The sound of Botswana abroad

Correspondent | Friday January 17, 2014 16:55

 

Norway and much of Europe, especially Scandinavia, have the veteran Banjo Mosele. New Zealand is jamming to the Afro-reggae anthems of Ras Judah Seomeng. The US has Donald Molosi's groundbreaking one-man theatre pieces. These are just a few Batswana arts expatriates headlining shows abroad, and doing a great job of it.

While Lorraine has been working as an artist in the UK for the past two years, Mosele and Woki have been working the live band circuit in Europe since the early 1980s.

'I started working in Europe in 1983. I left with Bra Hugh (Masekela) and Kalahari band,' relates Mosele, well known for the hit, Ntsa E Jele Ntsanyana.

He did not intend to live in Europe but Botswana was inhabitable for a working musician in the 1980s. His choice was easy.

The same Kalahari band would later take Woki to the UK in 1985.

'I am the founder of Kalahari. When the group disbanded I stayed on and started other ventures,' says Woki, who recently released an album of new original material titled Money.

Lorraine says she came to Europe initially to gain exposure in the performing arts and satisfy her love for travel.

'I really believe you learn more from travelling.  I love learning and love travelling,' she says.

 What does it take to work abroad as a musician?

'Anyone can work anywhere in the world as a musician. The issue is not the location, it's the musician. Once you know who you are as an artist, and love what you are as an artist, and are willing to share it humbly with the world, then the sky is no limit,' Lorraine says.

Mosele says that it takes hard work, networking and connections.

Apart from his five solo albums, he has recorded as a session musician for countless artists, and played at some of the best venues and festivals in the world. And so has Woki.

'Working abroad you need to be able to mix with other artists from other walks of life and be able to play as a session musician. That takes building your skills because you are not going to do your own thing every day,' says Woki, a respected bassist.

Lorraine says her work has been well received despite the short time she has been in show business.

'I go to shows and I am always asked by the audience to perform much longer than the initially scheduled slot. I take that as a huge compliment. I haven't even released my debut album yet, but I am already selling well on the internet. So I think its because people like my work, and its feels weird to be honest, but great,' she says.

And being a Motswana is not just a matter of identity for these musos, it forms their unique selling proposition.

'I think most importantly sticking to my cultural heritage is best for me, and I can make honest music, and I can be natural with all I do musically.  I think people relate to that.  The thing is I fully understand and accept that I can't compete with an American when it comes to being an American, or a European when it comes to being European, so I stick with being African, and know they can't compete with me when it comes to being an African... Hahah, makes sense? I love who I am, a Motswana woman/mum/singer-songwriter, and I will not change that for the world. And having that identity here apparently makes me exotic, now who wouldn't be flattered by that?' says Lorraine.

Woki also attributes his staying power in the UK music production line to the fact that he has embraced his uniqueness - being a Motswana.

'My work makes a mark each time I play because people here appreciate things they do not have in themselves. I don't think you can be appreciated for who you are not. You need to say or give some thing they want to hear from a black person who tells them is from Africa,' he says.

How different is working abroad from here at home?

'Unfortunately I haven't worked back home that much, but from my small experiences and from watching others, I feel one of our biggest problems there is just merely our population being so low. And the fact that we still haven't really gotten our people to understand that it's not all about academics. Sports and arts are just as important and are good career paths too. And I feel our government could also do a bit more,' says Lorraine.

She adds that there are many opportunities abroad - lots of shows everyday, media houses and record companies.

'That I think is the best thing about being here.  There are always many options for whatever you want to do. Bringing something to the industry here is a great opportunity too, and that's what I am trying to do,' she says.

 Mosele cites market size and facilities as attractive factors for arts expatriates in the first world.

'There are good facilities here.  There are music schools and more organised unions for artists. I have learned a lot from many different musicians from all over the world and managed to make a name for myself,' he says.

Lorraine says sometimes challenges simply come with singing in Setswana in foreign lands.

'The challenges are so many to list, sometimes its small things like for example, I sing in Setswana, and when I do live performances I can't have backing singers, people don't speak the language here. And just recently I was shooting a music video for one of my Setswana songs, and it was rather difficult to find the right locations to film because everything looks so different from home. I come across a lot of challenges, but I think had I decided to do western music instead of African music, the challenges would be even bigger,' she says.

Lorraine encourages Botswana artists to travel the world.

'You can't really lose from that. But credit where its due, it's been hard building our music industry in Botswana. The musicians who are at home are working hard and I appreciate what they are doing. So I feel we just all need to work together.  Unity is power.  Travel the world, but always take it back home is what I say. And like I said before, it's not about location, it's about the music and the musician,' she says.

She says that she does not plan to live away from home forever.

'I am here to learn and grow as an artist and as a woman, so that someday I can take that education back home,' she says.

Woki says relocating to the first world is not necessarily the thing to do today.

'I do not think that it's a good idea nowadays. Times have changed. All you need is to organise gigs or workshops, and come in and out perhaps until you build a name,' he says.

As for the future, Lorraine says that she is not one to plan too much.

'I just want to keep working hard and doing what I feel is right, trusting in God and letting things be. But I have big dreams and ambition to conquer the world, and take Botswana music out there. I also have a deep desire to do charity work and I want to do more about it. And I want to collaborate with musicians from Botswana and do great music,' she says.

 Mosele plans to open a music school in Mogoditshane this year and start a forum for local performing artists.

'We need institutions where there is a learning centre or where musicians come for nothing else but to learn, teach and share ideas. We also need to have a proper union to be the voice of the musicians,' he says.