Category: Arts & Culture

What was supposed to be the pinnacle of her career, representing Botswana at the 2020 Miss Philanthropic pageant in Abuja, Nigeria, turned into a nightmare for the then 23-year-old. Despite promises of full sponsorship, organisers abruptly cut off communication, leaving Kwele stranded in Gaborone, far from her home in Maun.
“It was a huge disappointment that I will never forget. Imagine how Batswana, who had supported me and were rooting for me, felt. I asked the organisers to release an apology statement because it was their fault, but they never did,” she said
The pain was so palpable that Kwele nearly walked away from pageantry forever. Instead, she chose resilience.
Channelling her frustration into a mission for change, she founded The Dignified Pageantry, a platform designed to promote modesty, empowerment and, above all, professionalism.
“With this project, I want to rectify the mistakes I experienced and bring dignity back to the industry,” she explained.
The inaugural edition of the pageant is set to take place in Maun on October 23, opening its doors to young women from across the country. By hosting the event in the north, Kwele aims to solve a major barrier for local talent.
“We have immense talent in the north, but many girls miss auditions in Gaborone because of the high travel costs,” she noted.
Themed, Crowning Dignity, Celebrating Botswana’s Tourism Hub, Maun, the event serves to empower women and revive a tourism sector still recovering from the COVID-19 pandemic.
The 10 selected finalists will participate in a specialised boot camp, where they will tour Maun premier attraction sites, explore and promote local cuisine as well as undergo intensive preparation for the grand finale.
Beyond logistics, Kwele, a professional makeup artist and a psychiatric and mental health nurse at Jubilee Hospital, is on a mission to dismantle societal prejudices. She is firm in her stance that beauty pageantry is an inclusive space.
“In beauty pageantry, there are no physical attribute qualifications,” she stated, addressing the stereotype that pageants are only for specific body types.
As a devoted Christian, she also faces scrutiny from religious circles. “Beauty pageantry is for everyone. It is about passion and I won’t throw away my passion just because of my faith,” she added.
With a growing presence on her Facebook page, The Dignified Queen, and sponsors beginning to sign on, Kwele is optimistic about the future.
Her five-year plan includes expanding auditions to every corner of Botswana and ensure that no girl is left behind due to her location.
Kwele’s journey is a demonstration of the power of determination. She has successfully transformed a moment of personal heartbreak into a movement that promises to empower the next generation of Batswana women.

To strengthen strategic direction and oversight capacity, the National Arts Council of Botswana (NACB) has announced the appointment of its new council board members.
The board will be chaired by Prince Monna, with members;Tebogo Matebesi, Mpho Sebina, Gakeesi Tlhabiwe, Molatedi Kgotla, Vincent Rapoo, Kopano Mantswe, David Abram, Kesegofetse Oaitse and Njiramanda Mbewe. The members bring a wealth of expertise in arts and culture, creative industries, policy, governance and strategic development.
Commending the Council on the development and congratulating the newly appointed Board, creative industry advocate and brand manager Zenzele Hirschfeld said the sector was hopeful that the new Board would bring a wealth of knowledge and experience.
“As a sector, we have always emphasised the need for industry experts to lead the Council, as many challenges stem from a lack of governing policies and structures,” Hirschfeld said.
However, she raised concern over the gender composition of the Board. With two women and eight men, she noted that the sector needed to be more intentional about gender equality and balance in leadership positions.”
Meanwhile, creative industries consultant Seabelo Modibe challenged the new board to prioritise development and implementation of the Arts Council Regulations by December. He further urged the board to ensure the registration of the council’s affiliates by the same period and to convene inaugural annual general meeting by early to mid-2027.
“For me, your performance will be measured by these,” Modibe stated on his Facebook handle.
In a statement, NACB said the appointments reflected the council’s commitment to promoting excellence in the arts and culture sector, supporting creative development and advancing Botswana’s cultural agenda. Recently, the Council also appointed Gaokgakala Lemmenyane as its Chief Executive Officer. Lemmenyane is a seasoned arts administrator, cultural policy specialist and resource mobilisation strategist with over 15 years of leadership experience across the creative sector, academia, government and international institutions.

Jazz sensation Kearoma Rantao has released a stirring single aimed at raising awareness and combating Gender-Based Violence (GBV).

Titled Keledi Marameng, the soulful track produced by Bangu, is a call to action against the escalating GBV crisis affecting households across Botswana.

Rantao, who is widely recognised not only for her powerful vocals but also for her advocacy against GBV, said the song serves both as a eulogy for victims of violence and a desperate appeal for societal change.

In an interview, Rantao said artists often poured their hearts into music that speaks for the voiceless, but such messages were frequently sidelined in favour of more commercially popular content.

“Keledi Marameng is a powerful blend of modern soul and a national cry for justice,” she said”, appealing to radio stations and DJs to give the song airplay.

She said this is not just a song, but a call for change that needs to be heard. 

“We are in a national pandemic of GBV, and we cannot afford to let music that addresses it be silenced by the noise of the charts,” she said.

With haunting melodies that amplify silenced voices, Keledi Marameng, which translates to Tears on the Cheeks is a raw and heart-wrenching response to the national GBV epidemic.

The song opens with the poignant line, “Ngwana o batla letsele, mmagwe o mo lebitleng” (The child seeks its mother’s breast, but she is in the grave), immediately setting a sombre and reflective tone.

Rantao said she is not focused on releasing a full album at the moment, having observed that listeners tend to engage more with individual singles.

Since the release of her 2024 Extended Play (EP), Ina Lebe Kearoma, she has adopted a strategy of releasing music consistently throughout the year to ensure each track receives the attention it deserves. Keledi Marameng is available on Spotify, Apple Music and YouTube. 

The registration for GaNgwaketse mophato  initiation exercise will start in March.

The aim of the exercise is to instill positivity  and  transform such behaviours into disciplined adulthood through cultural teachings. Addressing a kgotla meeting recently, Kgosi Malope II of Bangwaketse said this year, mophato initiation would include a camping experience aimed at youth aged 1996 to 2000. 

Kgosi Malope II emphasised the importance of registering those within this age group to facilitate accurate record-keeping. He also urged the community to contribute food for the duration of the camp.

“Mophato initiation exercise aims to instill discipline, respect, and responsibility, preparing our youth for adulthood,” Kgosi Malope stated. 

He added that the training not only strengthens community bonds but also teaches collective problem-solving and reinforces cultural identity. He expressed concern over the increasing incidents of gender-based violence related murder cases in Kanye. 

He further raised alarm about the escalating cases of inheritance disputes, where surviving relatives often sold properties against the wishes of the deceased’s children.

Former Minister of Local Government and Rural Development, Peter Siele, praised the launch of mophato. He however raised concern over increasing femicides incidents as a result of violence (GBV) and highlighted  those involved were often cohabiting couples. 

He called upon Kgosi Malope II to raise the issue at Ntlo Ya Dikgosi and to collaborate with the University of Botswana to investigate the root causes.

Community member Tebogo Babuile also voiced her concerns, noting that women were often the primary victims of these violent acts.

Still at the meeting, Kgosi Malope II announced that the Dikgafela cultural festival, which aims to strengthen cultural ties and address critical social issues within the community, will be held in August 21 withh delivery of harvest and September 25 whe re traditional beer will be displayed  at main kgotla.

Louis Dingalo, known to fans by his musical alter ego, Louis Collymore, has released his debut single, War Cry, which dropped recently under the German label, Electric Friends Music.

Already, the song is gaining traction online with impressive streaming numbers and enthusiastic feedback. 

“The idea was to create a groovy, feel-good, festival track, something people could truly lose themselves in,” shared Dingalo, who hails from Moshupa in an interview

Early figures suggest the track is performing well, especially on platforms like Beatport and Traxsource, which cater specifically to electronic music lovers. 

“We have already reached 7 000 views, which I will say is a great start.I am really looking forward to the 14-day performance update on Beatport and Traxsource, where electronic music really sells.” 

Dingalo’s musical journey began in 2012 as a DJ, inspired by tech-house music. By 2016, he had taken the leap into music production, teaching himself through online tutorials and countless hours of listening and experimentation.

“I did not take any music classes and it took years to develop the sound I have today. I studied a lot of producers, read a lot of tutorials, and just kept pushing myself.” 

His efforts began to bear fruit in 2019 when he performed at the popular Gaborone International Music Concert, marking a pivotal moment in his career.  By 2020, he had climbed to the No. 1 spot on the ReverbNation UK Electronic Dance chart and continued to build international credibility.

He later became a radio host on Texas-based Dagee Radio in 2021 and by 2022, he was working under the wing of Electric Friends Music in Europe competing on the global stage as both a producer and DJ.

Today, he also holds a residency on Yarona FM’s Yired show with host Lerato Modiega, a platform that has further amplified his reach within Botswana. Despite his success, Dingalo is candid about the challenges that come with being a self-managed artiste. 

“Writer’s block, mental health struggles, self-doubt, anxiety, they all creep in. Sometimes I spend too long chasing perfection, only to realise art is never truly perfect. But I have learned how to quiet the little voices and keep going.” 

He also spoke about the pressures of juggling artistic creation with the logistical demands of performing and promoting music, often without major financial backing. 

As War Cry continues to build momentum, Dingalo calls on Batswana to support by streaming the track and sharing it widely.

The inaugural Bateng Hoo Music Festival, held at the Maun Sports Complex on Monday, did more than just fill a venue with music but filled hearts with pride, joy and the pulsating rhythm of a community celebrating itself.The festival name, ‘Bateng Hoo’ is inspired by the traditional Maun greeting, a salutation that embodies the warmth and identity of the village, which perfectly reflects the event’s aim to celebrate locality.The event delivered on its promise to spotlight local talent, with performances from Culture Spears, Costa FX, Stiger Sola, Han-C, MC Babe Police and other homegrown musicians drawing standing ovations, dancing, singing, and nonstop engagement from the audience, showing that Maun is ready for an event that celebrates its culture while nurturing its music industry.In an interview, Bateng Hoo Music Festival event organiser, Lere Ramoeta explained that the concept was to exclusively showcase local talent while giving Maun residents the space to connect, communicate, and immerse themselves in their cultural heartbeat.He said the first edition’s turnout and reception were more than satisfactory, that future editions would be improved and expanded.As such, he called on musicians to seize such platforms to penetrate the music industry despite challenges like the new 24-hour operation of bars.New local artiste, Xwalla De Cash, officially known as Kabelo Xakarara from Shakawe, expressed gratitude for the opportunity to perform on such a big stage for the first time.“Performing on a big stage for the first time was a rich and promising experience and I am grateful for the love and support, especially for my song, Chipi ke chipi.”Music icon, Hanceford Magapatona, widely known as Han-C, also shared his delight at the festival.“I loved the outcome and I am grateful for the engagement and love the people of Maun showed during the festival,” he said.Coster Tshoganyetso, popularly known as Costa FX, noted that the people responded positively to the event and encouraged upcoming artistes to remain patient and focused.For attendees, the festival offered more than entertainment, serving as a release where the stress of daily life melted away into music, dance and shared cultural pride, with one attendee noting that Bateng Hoo provided people with joy, peace, and happiness in a world often overwhelmed by sadness.

A staple festive season fare particularly in the southern parts of the country, dikhwaere traditional music choirs have brought delight to cultural enthusiasts over the holidays.

In the outskirts of Mochudi over Boxing Day, local ensemble Badiragatsi hosted Mokwepa Choir of Molepolole, a Super League clash of titans.

Dikhwaere tunes and specially choreographed dance sequences were dished out by the two choirs immaculately dressed in their respective tunics.

While both Kgatleng and Kweneng have strong dikhwaere culture spanning decades, it was still somewhat of a surprise to witness the visitors Mokwepa have a slight edge over their Mochudi hosts.

“We founded this choir in 2010 when the government started promoting artistic competitions and we assembled it from mostly unemployed youth in Molepolole at the time,” Isaiah Lejone, Mokwepa manager revealed in an interview.

They have grown in leaps and bounds since. At their fourth attempt, Mokwepa this year won the Ma48 Choir competition, and their growth and dynamism was further laid bare on Boxing Day.

“When we started, we largely sang in the Kweneng District but we then developed a partnership with Bodiakhudu Choir from Kgatleng. We later got admitted to the Kgatleng Super League and we have challenged different choirs over the past five years,” he said.

A Badiragatsi Choir representative said their choir, founded on June 16, 2012 had also grown in stature, first competing in the lower category before being admitted to the Super League.

While car parking had proved a challenge for the multitudes that turned up, he nonetheless said their preparations to host their visitors and the crowd had overall been smooth.

On December 30, from 10pm until the next morning, Badiragatsi will visit Molepolole for the return fixture at the Mokwepa Grounds along the Lephephe road, the entrance charge being P30.

A star-studded lineup of musicians is expected to thrill revellers at the 10^th Gaabo Motho Music Festival to be held at Dladleng Recreational Park in Moshupa on December 24.

The show will have the likes of Vee Mampeezy, Franco, Lioness Ratang, Culture Spears, T.H.A.B.O, April Gates and others, while international acts include Shandesh, Msaki, Zee Nxumalo, Nkosazana, Professor, Jazz World & Thukuthela, and Sannere.

The festival will be hosted by MC Msato.

In an interview, Gaabo Motho Music Festival head of marketing and public relations, Mabitso Kesenye, said this year’s edition promised a thrilling experience, with a powerful lineup of both international and local artistes.

Kesenye said they would offer DJs and upcoming artistes from Moshupa and surrounding areas, the opportunity to perform with top class sound and lighting.  

 “We want to give local talent a professional platform before a lively and supportive crowd,” he said.

He said the festival had remained true to its roots by keeping the same date and venue, adding that Dladleng Recreational Park was spacious enough to accommodate both attendees and their vehicles.

He promised that security had been tightened, saying they had partnered with a professional security company and installed CCTV cameras around the venue to ensure a safe environment for all attendees.

Also, he said early bird tickets had sold out and warned against buying tickets from unauthorised sellers.

As the sun sets on 2025, the dust is far from settling on Botswana’s cultural landscape.

This year, the Blue, Black and White did not just participate in the global creative economy, but demanded its seat at the table.

From the high-fashion runways of Paris, France to the digital corridors of Silicon Valley, Batswana creatives transformed 2025 into a year of unprecedented visibility and structural revolution.

However, amidst the glitz of international awards and the rhythm of chart-topping hits, a multi-million Pula question lingers: Can this momentum be converted into a sustainable future?

The defining moment for the industry came from the highest office in the land. During the 2025 State-of-the-Nation Address (SONA), President Advocate Duma Boko announced a staggering P200 million allocation for the creative sector.

This historic injection of capital, coupled with the introduction of the Creative Industry Bill, signals a shift from treating the arts as a hobby to recognising it as a professional economic pillar.

Furthermore, the Ministry of Sport and Arts struck landmark deals with Google, Meta and TikTok to ensure that local content creators can finally monetise their craft effectively.

“The question remains,” industry observers note, ‘will creatives use this funding to build sustainable businesses, or will the opportunity slip through our fingers?’

In the music scene, 2025 was the year of the power play and strategic move. We witnessed high-profile cross-border collaborations, most notably Han C teaming up with Lesotho’s Wave Ryder for the Pepetletsa remix.

Some local legends also expanded their brands south. DJ LebGee and Charma Gal headlined South Africa’s Shandesh show, while DJ Latty’s relocation to South Africa paid dividends with a feature in Black Motion’s Monateng music video.

Meanwhile, Oliver Gaolaolwe proved Botswana’s vocal prowess by winning Season 1 of the Africa Music Challenge, a Pan-African victory that resonated across the continent.

The visual and sartorial arts reached heights previously unimagined. Under the Creation Botswana initiative, supported by Absa Bank and Lucara Botswana, eight local designers showcased their collections at Paris Fashion Week in France. Brands like Botocy, Glotto and Dihdah represented the pinnacle of Motswana craftsmanship on the world’s most prestigious runway.

In the world of fine art, Naledi Maifala clinched the prestigious ANNA Award for women artists, while Pako Lesejane and Totang Motoloki showcased their work at the G20 Art Exhibition, to ensure that Botswana’s perspective was represented in global diplomatic circles.

In the Film, Animation and the Digital Frontier, the ‘orange light’ of DStv’s Mzansi Magic (Channel 161) glowed brightly for local filmmakers. Three films, Route 2, Moporofeta and Abashwe, made their regional debut this November, following the success of the film Morwaake, which won Best African Film at the Ekurhuleni International Film Festival. Perhaps the most futuristic win came from Theo Silitshena, who secured deals with Disney and Titmouse. His work as a co-writer on the US film To the Moon marks a giant leap for Botswana’s budding animation industry.

The literary and media world also saw its stars rise. Bakang Wren, of BOPA, ended the year on a high note by winning the Best Media Writer award at the annual Botswana Literature Awards. Wren noted that the award is “recognition for creative writers that fuels our energy as we work to make our creatives shine.”

On the global stage of movement, Lebogang Mabifhi flew the flag high at the L.A. Redbull Dance Your Style world competition. Although she did not bring the top prize home, she left indelible footprints on the global dance stage.

Regrettably, the year’s achievements were shadowed by profound loss. The industry stood still in August to mourn the passing of A.T.I (Lekhete). An icon whose influence transcended music to become a cultural phenomenon, his demise left a void in the heart of the nation. Earlier in the year, the industry also bid a painful farewell to former My Star winner Sharon Sibonge. These losses serve as a sombre reminder of the vibrant spirit and resilience the industry must maintain to honor those who paved the way.

As 2025 draws to a close, the foundation has been laid. With new legislation, global digital partnerships and a P200m financial boost, the ‘starving artist’ trope is finally being challenged. The creative industry in Botswana is no longer just about entertainment, but about enterprise. 

In one of his many hit songs, No Suffer, featuring King David, Odirile Sento, popularly known as Vee Mampeezy, cuts through the rhythm with a defiant vow in Nigerian Pidgin English: ‘I no go suffer, I no go beg for bread-o!’, meaning, ‘I will not suffer, I will not beg for bread!’
It is a line that sounds almost prophetic, as though the artiste was speaking prosperity over his own life.
The lyric is derived from the popular Nigerian gospel-inspired prosperity song, Me I No Go Suffer by Lara George, a track that has, over the years, been reinterpreted by various artistes.
It has since become a prayer-like mantra within Christian communities, symbolising faith in God’s promises and a resolute pursuit of success.
Perhaps for Vee Mampeezy, the words rang true. More than a decade after the song’s release, he has steadily risen to the top of his craft, delivering chart-topping hits such as Dumalana, securing collaborations with leading African artistes including Makhadzi, and winning numerous awards along the way.  Beyond music, the singer-songwriter has expanded his portfolio, earning a Law certificate and launching several business ventures, from Africa’s Soft Bread to beverages such as Vee Power energy drink, Maveeta water and aloe vera drink. There is little doubt that the artiste has been on a winning streak.
However, the release of his latest single, Shut Up And Dance, which was slammed by critics as a musical downgrade, briefly threatened to derail that momentum.
It appeared, for a moment, that the decorated star might be heading toward a disappointing end to the year. The tide quickly turned, though, when he announced the launch of his own Gaborone-based fast-food restaurant franchise, VEETRO’S. The announcement sparked widespread excitement on social media, effectively shifting attention away from the criticism of his single and onto his latest business venture.
The franchise adds to his growing list of successful enterprises and stands as a living testament to the words he sang over a decade ago, that he would not suffer, nor beg for bread.
The launch was graced by dignitaries including the Member of Parliament for Gamalete, Boniface Mabeo, Gaborone mayor, Oarabile Motlaleng, and Kgosi Mosadi Seboko. Fans also turned up in numbers, crowding Game City Mall in celebration.
“It took a long time to get here. I had to save money to invest in this project and secure partnerships with people who believed in my dream,” said Vee, in an interview.
He added that the dominance of foreign-owned franchises in Botswana further motivated him to pursue his vision.
He revealed that he had secured four outlets around Gaborone, including the flagship store at Game City, as well as branches near the Bus Rank, Bonnington and at Pula Spar in Mogoditshane.
With sufficient investment, he said, his long-term goal was to expand across Botswana and beyond.
Through the restaurant, Vee also plans to give back to the community, reiterating his commitment to charitable causes.
Vee Mampeezy’s continued evolution from musician to entrepreneur places him among global artistes who have leveraged their musical success as a springboard into business.
Figures such as Shawn Carter, better known as Jay-Z, whose empire spans luxury beverages, fashion, sports management, and technology through Roc Nation and Rihanna, whose Fenty Beauty has grown into a billion dollar brand, reflect a path that Vee now appears poised to follow.
For the star, VEETRO’S is just one of many projects sustaining his momentum. Without revealing too much, he hinted at plans to launch another product next year, separate from the food business but tailored to his market and fan base.