The show must go on
Thalefang Charles | Sunday March 20, 2022 06:00
“The show must go on” is the mantra of show business. But 2020 was a showstopper, literally. And so, when the show business finally returned, some of us were slow to pick up where we left off. It was March 2020 at Bojanala Waterfront in Gaborone, where I attended my last festival before the pandemic engulfed the world and brought it to a crashing stop. The 2020 African Attire On Fleek festival became my last pre-COVID-19 music festival. It was headlined by South African songstress, Amanda Black and as usual the memories from that festival come from the patrons.
Festivals have long evolved from the debauchery of dirty combat clothing like those old hippie years of Glastonbury or Monate Sukuri Jam Festival. Nowadays, festivals are a fashion parade, where the festival-goers dress to impress and show-off in their Instagram accounts. Festivals now include some mean fashion police that could send one into a depression with their crude cyber bullying if they do not understand someone’s unique fashion sense.
These days, event photographers at festivals do not just focus their lens on the performers on stage, the patrons also get the same limelight. Festival-goers now arrive during sunlight for the photos.
The event photographers have even upgraded their gear to bring studio lights to festivals. Photography is becoming a big component of festivals. It is the type of the crowd, not the performing artistes, that would guarantee the sustainability of the festival. That is why nowadays festivals are themed to position them to the right target market. The African Attire On Fleek Festival is the best example of a festival that positions itself mostly with fashion.
The concept is borrowed from the now defunct Son of The Soil Festival, which was strict on dress code. These days, there is no need for a festival to demand strict adherence to the dress code because festival-goers love to dress for the occasion. When the events were finally allowed, I was missing out in action when Makhadzi took Botswana by storm. I enviously watched online the young South African music sensation, usually compared to the legendary Brenda Fassie, driving revelers mad with her energetic dance moves from Molapo Piazza to Obert Chilume Stadium. I was also gritting my teeth, watching the controversial nude dancer, Zodwa Wa Bantu, strip-teasing for all to see and touch. I am still unsure how I could have told Zodwa’s story with my pictures. But I think I could have probably gotten her in trouble much faster with the conservative audience of this country. During the end of the year, when the shows were in full throttle, I still missed out.
I was out traveling and social distancing at the Kgalagadi dunes even though I would have loved to watch how the revelers respond to AmaPiano after the genre became popular when there were no shows.
This is such an unfortunate genre because its rise was clipped down by the pandemic. However, post COVID-19, it has evolved to now include songstresses and gospel, like how Sdala B and doing with Paige and Tuks in SA with his Tshivhidzwela song featuring Makhadzi. I missed out to see the beautiful Paige mesmerise local crowds and ‘Pretty Girls love AmaPaino’. I watched it all on social media.
So last week I finally attended a music festival after a two-year hiatus. It was fitting that I returned where I left off, the African Attire On Fleek at the Royal Aria Stadium. What is now clear is that the show business industry has long put off the restrictive COVID-19 protocols beyond their concerns.
But strangely, one is only required to put on a mask at the entrance. And after gaining access, it is back to pre-pandemic days. There are no masks and no social distancing inside the venue. Festival-goers all dance, sweat and breathe on each other like it is 2019.
The MCs still ask, “somebody scream?” and wants to see “biri mo moeng” throughout the day and night. The show is back on, and it is good to be back.