Category: Arts & Culture

The Association of Schools Performing Arts (ABOSPA), in partnership with the University of Botswana (UB), will tomorrow host the Performing Arts Charity Festival 2026 in aid to the Pudulogong Rehabilitation Centre for the Blind in Mochudi.

The event will take place at the UB Indoor Sports Centre in Gaborone. ABOSPA president, Gobuamang Bakwena, said the Pudulogong Live Band would share the stage with last year’s ABOSPA champions. The festival will also feature a wide range of performances, including UB’s live band, drama, chorale, poetry, and traditional song and dance.

“Other groups include Gaborone University College (drama and live band), Regent International School (marimba band, poetry, and back track), Ngami Junior Secondary School (traditional song and dance), Botswana Accountancy College from Francistown (chorale and drama), Mogoditshane Senior Secondary School (chorale), and Kgatleng Brigade’s poetry team, among many others,” announced Bakwena.

The guest speaker will be Prophet Joel Keitumele, popularly known as Ntsoro. Bakwena stated that proceeds from the festival would go toward purchasing new instruments for the Pudulogong Live Band.

“Instruments such as drum sets need to be replaced or repaired. Our goal is to refurbish their equipment so they can continue to dazzle audiences and earn a living through music, as they once did,” he said.

The Pudulogong Live Band has a rich legacy, having nurtured celebrated local artistes such as the late Donald ‘Don B’ Botshelo (of Bananyana ba Serowe and Bana ba di Dotcom fame), Annah Fike, Ey Brizzy (renowned for the hit Elizabeth), and Lentswe La Botlhokwa Pono, among others.

“As associations of arts, we found it fitting to extend a helping hand to Pudulogong Rehabilitation Centre. We hope to sustain the band’s legacy and inspire new generations of blind students to follow in the footsteps of these legends,” Bakwena added.

He appealed to citizens and well-wishers to support the initiative, noting that tickets were still available.

After successfully landing songwriting credits with a K-Pop boy band, idntt, on their chart-topping album, yesw8are, which surpassed 430 000 sales within a week of its release, Motswana creative Kago Mokubung, better known as Keigo Wav, is now opening up about the process behind the breakthrough.

For many aspiring songwriters, the dream of writing for international artistes can feel distant. However, Wav is proving that with the right strategy, discipline, and global outlook, the gap can be bridged, even from thousands of kilometres away.

In an interview, the 29-year-old Pilikwe-born songwriter shared that his journey with idntt, an upcoming 24-member K-pop boy group formed by Modhaus Entertainment, began during a virtual songwriting camp, where songwriters, producers, and artistes from different places worked together online to create songs.

Mokubung shared that Modhaus CEO, Jaden Jeong, spotted him then and thereafter asked him to compose a song for idntt as part of the group’s five-track album, which got released in January.

“I wrote the song and titled it Yes We Are, and it went on to be picked as the group’s official anthem and also made the album title,” said Wav, describing the experience as humbling.

Mokubung explained that his journey dates back to the COVID-19 era, when he learnt to take full advantage of digital platforms to advance his craft. His passion lies in pop music and reaching the Asian market. Although he has already written songs for local artistes such as Thato Jessica, Love in September and others, Wav admitted that his pop sound had not always resonated with fellow music producers or artistes locally.

“But I felt so sure about what I was doing that I did not give up, despite some discouraging comments,” he said.

He also noted that the breakthrough was not sheer luck but success built on patience, networking, and mastering the art of songwriting. Armed with a degree in Sound Engineering from Limkokwing University of Creative Technology Botswana, he has invested in honing his skills academically and by producing songs for local radio Dj’s and artistes alike.

He would thereafter cross borders digitally to work with Universal Music Thailand/Briq Entertainment, composing a debut single for their artiste, D-NA, titled BYE BYE.  The budding artiste has also collaborated with many international publishers from Korea, such as Solcire Publishing, StupidSquad Publishing, and others from Europe, including DWB/ARC, LineOut from Sweden, and more.

“The industry thrives on collaboration, so the work is intense, but it is also good for making friendships and networking,” said Keigo Wav adding that in the future, a lot more should be expected from his international collaborations.

He was optimistic that he would one day write for internationally acclaimed boy bands such as BTS. Breaking into the global K-Pop industry is no small feat, even for seasoned songwriters; thus, Keigo Wav underscores that aspiring local artistes who wish to access the global market need to aim for creative works that are undeniably competitive and unique.

His track with idntt, which blends sounds ranging from hip hop and Afrobeat to even punk rock, even though they are a pop group, is a good point of reference.

“Talent exists here in Botswana; however, to make it, artists need to work hard, sacrifice, take ownership of their work, and leverage digital spaces,” he said. 

Born before the invention of sliced bread, 104-year-old Mr Okanokile Mathiba is a rare testament to human resilience.

As a centenarian, he belongs to an elite group of ‘exceptional survivors’ who defy the typical trajectory of aging. While most experience a long period of decline, individuals like Mathiba exhibit a compression of morbidity, staying remarkably healthy and vibrant until the very sunset of their lives. 

A resident of Tshikinyega ward in Serowe, he is more than just a survivor, he is a living bridge between the Bechuanaland Protectorate and the modern Republic of Botswana. As a royal uncle to the Bamangwato chieftainship, Mathiba’s life has been inextricably linked with the leadership of Botswana. 

He served as a contemporary and civic cohort to the founding father, Sir Seretse Khama. While many of his peers were called to the front lines of World War II, Mathiba was tasked with a different mission, remaining behind as a key advisor and guardian of the chieftainship. His son and family spokesperson, Moshawa Mathiba, describes his father as a treasure trove of experience and a living encyclopaedia. 

“My father is an oral historian well-versed in Ba-Gammangwato history and culture,” his son says. 

‘Under the instruction of Kgosi Tshekedi Khama, he was sent to Nswanzi to help weld together the communities of the Central District, a mission of social embroidery that created the diverse tapestry of wards we see in Serowe today.’

This knitting together of communities explains why Serowe contains wards such as Mapoka, Marobela, and Sebina. In the Makolojwane ward, families who migrated from the Bokalaka area remain a testament to this history of unbroken unity. 

Mathiba’s eloquence is not limited to history. Despite only reaching ‘Sub-B’ in formal schooling, he is a self-taught linguist. His years working the mines of Pretoria and Bloemfontein in South Africa gifted him fluency in English, Shona, Sekalaka, Naro and Fanakalo. 

Upon his return to Botswana, he dedicated himself to the Malekantwa regiment, a group of community builders who transformed Serowe’s infrastructure. His commitment to the nation was literal, he famously donated cattle to fund the construction of the University of Botswana and the establishment of the Khama III Memorial Museum.

A renowned master of mixed farming, Mr Mathiba’s longevity may be rooted in the red soil of Taukome and Makwa. For decades, he practiced a self-sustaining cycle, his livestock provided manure for his crops and his crop residues fed his animals. 

Even the founding President sought his expertise. He assisted with the Masota, communal fields belonging to the chief, where grain was harvested and stored in granaries to feed the underprivileged and provide a safety net during droughts. 

Today, he has transitioned from labourer to mentor, urging his children to utilise his pastoral wisdom to help restore the country’s cattle herd and bolster national food security.  What is the secret to reaching 104? Mathiba’s son attributes his father’s long life to a formula of optimism, humour and a traditional diet. 

“He grew up on Setswana delicacies: sorghum, maize meal, beans and morogo wa dinawa,” he explains. 

“These are low-processed, nutrient-dense foods free from the sugars and preservatives that shorten lifespans today.” 

Dr Refilwe Monggae, a specialist family physician at Sekgoma Memorial Hospital, confirms that while genetics play a role, lifestyle is the great equaliser. Dr Monggae emphasises a diet rich in legumes, whole grains and healthy fats, alongside a history of consistent physical labour (farming) thwarts chronic disease. 

Other factors include high health literacy, strong community ties and low exposure to chronic stress. While the average life expectancy in Botswana is roughly 69.9 years, Dr Monggae notes that the nation’s robust primary healthcare and ART rollout have helped more citizens push toward the global average. 

As Botswana continues to modernise, Mathiba stands as a reminder of the values that built the nation including compassion, self-reliance and deep respect for the land. He is not just a centenarian, but the personification of Botswana’s journey from one of the world’s poorest protectorates to a stable and prosperous republic. 

Avani Gaborone Resort & Casino, in partnership with Mosha Spa, gathered a group of women including professionals in different fields, entrepreneurs as well as young girls and students to celebrate the International Women’s Day in Gaborone on March 6.

Avani Gaborone Resort & Casino public relations and marketing executive, Samantha Bogopa, said the event was about connection, inspiration and celebration of the strength that existed when women supported each other.

 “This gathering is part of a tradition we proudly continue each year in partnership with Mosha Spa, where together, we create a platform dedicated to empowering women. Through conversations, shared experiences, and meaningful connections, we aim to uplift, inspire, and support women across different stages of life andh career,” Bogopa said.

This year’s International Women’s Day is themed: Give To Gain.

Botswana’s growing creative and cultural sectors are inspiring new initiatives aimed at nurturing innovation from an early age.

Recognising the importance of exposing children to creativity, Ipele Ka Wena has stepped in as a solution; creating spaces where young minds can explore, express, and grow.

Founded by Kaone Hunyepa in Francistown, Ipele Ka Wena is a start-up dedicated to cultivating creativity and purpose among children, youth and adults.

One of its flagship initiatives is Creative Kids’ Day, a community-based event designed to give children a safe, expressive environment to discover their creative potential.

Hunyepa, a passionate youth development advocate, believes creativity is not just play but a foundation for confidence, emotional awareness, and future leadership. Now in its second edition, Creative Kids’ Day carries the theme: The Art Continues, a reflection of the initiative’s commitment to consistency and long term creative development.

The second edition will be hosted at Cresta Marang Gardens on February 28.

“The Art Continues is both a theme and a promise, a commitment to nurturing passion, confidence, and creative identity from a tender age,” Hunyepa said.

The theme underscores the belief that creativity should not be a one-off activity, but an evolving journey that grows with children.

“As adults, we are investing in self-expression, wellness, and personal growth, which is beautiful and necessary. But somewhere along the way, it feels like we have left the children behind. Creative Kids’ Day was born from the belief that as parents develop themselves, they must also be intentional about equipping their children with the same opportunities,” Hunyepa explained.

She added that the event was designed to help children build soft skills such as confidence, emotional intelligence, and problem-solving, all, while having fun. Research shows that ages 4 to12 are a critical window for curiosity, identity formation, and collaboration skills, making this the ideal stage for Creative Kids’ Day’s impact.

Th e event offers a variety of interactive stations that include Art Stations: Sip-and-paint and drawing activities exploring color and shape, DIY Craft s: Hands-on projects to spark imagination, Movement & Dance: Confidence-building dance sessions to energize and uplift and Wellness & Emotions Station: Guided mindfulness and emotional awareness exercises.

Creative Kids’ Day, she said was especially beneficial for children interested in arts and crafts, those who might be shy and needed confidence-building platforms, and young learners who thrived in interactive environments.

While there are currently no competitive prizes due to budget constraints, Hunyepa emphasised that sponsorship partnerships were welcomed, pleading with businesses and individuals to support by purchasing tickets, sponsor underprivileged children and donate resources or volunteer.

The Spring Festival or the Chinese New Year as commonly known,  denotes cultural connection and enduring friendship between nations, an occasion that has remained a time-honoured tradition, symbolising renewal, reflection and fresh beginnings, Minister for State President, Defence and Security, Moeti Mohwasa has said.

Speaking at the festivities of the Chinese New Year in Gaborone, Tuesday, Minister Mohwasa  said the  occasion brought communities together and served as a reminder of the universal values of harmony, humanity and mutual support that binds all.

“As we embrace the Chinese Year of the Fire Horse, let us know that it associates with unity, perseverance, strength and coordination and resonates with the spirit of cooperation and progress that defines relations between China and Botswana,” he said.

He said looking ahead, there was optimism that the Year of the Horse would bring renewed energy, prosperity for businesses, happiness for families and expanded cultural collaboration.

“I am confident this year will open new doors for sustainable development, economic growth and lasting friendship for the mutual benefit of our nations,” said Mohwasa.

 Celebrating alongside members of the Chinese community, Mohwasa acknowledged the community’s role in promoting cultural exchange and highlighted drama, poetry, cuisine, music and the preservation of Chinese heritage as important bridges of friendship.

He said the 50 years of diplomatic relations between the two countries, built on mutual trust and collaboration had yielded tangible benefits in education, health, infrastructure, trade, investment and cultural exchange.

“The presence of the Chinese community at this year’s celebrations is a testament to the depth and maturity of our bilateral ties,” said Mohwasa.

He commended the Chinese community for its contributions to Botswana’s economic, social and cultural development, citing entrepreneurship, investment and skills transfer as key drivers of growth.

China’s Ambassador to Botswana, Fan Yong, reaffirmed his country’s commitment to strengthening bilateral relations with Botswana.Ambassador Fan expressed appreciation for Botswana’s longstanding support for China–Botswana relations, and that 2025 marked the 50th anniversary of diplomatic ties.

Over the past half-century, the two countries have built strong political mutual trust and achieved fruitful outcomes through practical cooperation.

Fan highlighted frequent high-level exchanges over the past year, including visits to China by Botswana’s Speaker of the National Assembly and several Cabinet ministers, as well as a visit to Botswana by a senior delegation of the Communist Party of China.

He also said several cooperation agreements were signed, including memoranda on development cooperation, economic and technical cooperation and a protocol on Botswana’s beef exports to China.

Furthermore he said Botswana had also joined initiatives on international economic and trade cooperation within the frameworks of the digital economy and green development.

The developments demonstrate the deepening of the China–Botswana strategic partnership and reflect broader efforts to build a China–Africa community with a shared future.

Ambassador Fan noted that 2026 would mark the launch of China’s 15th Five-Year Plan and the 70th anniversary of diplomatic relations between China and Africa.

He added that 2026 had been designated the Year of China–Africa People-to-People Exchanges, creating new opportunities to promote cultural understanding and strengthen ties between the peoples of China and Africa.

The Molepolole-based traditional ensemble, Mmurubele has made a comeback with a  latest single, Naka la Mpa, directly translated as, the horn of the stomach.

True to their style, Mmurubele delivers a sound that is both deeply rooted in tradition and refreshingly modern.

A long-serving member, Motshabi ‘Tshabisto’ Moloi, explained that the single was chosen to pave the way for their upcoming album, though she deliberately kept details under wraps to stir curiosity among fans.

“The song is self-explanatory,” she teased, leaving listeners to interpret its layered meaning for themselves, a hallmark of Setswana traditional music that thrives on parables and open-ended storytelling.

Produced and engineered by their trusted collaborator, Uncle Touch of Touch Records, Naka la Mpa blends parabolic messages with irresistible African beats.

Its choruses and leads are a reminder that Mmurubele’s traditional spark is far from fading, despite skeptics who feared Setswana rhythms might lose their edge in the digital age.

For nearly 18 years, the quartet; Moloi, Tumiso ‘Stuks’ Ntona, Boago Motlhabakgomo, and Gaone Ramonato, have carried the torch of setswana culture.

Their journey began in 2008 under the mentorship of the legendary Eric Ramco, and they quickly carved out a space in a male-dominated industry with their debut album Puo ya Mme Kopelo.

Tracks like, Ditjompi, and Ke Mmaago Mmaago Ngwanaka, not only dominated local airwaves but also resonated across South Africa, cementing their reputation as cultural ambassadors.

Their artistry is not confined to sound alone. On stage, Mmurubele embodies heritage through leather outfits, beadwork, crisscrossed sandals, and leg rattles, a visual spectacle that amplifies their music’s authenticity.

 This fusion of performance and tradition has kept them relevant across eras, from the cassette-to-CD transition to today’s streaming platforms like Apple Music, Spotify, and Deezer.

In 2024, their eight-track album, Botshelo, earned them the Best Contemporary Music Award at the Botswana Music Union (BOMU), proving their ability to evolve while staying true to their roots.

Singles like, Mokwena (2023) and Domi (2024), further showcased their versatility, each release reinforcing their status as icons of Setswana culture.

Born 42 years ago in Masilwana ward, Molepolole, Tshepo Kebogane’s path to the creative industry has been anything but ordinary.

What began as a passion for fine art in his youth later intertwined with a spiritual journey as a prophet, before ultimately evolving into a unique artistic pursuit, rock art.

“I have taken the wisdom I used as a prophet and put it into images, which is why my art feels miraculous,” Kebogane explained.

His early years were shaped by watching his elder brother, Ronnie, sketch with devotion. That influence, coupled with encouragement from teachers, cemented his love for art, even as he struggled academically.

During the COVID-19 lockdowns, Kebogane rediscovered his creative skill. Inspired by Chinese relief sculptures, he began experimenting with cement-based rock art, a medium he has since mastered.

His dedication paid off when a church prophet rewarded his extraordinary work with a Mercedes-Benz, a gesture that affirmed the value of his craft.

Trading under McRay Royal Arts (Pty) Ltd, Kebogane’s creations now grace hotels, lodges, guest houses, and parks across Botswana. His innovative use of cement mixed with recycled paper not only reduces costs but also contributes to sustainability.

 “Rock art is marketable when you have established a market. I believe it belongs in every yard, every space where nature can be celebrated,” he said.

Beyond sculpture, Kebogane has ventured into fashion design, contributing ideas for Crown Badubi’s winning dress at the Mini Miss Icon International pageant in the USA. His versatility underscores his belief that art is both healing and transformative.

Looking ahead, Kebogane envisions opening an art academy in Molepolole to nurture young talent. He urges government to support creatives, emphasising that not all gifts lie in academics, some are born in the hands of artists.

“Patience pays. Let your art heal you first, then let it heal the world,” he said. 

“If for any reason the winner is unable to fulfil her duties, the first runner-up will take her place” is a standard clause in most beauty pageant contracts worldwide.

Yet Dabilo Moses’s recent appointment as Miss Universe Botswana 2026, this past Saturday is not necessarily a reflection of that clause.

According to Miss Universe Botswana director, Safie Sekgwa, the new Queen’s reign was not a replacement of the now former Miss Universe Botswana 2025, Lillian Andries, but rather a direct appointment, decided solely by Sekgwa himself, for the titleholder to represent Botswana at the upcoming Miss Universe global competition scheduled for November in Puerto Rico.

He said the decision was meant to accommodate the organisation’s new format which, according to a press release issued on January 14, would require titleholders to reign for at least 10 months prior to their participation on the Miss Universe international stage.

While Miss Universe Botswana has in recent months been an organisation seemingly perpetually at the centre of controversy, Sekgwa explained that the new format formed part of a broader reputation management strategy that would also hold titleholders more accountable.

During the 10-month tenure, Sekgwa explained, titleholders would have time to engage in community service, bond with citizens, and receive advanced training in areas such as public speaking, while also honing their leadership skills.

He further explained that for years, Miss Universe Botswana titleholders, once sworn in, have not had sufficient time to prepare for the international stage, placing immense pressure on the organisation to resource their journey within a limited timeframe, as the pageant operated as an entrepreneurship largely dependent on sponsorships.

Moreover, Sekgwa emphasised that without a direct appointment this year, Miss Universe Botswana would be forced to forfeit the competition and restart the process in 2027 to align with the new format.

The new format follows the announcement of Andries’s dethronement, last year December 24, of which via a press release issued on the same date, the organisation accused Andries of allegedly failing to attend multiple high-profile official engagements and for improperly involving external third parties, including government officials and politicians, in attempts to interfere with and pressure the organisation’s internal decision-making processes.

Sekgwa said he preferred not to dwell on the matter, as she was no longer associated with the brand.

He added that members of the public could access the reasons for her dethronement in the organisation’s press release accessible in the organisation’s social media platforms.

On why he saw Moses as the best candidate for the Miss Universe crown, Sekgwa said the decision was logical, given that she was already the first princess, and that it was within his right and duty as national director to identify and appoint a competitive representative.

“So, it’s not personal. Dabilo’s appointment is in the best interest of the brand and of the country. That’s the most important thing,” said Sekgwa, adding that Wangu Modise now assumed the position of first princess.

He noted that had Moses declined the appointment, another contestant would have been considered.

Addressing public backlash from those who feel alienated by the appointment of a titleholder without a traditional pageantry process, Sekgwa said that as an entrepreneur, he made the best possible decision given the circumstances.

On whether his decision could potentially damage the organisation’s credibility, Sekgwa said the opposite was true, noting that he was protecting the pageantry brand and maximising the power of beauty competitions.

He added that the continuation of Miss Universe Botswana 2027 auditions from last year would take place sometime in February and March.

“The number one quality we look for in our contestants is leadership. They must have a strong sense of leadership and be able to put themselves last and the country first,” he said.