Where has all the creativity gone?
Thalefang Charles | Friday October 25, 2013 16:27
Ramogobya announced on social media, with a picture of his coveted work permit saying: “This is a permit given to foreigners that possess exceptional skills or qualifications that are scarce in South Africa”. Considering his illustrious career, Ramogobya’s move to South Africa is a turning point for Botswana’s music and entertainment industry that was already on the export stage.
For a long time, Batswana relied on international artists for their dose of music. But when the country finally emerged form obscurity in the late 1980s and early 1990s, there was a sense of pride for the early records provided the kind of quality that made them worth purchasing.
Kgwanyape broke the ground with the release of Mephato Ya Maloba in 1985. The Duncan Senyatso-led outfit instilled a sense of pride among Batswana, first because it was the first local band to record music and second because it was original and was seen as truly representative of Botswana culture.
Later came Kgobola with his Mr Chinese, the project which coincided with the influx of Chinese shops in Botswana and Johnny Kobedi whose Francistown Lady was an instant hit, thus earning him an endorsement deal with clothing giants, Jam International. It contained classics such as E Teng Buchara and Ke Lemile Tshimo Kwa Lehurutshe. This early crop of musicians and their quality music provided enough inspiration for youngsters.
The advent of kwaito gave rise to Botswana’s first kwaito band, Tribal Monks, who ironically performed live with instruments.
Producer, David ‘Skizo’ Molosi was a force to reckon with and his talent was soon realised as he migrated to work for Kalawa Jazzmee Records alongside kwaito king pins, Thebe Mogane, Mandla Spikiri, Bruce Sebitlo and Oscar Modlongwa.
His migration in search of greener pastures spelt doom for Tribal Monks. The group faded into oblivion after he left.
Then traditional music, which for decades has been Botswana’s main source of entertainment at various social gatherings reached the recording studios though in contemporary form.
It certainly proved a gem. Ramogobya of Ramco Records pounced and tapped on the potential and registered the likes of Kobedi, Kgobola and Machesa under his stable. Borankana grew in leaps and bounds and Machesa broke the records with their platinum selling release, Sango, ultimately winning a prestigious Africa Kora award in 2003.
Ramogobya’s passion for the Setswana language, culture and music saw him increase the number of traditional musicians under his stable. One of his most successful charges was Matsieng whose successful debut recording, Semakaleng was followed with the hit Tinto years later.
Lead vocalist Ditiro Leero proved a vital cog with his vocal ability and his knowledge of Setswana.
Ramco could be credited for starting the fire that led to the exportation of Setswana traditional music to far places like East Africa where singer Shumba Ratshega ruled the airwaves with his Makhirikhiri hit. Setswana traditional music, which is categorised as Makhirikhiri genre in this part of Africa is in huge demand. From Zambia to Tanzania, Malawi, Uganda and East African superpower Kenya, the slow beat of Setswana drumbeat with matlhoa and animal skins outfit is easily identified as a unique Botswana product.
Ramco’s versatility was demonstrated when he launched the career of the now defunct hip hop outfit, Third Mind, whose Sesotho Ke Sechaina number remains one of the best compositions to come out of this country. It could easily be regarded as the grandfather of Motswako that was later popularised by young rappers in South Africa’s North West region like HHP and Molemi. Then there was an all-girl group called Brown Sugar, inspired by the American RnB trio, TLC. Their song Days Like This received popular airplay. Ghetto Flava came with their sensational Afro-pop sound that later got perfected by Mafikizolo and Malaika.
This was the glorious era when the first private radio licences were granted in Botswana to the youthful Yarona fm and Gabz fm. Batswana were at last proudly playing their music on a massive scale.
It was in the late 1990s when Alfred Mosimanegape (Alfredo Mos) localised kwasa-kwasa music. He sparked a creative period of kwasa dance moves that caused an inferno on the dance floor. Gabane and Mogoditshane (Kweneng East) became the hubs of a new sound of fast lead guitar as clubs like Zebras, Chez Ntemba, Mountain Rest and E-lite hosted the waist-wiggling and booty-shaking revellers with silky oversized trousers.
The emergence of prodigies like Franco and Nata Capricorn just before the turn of the millennium saw Alfredo’s popularity nosedive. However, he can take pride in the fact that his inspirational songs such as Ipabalelo Tseleng was motivation enough for more to join the bandwagon.
Franco later combined the experience he gained as back-up vocalist and dancer at Africa Sounds (Alfredo’s band) with his sheer talent to cook up a storm on the dance floors of joints such as Bodiba after releasing his Ke Lela Le Lona.
His follow-up albums, Ex-Soldier and Robala Nnana were two meticulous compositions that only affirmed the then muscular musician as the new king of kwasa-kwasa. It was during this time that famous travel books like Lonely Planet advised readers to listen to “Franco and his seven piece band” if you want to hear a Botswana sound.
Then somewhere along the line, the hit-maker seemed to hit the desperation button and just churned out record-after-record with very little quality.
Early in the millennium a new music type, which was a fusion of South African kwaito and local kwasa-kwasa broke ground in Gaborone. Led by the diminutive Vee, (Odirile Sento) the new pantsula was in town. Major local gigs need not to have South African headliners as local music was in great demand. It was during the early days of Botswana television and despite the poor productions, people were happy and appreciated seeing local musicians displaying their talent. Vee, with his dancers that later formed Eskimos were a new fad because of their dancing style and outfits. The word manyora came up around this time. The new kwaito-kwasa groups like T-Joint, Mapetla, Mingo and others identified themselves as manyora instead of mapantsula. Mapantsula was deemed more of South African kwaito with its followers led by Kalawa Jazzmee groups like Trompies and Alaska.
Fast track to 2013 and five radio stations, two local television stations, Btv and e-Botswana, the local music industry is struggling to entertain Batswana. Another reference point is that all major gigs, or for a gig to be regarded as major, it has to be headlined by foreigners. Even the hugely successful Vee recently had to invite self-proclaimed South African queen of bling Khanyi Mbau and rapper-turned fitness fanatic, Kabelo Mabalane of TKZee fame to his launch in a desperate attempt to pull crowds.
It is back to the days when Carling Black Label and Togetherness festivals were only big because they brought South African artists. It is very unfortunate that even the old kwaito classic groups like Trompies, who last released a song in early 2000, could headline a major festival like Orange Monyaka. The biggest festive songs are also from South Africa. In the last festive season, it was Oskido’s Tsamandebele and Dr Malinga’s Vaya Orlando that ruled the airwaves and dance floor.
While it might be encouraging that Ramogobya has been given such recognition in South Africa as one of the individuals with exceptional skills, perhaps it is the sorry state of affairs in the Botswana music industry that has necessitated his relocation to South Africa. The industry players need to take stock. Greed and the displaced thirst for celebrity status seemed to have played a big role in killing creativity. Often local musicians would blame piracy and the economic meltdown for their poor sales. Yet it is clear that lack of patience when working on albums has contributed significantly to the decline. Local promoters are often criticised for bringing foreign performers for big shows. But the critics fail to justify their arguments with good studio work.