Bakwena murals, an epitome of culture, history
Spira Tlhankane | Friday September 16, 2016 16:28
Chosen by MYSC, the seven artists are Tlholego Radikolana, Mmoloki Timpa, Mmoloki Matlale, Tumelo Thuthuka, Vincent Moiteelasilo, Sylvester Koweno and Koketso Mosarwa.
This year marks 50 years since Botswana gained independence and it also marks 124 years since the death of Kgosi Sechele I of Bakwena. The murals at the Bakwena kgotla highlight Sechele as an integral part of Bakwena’s rich culture and history. The group of talented artists put him alongside Kgosi Sebele I and Kgosi Kgari. To dwell more on history, one of the painting depicts an image of Sechele’s cannon used to defend Bakwena during the battle of Dimawe on August 30, 1852. The cannon currently lies at a museum in Mafikeng in South Africa. Though the artists have never seen it, they managed to create a brief overview of the old cannon through their painting.
Historians tell us that the Boers mistook cactus trees or mokgwapha for Bakwena army who had retreated from Dimawe to Dithubaruba. The artists also managed to capture the role played by the tree in protecting Bakwena from the vicious Boer attack at Dithubaruba at Dithejwane hills west of Molepolole. The plant plays a symbol of a protector in the murals.
It was not just about the history. The artists continued along the round walls at the Kgotla to showcase the contemporary lifestyle of Bakwena. One of the images depicts a woman performing the task of winnowing also known as go hehera in Setswana. The ditlatlana and dinkgwana images and the pictures are self-exlanatory. To dwell more on the lifestyle of Bakwena at the time, another picture shows draught cattle pulling a four-wheeled vehicle called kgothokgotho in Setswana (ox-wagon).
Bakwena, just like other tribes from the south such as Bakgatla-ba-ga-Mmanaana, are well known for their thanksgiving ceremony called Dikgafela and the young artists managed to depict the long abandoned festival in virtual reality. With the recent Dithubaruba Festival perhaps being a big inspiration for the artists, they went all out to paint a picture of the festival for someone who has never been to the event.
Perhaps one of the images on the wall, which is not self-explanatory, is the one that shows various patterns. The patterns are decorations known as lekgapho in Setswana and it captures the beauty that women could produce with just a mixture of different soils and boloko (cow dung). Bakwena are also known for their perfection when it comes to the choreography of phathisi dance and another image shows an image of the best phathisi dance group in the country at the moment, Dipela tsaga Kobokwe.
The painting was done not only to promote the group but also to indicate the essence of phathisi dance in the Bakwena lifestyle. Among the most recognisable images at the murals is the painting of the current Paramount Chief of Bakwena Kgosi Kgari Sechele III. In what has been a rich history of culture for Bakwena, Kgosikgolo Kgari Sechele III’s image in murals adds a significant meaning to the whole atmosphere as he takes the tribe beyond 50-years of independence.
In an interview with Arts & Culture, one of the artists, Koweno said after being chosen by MYSC, the project was handed to Molepolole Museum. “We came up with ideas during the infant stage and the ideas were then approved by our tribe through the Kgosi and the elders,” he said. He said the whole thing was a village project and somehow everyone took part. Koweno said they decided to focus on three themes being contemporary lifestyle, history and culture of Bakwena. Koweno said when they started, they told the overseers of the project everything they wanted to do.
“These murals are public art and it is meant to educate everyone about the history of Bakwena,” he said. Koweno said the murals will communicate with every visitor or passerby.
In terms of colour choice, Koweno said they did not want to dwell on Botswana colours because the whole village is already decorated with the blue, black and white colours. He however indicated that they faced many challenges on the way especially that it was a group project. “Every artist has their own style but we had to stick to one technique because coming up with a symbolic mural was the common goal,” he said.
Koweno was quick to highlight that the project provided them with an opportunity to learn more about their culture as Bakwena. “I had never seen an image of Sebele I and his cannon prior to this,” he confessed. He said the project helped them to practise working on wall surfaces. “We worked late, we worked as a group and that alone gave us some extra skills,” he said.
Another artist, Timpa, said the museum provided them with a lot of information on Bakwena culture and history. He said through the public art, they hope that Batswana will appreciate art and understand their culture.
Koweno said going forward, he intends to show people what he knows through art. He said it took three -and -a half weeks to finish the project. “These projects will help take art to the people. Group projects show that public art is growing; it gives artists an opportunity to learn from each other,” he said.