1. travel
2. tourist destinations
3. africa

Support Programme for ACP Cultural Industries
9. ACP. RPR .62
Mis en oeuvre par le Secrétariat ACP
Financé par la Commission Européenne
ACP Cultural Observatory
Research activity N°1:
Analytical tools for the cultural sector in the ACP countries
REPORT
BOTSWANA
Prepared by the National Research Coordinator: Dr Maud DIKOBE
TABLE OF CONTENTS
I. Introduction
3
II. Case studies
3
Study case n°1: Wacona Cultural Village
3
Study case n°2: Botswana Quality Baskets
10
Study Case n°3: Leoa Traditional Cultural Promotions
16
Study case n°4: Abi Films
24
Study case n°5: TSOGA AFRICA THEATRE WORKS
31
Study case n°6: ISSUES FASHION STUDIO
38
Study case n°7: THAPONG VISUAL ART CENTRE
44
Study case n°8: Mud Hut Productions
49
Study case n°9: David Salter Music
53
Study case n°10: Star Reality Television Show
58
General recommendations
62
III. Final Sectoral Analysis
65
Theatrical Arts
65
Visual Arts
68
Music
71
SWOT Analysis of the Creative sector Botswana
82
Needs Analysis for the Botswana Creative Sector
84
National conclusions and Recommendations
88
2
I. INTRODUCTION
The report has been informed by a wide range of materials solicited from various departments
(DAC), Ministry of Trade and Industry, interviews and questionnaires, newspapers, desktop
research, conversations with various stakeholders in cultural and creative industries, invitations
to meetings and workshops conducted by (DAC) and Ministry of Youth Sports and Culture, and
through a consultative process involving two Thematic Discussion Workshops.
The research involves 10 case studies, which were selected out of 30 studies. The survey for the
selected 10 case studies was carried out following the methodology suggested by ACP Cultural
Expert, which were adapted to suit the local situation.
The first findings, based on 5 case studies were presented in the interim report, and one case
study ISSUES, (Fashion and Design) was used during the Methodology Workshop held in May 7 in
Brussels to highlight some of the problem, this type of creative industry faces in Botswana.
The following is the data and conclusions arrived at based on the remaining five cases of the
survey. One will find that some of the problems identifies in the first 5 case studies are also
found in the reaming case studies, especially cross cutting issues such as lack of funding.
II. CASE STUDIES
Study case n°1: Wacona Cultural Village
Dates of visits and interviews: May 28 and July 9 2010
Background: Wacona Cultural village is involved in promoting Botswana tangible and intangible
culture, through cultural tourism.
Concentric Model for Cultural Operators: Creative and Connective Cultural Industry
3
1. BASIC INFORMATION
FACTUAL
Name of Institution
Wacona Cultural Village
INFORMATION
Contact Details
P.O. Box 809, Gantsi
(+267) 7223395/75521667
gaolattlheirene@yahoo.com
Area of Operations
Cultural Tourism
Years of Operation
4
Legal Form
Commercial
Responsible Party
Gaolatlhe Thupe
4
GENERAL
Ms. Gaolatlhe Thupe is the manager of this multi-purpose culturally based
DESCRIPTION
creative industry, situated in the South East of Botswana, in the Kgalagadi
district, (kms) from Gaborone. Wacona: which means “Ours” refers to motse
wa cuna, translated as “our village” is premised on a sense of ownership.
Gaolatlhe feels that as Batswana we belong to this country and must embrace
its diverse cultures, by celebrating its cultural heritage and the rich array of
languages. Only in that way can Batswana come to understand each other’s
culture, insists MS. Thupe who is very passionate about her work to raise
awareness about cultural diversity. The cultural village showcases Setswana
culture and that of other ethnic groups in the Kgalagadi are: Basarwa (KhoiSan), Herero, and Bakgalagadi. The Cultural village specializes in traditional
cuisine based on game meat, and offers accommodation in traditional huts
representing the different ethnic groups alluded to above. Accommodation
comprises of ethically defined thatch huts (Tswana, San, Herero, Kgalagadi, and
Tswana. Guests are spoilt in these individually decorated rooms. For the early
risers mornings are punctuated with nature walks around her acres (confirm
how many acres). In addition Ms. Thupe hires out indigenous decorative
artifacts to the Gantsi community, ranging from schools to government offices.
Some of the highlights of the August event, which has become part of the social
calendar, are the annual cultural day, celebrated in August, which is partially
funded by the Department of Arts and Culture. Another is the performance of
different Tswana rituals such as initiation ceremony, which marks the rite of
passage from adolescence to manhood and manhood. A visit to this cultural
village gives one a sense that that they are being initiated into the essence of
the diverse Botswana culture.
Governance
The company is the brainchild of Ms. Thule, who bought land from an old white
and
farmer three years ago. Former primary school teacher intent on promoting and
Leadership
preserving Setswana culture. Basically she runs the company single-handedly,
while utilizing the business acumen of her two children who visit occasionally
from Gaborone. She transfers or delegates some of the daily duties to her two
assistants, especially when it comes to preparing the local cuisine., other
employees have worked in the fashion and
Perception of
Ms. Thupe’s entity has benefited from a couple of ministries, which are
the Structure
interested in bringing culture into development issues, as way to diversify the
economy and alleviate poverty. Recently, the Ministry of Wildlife and Tourism,
and (MYSC) have shown a keen interest in her business, given the recent
5
emphasis on buying or promoting local businesses. In 2009, the Ministry of
Wildlife and Tourism, gave her a grant to buy food for the artists, during the
annual August festival. However, the discussions at the Thematic Discussion
Workshop indicated that most participants were not aware of the entity’s
existence.
Cultural
Internal
As already stated, Wacona is a relatively new and small
Environment
Employment
establishment, without any modern amenities, such as
flushing toilets, and electricity, and has only two employees.
The cooking is also done outdoors, in traditional pots and it
takes hours to cook the game meat which is the pounded to
have tshotlho.
External
There is a lot of interaction with the stakeholders. Those who
Stakeholders
hire out artifacts, those who commission the different groups
to perform at different events, and those who place orders
for traditional cuisine at special occasions. As an eloquent
speaker and a cultural activist, Ms. Thupe is always invited to
high profile meetings dealing with culture, such as the
workshop on the “Convention for the Safeguarding of the
Intangible cultural Heritage” held in Botswana in January,
2010. Some tourists enjoy nature walks while lodging at
Wacona. Game owners supply her with game meat. In
December 2008, Ministry of Wildlife and Tourism paid for two
of her employees to take part in basic skills in-service training
related to their fields which was held in Gaborone.
Other
For purposes of the survey, Wacona is analyzed mainly in terms of its services
Comments
as a creative industry. No doubt the company is a storehouse of knowledge on
Botswana cultural diversity, as it offers historical and cultural lectures to
individuals and groups. Its strong point is that it is able to showcase both
tangible and intangible culture. It’s proximity to the Dakar, Cultural Centre, is
an advantage as some of the tourists who come to the Kuru annual Dance, stay
at this cultural village. Some of the artists, in the past have hired the place for
video shoots against the background of traditional hut.
2. THE VALUE CHAIN OF THE ORGANIZATION
6
Creation
The value chain of Wacona is informed by its eclectic outlook in addressing
cultural diversity not only through music, but through traditional games,
rituals, and music from different ethnic groups. Story-telling is one of the
cornerstones of orality, which allows the stories to be passed on from one
generation to the next through word of mouth. Coupled with the knowledge of
the region, Ms. Thupe is able to work with a wide range of groups.
Production
There are different phases of production associated with the final product
depending on what the focus is. Ms. Thupe works with the different groups,
say to produce songs for a specific occasion. Most of the groups come from the
area, and she organizes transport for rehearsals and to the final station for
performances.
Distribution
Ms. Thupe takes her products to the desired places. Most government offices
hire out her decorative stuff and performing groups. Or in case of the cuisine
some of the clients prefer to come to the village for lunch, while corporate
companies would prefer the food to be delivered at their offices. As for music,
the groups, can perform on site or are transported to the location identified by
the client. The Ministry of Tourism has also played a part in making her
village visible through the media.
Access
The cultural village is undersubscribed since it is not widely advertised, due to
lack of aggressive marketing. Partly, because cultural tourism is a relatively,
new phenomenon, most people are still hooked on five star hotels. With
statements like “I used a pit latrine all my life, and my idea of a vacation is
not to go out and do it in the bush or outside. Give me decent accommodation
any time”.
3. ECONOMIC PROFILE OF THE STRUCTURE
Turnover
P50,000.00
Expenses
General maintenance, motor vehicles, salaries, feeding performing
groups, paying off the loan for the farm.
Sources of funding
Funding comes from her personal savings and occasional grants from
the government.
7
4. IMPACTS
Direct
The company operates on a tight budget since it receives minimal or sporadic
Effects
funding from the government.
Indirect
Pays for transport costs, and suppliers who provide her with game meat and
Effects
other condiments. These could include; ranchers, supermarkets and some
people she buys traditional craft from. Some community members also may
come to the village to have it in the background of their wedding pictures.
Some restaurants also order traditional foods from Wacona.
Inferred
The passing on of knowledge through story-telling, dance and music, serves as a
Impact
learning curb and helps to promote and preserve Setswana culture, serving a
purpose of documentation, because traditionally in Africa knowledge was
communicated orally. In that sense, Wacona provides invaluable service to
UNESCO’s commitment to preservation of intangible culture. Participating in
meetings organized by the different ministries helps with networking.
Workshops too have been helpful in terms of how she can maximize the profits
at her space. A lot of suggestions were given at the Thematic Discussion
Workshop. In 2009, Kutlwano one of the country’s newsletters covering
Botswana culture had a feature article on Wacona.
5. CONCLUSIONS
To date, Wacona has not lived to its potential, although it has managed to attract a lot of
clients especially from Gantsi, who drive to the village to enjoy local cuisine on weekends. The
clientele tends to comprise of officers and locals from Ghanzi, or Batswana en-route to Maun
seeking a get-away coupled with an in-depth knowledge of their roots, as encapsulated in this
example of cultural tourism. At the workshop, she lamented lack of funding and the
government’s tendency to ignore small business. Ms. Thupe looks to expanding her place so
that it can attract more tourists, who will have firsthand lessons on Botswana culture. One of
the advantages is that when it comes to intangible culture, especially story-telling, it is not
bulky, yet powerful, as one does not to package it and load it into the truck.
8
Some of the infrastructure, such as the kgotla (the place of counsel) is amenable to different
uses, and makes what is called change of scenes in theatre easy, as the structure can be used
for different purposes.
One glaring disadvantage is that the company does not have records, to track progress, as is
expected of a fully-fledged business. To one it looks like work-in-progress, given its potential
Wacona should look into courses on business management, some of which are offered through
government initiatives. Training in management, and exposure through the media’s existing
networks can help in making this business visible.
9
Study case n°2: Botswana Quality Baskets
Dates of Field Visit and Interview May 28 and July 10
Background: Botswana Quality Baskets specializes in making of baskets and selling of other
traditional crafts such as sculptures and carvings.
Concentric Model for Cultural Operators: Creative and Cultural Industries
1. BASIC INFORMATION
Factual Information
Name of Institution
Botswana Quality Baskets
Contact Details
P.O. Box 1382, Maun
(+267) 6801255 (+267) 72271422
e-mail :tkushonya@yahoo.com
website: Under construction
General Description
Area of Operation:
Basket Production
Legal Form:
Commercial
Years of Operation
9
Responsible Person:
Thitaku Kushonya
Botswana Quality Baskets specializes in hand-woven baskets and is
an established business which the government and nongovernment companies source baskets from, both for decorating
their offices or establishments such as hotels.
It has been utilized by commercial enterprises such as (LEA) Local
Enterprise Agency, which funds small business as a model at their
sensitization workshops n how start and maintain an SMME.
10
Governance, Leadership
Mrs. Kushonya is the Managing Director, who is also herself a
basket weaver. She has one office assistant The company hires
about 20 people who are commissioned to mass produce baskets
for her store to sell to locals and tourists. Most of the weavers are
mainly Hambukushu and Bayei, although some Basarwa at
Nxaxana also weave baskets for her store. Most weavers, who are
mainly women, are found along the Okavango Delta in the North
West District around the Etsha area, Nxaxana, Sahakawe and
Okeuthi, and only two of the weavers are from Matlapaneng.
Before opening her own store, Mrs. Kushonga used to work for a
cooperative, where she was part of a cooperative that weaved
baskets fro some of the craft stores in Gaborone, such as
Botswana Craft, but realized that since her baskets were always
picked by the buyers, she should leave the cooperative and start
her own business. She smiles as she shares with me her story as a
business woman. “I started basket weaving at 5 years and sold my
first basket at Malcolm Thomas one of the merchants who owned
a retail store in the village for P150.00 in 1978. And today the
same basket will sell for P2, 500.00. Basket weaving is passed on
by women to the girls though observation and apprenticeship,
where a young girl might be allowed to finish a basket and then
given feed-back whether she was doing the right thing or not.
Perception of the Structure
Botswana Quality Baskets is well branded, citizen owned
company. It has created a niche for itself in the basketry market
because of the workmanship and the symbolic designs found on its
baskets. The designs are mainly associated with nature and
animals. While interviewing her, Ms. Kasunga took time to
explain to me, as we walked around the store, such as tears of
the giraffe, knees of the tortoise, which to an ordinary person are
just patterns. A quality basket has established its name in the
basket industry and participates in the annual basket exhibition
competitions held at the national museum every June in
Gaborone. In 2006, Quality Baskets fetched the coveted national
prize for the best basket. In addition, Ms. Kushunga has been
certified by (BOTA) Botswana Training authority as basket weaver
instructor. Her baskets and her store are frequently featured in
11
local newspapers and in-flight magazines. Has had the
opportunity to display her baskets overseas as well. The owner
has been a recipient of numerous government grants, which
allowed her to network from other basket weaver from around
the world. In 2004, she was sponsored to attend an exhibition in
Washington D.C. and showcase her baskets. In 2005, she was part
of the BEDIA business delegation to Disneyland Florida. And
because of her expertise she has served as a judge at some of the
constituency basket competition, during the years that she is not
competing.
Cultural
Internal
As stated earlier, Quality Baskets has a pool of women
Environment
Employment
working at different locations from the Ngamiland area,
who supply Ms. Kushonga with baskets, although they are
not operating from her location. In Matlapaneng, there is
an office assistant and the husband who helps with driving
or taking some of the orders for the passengers to the Maun
airport.
External
External stakeholders include local buyers and tourists.
Stakeholders
Visual artists have also used her designs as inspiration for
their artistic creations. Ministry of Trade and Industry once
asked her toserve as a resource person at one of their
workshops. Other individuals have done research on her
work on anthologies on basketry in the world.
2. THE VALUE CHAIN OF THE ORGANIZATION
Creation
Women collect natural materials required to make the baskets. Thye
collect palm tree leaves mokolwane, which is the key product for basket
weaving. They also collect the bark and roots of plants such as
mothakola, motsentsela, to extract the brown and black dyes. And
12
lethajwa and kgope which are used to extract yellow dyes. The roots are
poundd and boiled together with palm leaves to achieve the desired
colour. Then are left to dry in the sun for a couple of hours. The lemao,
needle or muyini in Hambukushu is used to weave the palm-leaves into
intricate and symbolic designs.
Production
Depending on the size and deign of the basket it take a week up to six
months for a weaver to complete a basket. Because weaving is usually
done at home the woman can take breaks to do other chores such as
cooking etc.
Distribution
There is wide trange of ditribution channels, selling to companies or
individuals who own art galleries both in Botswana and abroad. Most of
the customers are tourists, but commercial companies also place large
orders with her. BEDIA and LEA have helped to distribute baskets
internationally. Her work is also been sold at exhibitions.
Access
As stated above acces to the baskets varies.
3. ECONOMIC PROFILE OF THE STRUCTURE
Turnover
Estimated at P120, 000.00 per annum which is an equivalent of Euros.
Expenses
Include salaries, overheads, weaving materials, transport, utilities for the
Matlapana office and other related costs associated with the running of a
weaving industry. Internet is already available and she is in the process of
setting up a website, to maximize the visibility of her company.
Sources of
Since it is a commercial entity, Quality Baskets generates its revenue. But
Financing
also appreciate training andknowledge imparted to her through
governement funding to attend training workshops and travel abroad.
4. IMPACTS
Direct Effects
Most of the stakeholder’s income is generated through production of
13
baskets. The bulk of the budget goes to paying the weavers.
Indirect Effects
The hiring of males to cut the roots for dying and the palm leaves are
minor but inderect benefits to maen, although they don’t have to cut
palm leaves or dig for roots every day. Some of the indirect effects
include women, whom she trains to become teachers and collectors of
baskets on her behalf from other women weavers who are not in her
payroll.
Inferred Impact
One prestigious example was the company’s winning of the National
Basket price. That made a lot of people aware of her business although is
located outside of the capital city, where Botswana Craft, a multi-million
craft shop in Gaborone, buys baskets from women in the Ngamiland area
and sells them for 100% profit. Soe people now prefer to order directly
from quality baskets.
5. CONCLUSION
Botswana Quality Baskets is a pride of the nation, as a citizen owned company which testifies to
the ability of creative industries to generate income not only for one person but the ability to
hire others as well. Because, baskets are an integral part of the Tswana culture although their
uses have changed, their practical purposes such as storing food, catching fish, or decorating
homes are still prevalent in the Botswana society. With the introduction of mass-produced
baskets, employment is created for rural women, while allowing them to work at leisure in their
homes, and only bring the finished product to the depot.
Quality Baskets, like any other business that depends on natural resources faces challenges of
de-forestation, which is compounded by climate change. But due to knowledge of the landscape
and bio-diversity, even though MS. Kushonya did not call it that, the community is very aware of
the repercussions of cutting palm leaves and the roots used for dying the leaves, so they cut in
such a manner that the plants have a chance to grow back. With the renewed talk to diversify
the economy, with funding and training in making goods that are ready for export, this market
can answer some of the poverty alleviation issues that the government is currently grappling
with.
Botswana Quality Baskets feels that the government should introduce basket weaving as a
subject in the Ngamiland culture, so that this trade does not die. Not only that, but that those
owning small businesses should be offered periodic training on how to upgrade their businesses.
14
She considers they training she got from different organizations as invaluable as it has
empowered her.
She feels that women should be funded to start their own businesses instead of working for
cooperatives as has been the case in the past. As someone, who has worked for a cooperative,
she says she will not advise anyone to take that route. She explains that she started her own
company because in her group, her baskets always fetched a lot of money, while she was
expected to share the proceeds with other women. Also she adds, in a group you find that there
are people who are very lazy, and as a result do not put a lot of effort into their work knowing
that they will still get a pay from the cooperative.
One major concern, that she noted over and over, was the lack of communication between
creative artists and government officers from the Department of Arts and culture, who are
stationed at different constituencies with the aim to help artists in their respective stations.
She told me that ever since, she started operating in 2000, was only contacted on the 27 May
that someone was going to visit her business. I was at her place on the 29 May, 2010. I don’t
whether (DAC) was using the list of cultural operators I had identified for the survey, because I
had a similar story in Ghanzi.
It has to be noted that basket weaving is still a female preserve, most men prefer to
concentration sculptures and carvings.
15
Study Case n°3: Leoa Traditional Cultural Promotions
Dates of visits and interviews: June 23 July 9 2010
Background: Leoa Cultural Promotions’core business is to promote Botswana’s culture through
traditional dances and song.
Concentric Model for Cultural Operators: Creative and Cultural Industry
1. BASIC INFORMATION
Factual
Information
Name of Institution
Leoa Cultural Promotions
Contact Details
P.O. Box 2589, Gaborone
(+267) 7222077 (+267) 3956774
gaolattlheirene@yahoo.com
Area of Operations
Music and Dance
Years of Operation
3 (formerly operated as Mogwana for 19 years)
Legal Form
Commercial
Responsible Party
Gaolape Bashupi
General Description
Ms. Gaolape, Bashupi is the manager of this dance troupe
which draws singers and dancers from all over the
country.Leao (lewa) which refers to how the bones fall during
divination, encapsulates Ms. Bashupi’s long-term involvement
as a dancer and promoter of traditional music in Botswana for
over twenty years, therefore the name suggests that only time
shall tell, how far this company will go. She changed the
status of the company from a non-profit entity to one where
artists, and her can generate some income through
perfromances, workshops, sell cultural activities and other
artists’ music and crafts. She intends to add performing arts
festivals to her line up of activities. Leao, which is a
subsidiary of Mogwana, has video recordings of its music and
dances, Pina ya Setswana 1 & 2. (Setswana Song 1&2).
16
Governance and Leadership
The company is the brainchild of Ms. Gaolape Bashupi and a
couple of her friends who saw the need to promote Setswana
music in order to avert the attention given to Western muisc
in the radio and television shows. Ms. Bashupi is a shareholder
in the company and also fills in as a manager. However, she
does not get a salary but instead gets some form of allowance,
due to lack of funding. This remains a challenge because the
market is staturated with a lot of traditional music groups
such as Cultural Spears, Dikakapa, Ngwao Loshalaba to
mention but a few. Therefore, she constantly has to come up
with cutting-edge perfromances so that he group could be
seen as a cut above the rest.
Perception of the Structure
Leao, because of its association with Mogwana, is a well
known troupe in Botswana. Despite its size compared to
Mogwana which boasted of 40 dancers, Leao with its 15
members it is still seen as a creative agent which disseminates
traditional song and dance both locally, regionally and
internationally. The owner calls this group “Champions of the
Performing Arts” and deserves this title having won the
Presidential Constituency awards for best traditional music
group in two consequent years, namely 2009 and 2010. In
addition, Ms. Bashupi has presented on the topic of traditional
music and dance in countries such as Senegal, and Greece.
The paper presented in Dakar Senegal in 2004, was on how to
use creative arts to alleviate poverty, something which
resonates with some of the objectives embedded in this
survey. The company is registered with the Department of
Arts and Culture, which gives it an opportunitity to perfrom a
some of the state functions for a fee. However, Ms. Bashupi,
laments the fact that as a company, they are at risk of not
getting funding from (DAC), because they tend to favour nongovernmental organizations over individual businesses, as such
they have not benefitted from the P50, 000.00 annual grant
which the government gives to cultural stakeholders for the
basic running costs of their businesses. However, if the
project is perceived as fulfilling some social relevance, the
17
(DAC) usually makes an exception and funds such a project.
Cultural
Internal
As already stated, Leao is a relatively small establishment,
Environment
Employment
with the manager who is in charge of all the projects and
grant writing. The director is in the process of hiring: an
adminstrative secretary, a messenger and a cleaner to help
with some of the errands.
External
There is a lot of interaction with the stakeholders, those who
Stakeholders
engage to group to perform at different events, the main
client being the government, as traditional dance
predominates at official meetings. One of the shareholders,
Ms. Eunice Radikonyana is a filmmaker, and the company’s
production representative in recording deals, and gets 50%
share for the production of the group’s videos. The % is based
on the understanding that she brings in film expertise, while
Leoa brings in the creative element/expertise. Some
stakeholders involve embassies. For example, in 2005, the
French Embassy in Botswana sponsored Mogwana to perform
at the Annual Mozambiquean Dance Festival.
Other
Ms. Bashupi felt that (DAC) cannot effectively run cultural
comments
activities and should out-source services to administer the
running of cultural activities, especially areas as vast as
traditional dance and song. With the establishment of the
Performing Art School in Otse, Ms. Bashupi is disappointed
that the curriculum does not have anything on the performing
arts, which she says could help, train choreographers who will
eventually be licensed to perform as professionals and make
money out of that. In essence she advocates for the
government and other arts training institutions invest in
academic programs that focus on the arts.
2. THE VALUE CHAIN OF THE ORGANIZATION
18
Creation
Leoa’s value chain is informed by the creation of songs and dances by the artists.
Most of the songs are not original but are tapped from the communal repertoire
from the different ethnic groups in Botswana. Creating a song comes with a tune,
and ability to recognize notes, but not in the classical sense of musical notes,
mainly based on intonation. But one does not have to be a good singer in order to
be a composer. The songs do not pose much of a problem, but some of the
traditional dance steps can take up to 3 moths to master and at least another 6
months to perfect them.
Production
There production follows creation where the artists have to perform for audiences.
This can be a challenge as some of the dancers or singers can get poached by other
dance troupes who promise them higher salaries. Since some of the dancers would
have taken traditional dance in high school, will sometimes audition to perform
with Leao, having since its stage work either on television or watched one of their
videos. The company conducts weekly rehearsals, and if they are preparing for an
international competition, the group undergoes 3 months intensive training on basic
moves and a couple of variations. The gropu also have associate members, where
students studying traditional music and dance are assigned to the group for the
practical component of their exam.
Distribution
The music and dance are distributed through local and international performances.
And since they have some of the music on videos this also serves as one of the
distribution outlets. The music and dances enjoy a lot of coverage on some of the
South African television channels. Some times Ms. Bashupi sells the music when they
are on tours, and now has some of the videos at her office which also serves as a
shop for traditional crafts. Most of the sales also take place at Consumer Fairs and
Exhibitions where the company rents a stall to sell their products. The group also
performed at one of the World Cup Fan Parks in South Africa at Phokeng in the
North West. Has performed internationally, USA Championships of Performing Arts
(2007) China (1996 & 2010), UK (2008), and regularly in Lestho, South Africa,
Swaziland, Mozambique and as far as Ivory Coast.
Access
The group’s music is readily available in Botswana both live and on videos, and the
use of internet has helped with the visibility of the company. But as mentioned
earlier there is a lot of competition since there are many groups doing the same
thing. In 2009, the group won the 1st prize for President Constituency Competition,
and received a prize of P25, 000.00.
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3. ECONOMIC PROFILE OF THE STRUCTURE
Turnover
P168,000.00
Expenses
Office rental which also serves as the shop. Telephone, water bills, payments to
artists, and allowance for 2 employees. Feeding performing groups, and buying
costumes which is a once of purchase and then only lost uniforms are replaced. Other
costs include DVD production costs.
Sources of
Ms. Bashupi sources of funding come from her personal savings and occasional grants
Funding
from perfromances.
4. IMPACTS
Direct
The company operates on a minimal budget since it does not receive minimal or
Effects
sporadic funding from the government.
Pays for suppliers of leather materials used for costumes, ostrich egg shells used for
Indirect
Effects
decorations and necklaces, and material used for rattles (mathwa). Food suppliers who
cater for performances and those who provide transport for dancers also benefit
indirectly.
Dance is seen as the crux of one’s identity. So in promoting Botswna dance, this brands
Botswan’s traditional dances. But in this case dance is used for edutainment, to
promote Botswana culture and teach people about the different types of dances in
Inferred
Impact
Botswana. For example, one can appreciate the fact that Botswana dances are
different from other African dances because most of them are not based on the drum;
instead there is a lot of clapping of hands and pounding of the feet on the ground.
Some the dances are highly acrobatic such as those demonstrated by the army based
group (Dikakapa), which was short listed at the kora awrds this year. The telling of the
story through song and dance is one of those characteristics which are common in
African music, and Botswana is no exception. So one is expected to reead the
20
movements, some imitating different animals especially among the San (Basarwa). As
already stated, there are varies dances in Botswana, each associated with a certain
part of the country, and Leoa strives to showcase all these dances and the
accompanying intangible culture.
21
5. CONCLUSIONS
Leoa, like other groups focusing on traditional music and dances are a staple feature in
Botswana’s musical repertoire. There are folksongs for examples that most Batswana know and
sing at communal meetings, without being able to say who the original creator was. (DAC)
alongside government efforts to brand Botswana is looking at ways to brand Botswana music
least it is stolen by our South African neighbours. While these fears might seem unfounded,
since we are all one people, (for example Setswana is spoken by 5 million in South Africa), I
think each nation state feels the urge to carve its own identity through perfromance among
other things. The fact that some of Mogwana’s videos were pirated in South Africa heightens
some of these fears. From time to time, South African groups hire Batswana students studying
in South Africa to teach them some of the dances, which are now becoming popular on both
sides of the border. According to Ms. Bashupi, the piracy affects the profits they expect to get
from the sales of their videos. With the recently introduced Botswana Copyright Society
(COSBOTS), there is hope that some of these illegal practices which impoverishes the creative
artists would be nipped at the bud.
One point, that Ms. Bashui reiterated was that there is urgent need to train dancers, so that
they can be hired as choreographers and take Botswana dance and song to another level. She is
looking forward to a time when her company can have full-time professional dancers, who are
paid for the services, because at present the artists only get paid when there is a performance.
Further feels that if dance is promoted just like other academic subjects, students who do not
perform well academically but are good dancers can make a living out of this profession—
dancing.
Ms. Bashupi chuckles as she answers the question on the visibility of her structure, she says, “I
can confidently say that Leoa is famous for using traditional song and dance to keep young
people from mischievous activities, by encouraging them to focus on dance and music as
possible career opportunities, and that that music and dance can be used for therapeutic
purposes and not just for entertainment.
Another thing which she wishes to see during her lifetime is a situation where artists are
equipped with a broad array of skills and expertise such as management and financial expertise
to be able to negotiate and broker deals without being taken advantage of. Overall, she
advocates for recognition of the arts at all levels of decision making forums, in a more
structured manner not just on ad-hoc basis. She feels skills awareness is crucial, if the youth
have to understand that one can make a living out of dance or in the same way that one makes
a living from being a teacher or doctor, instead of artists being perceived as no good losers.
22
Ms. Bashupi, notes that international trips tend to be expensive, and at times they have had to
cut the number of artists and back on Batswana students in the host country. So, as a survival
tactic Leoa has mastered the skill of keeping the performers’ numbers down in order to fit the
sponsor’s bill. For example, in one of Leoa’s visit to Canada, where the sponsor could only
sponsor 6 performers, they had to recruit Batswana students to offer the backdrop for clapping
and had to pay 6 Batswana students to complement the traditional dances. Since, traditional
dances can accommodate up to 25 dancers, transporting artists both regionally and
internationally remains a challenge. But Leoa has perfected the compromises skills so that at
least some of the members of the group have had the opportunity to perform at government
economic exchange initiatives, which are coordinated by BEDIA (Botswana Export Development
Investment Agency), s under the Ministry of Trade and Industry.
As a member of (SATI) Southern Africa Theatre Industries, Leoa has also featured in musical
theatre competitions held across the SADC region. An opportunity they took advantage of in
2009, to showcase Leoa’s talent at the SADC competitions.
23
Study case n°4: Abi Films
Dates of Interviews June 1 and August 12,
2010
Abi Films Background: Filmmaking and Storytelling
Concentric Model for Cultural Operators: Creative Core, Cultural and Creative Industries
1. BASIC INFORMATION
Factual
Information
Name of Institution Abi Films
Contact Details P.O. Box 301827, Gaborone
(+267) 3908606 (+267) 71857790
e-mail :abiacademy@gmail.com
Area of Operation: Filmmaking
Legal Form: Commercial
Years of Operation 9
Contact Person: Moabi Mogorosi
General
Abil Films has been in operation for the past 7 years. One of the company’s main
Description
objectives is to do work that would put Botswana in the international creative industry
map, by telling the Botswana story from a Botswana perspective, while employing the
film medium and folk music to tell the people’s story, in their own words. Run by
someone with one foot in film and another in theatre this is inevitable, since Moabi feels
that he cannot divorce film from performance. Moabi who is a filmmaker, also holds and
M.A. in Applied Arts, from the University of Wittswatersrand in Johannesburg (Theatre
for Life) project.
However, Mogorosi feels that the performance standard in Botswana soap operas is not
at par with the expectations of acting world-wide, and would like to offer workshops to
correct this deficiency. The TV drama, he feels are more of sketches than movies. He
feels maybe the reason could be that the films are low-budget films and when the
performance is poor this compounds the problem.
With storytelling as his first love before he diverted to film making, he feels that “when
24
one talks about film, one finds s that most people are not cued on, some confuse
videotaping with filmmaking which is sad, we really have to make a distinction between
these two mediums”.
One of the predominant motifs in his films, which are mainly documentary is the story
telling. And this was prompted by some of the observations he made as a filmmaker that
“It is much easier to watch an African movie in the U.S. or say Europe than it is in
Africa” and this drove him to produce typical Botswana stories. He feels that the few
films that are produced by Batswana don’t receive a lot of publicity since they are often
relegated to opening nights of the newly released movies, at some luxurious hotels and
are never screened at local cinemas thereafter.
Mr. Mogorosi is the Managing Director, who is himself a filmmaker with a minor in
theatre, and has always been interested in marrying the two mediums, since he feels is
not easy to divorce film from performance.
Governance,
Abi Films, hit the scene running with the producer’s first film Hot Chili (1998) an
Leadership
adaptation of a story the director used to tell to conscientize audiences about HIV/AIDS.
Another launching pad was the Boswa Documentary Series aired on Botswana National
Television in (2005) which comprised of 6 episodes (each focusing on a particular aspect
of Setswana culture. Additionally, Abi Films did behind the scene filming for The No 1.
Ladies Detective Agency which was shot on location and subsequently aired on BBC and
HBO. As one of the few citizen film companies it has been commissioned by both locals
and international clients, where Abi films seems to enjoy a lot of exposure compared to
the local clientele, as he gets invited to International film festivals or plays a major as in
the behind the scene work for the No 1. Ladies Detective Agency.
Locally, Moabi is spearheading the advocacy team which is been lobbying for the
Perception of
establishment of the Interim Film Commission, following a study conducted by Money
the Structure
Penny ( 2005 ). Wrote a letter and gathered signatures, petitioning the government to
create a film commission and to have funding for filmmakers in Botswana.
The petition has been making some rounds, and has made some overwhelming success,
coupled with the fact that the President has signed it.
Overall, Abi Films has been commissioned to do work for (MYSC). As part of the
initiatives of the (DAC) won the Storytelling Festival 1994. Was commissioned to do work
for Botswana Tourist Board 2002. In terms of working with other creative industries has
done work for David Slater Music, one of the companies covered in this survey. As one
of the Master Trainers, selected from 30 counties in Africa, Mogorosi has done training
25
for the Academy of the Arts, on issues related to arts and theatre. Internationally, he
has been hired by Canadian company Storyline, as one of their directors.
Cultural
Internal
Abi Films is a one man show which engages assistance whenever the
Environment
Employment
situation arises. 10 core all the time, but the number changes depending
on the magnitude of the production. Hire per production/contract. For
instance for the BOSWA series, mentioned earlier the director hired 10
students from UB, mainly from theatre and Media Studies. But during big
recordings the overall cast can involve as many as 35+ people.
External
External stakeholders include local and international clientele who source
Stakeholders
out Abi Films products. Works closely with connective Industries, where
he is commissioned to shot a video for some of the local artists such as
Vee, in particular Vee’s early music video Letlhale and Taku Taku . The
director has also worked with other groups such as Third Mind, which
specializes in motswako (hip-hop and folk) in their album Dilukile, which
paid homage to the members of the group who passed on because of
HIV/AIDS as well as some the legendary figures such as the three chiefs
who went to ask for protection from the British crown the 60’s. Has also
done work for one of the traditional music video gurus Eric Ramco, for
Earthworks one.
Mogorosi has also been commissioned by BDP to cover their campaigns at
various rallies in 2004.
Other jobs include 2010 Y-Care Documentary on their work focused on
Tourism and Culture, covering prime tourist areas such as Qwihahaba,
Makgadikgadi, Domboshaba, and Tswapong Hills among others.
Internationally, Abi Films was cited in 10/10 which comprises of clips by
filmmakers from all over the world in October 2010.
26
Mogorosi, says he drew a lot of inspiration from Maramotswe,as a
filmmaker because he could learn how a foreign director looks at
Botswana, and how that changed, following the significance and meaning
of the different scenes. This he feels was fascinating as he tirelessly
explained the shots to the director and the screen writer, and feels the
director Anthony Mangelia, director of the The English Patient, was very
receptive to some of the suggestions as he felt he had to make the “real
Botswana” story not something perceived from Western conception of
what Africa should look and sound like. Which he feels was a plus since
found the novel from which the film was adapted not engaging but too
simplistic.
2. THE VALUE CHAIN OF THE ORGANIZATION
Creation
Mogorosi, with his double degrees in filmmaking and theatre conceives most of the ideas,
sometimes writes the script and asks people to play the different roles while he films the
event or is asked by the client to film a particular film for specific purposes. Mogorosi has
been running workshops for filmmakers and theatre practioners on how each could benefit
from the each other’s expertise and these synergies are paying off as he has managed to
make quality films with professional actors/actresses.
Production
Depending on the size production, shooting could take a day or covered over months as in
full feature films.
Distribution
Distribution remains a challenge for most African filmmakers as none of their films are
screened in the local cinemas as most people are always eager to watch the latest foreign
films especially Hollywood movies. And since film-making, is very expensive and yet under
financed, this limits outlets for distribution. Mogorosi has managed to distribute his works
via networks and use of the internet. He has participated at international film festivals
where some of his works received raving reviews, as films with stories and images that
reflected the Botswana life. But since there are very few film critics in Botswana, locally
most people not aware of his documentary work, while they know a lot about his film Hot
Chili.
Access
As stated above it is easier to watch an African movie abroad than it is in Botswana. Some
of the films can be viewed on national television.
27
28
3. ECONOMIC PROFILE OF THE STRUCTURE
Turnover
Very low depending on opportunities that come his way.
Expenses
Include salaries, for those contracted at the time. Meanwhile His low
cost house also serves as a makeshift studio, since he does not have the
luxury of owning an artist’s loft, as is the case with some of the artists in
the West. He wishes he could own an office in Commerce Park but the
prices are astronomically high. Has identified, a plot out of town, in
Molepolole 45 kilometers outside Gaborone. However the plot has not
been developed due to financial constraints
Sources of Financing
Not receive any government funding at present. Will be applying for EU
grants.
4. IMPACTS
Direct
Most of Abi Film’s income is generated through production of movies and
Effects
videos, the bulk of the budget goes to replacing the film equipment from time
to time or paying actors/actresses, as well as renting out locations for shooting.
On a smaller scale, he also makes some money from wedding and funeral
videos which are quiet a lucrative business in Botswana.
Indirect
The hiring of assistants offers the youth some exposure in the world of
Effects
filmmaking, and filming in the country side takes them away from the cities and
teaches them a lot about their country.
Inferred
One prestigious involvement was Mogorosi’s role in the filming of the The No1
Impact
Ladies Detective Agency, documentaries for Botswana Television. During the
filming he did most of the behind-the scenes work together with other Batswana
who were appointed to work in some key areas: cultural sector (Gaolape
Bashupi) Music supervisor (Solo B), dialect coach, and lots of Batswana who
filled in as extras. He feels that, although Batswana were not operating at the
level of supervisors, such as director, producer, cinematographer etc. the crew
nonetheless tapped into Batswana’s expertise in order to come up with a truly
Botswana story.
29
5. CONCLUSION
One major obstacle faced by the film industry is that it is a very expensive enterprise. For
example Mogorosi says that it took him 12 years to raise funds for his first film. In order to
survive, he decided to put filmmaking on the back burner and concentrated on writing, based
on mainane folktales. Another concern registered by Mogorosi is that traditional music is not
well popularized, and he wants to see more films on this genre. To walk the talk he worked on
a video for Mogwana in 1991. He feels that if people see themselves in some of the images on
television, this can promote social cohesion and people need to see more of the local stuff on
television.
One of his recommendations is to create Botswana Producers Association, with proper
guidelines to maintain good standards, ethics informed by professionalism. Currently anybody
can posture as a filmmaker. This should start with a meeting of Botswana Producers’ Union and
go around the table to find out what each has produced before being accepted into the
envisioned producers’ guild.
He further feels that the visibility of the culture sector in Botswana, still leaves a lot to be
desired although they have been some inroads, with the cultural renaissance, and cultural
explosion predicated by the introduction of Television in 1999. Lack of infrastructure such as
cinemas and performance halls also stalls creativity.
Other cross cutting issues are similar to those addressed in the section on music and other
audio-visuals and include copyright issues and piracy. Because it is expensive to import some of
the materials for filming he things custom policies should re-visit this area, when it comes to
the levy that deals with blank tapes.
30
Study case n°5: TSOGA AFRICA THEATRE WORKS
Dates of visits and interviews: September 20
Background: TSOGA AFRICA THEATRE WORKS is involved in raising awareness through theatre.
Concentric Model for Cultural Operators: Creative and Cultural Industry
1. BASIC INFORMATION
Factual
Information
Name of Institution
TSOGA AFRICA THEATRE WORKS
Contact Details
P.O. Box 81411i
(+267) 71878298/73652199
zazahmageba@yahoo.com
Area of Operations
Theatre
Years of Operation
5
Legal Form
Commercial
Responsible Party
Gabriel Modise
General Description
Mr. Gabriel Modise is the Artistic Director for Tsoga Africa,
a youth coordinated organization which comprises of 10
artists as actors and actresses. It uses theatre as a way of
promoting culture and dissemination of information on
particular issues in order to raise awareness. Gabriel feels
that the group “provides entertainment and education for
empowerment on pertinent issues affecting Botswana”.
Therefore, its use of theatre to conscientize different
target groups is invaluable and has done a lot of work in
raising awareness about gender based violence during the
commemoration of the International Women’s Day in
Botswana. Another area, in which it has contributed
tremendously, is through collaboration with (YOHO), Youth
Health Organization, to sensitize youth about the dangers
of alcohol abuse and HIV/AIDS. At another level, TSOGA
31
AFRICA, is involved in training the youth in schools on how
to use drama to communicate with different audiences.
One of the schools that the theatre group works with, since
the past three years in Maruapula, one of the oldest English
medium schools, in Gaborone to celebrate Setswana
culture, through the school’s annual Setswana Week
Festival. An event which draws both Batswana and
expatriate parents whose children go to this school to
experience Setswana culture and enjoy Setswana cuisine.
Governance and Leadership
The company is headed by Gabriel Modise who is assisted
by the other 9 artists in different roles. The company is
fairly new and is trying to find its niche in the performing
arts arena.
Perception of the Structure
Given its infancy, I would say the company is doing very
well since it has been invited to perform at some of the
national events and has won of the competitions organized
by (BOTA) as the group with good social commentary. One
of the highlights is that the group uses a wide range of
mediums, from storytelling, dance, praise poetry, and
Tswana traditional music, as well as motswako hip-hop
style which mixes Setswana and English and is aimed at the
urban youth. The (DAC) has also started to engage the
group in some of their events. TSOGA AFRICA, did not have
its own infrastructure, for the longest time, but since it
rented an office, now clients know where to find them, and
this has boosted the group’s visibility. Again, the group has
applied for use of some schools after hours for its
rehearsals.
Cultural
Internal
Non-existent, the group is working together as a
Environment
Employment
cooperative and each member gets some kind of allowance.
External
There is a lot of interaction with the stakeholders. The two
Stakeholders
scenarios, being those that the group writes the script for
the client and performs it. Or the second scenario, where
the client writes the script asks the group to direct and
perform it. Given the training alluded to above, this means
32
that there is a lot of interaction, with schools and nongovernmental organizations such as YOHO, that the group
collaborate with on a number of projects. Overall, the
group has been actively working with government
departments to disseminate information on particular
issues, especially during the celebration of Wellness Day in
the different departments. The Director of Maitisong,
Roslyn Beukes, appreciates the group’s work has often
times invited the group to perform during the April Annual
Maitisong Festival. In addition, she has given the group
some space for rehearsals at Maitisong.
Other Comments
Theatre as stated in the inception report, is not a
professional field in Botswana, most of the artists still has
their day jobs and for the most part rehearses or meets
after hours.
33
2. THE VALUE CHAIN OF THE ORGANIZATION
Creation
The value chain of TSOGA AFRICA is informed by its theatre for
development which addresses a wide range of issues as a way to raise
awareness. The skit, is prepared according to the message to be sent out
to the audience. The adaptability of the plays to different situations,
means that the time for creation will differ from one project to the next.
Sometimes the group works on a play which is eventually performed by
the students.
Production
There are different phases of production associated with the final
product depending on what the topic is. Some of the productions are very
participatory where impromptu scenes draw in the audience, mainly
through the use of songs that everybody knows and the audience is asked
to sing along. Sometimes, the group will run a workshop, on
participatory theatre, and work with the specific group to come up with
its own performance piece. The group has also put some of the messages
on HIV/AIDS in song.
Distribution
The final products are staged both in Gaborone and in other places
around the country, so one can say the group’s activities are truly
decentralized. During, December which is the national HIV/AIDS
awareness month, the group gets to tour most of the country, reaching
out to rural communities, and communicating through theatre. The
group also runs workshops to highlight the goods and services they
provide and share with the trainees the array of communication methods
which can be used to involve the audience and urge them to reflect on
their own situations.
Access
There are wide gaps in terms of the communities, the group reaches
because most of the services they offer are revolve around Gaborone,
although the group strives to make its work as widely accessible as
possible. Unfortunately, none of the group members has gained wide
recognition as a playwright, although they do write the scripts for all of
their plays.
34
3. ECONOMIC PROFILE OF THE STRUCTURE
Turnover
P20-50,000.00
Expenses
Administrative, also pays for services, such as the bus that takes them to
shows etc. Other expenses include feeding performing groups. In cases where
they have to outsource additional actors/actresses. Recently the group
received some financial assistance from the government, from the
Department of arts and culture to support one of their out of town
productions.
4. IMPACTS
Direct Effects
The company operates on a meager budget since it depends on availability
of gigs.
Indirect Effects
Pays for props, and performance spaces.
Some community members have offered their expertise, and are coaching
the group in different acting methods. Theatre for development
practionners find this mode of transmitting information invaluable, since
the performances are in Setswana and can read both the literate and
illiterate, especially in rural areas where some people do not speak English.
Inferred Impact
The group’s use of traditional performance modes such as story-telling, song
and dance and call-and response allows the audiences to enjoy the shows
since these dramatic methods are very participatory in nature. In a nutshell
this means that the group has something for everybody.
Networking, with artists from all walks of life has also raised the profile of
this emerging youth-led group, as their shows attract audiences from all
ages, so it minimizes the generational gaps which could be easily spotted
say at a hip-hop concert where the majority of the revelers tend to be the
youth.
This way of communication, in a way encourages amateur artists, to venture
35
into the world of acting and learn about other aspects of theatre such as
script writing and acting. Whenever they visit schools, Gabriel says there
are always young people who come to them to ask if they can be part of
their group once they complete their studies.
Another plus is that the group focuses on Botswana culture and heritage and
this creates a sense of nationalism as the audience is aware and familiar of
the material they watch on stage.
5. CONCLUSIONS
Tsoga Africa Theatre, has a lot of potential, which (DAC) should mine and use a model for other
groups to emulate, so that the group has subsidiaries in other parts of the country. One of its
strongest point is a departure from strictly advocacy-based matter, didactic drama, to one of
storytelling, where the audience is forced to decode some of the nuances involved in the
performance. Furthermore, the group should be trained so that it improves the quality of its
plays, in order for their plays to be performed on professional stages abroad, starting with the
region. It will be an advantage to have some of their plays aired on radio and television.
Needless, to say that the group has a huge potential as it uses the performances to reinforce
some of the messages passed through pamphlets and workshops. As elsewhere, in the world,
there is a growing interest in Botswana on the role artists can play in development
communication, and this group serves as a model in Botswana. If organized effectively, this
model can produce actors/actresses who can make a profession from their acting, and can be
used in national plays.
The glaring lack of infrastructure for the performing arts except for Maitisong, is a national
crisis which requires immediate attention. Artists with enormous acting skills and experiences,
leave Botswana to seek greener pastures in South Africa, because the atmosphere at home does
not allow them to grow once they complete their studies at the university, there is no forum to
allow them to gain more hands-on experience. In addition to infrastructure, training in arts
management is another area that artists, need to be introduced to, otherwise all the talent will
be lost in ad-hoc activities, which does not allow the groups to monitor and evaluate their
development. Groups should be trained in writing grant proposals so that they can source their
extra funding from other bodies other than the government.
At the recent event organized to commemorate Maruapula Setswana Week, the group ran a
workshop, for musicians who culminated in breathtaking musical theatre, where e musicians
who have never acted before combined theatre with music and passed on different messages to
36
the audience, about the need to promote and preserve Setswana culture. By tapping into
talents that the musicians did not know they posses, the group, demonstrated the need for the
creative artists to work together and draw from each other’s strengths, and how organized
collaboration can increase participation and contribute to being self-reliant. This kind of
innovation is not common in Botswana and is a step in the right which can be used to promote
exchange of expertise and collaboration among the artists to produce the best shows ever.
37
Study case n°6: ISSUES FASHION STUDIO
Dates of field visit: Questionnaire/Interview February 9 and Follow up interview March 25
Background: Issues is involved in fashion and design
Concentric Model of Cultural Operators: Creative Core
1. BASIC INFORMATION
Factual
Name of
Information
Institution
Contact Details
ISSUES Fashion Studio(Pty) Ltd
Shop # 10B Riverwalk, Gaborone, Botswana
(+267) 72595372
mkuaho@yahoo.co.uk
Area of
Fashion Design
Operations
Years of
10
Operation
Legal Form
Commercial
Responsible
Mpho Kuaho
Party
General Description
Mpho Kuaho is the Managing Director of ISSUES, the studio designs
costumes for all occasions, and the Director recently worked in the
wardrobe section of the No 1 Ladies Detective film, which was shot
on location in Botswana. One of the outstanding features about
ISSUES is that it works with a wide range of fabrics including the
local fabric, called German print. This studio is popularized through
radio and participation in local and regional design competition,
such as the Joburg Fashion Week, Mozambique Fashion Week, and
Durban Designer collection among others, which allows it to enjoy
some international exposure.
38
Governance and Leadership
The company is managed by its owner/managing director, Ms. Mpho
Kuaho, who holds a BA honors in Fashion Design. The studio has ten
employees, two males and eight females who help in terms of
cutting, sewing etc, while the bulk of the designing is done by Ms.
Kuaho. In addition Ms. Kuaho is responsible for the overall
administrative and logistic duties regarding the day to day running
of the studio. While Ms. Kuaho is the only trained designer, other
employees have worked in the fashion and textile industries and
bring their wealth of knowledge to complement, the Manager’s
skills.
Perception of the Structure
The studio is one of the emerging designing hubs in the country.
Located, centrally in the capital city, Gaborone, it attracts clients
from outside the city especially when it comes to designing
costumes for weddings and other special occasions. It is very
popular especially among the youth and professionals.
Cultural
Internal
As already stated this is a relatively new and small studio with only
Environment
Employment
ten employees. From time to time the studio hires extra help if
they experience a backlog of orders.
External
There is minimal interaction with the stakeholders except when it
Stakeholders
comes to suppliers of fabrics and equipment. But since most of the
fabric is sourced from outside these has financial implications say
compared to material from south Africa which is readily available
in the local stores. Perhaps, that explains why her costumes are a
bit pricy. Government is embarking on several projects, with non
governmental agencies, such as the UNDP to promote textile
industries and help to diversify the economy, through
entrepreneurial initiatives. Once funding is provided to companies
such as this one, they can produce clothes for export which can
help brand some of the Fashion Designers in Botswana.
Other
For purposes of the survey, ISSUES is analyzed mainly in terms of its
Comments
services as a creative industry. But in the case of ISSUES director,
being invited to work in the wardrobe section of a film production,
this serves to provide other opportunities for the designer away
from her studio. Some celebrities visiting the country have also
used her services and had costumes designer for them while in
39
Botswana.
It has been difficult as it will be seen in other case studies to get
the figures in terms of annual returns and profits made by the
industries. However, Ms. Kuaho estimates her annual returns at five
hundred thousand pula (P500, 000.00) per annually, which is
approximately fifty thousand Euros.
2. THE VALUE CHAIN OF THE ORGANIZATION
Creation
The value chain of ISSUES rests in the fact that it not only produces
clothes for individuals, but it also dresses celebrities and prominent
personalities in both the creative and cultural industries. An ISSUE has in
the past produced costumes for theatrical productions as well. On the
local scene, her mixing of traditional fabrics with fabrics from over the
world has earned the designer some stripes in the local market.
Production
Different phases of production associated with the technical aspects of
design studios are typical at ISSUES, these range from pattern-making to
packaging of the finished products to be shipped to respective clients or
companies.
Most of the materials are sourced from overseas, where the Director
makes trips to identify fabrics that she knows will make her designs
unique in the local market.
Distribution
After displaying some of the items in the shop, these finished products
are delivered to the clients. In some instance, some costumes are
designed for sale not as a special order for a particular client. To extent
its market, the company also participates in trade show both locally and
in the SADC region. As a result the company has received orders following
participation in these shows and it has proven to be a lucrative avenue.
The company also has adverts running on the radio stations from time to
time.
Access
The company enjoys support from both the youth and young people
because of its competitive edge when it comes to some of the clothes in
the stores imported from South Africa. Compared to products designed by
40
local tailors the company has been criticized for being too expensive, but
those who understand fashion, feel the price matches the workmanship
and the product, so they are happy to go an extra mile. Ms. Kuaho brings
with her welfare of marketing strategies and exposure having received
her BA Honors in Fashion Designs from one of the best schools in South
Africa.
3. ECONOMIC PROFILE OF THE STRUCTURE
Turnover
P500,000.00
Expenses
General maintenance (equipment, motor vehicles, production equipment,
salaries etc.).
Products
The company sells mainly designer’s costumes to clients and theatrical
groups. Some place special orders while others buy stuff that is already
designed and placed on display.
41
4. IMPACTS
Direct Effects
The company operates on a tight budget since it does not receive any
funding from the government but has stayed afloat by networking and
working with the various stakeholders on other initiatives not directly
related to creation of costumes, the versatile nature helps the company to
work indirectly with various stakeholders including the government.
Indirect Effects
As stated above, by departing from its core business of producing garments
and branching into connecting with other creative industries the company is
able to generate some extra income.
Inferred Impact
By participating in local and regional fashion shows the company has become
one of the household names and regionally it has helped in promoting a
sense of fashion and designs associated with Botswana, which can serve as
some form of tourist attraction for both emerging ad established designers.
5. CONCLUSIONS
ISSUES has managed to attract and retain a certain clientele because of its unique designs that
cater to a specific upper market consumers and fashion trend setters who are looking for
something more than just the ordinary locally produced designs. Although only in existence for
ten years, the company has overtaken some of the designers who are usually housed at the back
of fabric shops. A young crop of young designers trained mainly in South Africa and Australia
are injecting a new fashion acumen in the country which in the near future could reach global
appreciation, such as that of Algerian born designer Alfadi, through the distribution of their
unique products characterized by an eclectic touch which infuses styles and fabrics from around
the world—and ISSUES is exemplary in that respect.
While there is a group of students who have graduated in Fashion and Design, most of them
don’t have sufficient funds to start their own businesses. So , one finds that they only work
from home on in small kiosks and only design for friends and families who would have been
introduced to them through word of mouth. However, some of the beer companies usually
42
commission fashion shows and ask the young designers to showcase their works. That’s another
avenue through which they advertise their products.
However, if it is to really make its mark on the world map, I think ISSUES, should invest in a
website which would help in advertising their clothes online, allowing it to reach a reach a
wider market. In addition, it should look at training of new workers and designers, so that the
products can compete at international level in terms of finishing and other aesthetics.
43
Study case n°7: THAPONG VISUAL ART CENTRE
Dates of field visit: Questionnaire/Interview January 18
and Follow up interview March 15
Background: Thapong Visual Art Centre focuses on residence programs and workshops that focus
on creation of Visual Arts
Concentric Model of Cultural Operators: Creative Core/Visual Arts
1. BASIC INFORMATION
Factual
Information
Name of Institution
Thapong Visual Art Centre
Contact Details
P .O. Box 10144
Gaborone. Botswana
Area of operations
Fine Arts
Years in Operation
21
Legal Form
Trust
Responsible Party
Reginald Bakwena
General
Thapong is an arts village that runs creative workshops. It brings together
Description
artists to work on their products or others bring finished products for display at
some of the annual exhibitions focusing on specific theme. Most of the artists’
work in addition to being featured at Thapong is also exhibited at the National
Museum for the public to view and buy.
Governance and
As the Director of the Centre Mr. Bakwena, and a painter himself, serves as a
Leadership
broker between the artists and potential buyers to help with the promotion
and distribution of the end products. In order to secure funding for the Centre
he liaises with local and international donors for funding. He also works with
his three employs to write grant proposals and come up with budget and a
programme proposal for the year.
44
Perception of
Thapong is well known in Botswana as the fine arts creative hub, and has
the Structure
features in some of the country’s tourist magazine as well as in-flight
magazines. Some tourists visit it to buy art while they are traveling through
Botswana. The artists’ work is recognized both locally and internationally.
Their nights of arts with music and presentations by artists are now a
permanent feature in the national calendar.
Cultural
Internal Employment: Thapong employs four people including the Director.
Environment
One office assistant who is also the receptionist, other employees serve in
various duties, driver etc. The structure is not rigidly formalized. When they
are exhibitions some of the local artists volunteer to help.
External Stakeholders: The external stakeholders are the suppliers of various
services as framing, and the clients who buy the art products. Thapong has
also been popularized by the French Embassy which funds one of their projects
each year since 2005 and donor agencies such as the EU funded one of their
projects in 2009.
Additional
Comments
Some of the concerns raised by Bakwena are:
Lack of appreciation of fine art in Botswana compared to South Africa where
he went to school. He feels that in order to bridge this gap children should be
introduced to fine arts and allowed to work with various media from an early
age, and encouraged to treat it as a profession.
The government should invest in academic programs that focus on the arts and
create viable avenues for the artists to set up their own businesses and make a
living out of the arts, which he thinks is not the case at present.
2. THE VALUE CHAIN OF THE ORGANIZATION
Creation
The inspirations for creation vary from one artist to the next, some use charcoal,
others use mixed media some are printmakers and painters. On some occasion
the artists show Botswana crafts such as pottery and baskets. Mine competitions
are held and the best pieces are exhibited at the annual Thapong competition
held at the National Museum. This also serves as a way to include artists who do
not necessarily reside in the capital city.
Production
The time to complete a piece varies to from artist to artist. For instance if the
45
artwork is commissioned and has to be finished by a certain date, that means
that, the artist will make an effort to beat the deadline. While a piece of work
might take a month to three months to complete, on the other hand some
abstract work can take as little as half an hour. Once the work is completed the
artist is advised to send it to Gallery Ann (one of Thapong’s preferred framers
for framing and possible sale following the exhibition, the work has to be
exhibited first in order to expose the artist’s work.
Distribution
Marketing and distributing art in Botswana still remains a major challenge,
although there has been a directive from the President in 2009, that all
government offices should display works by local artists. This in itself has been a
major break- through but artists complain that those buying artworks for
government office do not buy them at appealing prizes, so at times artists are
forced to sell their works for a song.
Alternatively, artists prefer to talk to a gallery to display their work for some
time and wait for the best offer. A label with the artist name and contact
details is left with the gallery so that the artist can negotiate directly with the
buyer.
Other avenues where artists get a chance to showcase their works and hope for
good sales are exhibitions (usually held at the National Museum in Gaborone) as
well as the expos, locally, regionally and internationally. Some potential buyers
at times call Thapong to make to look at the art especially that of the artists in
residence. This is where the Director, who is also an art critic, helps the artist
in the negotiating process.
Access
Most of the work by Thapong artists and friends of Thapong is displayed at
various galleries and public places throughout the year where the public can go
and view the works. Such places include Alliance Francaise, Botswana Craft
Centre as well as Thapong and the National Museum as mentioned earlier.
3. ECONOMIC PROFILE OF THE STRUCTURE
Turn over
P
Expenses
Travel costs for artists coming out of town, production, paints, paint
brushes and canvases for workshops held both on site and at various
46
parts of the country.
Products
Fine art paintings, coupled with advocacy for funding through
workshops, which show case both established and emerging artists.
Most of the activities are meant to raise awareness and cultivate the
spirit of entrepreneurship especially among young artists.
Sources of Financing
Since 2008, Thapong has enjoyed a lot of support from various
embassies and donor agencies such as the EU, for example the French
Embassy sponsors one of their annual projects. The government also
through the Arts and Culture department sponsors the Annual Thapong
Visual Arts Award. While the National Museum and Art gallery sponsors
through a salary for one of the employees
4. IMPACTS
Direct
The proceeds from the artists’ sales go directly to the artist, with Thapong charging
Effects
a minimal fee for display and related advertisement costs. This in turn helps
Thapong to bring in more artists.
Indirect
The suppliers of the material for creation benefit indirectly as well as the different
Effects
caterers who supply food and beverages at these occasions.
Inferred
Thapong art work serves as a gateway into Botswana culture since it engages some
Impact
indigenous motifs in its creation. Because of its visibility through the print media
and its annual awards, tourists are more likely to know about it prior to their visit to
Botswana.
5. CONCLUSION
To date, Thapong is one of the active fine arts studios in Botswana, which because of its
newsletter and other advertising channels has carved a niche and reputation in Botswana as the
number one destination for fine arts. Furthermore, the centre offers one an opportunity to rub
shoulders with artists especially during the annual Thapong Artist of the year Awards ceremony.
Works by various artists who have participated in the annual awards competition can be spotted
at some of the five star hotels in town as well as in government offices. Botswana Craft a
47
connective, creative industry which will be discussed in the final report has also played a
significant role in promoting local fine artists.
However, as stated earlier, fine art distribution and consumption in Botswana still faces a lot of
challenges. Most of the artists still have to keep their day jobs as most of the people are not
into buying expensive art pieces, although one must say the situation is changing gradually.
Through the SADC artist workshop, artists are able to establish networks and explore markets in
the neighboring SADC countries. Some even go to extent of establishing South-South
collaboration, which in my opinion is a step in the right direction. Some of the artists who have
benefitted from the Thapong center have exhibited their work internationally. And most of the
artists already have their works online.
48
Study case n°8: Mud Hut Productions
Dates of Field Visit February 18, March 11
Background: Mud Hut Productions is involved in music production
Concentric Model for Cultural Operators: Creative and Cultural Industries
1. BASIC INFORMATION
Factual
Information
Name of Institution: Mud Hut Productions
Contact Details P.O. Box 498 - Gaborone Botswana
(+267) 393104
e-mail :mudhut@botsenet.bw
website: www.mudhut.co.bw
Area of Operation: Music Production
Legal Form: Commercial
Years of Operation 13
Responsible Person : Solo B. Monyame
General
Mud Hut specializes in audio productions and broadcast productions. It is consulted
Description
by different radio stations and television stations in Botswana to offer music
targeting a specific audience. It also works with companies to come up with their
signature tunes on radio and television (i.e. retail radio). In addition it specializes
in in store audio, which are fitted at various malls in Gaborone. It recently
commissioned to provide music by the BBC for the No 1 Ladies Detective movie
which was shot in Botswana. It sourced various types of music and supervised the
incorporation during the shooting. It also followed with (IBR) to ensure that the
melody was in synch with the scene at hand.
Governance,
Solo B. Monyame is the Managing Director, who is also a producer. The studio has
Leadership
two full time sound engineers, a producer and a sound assistant.
49
Perception
Mud Hut is a well branded studio and is know n as the premier production facility in
of the
Botswana, which has produced a lot of local and regional music. For the longest
Structure
time, it has enjoyed the monopoly of the production industries although now you
have a lot of players on the ground. To date it still produces most of the corporate
tunes and ringtones for various mobile telephone companies. It also does music
aggregation, recording for television and movies as the example cited earlier on
The No 1 Ladies Detective movie
Cultural
Internal
Mud Hut has a total of twelve employees, including two sound
Environment
Employmen
engineers, one assistant producer, receptionist, account, security
t
guard and other assistants who are contracted on part time basis as
need arise.
External
External stakeholders include business community and the artists.
Stakeholde
Minimal use of outside products except for hiring out headphones
rs
from time to time. The Director, says the studio equipment is a
once off purchase, one invests in and only replaces technology from
time to time, say every two years or so.
2. THE VALUE CHAIN OF THE ORGANIZATION
Creation
Operating as a production studio, Mud Hut has two major types of clientele: The
Corporate Commercial, who are not creative per se but need a creative product say
for advertising purposes. So Mud Hut will do the clearance for music etc. So the
company will discuss the creative component before and during production until
handover of the final product. They will do the same for cellular companies and
other clients who want (IVR prompts). The situation is different with artists who
come to the studio knowing exactly what they want, and will need little assistance
from the producer for the most time except to tell him what they want.
Production
As stated above, in production the client states their creative needs to the
producer before the production takes place so that each party knows which part to
play.
Distribution
There is very little distribution since this is not a recording company, so does not
deal with record labels. Most of the recording is done on location. The studio has
website which the Managing Director feels it’s been used mainly by outsiders
50
compared to its usage by locals.
Access
AS stated above, the majority of the clients are corporate and multinational
companies such as BBC. So Mud Hut has carved a niche in retail radio, in-store
audio, television and radio music, and IBR’s among others.
3. ECONOMIC PROFILE OF THE STRUCTURE
Turnover
Estimated at about three million pula per annum
Expenses
Include salaries, overheads, lease for the building, utilities and other
related costs associated with the running of a production studio. Internet
was quoted as one of the major expenses by the Managing Director, since
broad rate tends to be very expensive in Africa.
Sources of Financing
Since it is a commercial entity the studio generates its revenue.
4. IMPACTS
Direct Effects
Most of the stakeholder’s income is generated through production services,
there is need to keep the studio in a position that competes with other
production houses. There most of the money goes into the updating of
technology and training cutting edge engineers, who learn from veterans
from Botswana and South Africa who visit the studio from time to time for
jam sessions and experimenting with different sounds. The studio also
incurs expenses for copyright and administration fees.
Indirect Effects
The purchase of equipment or rental of some of the equipment, as well as
hiring more technical stuff if the company is commissioned to do a big
project. Some of the indirect effects border on creation such as hiring
someone for voice over and having to create employment for them by paying
for talent fees.
Inferred Impact
One prestigious example was when the company was commissioned to
source music and supervises music production alongside the film team for
The No 1 Ladies Detective Agency. This made the public to be aware of the
studio’s reputation in terms of quality sound which matches international
standards. The project itself exposed the filmmakers to the wealth of
51
traditional Botswana music in particular in addition to other emerging
musical forms in Botswana. Through this project, some of the musicians
whose music was featured were later herd hunted for international projects.
5. CONCLUSION
Mud Hut is one of the reputable production studios in Botswana, and most of the young sound
engineers count themselves lucky if they get an internship with Mud Hut. The Managing
Director, Solo B. Monyame is himself a musician, who is at the forefront of the debates on
copyright law in Botswana. His collaboration, with one of the folk artists Stampore, recently at
a concert to raise money for Haiti, brought both his talent and company to the lime light in
Botswana.
Mud Hut, like any production company, faces the challenges of production, where a creative
product can take less time if the client knows exactly what they want or linger on because of
the bureaucratic red tape especially when it comes to government projects.
While the Managing Director feels that the creative arts are making in-roads in Botswana, he
also feels that there is need for the creative arts to be formalized, and that artist need to be
taken seriously not just as people who play guitars (bo mmasekanta).
Another challenge that he thinks music production faces in Botswana is that although there is a
lot of Tswana music produced, it does not enjoy the same airplay like some of the foreign
tunes. He feels that licensing is not done with the view of empowering the local artists.
Botswana has a local content regulation, but what it lacks is monitoring, evaluation and
implementation of this regulation.
Mud Hut’s next project is to encourage local artists to produce a music which will reflect them
as Batswana, and he hopes this could be done through collaboration between established and
emerging Batswana artists.
52
Study case n°9: David Salter Music
Dates of Field Visit: February 7 and March 15
Background: David Slater Music is involved in providing a range of musical services to the
corporate clients and church choirs and does voice training for those interested in singing
classical music.
Concentric Model for Cultural Operators: Creative and Connective
1. BASIC INFORMATION
Factual
Information
David Salter Music
Contact details P.O. Box 144, Gaborone BOTSWANA
Tel: (+267) 3900398
Email: j.david.slater@ggmail.com
Area of Operation: Music, organize concerts and promote musicians, teach
voice.
Years in Operation: 3 years prior for this was the Director of Maitisong.
Judicial Form: Company
Responsible Party: David Slater
General
David Slater is one of the best known conductors and promoters of classical
Description
music in Botswana. He has been involved in the Music Industry in Botswana for
21 years, as the Director of Maitisong. Run by Maruapula School, Maitisong is
one of the artistic and cultural hubs in Botswana, located in the capital city
Gaborone. As Tim Doling notes in his research on Cultural Profiles “It is the only
functioning theatre/arts complex in the country. Dedicated to promoting the
development of local performing arts. It provides on-going programs related to
the arts, and holds an annual festival running for a month every April which
brings artists from South Africa and Botswana together. Maitisong also maintains
a database of performing artists in Botswana. With this wealth of experience as
the Director, David Salter Music continues to offer some of the services that are
offered by Maitisong at a smaller scale.
53
A classical musician by training, David Salter enjoys teaching young Botswana
about classical music, i.e. singing, vocals and accompaniment. He has conducted
some of the orchestras for the past 15 years. He organizes concerts and
promotes young musicians. Every year in April he brings and orchestra from
South Africa and have some of his students play with the orchestra in supporting
roles.
Since, 1986 David Salter has been instrumental in organizing the annual EU/BFIM
concert which is part of the Maitisong Festival. This is the only show in Gaborone
that encourages classical music. While the concert was defunct for a while, it
was resuscitated by EU in 1997 to do the Beethoven Symphony, which is also
used by the EU as its anthem. And ever since then BIFM has been very keen and
supports the concert.
Additionally the company offers both group and individual voice and piano
lessons.
Governance,
The company is managed by David Salter, plus an office assistant.
Leadership
Perception
David Salter Music is the only company in Botswana that offers instruction on
of the
classical music. Lots of church choirs who want to do classical choral music say
structure
Mozart, Bach, Handel always seeks his expertise. Two of his products, KTM and
Sedibeng Choral Choir are the selling points for his company as they are wellknown, not only in Botswana but internationally. Overall, products, the
company are recognized in the country as the training centre for choirs and
individuals interested in learning more about classical music. As stated earlier,
corporate entities source artists to perform for their up market clientele
through David Salter Music. In addition, David Salter together with other
musicians and music educators run the annual Music concert which takes place
in December.
Cultural
Internal Employment: The company is very small in terms of employment. The
Environment
Company director is assisted by an office administrator. When it comes to
running the annual concerts, the company employs an extra person to work
along with the director.
External Stakeholders: Corporate clients, big corporate banks, and other
corporate establishment who use the artists recommended by the company as
well as the public in general. Other stakeholders include corporate entities who
54
engage David Salter Music to put up a specific concert.
Additional
David Slater Music is unique as the only company in Botswana which provides
Comments
training and appreciation of classical music. Because of the Director’s
contribution to music in Botswana, he is always consulted by the government on
issues relating to music and the performing arts.
2. THE VALUE CHAIN OF THE ORGANIZATION
Creation
The creation process involves working with the artists in preparation for the
client specific project, and delivers the final product.
Production
Once the client’s specific demands are identified and discussed with the
manager, the manager can start working on organizing the concert, by
commissioning whatever services or skills are required to stage the concert or
performance.
Distribution
The company distributes music through promotion of artists especially young
musicians, who play at various corporate gigs. In addition the company from
time to time advertises the services they provide through flyers distributed
during some of the shows at Maitisong.
Access
The company is highly accessible with David Slater being synonymous with
classical music and the promotion of performing arts in Botswana for the last 25
years. However, the classical music concert itself is elitist and speaks to a
limited audience since very few Batswana are well versed in this tradition, let
alone being taught to appreciate this kind of music. That being said a lot is
changing with the younger generation as a lot of the young artists want to move
beyond singing hip-hop (motswako).
3. ECONOMIC STRUCTURE OF THE STRUCTURE
Turnover:
Approximated at half a million pula, P500, 000.00 or fifty thousand Euros. This is
invested back into the company.
55
Expenses:
The day to day running of the company, salaries, utilities bills, hiring locations and
some equipment and other related concerts associated with concerts. Becomes
costly if he has to bring an orchestra from South Africa.
Products:
Music training and supervision of some projects to reach a certain performance
stage.
4. IMPACTS
Direct
The turnover is spent on salaries and other overheads as stated above.
Effects
Indirect
The company provides the invaluable service of professional music training, especially
Effects
when it comes to classical music. While most students do not go on to sing as classical
musicians, they still use the talents learnt to sing gospel and choral music. The public
is beginning to appreciate classical music and choral music has always been a staple in
Botswana musical repertoire. This impacts on tourism, as some tourists know the
annual orchestra concert as something to look forward to while visiting Botswana in
April.
Inferred
Slater Music serves as a bridge in the absence of certified academic programs in
Impact
classical music. With the introduction of the Visual and Performing Arts programme at
the University of Botswana this coming August, he has been identified as one of the
practicing musicians who can come in from time to time to teach students about
classical music since he understands both the theoretical and practical nature of
classical music. By teaching and promoting young artists, Slater has managed to
compliment some of the classical pieces with a touch of local rhythm. This has
contributed tremendously to the appreciation and ability to perform classical music for
a variety of audiences.
5. CONCLUSIONS
Slater Music is a welcome intervention which trains young musicians to compete globally. Most
of Southern Africa boasts of choral music and this has allowed Botswana to participate in some
of the regional competitions. To large extent the art scene in Botswana is influenced by what is
56
happening in South Africa and one finds that the Botswana choral groups in particular try by all
means to hone their skills in order to match those of the choirs across the border. There the
company enjoys a lot of integration with neighboring South Africa where it imports orchestras
to perform in Botswana. At another level, the choirs sometimes participate in arts festival in
South Africa such as the annual Grahamstown Art festival. The Sedibeng Choral Choir, which
Salter has trained, is the shining national example, which showcases its talent as part of the
annual President’s concert.
One of the challenges which Slater sees in some of the performances, when it comes to
performing classical music is lack of background, especially the history behind the different
styles. For example, one can’t sing a Mozart piece, say in the same way that one would sing a
Tswana folksong. A lot he feels has to be done if the young performers have to render the
classical pieces in a more professional manner.
57
Study case n°10: Star Reality Television Show
Dates of Field: Visit January 25 and February 25
Background: My Star focuses on talent search and development targeting aspiring singers from
all genres and age groups.
Concentric Model of Cultural Operators: Creative Industries
1. BASIC INFORMATION
Factual
Information
Name of Institution
My Star
Contact Details
P.O. Box 402883, Gaborone, BOTSWANA
(+267) 3974736
Website: www.mystartvshow.com
Area of Operations
Music
Years of Operation
4
Legal Form
Commercial
Responsible Party
Keabetswe Master Dee Sesinyi
General
Master Dee is the Managing Director of My Star, which is a T.V. show is
Description
broadcast live on Botswana Television on Sundays at 18:00 to 19:00 hrs. And is
one of the widely watched shows by the youth in Botswana who are aspiring to
polish their skills as musicians. The show starts with 20 contestants, and runs
eliminations hit each week until it is left with the final top three who enter
into a completion which decides who the winner is. The Minister of Sports
Youth and Culture attends the grande finale, and following this the winner is
taken abroad by the Director for exposure in the U.K. This is a seasonal show
which lasts from January to July. It is held at the Botswana Television complex
and artists invite family, friends and fans to watch them perform. Through the
performance, the contestants are given feedback by a panel of judges, which
comprises of on DJ, a local business woman and actress and Master Dee
himself. In a way It is like the American idols show at a rudimentary stage. In
58
addition, the show plays a double role that of edutainment as it teaches the
contestants to write their own lyrics, and coaches them on stage presentations
as well as voice control. The contestants are encouraged to make the lyrics
sound like a song.
Governance
The company is managed by its owner/managing director, Mr. Keabetswe
and Leadership
Mosinyi, together with his two assistants. Overall it employees around 21
individuals who serve in different roles to ensure that the show runs smoothly.
Perception of
The show enjoys a healthy audience as most of the youth are hooked unto it.
the Structure
Some parents whose kids take part in the show also sure equal interest. I
would say a lot of people in the country who have access to television know
about it. Some see it as an avenue to hone the performers’ stage and
performance. At the national level, President Lieutenant Ian Khama Seretse
Khama has come to its rescue by funding it when it was on the verge of
collapse due to economic constraints. My Star, is seen as an initiative which
could keep the youth out of the streets and the danger of being involved in
risky behavior if they are introduced to music early in that lives and could use
it as a means to generate some source of income an alleviate poverty by being
self sufficient.
Cultural
Internal
As already stated this is a relatively new industry, with mainly
Environment
Employment
two key players and a lot of people only hired on ad-hoc basis
when the show is running
External
There is minimal interaction with the stakeholders except
Stakeholders
when it comes to the services such as transport which is
offered to people who come to participate in the show. Other
services such as costume and makeup artists are hired by the
contestant not the company per se. Government is showing a
lot of interest in the program and will probably become one of
the major stakeholders in the near future. Last year the
President endorsed the show and gave My Star P90, 000. 00
ninety thousand to help in the running of the show. This is
seen as one of the programs with a potential to prevent
harmful Behavior by not only promoting but also capable of
producing a cadre of entrepreneurships, who will eventually
become self employed as creative artists.
Other Comments
One of the objectives of My Star is to ensure that the
59
contestants get an international exposure. Among other
things they are taught about Intellectual Property Rights so
that nobody takes advantage of their creative products. They
are cautioned about their right that their music should not be
played on the airwaves for free.
2. THE VALUE CHAIN OF THE ORGANIZATION
Creation
The value chain of My Star is complemented by the fact that it does not only
show case talent, but serves as a learning curve where the artist is given on the
spot feedback on their performances regarding areas in which they need to
improve. The creative process is an on-going one until one reaches the final
position. The contestants come to the show with something to showcase and
are advised accordingly by the three judges.
Production
One would say this is like “a script in the making”; the creation is closely tied to
the production which culminates in the grand finale completion where the
winner is announced.
Distribution
The airing of the show is the major form of distribution as it is consumed by the
views. Furthermore, the opportunity for the winner to travel overseas can be
seen as distribution as well. From time to time radio stations play tunes by
some of the contestants from My Star, if they have their music on CD already.
Access
The show is readily accessible since it is aired on national television. It also
enjoys a lot of support from the youth in particular. With experience in the
music industry for over 21 years Master Dee too, has a pool of fans who watch
his show.
3. ECONOMIC PROFILE OF THE STRUCTURE
Turnover
P500,000.00 (Approximately Euros)
Expenses
Salaries and fees for television show.
Products
The products are the creative talents showcased in the show.
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4. IMPACTS
Direct Effects
The company operates on a minimal t budget since it did not receive an
external funding, except for the new developments where the President
gave it some money.
Indirect Effects
By participating in international shows such as shows in the United Kingdom
the company has made itself visible outside of Botswana. This has inspired
a lot of the youth to take an active part in the competition. The show also
creates a market for designers and makeup artists.
Inferred Impact
My Star has been in operation for four years and within a short space of
time has fuelled a lot of tourist attraction. From time to time one finds
some tourists in the program. Creates employment, for instance the winner
walks away with P25, 000.00 (twenty five thousand pula).
5. CONCLUSIONS
One of the convictions held by My Star is that there is a lot of talent in Botswana which is only
waiting to be unearthed. The Director is also sees this show as a way of taking music to greater
heights, as a way of economic diversification, where the contestants can venture into other
industries such as music instead of depending only on cattle and diamonds. The Director feels
that they could do better than they are doing now if corporate social responsibility was
encouraged in Botswana. Right now he laments the fact that they are only sponsored by onej
cellular company, MAScom, and he urges other corporate companies to show interest in the
promotion of the creative arts.
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General recommendations
One of the cross-cutting concerns which came through the research, interviews and the two
thematic discussion workshops are as follow:.
Need for funding for the arts if creative industries are to be promoted, and used by the artists
to earn a living, instead of depending on their day jobs for the most part. Those interviewed
felt that budgeting pays little or insufficient attention to the role played by creative industries
in the country’s economy.
To curb the above deficiency, creative artists felt that there should be a Botswana Arts
Council, which should be mandated with issues of funding the arts among other things.
According to Director of (DAC) The Arts Council for Botswana has been approved by cabinet and
she is working on the draft of the act with a reference group comprising of stakeholders from
various groups. Training facilities for arts education should be introduced at an early stage so
that children can develop appreciation for the arts and major in the arts in college. Thapong
Director in particular felt that there should be schools to train the artists in different aspects of
visual arts, so that most of them are not concentrated in one filed say sculpture. The
University of Botswana has recently introduced a program for Visual and Performing Arts
(VAPA), but does not have the right infrastructure and the staff at present to compete with
well established Arts Institutions in South Africa. Botswana therefore should come up with its
own National school of arts which will complement other courses offered by, Molepolole College
of Education, (DVET) Department of Vocational and Educational Training and Oodi College of
Applied Arts Design and Technology, opened in 2009, which most people already feel does not
have the right teachers nor the right curriculum to carry out its objectives as a school for the
performing arts. This concern is not peculiar to this school alone in Botswana.
In terms of the artists themselves, it was felt that they need courses in arts management, so
that when they enter into contracts, they will have a clear sense of what it is entailed and also
understand the day to day running of their businesses.
The lack of infrastructures for the creation and dissemination of both the goods and services of
the artists was another, concern and that both government and non-government agencies
should partner in creating and providing spaces for artists’ businesses, and display of
performances, as well as rehearsals in the case of performing arts.
One of the observations was that creative artists tend to work in isolation, while they could tap
into each other’s skills if they knew of each other’s expertise, and the level of professionalism
involved, and therefore it was felt that artists should create guilds, for the different creative
industries and meet to share ideas, or to carry out collaborative projects from time to time.
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Creative artists in Fashion and Design, Film, creative writing, felt that they were often
sidelined, and felt that they should be given more recognition and funding in the same way that
music has benefited from partial funding from donors and (DAC).
Most people interviewed felt that it was high time the National policy (2000) was revised if it
is to truly support the creative industries in Botswana.
In traditional music, one of the directors of the dance troupes, felt that there were very few
people trained as choreographers or dance scholars in Botswana and that the government
should inject some money into structured training facilities or institution where dancers and
choreographers can be trained via different levels until they are certified as instructors, if the
government has to live to its ideals of promoting and preserving both tangible and intangible
culture in Botswana.
One of the main concerns in the audio-visual industries was piracy, although recently the
creative artists have lobbied and succeeded in the creation of the Botswana Copyright Society,
and they have currently advertised for a CEO.
On the whole Botswana needs art critics, and should start with art journalism, so that those
reporting on creative industries don’t just give the venue and the names of the artists’ but
should write in a manner that gives one the a sense of the performance or exhibition.
Overall, there is need for capacity building in the (DAC), to train the personnel in research and
engagement with stakeholders, including those who are not receiving and funding from the
government.
Some artists felt that the (MYSC) should engage the artists in the running of the art-based
competitions which take place around the country at different times of the year instead of the
Ministry trying to use its personnel to run it, even those who are not cued on, in terms of what
to look for in some of the genres. Another concern was that some of the personnel working at
(MYSC) owned consulting companies, and the tendency was that hey award tenders to their
consultants, instead of hiring consultants on merit and ability to deliver.
The artists also felt that they needed increased exposure, so that the world could come to know
about their services, and where possible engage in collaborative initiatives. Today, they felt
that they were some groups who were favored over others when it comes to overseas trips.
On my part I think there is need for decentralization, since most of the arts activities are
concentrated in the capital city, Gaborone.
Although only one company interviewed for the survey focused on cultural tourism, I think more
studies should be carried out to exploit the potential of cultural tourism, and fund such small
scale businesses such as Wacuna cultural Village in Ghanzi.
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Finally, if the new economic diversification project is to work, the different ministries should
work together to ensure that they minimize the costs, while brining in business people and
artists to work together and complement each other as way to promote social cohesion.
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III. FINAL SECTORAL ANALYSIS
Theatrical Arts
Phase
Creation
Remarks
Recommendations
Most of the theatrical activities are
A lot of artists in Botswana are not fully
sponsored by the government and
remunerated for their services, so acting has
revolve around certain issues such as
not really reached the level say similar to that
poverty eradication, messages about
of artists in South Africa whose services are
HIV/AIDS. The plays by (YOHO) Youth
engaged throughout the year. But with a young
Health Organization are used to raise
cadre of Batswana trained in south African
awareness about HIV/AIDS. While
schools, the country is experiencing some kind
some plays are based on classical
of paradigm shift from didactic theatre to other
plays. Therefore the creation differs,
avant- garde modes which incorporated
where the client asks for a specific
elements from different cultures and different
play to address specific issues say
schools of thought in theatre. I think if theatre
commissioned for a political rally.
has to evolve to meet international standards in
The genres vary from comedy to
Botswana, there should be training at an early
theatre for development. Most of
age in acting and promotion of script-writing by
the plays are not based on a specific
locals. Other area which needs urgent attention
script but the director and the
is to have a pool of directors who can advise
actors/actresses work together on
the different groups in their projects from
the piece to be delivered after
creation to production.
agreeing on the storyline.
Production
The production phase involves a lot
A lot needs to be done in terms of securing
of people besides the
professionals who understand a lot about
actors/actresses, such as stage
costumes, and time periods. One finds that in
designers, light engineers, wardrobe
some of the scenes say depicting the sixties,
and make-up artists. However, for
some of the characters are clad in 21st
attires.
the most part the artists fill in the
The same can be said of make up where the
different roles since they have to
make-up is standard; perhaps because is usually
make do with what they have unless
done by the same people and does not
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they are doing a television show,
accentuate some of the intended features
where they could have various
which are meant to grip the audience. There is
professionals working on different
an acute need for skills training in all the
aspect of the production, from
various fields related to theatrical production.
inception to staging it.
There are people doing some of the things but
they are not professional and that makes some
of the productions to be of sub-standard
quality. Attachments with theatre houses in
the region might be one way to address this
gap.
There are very few up to date
There is need for concerted effort to bring all
theatres in Botswana, except for
the key players together, academics, script-
Maitisong, which is located in the
writers and performing artists in order to
capital city where most of the
improve the quality and distribution of
theatre is staged. Some of the
theatrical material in Botswana. Some groups
theatre takes place in schools and at
which are very good are only known in the
corporate functions. The University
capital city due to lack of advertisement which
of Botswana too has a Travelling
reaches the rural areas. While the internet is
Theatre, which strives to take places
good source of communication, due to the
to different locations across the
digital-divide and cost issues, not everyone has
country. Some of the plays are
access to the internet.
staged at the kgotlas or at events
Distribution
commemorating special occasions
One major recommendation is that Botswana
such as the International Women’s
Day. Promotion is achieved through
radio and media print advertising and
should increase the number of plays where the
audience can watch the productions. To date,
we don’t have the state theatre. The newly
flyers posted at various locations,
opened Oodi school of the performing arts
and by word of mouth.
might address this situation if it is fully
equipped both in terms of infrastructure and
trained personnel.
Appreciation of theatre too needs to be
cultivated if theatrical arts are to survive, and
funding should be provided for its development.
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To date there is no formal feedback
on the productions except for
consumption
occasional write ups in the papers
which only go as far as saying the
group performed at such and such a
place without getting into the nittygritty of the production itself per se.
There should be some nuanced feedback
mechanism in place, done by professional art
critics well versed in theatre arts, either as
practioners and or researchers which will
Feedback
increase the audience appreciation and
awareness of the need to invest in theatrical
arts. This would help the artists to improve
ways of selling their skills as well as attracting a
wide range of audiences.
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Visual Arts
Phase
Creation
Remarks and Recommendations
Visual Arts
Remarks
Recommendations
Creation depends on the artist’s style
Most of the artists at Thapong are self taught or
and his/her source of inspiration. In
learnt the skills through apprenticeship. Visual
terms of commissioned works such as
Art education should be introduced from
murals artists can work as a team.
infancy and given the same value as other
Collective creation is also popular at
subjects, so that artists can produce high
workshop where artists might be
quality pieces which meet international
guided in brushing up their talents in
standards. The construction of Art Schools can
using a particular media by a visiting
help curb this problem. Further, art
experienced artist. Thapong also uses
appreciation should be encouraged so that
its residency programs to offer
clients can pay good money for products in
seminars which are aimed at
order to allow artists to make a living out of
enhancing the artists’ professional
their sales.
development
As part of the government poverty
alleviation initiatives, government ministries
are mandated to
procure art pieces for the
offices from local artists.
Production
The artist decides on what to paint or
Lack of funding, scarcity of art material locally,
sculpt and sources appropriate
means that artist, either has to save some
material for the piece. The
money over time before they can work on their
production could take a day or
desired piece, or if they have money sometimes
months to complete depending on
they have to order the material which could
the size and medium selected by the
take forever to reach them. Art Training
artist.
institutions should set up stores where artists
can walk in and purchase their materials and
tools. Further, the government should subsidize
and/or waiver hefty taxes imposed on imported
art materials.
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Distribution
Distribution is carried out by Thapong
Art practioners need to be trained in business
on behalf of the artists. Some of the
acumen, so that they can negotiate good prizes
products are purchased during
for the products. Because of lack of
exhibitions held at The National
understanding of the value of their products,
Museum in Gaborone and at other
sometimes the artist fall prey to shrewd art
locations across the country such as
collectors who under pay them for their arts.
the annual BOCCIM fair. Some
Encourage all artists to have their products on
individuals too purchase art pieces
line, Thapong has featured some of the artists’
for their homes and sometimes can
work on the internet which a step in the right
ask the artist to make a special piece
direction.
for them.
consumption
Consumption overlaps with
Consumption channels are almost identical to
distribution. Most of the pieces are
that elsewhere and are difficult to curtail,
identified and purchased during
sometimes people make replicas of the art
exhibitions, or when a buyer visits
piece instead of buying the original piece. This
the centre which has studios and a
calls for the enforcement of the Copy right
residency program. Some artists who
laws, so that piracy is discouraged. Another
have made a name for themselves
recommendation will be the use of digital
are contracted by interior designers
media to have the art pieces available to a
to create artworks for different
larger clientele via the internet.
clients, be it homes or office spaces.
There is very little feedback, except
Thapong Visual Art Newsletter should have a
individual advice and comments
section on art criticism not just a list of events
given by viewers during exhibitions or
that have taken place at the Centre. Another
visits to the centre.
way to reach a large audience for feedback will
be through the use of information technology,
Feedback
where they can have blogs and dialogue with
other artists who do not necessarily reside in
Botswana. Thapong should have an artist Guild
which could help when it comes to
professionalism and ensuring good workmanship
as well as creating a bigger market for their
products.
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70
Music
Phase
Remarks and Recommendations
Remarks
Recommendations
The industry subsector under discussion is a
recording studio. The studio owner of Mudhut
productions is a musician and music producer.
Mudhut Productions specializes in music
production and broadcast productions. This
entails two major types of clientele: The
corporate clientele who are not creative, but
want a specific product say ring tone for
Creation
advertising. The producer discusses the
creative component with the producer until
handover of the final product. The other
clientele is that of artists, who come to the
studio knowing exactly what they want, shares
that with the producers and they take it from
there. In terms of broadcast productions, the
Music production and recording studios have
increased at an alarming rate in Botswana, and one
can find cutting edge studios in Botswana.
However, the industry is not structured. The issue
of standards comes into play because they people
who call themselves music producers yet some of
their products leave a lot to be desired. Most of the
artists prefer to cross to South Africa and have
their music recorded there, although this in some
cases has resulted in the artists being swindled.
Even in Botswana, there have been cases of artists
being swindled by the producers after giving them
large sums of money. Need for standards and
credibility of those offering the services.
producer does the music clearance and gives
the client the product they want. Basically,
there is minimal creation on the part of the
producer. The role is more advisory.
Production
Production services depend on the needs of
In order to improve the quality of music, need to
the client, could be a collaborative one where
set standards and have music producer register
the producer designs something and takes it to
with a guild. This will uphold good standards and
the corporate body to critique and go back to
accountability, so that musicians can use studios in
make the desired changes, or could be one
Botswana instead of crossing over to South Africa.
where the client knows what s/he wants and
Need to train Batswana in different areas of
polishes the product in no time with the music
production and the need to guard their products
producer. Or a straight forward deal where
against rampant piracy.
the client is asked to supply a particular kind
of music to the client which he compiles from
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different artists’ works. Production can be
challenging depending on the client’s need
and clarity of the client’s needs otherwise it
can be long process especially if there are
some bureaucratic hurdles.
Distribution
Most of the music producers, who own
Need to create music industry association.
reputable studios, are concentrated in
Currently Botswana has the (BOMU) Botswana
Gaborone, which is the capital city. One finds
Musicians Associations, which needs to have more
that three or four of them dominate the
credibility if it is to take some of the producers to
recording scene and they compete against
task for recording sub-standard music. Set up
each. Friends who have had a good experience
studios across the country so that the services are
with a producer are more likely to recommend
decentralized. The whole exercise is highly
him or her to their friends. Some advertise
individualized and competitive so collaboration is
their services in the newspapers and on the
out of question. However, healthy collaboration
internet. Distribution is that of services since
could produce high quality products. Create a
they producers do not market the client’s end
culture of professionalism.
products. Besides the equipment to run a
studio is very expensive so having more than
one studio in a small population like Botswana
might cost a fortune.
There is a huge need for music, especially
Batswana should be encouraged to produce music
traditional music, so music producers have a
which will reflect their stories and experiences as
huge clientele. Even young artists, who are
Batswana.
into hip-hop or motswako, utilize these
services. The music in the shops for example
is also enjoyed by the shoppers. In the case of
consumption
the music provided during the No 1 Ladies
Detective Agency, a film shot on location and
based on Alexander McCall Smith’s novel by
the same title, Batswana viewers who
consume that music would have made the
majority of the viewers. But, despite the fact
there is a lot of Botswana music produced
annually, it does not enjoy the same airplay as
some of the foreign music such as hip-hop and
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R& B.
To date there is no formal feedback
Opinion polls and surveys about the ratings of the
mechanism on the different recording studios.
different studios could help emerging artist to
Feedback
avoid recording with sub-standard studios. In
addition, Botswana needs to enforce content
regulation, so that Batswana can hear the music,
and critique it, especially the quality.
73
Phase
Creation
Remarks and Recommendations
Music David Slater Music
Remarks
Recommendations
: David Slater music provides a range of
Classical music in Botswana is in its infancy. Slater
musical services mainly to corporate clients
Music is one of lone players striving to bring this
such as the banks, church choirs and voice
music to most of the Batswana especially those in
training for those interested in making a
Gaborone, through training and participatory
career singing classical music. He either
learning, such as the actual experience of being
creates the product with the client in the case
part of an orchestra. To date he has trained two
of training and coaching, or imports a special
prominent choral groups, Sedibeng and KTM choir,
type of music per the client’s needs. As
as well as the four Batswana tenors. The services
classical musician by training, Slater, works
provided by Salter music are invaluable and should
with the client to create a piece, and this
be tapped into by music teachers as early as in
culminates in showcasing the end product at a
primary school, so that the students are exposed to
concert, so he remains central in the creation
a wide repertoire of music to choose from.
process, by directing the performance in a
Operating within the global economy Batswana
particular manner, more so that he conducts
should be versed in other kinds of music other than
most of the pieces he produces. In order to
their own if they are to compete internationally.
transfer the learned skills, each year he brings
an orchestra from South Africa and places
some of his students in supporting in the
visiting orchestra, because Botswana does not
have an orchestra of its own.
Another recommendation is that the annual
BIFM/EU concert rotates performance locations,
something impossible because Botswana does not
have any performance space similar to Maitisong
outside the capital city.
Production
The corporate client communicates its needs
As a reputable company, by now David Slater
to Salter Music and they can order an
Music, should have trained or mentored some
orchestra, or work on a piece to suit the
young Batswana to take the project to the rural
occasion. Depending on the request, David
areas as well. Offering lessons in some of the
Slater Music can commission whatever skills
government schools would also ensure earlier
and services are required to perform stage a
appreciation of classical music, as hobby, and later
concert or give the specified training.
as a full time job.
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Distribution
Consumption of classical music, especially the
Need to reach a wider audience regardless of class
BIFM/EU concert remains the preserve of the
and social status although classical music itself is
urban elite and their families. Conversely,
always associated with the elites. Increased
David Slater Music services are limited to
government funding to promote all kinds of music
those with the buying power such as donor
could expand this initiative so that it becomes
agencies and banks. Artist that have been
more inclusive and decentralized. Te EU/BIFM
trained by David Slater get a chance to
concert for example only takes place in the capital
perform at different places, especially at
city Gaborone.
corporate gigs. To date David Salter Music
boasts of a couple of protégées, who pass the
knowledge to their students especially those
teaching music in schools.
The remarks are the same as those made in
There is a general feeling the audience, especially
terms of distribution
at the annual EU/BIFM tends to be white, and
consumption
peppered with a couple of elite or even middle
class Batswana. This can be intimidating to some
people who might think that they don’t fit into
these social classes. Need to open up the circles
Feedback
There is no feedback mechanism in place to
Promote art journalism, so that independent or
rate the services offered by David Slater
freelance journalists effectively critique
Music, but one thing for show the EU/BIFM
performances and establishments. This can be
concert always receives raving reviews in the
done through spot-on interviews following the
media.
performance, call in talk shows, or create a forum
where the proprietor can come into the studio
whether radio or television and answer questions
related to his business and some of his shows.
Feedback from those who have utilized the services
is always very useful.
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76
Phase
Creation
Remarks and Recommendations
ISSUES Fashion Studio
Remarks
Recommendations
The fashion industry represented here is based
The fashion industry in Botswana not embraced
on the creation of an individual designer not a
although recently have fashion graduates since
manufacturer who producers a line of clothes
government sent those aspiring to be fashion
for mass consumption. The creation process is
designers to study abroad. Need for more
influenced by her background in fashion studies
training and enrichment courses for designers
and what is in vogue as well as what the client
want. The designer creates clothes for a select
market mainly couture, design, cutting,
stitching and fitting, works with a team. Clients
place orders for customized costumes or they
buy what has been created and displayed in the
store. Depending on the nature of the order,
creation can take days or months.
Production follows different stages, from:
Instead on working on a small scale, the fashion
sourcing fabric, pattern-making, to packaging of
industry should be encouraged to grow so that it
the finished product and shipping it to the
can develop lines for export. Need for training
client. Since it is expensive to import good, the
and equipment if ISSUES is to design for a larger
Manager of Issues says she is always forced
market and possible export. Provide conducive
fabric in small quantities.
creative spaces for artists. Funding for designers
Production
is crucial and can help diversify the economy and
create jobs for a lot of people who are trained
in this discipline yet find themselves idling as they
are not a lot of opportunities in fashion and
design in Botswana. Another consideration would
be to waiver the tax on imported goods and
curtail the red-tape associated in getting one’s
stuff from Customs once it has reached the
country.
Distribution
Distribution of products is done from the
Utilizing the internet could boost the studio’s
designer’s shop, which also serves as the
visibility by creating a shopping and shipping
warehouse. Most of the business comes through
portal on the internet.
77
referrals by friends and clients. Participation at
Fashion Shows in the region also helps with
Should promote Fashion Weeks where the young
designers can showcase their products.
distribution. News paper articles and radio used
to let people know about the Studio. Also
difficult to export because prospective clients
might ask for an order, upon receiving it, can
copy it and send back the stuff claiming that
there was no market for it.
consumption
Consumption takes place through individual or
Need to beef up distribution outlets and grow
commissioned orders, such as designing
from a small entity to a large scale distributor.
costumes for the girls who participated in the
Miss Botswana, building up to the Miss Universe.
Feedback
There is feedback from the clients and those
Create more visibility over the internet, using
referred to by satisfied clients. The fact that
face book, twitter etc.
she dresses most of the pop stars also serves as
instant advertising for the studio.
Remarks and Recommendations
Heritage Tangible and Intangible Culture
Phase
This sector is more broad as it encompasses a wide
range of services and products which could be
grouped under heritage’s two major categories that
of tangible and intangible forms of traditional
popular or folk culture such as storytelling, basket
weaving and traditional music.
Creation
Remarks
Recommendations
Traditional music will be used as example of
creative example and service which speaks to issues
of community ownership and preservation of
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Appreciation of traditional music which well
anchored in most primary and secondary
Botswana traditional music and dances. In general,
schools should be elevated to a professional
Batswana pride themselves of their traditional
level.
music, and this is witnessed in the cultural
renaissance through formation of dance troupes
some of which have represented Botswana at the
Kora Awards and other international competitions.
There is need to brand traditional music and
other artefacts such as baskets so that they are
perceived as the country’s intellectual
property.
In addition to its music as part of the heritage,
other forms through which the country’s heritage is
traced is through the products it produces and the
stories the societies tells about itself. Hence the
Musicians and filmmakers should work together
in an effort to protect and preserve Botswana’s
musical heritage.
work by Wacona Cultural Village and Quality
Cultural tourism should be orchestrated at a
Baskets in Maun also ensure preservation of
national platform not through isolated
Botswana heritage albeit through different
initiatives.
avenues.
Creation therefore is more depends
whether one is weaving a basket or if one if part of
a team that puts together a collective performance
for a special occasion. Traditional dance groups are
Need to train dancers in other daces and
musical forms which they can combine with
their already existing skills.
usually big comprising of up to 40 artists; this
Training schools for artists who want to
number has had to be curved when the group is
continue practicing and learning about this art
performing outside of Botswana to cut down on
form.
costs. Other commercial spin-offs of this
traditional heritage are inclusion of this music in
films shot in Botswana such as the recent No 1.
Ladies Detective Agency (2008). However, there are
fears in some quarters Botswana music might be
“stolen” by the neighbouring South Africa, which
has aggressively showcased Botswana traditional
music in its music video shows. This sector which
services are amenable to cultural tourism has a lot
of potential, but to date does not generate enough
income to sustain the artists throughout the year.
One of the reasons could be that there is no
umbrella body to consolidate all the efforts
groups, hence there is a lot of competitions and
artists crossing over from one dance troupe to the
next. There are a lot of videos on traditional music
but returns have been hampered by rampant
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piracy. Since, traditional folk music for the music
part have no sole originator, it is difficult to trace
the composers some of the songs which have been
used by young artists in their creations in a mixture
of Setswana and English lyrics known as motswako.
Production
As stated earlier production and creation go hand
Lack of funding and understanding of the
by hand to arrive at a perfected performance. The
economic value of selling creative services,
performances sometimes can bring in elements of
means that artists are underpaid for their
the national fashion or the colours of the Botswana
services. A lot needs to be done to really sell
flag, and some artefacts such as baskets to
the idea of cultural tourism and this will entail
complement the performance. Other performances
collaboration between several ministries
are carried out through the auspices of the
interested in the role culture can play in
President’s Constituency Competitions which takes
development. The Department of Arts and
place every July.
culture which is understaffed should out source
some of the services to promote the arts
instead of doing everything in house. The newly
opened Oodi School of Performing Arts should
have professional dance tutors and
choreographers, who can guide the
dancer/student in their understanding of the
economic values of the arts.
Distribution
Distribution is carried out through
Distribution channels need to be steeped up to
recommendations or by those who have watched
include websites for the various groups. Central
the shows.
booking facilities could benefit both established
and emerging artists.
consumption
The consumption of Botswana heritage products has
The promotion of Botswana heritage is well
been promoted through business mission trips and
covered on the national television (BTV) but
sponsorship by resident embassies in Botswana for
more aggressive marketing on the internet is
the groups to perform or showcase their products in
required to make the products accessible to
their respective home countries. Other avenues are
those who cannot get BTV. This could increase
festivals held in the five districts, especially on
interest and the need to learn more about the
Cultural Days which are held annually in May. The
country. Films using footage of traditional
television stations often hosts competitions on
music could also help viewers to appreciate and
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traditional music. Viewers then can a chance to
comment on Botswana’s number one heritage,
vote for their favourite group.
traditional music.
There is very little formal feedback except for
A lot needs to be done to come up with
write-ups in the media and interviews with select
feedback mechanism if the artists are to sell
artists
their creative talents and services. This will
Feedback
require training of the managers on how to
make their companies visible. A database of
cultural and heritage products in Botswana is
long overdue, which if in place can inform the
public about music and how is related to sociopolitical and cultural issues in Botswana.
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SWOT Analysis of the Creative sector Botswana
Internal Environment
STRENGTHS
WEAKNESSES
Low national recognition of the economic
gains of creative arts
Abundant creative talent
Weak export opportunities afforded by the
Existence of cultural policy
Tourism industry
Blank Tape Levy
Lack of experience in creative
COSBOTS
products/service production
Enabling education system in most disciplines
No reliable access to raw material especially
visual arts
Interim training of arts on book keeping and
tax reforms
Lack of understanding of foreign market and
the competition out there.
No market for University graduates who
majored in the arts
No consistent monitoring and evaluation of the
contribution by arts to GPD.
Donors only benefit a few individuals and
government, not cater for civil society
OPPORTUNITIES
THREATS
Relative demand for creative collaboration
Small country and landlocked, limited market
with foreigners
access.
ITC opens up new markets
Dominance of Western music on both radio
and television
IP administration and enforcement
Artists mobility becoming difficult with new
Regional collaboration by artists through SADC
visa requirements
Foreign experts offer hands on training
No Artists Guilds to ensure professionalism
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Lack of funding for the arts
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Needs Analysis for the Botswana Creative Sector
CURRENT STATE
The Creative Sector can be summed as follows:
No National Council for the arts with full rights to conduct it’s day to day business.
Weak brand recognition of the country’s cultural and creative products
Weak and outdated cultural policy
Strong educational and training to PhD’s in renowned international universities in traditional
fields and few in entrepreneurship and the creative industries.
Weak human and capital capacity in government offices dealing with the arts
Underdeveloped production infrastructure in key subsectors such as music, audio visuals and
cultural tourism.
High incidences of piracy and disregard for the mandates of intellectual property.
Small population not have a large market in the African Diaspora, limits the country’s
distribution of its cultural products.
Increasing competition from R.S.A. which shares the language and culture with Botswana
especially among the Tswana speakers residing both in Botswana and South Africa.
Most of the artists are just beginning to make their mark on the international scene, so they still
face market access to break into the international markets.
Lack of serious funding for the arts both by the government and the private sector.
Few University courses on the arts
Lack of infrastructure to promote and show case creative services and talents.
DESIRED STATE
Establish a fully-fledged National council for the Arts
Revise and update the dated National Policy on Culture.
Monitor, Evaluate and Implement bodies such as (COSBOTS) to ensure compliance and statutory
formalities to maintain a certain degree of professionalism both locally and internationally.
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Ensuring artists’ mobility given the high incidents of African artists being denied access into
Europe and the Americas.
BEDIA (Botswana Export and Development) to include artists in the country’s business missions.
Promote research and hands-on-experience on creative and cultural industries in Botswana.
Ensure that each ministry has an artist as a focal person for the arts, in the same sense that
ministries have focal persons for various fields.
Create synergies between the various ministries, Finance and Development Planning, Ministry of
Trade and Industries, Ministry of Wildlife and Tourism, Ministry of Education and Skills
Development and Ministry of Youth Sports and Culture.
HIERACHICAL ASSESSMENT OF THE CREATIVE INDUSTRIES NEEDS ANALYSIS – BOTSWANA
NEEDS
NATIONAL
SHORT TERM
MEDIUM TERM
LONG TERM
Establish a reference
Completion of revised
Endorsement of the
expert task group to
policy on culture.
National Policy of
revise and come up with a
CULTURAL
Establishment of an
new Policy on culture.
the Arts.
interim committee to
Approval of the
Provide long term funding
ensure that the proposal
National Arts
for the arts and the artists
goes through all the
Council of Botswana
POLICY
different consultative
Submit the proposal for
discussion at Cabinet
stages up to approval by
cabinet.
level.
Promote building of
Provide tax incentives for
training facilities and
those willing to invest in
personnel to run the
the arts
envisaged schools as well
Special bursaries/grants
as ensuring that the
for artists who want to
appropriate
hone their creative skills
infrastructure is in
and get licensed.
place.
Promote Arts education
and provide infrastructure
Train personnel tasked
with promoting the arts
to carry out the objectives
and arts education in
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Open up funding
opportunities to all
the artists not just
the youth.
of the different schools.
Botswana
Enforce the
recommendations made
by COSBOTS.
Have more of the Culture
STRUCTURAL
Pitso, similar to the one
Grant funding for artists
Artists as focal person in
held in July 2010 to
FORMALITY
every government
inform and dialogue with
ministry and other
the creative sector on
corporate entities
challenges and
Training in
advocacy for the
arts for both artists
and those in charge
of funding for the
arts.
possibilities in their
Training grant
respective sectors.
proposal writing for
Provide tax breaks
the arts (secure
(incentives) for companies
other forms of
fulfilling their corporate
funding other than
social responsibility by
waiting for
funding the arts.
government handouts.
Refresher courses
for both established
and emerging
artists.
INTELLECTUAL
PROPERTY
Enforcement of COSBOTS
Benchmark with other
Briefs on IP. To
practices supported by
countries in terms of
check what’s
the policy from Ministry of
monitoring and
working and what
Trade and Industry.
evaluation.
needs to be done.
Issues of IP remain
Periodic
prominent in the
consultations and
National Policy on
reviews with
Culture.
relevant
RIGHTS
stakeholders.
Standardization of
Compare with other
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Evaluate and
MARKET ACCESS
products to ensure good
treaties in place a map
monitor the various
quality and ability to
the way forward.
treaties.
Ensure treaties are
Bring artists to the
Compare with regional
contextualized and
negotiation table
and ACP
speak to the artist’s
even if it is one
products/services.
needs and aspirations
representative.
compete internationally.
“Not speaking for
Recommend and identify
them but with
shortcomings and
them.
possibilities of EPA’s.
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National conclusions and Recommendations
CONCLUSIONS
The conclusions summarized here evolved out of the two thematic discussion consultative
workshops as well as some of the responses to the survey administered to over 45 creative
industries and service providers, including the 10 case studies that inform the bulk of this
report.
Overall, this is complimented by archival research and conversations with friends and
practioners in the creative industries in Botswana.
Despite the fact that Botswana is a relatively small and landlocked country, it has managed to
unleash its creative impulses to the world, whether it is through its exquisite traditional song
and dance, its baskets, or its culture of hospitality immortalized in print by Mc Call Smith’s
series of the No1. Ladies Detective Agency now adapted into a film by the same name, this
small country is full of surprises. Botswana’s traditional music is one of its highest selling points
and is appreciated by both locals and foreigners, yet there is no structured market to capitalize
on the economic benefits of this art form. It is only recently that Botswana music predominated
in the film version of the No 1. Ladies Detective Agency, 2008). This film which was shot on
location, was beneficial on many fronts, first it gave Batswana artists invaluable hands –onexperience of working with professionals. Secondly, even though most Batswana played some
minor roles or big roles behind the skills, the fact that this movie was shot on location gave
those who took part in its making a sense of ownership.
On the whole Botswana’s creative industry is in its infancy if one compares it to its neighbour
South African boosting of a huge population and state of the art infrastructure for the arts. In
that sense Botswana is still going through a lot of teething problems such as the need to curtail
rampant piracy. To date a lot of artists still keep their day jobs in addition to say being
musicians, because there is lack of awareness of the services they provide, although one must
add that the attitudes are gradually changing and companies and individuals are now more
willing to pay for creative services and not just regard them as free entertainment. There is still
need to foreground the industry’s economic benefits, that writing a poem is as good a vocation
as being a mechanical engineer. Need to urge Batswana to use culture as an alternative source
of income. The paucity of information on how much creative industries contribute to the GPD
makes difficult for those interested in the monetary befits to channel their investments into this
sector, even with the apparent drive for economic diversification.
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Unlike in other countries, because indigenous culture is dynamic and forever evolving, Botswana
culture does not risk extinction as some false alarms have tended to suggest. What needs to be
done is to make a clear distinction between culture and tradition since the two cannot be used
interchangeably. Even with the global effects of hip-hop, local artists have been able to
appropriate hip-hop by mixing English and Setswana lyrics to address their socio-political and
cultural issues. The local musical scene is inspired by both local and foreign influences. After
all music has been noted to be the universal language therefore the cross pollination is
inevitable.
Working against all odds is informed by Botswana’s Vision 2016, as it aspires to be a ‘society
with confidence in itself, pride in its achievements, and possessing a sense of common and
shared identity’.
Botswana needs training and supervision on how to manage Intangible Heritage, although we
have Tsodilo, the Mountain of Ancestral spirits, which was listed as Botswana’s First World
Heritage site, the site is little known of by Batswana and is under utilized for touristic purposes.
Its running left to the village development committee with little or no skills on how to optimize
the location, maintain it if it is to contribute to sustainable.
RECOMMENDATIONS
Nothing can really take off without a solid policy on arts and culture in place. Hence:
Botswana should put together an interim task force to revise and make sure the proposal for the
policy on culture to replace the current dated one reaches cabinet before the end of the year.
Tax incentives for the promotion of the arts as a way to diversify the economy should be on the
priority list of all ministries and private sectors
Promotion of arts education from infancy throughout tertiary education
Promote awareness of the arts as valuable for both the society and creation of employment
Formalized ways of marketing heritage products both tangible and intangible.
Provide infrastructure for the practice of creative arts, not just schools.
Training of artists on how to get the best out of their services
Apprenticeship or placement with international residencies key.
Lease with government and Civil Society for advocacy and funding of artists
Each ministry should have an artist as a focal person to help in issues pertaining to the arts
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Work with COSBOTS to ensure protection and enforcement of current laws against piracy
Improve quality of products (percussions)
Marketable skills land a job or secure placement with a professional or a pool of professionals.
Funding for those who want to further training in the arts.
Improve organizations of artists...advocacy and debates/create positive change.
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