myself, my family and my community and it feels good.”
But, in spite of feeling helpless and hopeless at times, deep down Black knew that she still adored this thing called music; that the dream she’s always had, of doing something that can change the world and heal people, remained intact. And so she went to the one place where she knew she could move through the dark and into the light and start writing music again: home.
“My family is like my compass,” Black says, her words laced with gratitude and love. “They are always there to support me, especially my mom. Whenever I go home, it’s to recharge. I can honestly say that being there is like getting my superpower back.”
Alongside allowing her to feel the energetic power of her roots and the love of her family, being home enabled Black to make sense of the journey she’d travelled so far. She’d learnt to play and write on the guitar at 16 and, as part of reclaiming the purity of her love for making music, she returned to the instrument within the safety of home. “The sound of the guitar soothes me, and it reminds of when I would write and play music with no conditions, with no expectations,” she says. Black also began working with the beats and melodies that she has on her phone, freestyling lyrics with no judgement or editing, letting her spirit feel its way forward through singing and playing and imagining.
With a renewed sense of her creative being propelling her, Black returned to Johannesburg. There she embarked on process of making Power and establishing her new label Afro Rockstar, in partnership with Sony Music. Power is a mix of autobiographical songs – a highlight is the light-hearted “Egoli” – and others, like first single “Thandwa Ndim”, that see Black giving impactful voice to the experiences of women in the current socio-political moment. The album features several love songs including “Lemme Go” and “Love Again”, and includes the stunning “Hamba”, a song about being thirsty for life, love, hope and happiness that features a chorus sampled from Margaret Singana’s “Hamba Bhekile” off “Shaka Zulu”.
Power sees Black once more working with producer Christer Kobedi and the album also has a special collaboration with keyboardist and producer, Kenneth Crouch. In the end, it’s an album of inspiration, of motivation and of integrity. As the next musical calling card of a South African global artist in-the-making, it’s breath-taking and is poised to bring Black back to where she belongs: performing beautiful music for music lovers everywhere