Growing up in Gaborone of the 1970s and 80s, in what some might have called a regular, lower-middle-class, single-income family, food for us at home nearly always consisted of nothing else but traditional Tswana/Setswana cuisine –mabele [sorghum], bogobe jwa lerotse, morogo [traditional greens], dinawa [black eyed beans], ditloo [Jugo beans], mmidi [maize], and, of course, this being Botswana, meat, meat, meat – though even this latter commodity would over the years become increasingly unaffordable for many urban households, without the option of slaughtering their own stock!
Only occasionally, on a Sunday, after church or Sunday school, as the case might be, or, for that matter, on Christmas Day, as those of our generation might care to recall, would one ever get to taste the much desired chicken and rice combo.
So you can imagine my shock when, in 1992, on an excursion to the East African nation of Tanzania, I was told that of all things, rice, which we here in Botswana have long considered to be something of a;’[ special treat, and definitely something to write home about, was for them, along with ugali, just another staple – eaten almost every other day (sometimes with milk!) by both the urban elite and the common people in the countryside.
Then in 1986, when, like a soldier headed for battle, I went out on my national tour of duty in Tirelo Sechaba, I experienced what I might regard as my first major dietary disruption – since TS was, if nothing else, all about tin-stuff – those cartons of Luck Star fish, corned beef, baked beans, and the like, that one hoarded in their kitchen.
So with neither mum nor sisters, at home, to prepare any of those nice and sumptuous family meals, for many us, TS participants, the scheme also coincided with a major decline in our eating habits, essentially reducing many to a life of only tin, rust and zinc.
Then a year later, in August 1987, while I was registering as a fresherman at the UB, my stomach hit rock bottom again, with the advent of institutional and communal eating arrangements, with then UB head cook, Mme Mma Dichaba, spoiling us to her treats of boiled chicken and rice and the like – which one would suppose were not too different from what they ate in government hospitals and the prisons services, for instance – and which we, freshermen, relished so much and gnoshed with gusto and glee, as befits highly active and blooming youth.
However, I would not be for too long an ecstatic and enthusiastic guest at Mma D’s table, for mid-way into my academic programme at the UB, I would soon be railroaded to stop eating meat and subscribe to a strict and sparse form of vegetarianism – no beef, no chicken, no eggs, and the like – by my rasta minders on campus.
And even though I would once in a while find myself shuffling indecisively at the head of the food queue, not sure whether to dig into Mma D’s piles of boiled chicken in front of me, or just simply settle for the standard soya, which the kitchen staff had taken to preparing as a stop-gap measure ‘for the rastas’, I would over time take my vegetarianism to even newer heights by finally throwing the eggs and fish out of the kitchen window – essentially rendering me an ultra veg, or vegan, in the process.
And still talking about fish, I had been told by none other than Ras Bupe, a dreadlocked Jamaican émigré and one my rasta friends and interlocutors in Dar, that it was ‘actually a very dirty animal’ that absorbed all manner of impurities under water – despite it being eaten in virtually all parts of Tanzania since the country is not only coastal but is also home to many inland water sources, rivers and lakes.
Then, years afterwards, while living temporarily outside Botswana as a foreign student, I would find being a vegetarian one of the simplest things one could ever do – even though my housemates, who from other African countries, would swear to God that they could not, in all honesty, reconcile being vegetarian and being African, at the same time!
Around the same time, too, almost everyone at home was on my case, turning up the pressure on me, my dad even asking my ‘better enlightened’ brother-in-law to help to make me understand that ‘man could not live without meat’ and that you needed beef in order to develop strong bones and a sound mind!
In this, they were apparently not alone.
For in his book The Origins of the Family, Private Property and the State (first published in 1884), Marx’s old friend and confidante, Friedrich Engels, had stated quite bluntly that "The superior development of Aryans and Semites is, perhaps, attributable to the copious meat and milk diet of both races, more especially to the favorable influence of such food on the growth of children. As a matter of fact, the Pueblo Indians of New Mexico who live on an almost purely vegetarian diet have a smaller brain than the Indians in the lower stage of barbarism who eat more meat and fish.” (Italics mine).
But finding it increasingly difficult to tie together a solid and steady vegetarian regimen in a new and shared setting, and with my shoulder length ‘dreadlocks’ to also tag along (and feed), I was massively famished and undernourished, weighing only 45 kg on the bathroom scale – which I would grow to dislike.
And, finally coming home to settle, in the dreary late nineties, my choosiness on matters of food and diet began to slowly fizzle out as I came upon and re-entered that shared, traditional cuisine that I had grown on and quit some seven years earlier – arguably in favour of something healthier, more ethical and ‘spiritual’, to use a popular cliché!
A job, lucrative or not, is a job after all. Sometimes one has to compromise in order to make a living, few people get a job their dream jobs. But once in a while there is an emergence of people who listen to their inner calling to pursue their passion.
The founder and head designer of Butterfly Couture, Chawa July is one of those few people who left their job to pursue their passion. An inspiring fact about July is that she is a self-taught fashion designer, she used to copy patterns from her old clothes until she learnt how to draw them, and she also searched information from the internet to increase her knowledge and skills.
“It all started as a hobby from my love for beautiful dresses and I started adjusting and making clothes for myself. Gradually people around me started to take interest in my craft and the hobby slowly grew into a profitable business,” July said.
The 41 year fashion designer from Molepolole worked her way up in the Procurement space for over 10 years. She worked at Stanbic Bank, Kromberg & Schubert and Clover Dairy as a Procurement supervisor. Her last job before she entered the fashion industry was a Manager for Contacts & Sourcing at a Facilities Management Company.
She established her fashion house in October 2019 and it has become synonyms with elegant wedding gowns and exquisite evening wear. July said when designing she is inspired by various aspects such as the client’s personality, the mood of the event and the theme. She further mentioned that every opportunity is to show her craft so she always aims to please.
“Every Butterfly Couture piece must represent the elegance and the creativity the brand is about,” she said. Butterfly Couture has adorned beauty queens; Miss Botswana 2021/2022 Ambrociah Samboko at Miss Universe in South Korea and Miss Botswana 2019,Oweditse Fafah Phirinyane during her reign of which is the highlight of her career. They have also marked their presence in a few fashion events locally and in the neighbouring countries.”
They showcased at The Grand Palm Wedding Expo, Masa Fashion Show, Miss Botswana Fashion Show and Sacunda plus Size Fashion Show. The will also be showcasing at Gabs July Fashion Show on the 15th of July alongside the South African designer, popularly known as the King of glamour David Tlale.
July also identified that one of the challenges they face in the couture is that, it’s a seasonal business. “There are times in the year when the business is great and challenging. Winter in particular, is difficult time to stay afloat as there aren’t as many events that people are inspired to dress spectacularly for,” she said. She further said that her aim is to be a prime couturier of choice in Botswana.
“Craft like your life depends on it because every happy client is 10 more referrals” is what she said when asked to serve a word of wisdom to people hoping to make it in the fashion industry.
The Botswana Gospel Music Awards (BOGMA) and the Annual Gospel Awards (AGA) are said to be no longer in existence and a joint venture project has been put up that will carry out the awarding of gospel musicians.
The new entity has been established as Gospel Music Awards, which is a project at this moment is nearer to dishing out the first Gospel Awards under the leadership of the dissolved entities (BOGMA and AGA). “The difference is the same, it is just that the two projects were run by different minds which had differing objectives,” said the project coordinator, Letsweletse Moshabi when asked what the difference was between the two previous awards.
He added that at this junction their focus is on the future of the gospel musicians and they would like to direct their energies to the new project and forgo the past projects. “The Music market especially the gospel genre is too small and that basically means the very small market was experiencing the imbalance in the supply and demand forces. At that stage, supply was more than the demand so the reason for the joint forces is to allow the supply and demand forces to readjust and form equilibrium,” added Moshabi.
The mandate and objectives of the project are to recognize and award gospel music talent, to create awareness of the Botswana gospel music industry and to create a platform where fellow musicians may exchange ideas and network amongst themselves and approach international markets in cohesion.
The first of these joint awards will be held on the 27th August 2022 at Molapo Showcase under the theme ‘Cohesiveness to Build’ where about 18 categories will be up for grabs.
The Kumnandi Ekhaya musik festival will be held on the 30th September 2022 at Thamaga village. The event coincides with the release of famous host, Dj Ngwazi’s first album called ‘spring day’ on the 2nd of September 2022.
The Thamaga born and raised Lefika Lushen Kebatlege is a disc jockey and a music producer signed under WanitwaMos Entertainment in South Africa. Famously known as Dj Ngwazi and formally known as DJ superstar, he has really worked hard to become one of the finest export DJs the country has produced. Internationally, he is described as a DJ from South African because of his works with popular music artist Master KG.
Meanwhile, the music festival will feature South African artists, Makhazi, Master KG, Prince Benza and Mthunzi. They will also be joined by some of the big local artists, Franco, Vee Mampeezy, among others. “The tickets of the concert will be available at Spar stores, webticket and Kings bar. There will be three categories for VIP tickets, the one that goes for P1000, P1500 and P2200,” said the Kumnandi Ekhaya musik fest promoter Sadie Swartz of Saysay Entertainment.
“We have a new system to tackle the cry of promoters about security at the events. We will have a team of 100 security men, 10 horses and 15 dogs. We also agreed with the police to help with traffic control and no tickets will be sold at the gate to avoid circulation of money which can attract thieves,” said Kagiso Gaodumelwe from All Night Security.
“I started deejaying back in the days when I was still schooling at Kagiso Senior School and I never stopped working towards my career since then. I have a career in South Africa, since 2018 when Master KG took me in and his support as a brother has taken me to places,” said DJ Ngwazi describing his career journey.
“Kumnandi Ekhaya is Zulu language which means ‘go monate ko gae’ in Setswana. The name came about as a way of inviting my South African fans and supporters to my home village Thamaga to come experience the joy that comes with celebrating our freedom and independence. I used isiZulu because it’s the dominant language in South Africa,” explained Dj Ngwazi.
“The concert will be held in an open space which was used for agricultural purposes and we would like to call it ‘Ko Legoleng’. With this concert I want to redeem the dignity of our village because we once had the cases of youth who were terrorizing the community, beating up people in the streets and stealing and these was really a concern in our community because they were tarnishing the village name,” said Dj Ngwazi.
The purpose of this concert is to empower the community of Thamaga and local artist, more especially artist from Thamaga village like, Kgabo Sereto traditional group. There will be a litter picking campaign around the village before the launch of the concert .The sponsors which are already on board are Dladleng Entertainment and Kings bar and there are still more sponsors to be revealed.
”As the Kumnandi Ekhaya musik fest management, we are going to buy food combos and take them to Thamaga village Kgotla so they can be donated to the less privileged and orphans. Starting from October we will be donating pads to all Junior Schools in Thamaga,” said Dj Ngwazi. Dj Ngwazi’s motivational words to other artist and everyone else; work hard, be patient and be determined.