Botswanacraft: the electrifying home of live entertainment

MPHO TLALE
Staff Writer | Thursday March 7, 2013 00:00

 

Alongside him was visiting Madagascar accordionist Regis Gizavo whose instrument nicely augmented the melodies from the guitar strings. The collaboration left a lasting impression on the small intimate crowd that had gathered around the fire place located between the two Mopipi trees. The event marked the inaugural Letlhafula festival and since that day the place has hosted several other big names extending their events beyond just  annual cultural event.

A few years later, such performances were not only limited to the Letlhafula events.  More culturally inspired performances characterised the venue regularly. In an interview with Showbiz, the Managing Director of Botswana Craft Oliver Groth said what is now known as the Mascom Live Sessions has a rich history that dates way back before Mascom even partnered with Botswanacraft. He said that since Botswanacraft opened in 2000, they have been able to host both cultural and artistic activities that are in line with what they stand for. 'Here at Botswanacraft our mission as an organisation is to aid and assist craft makers in Botswana but at the same time we also support  artistic talent.'

He further said that Botswanacraft has been in existence since 1970 but has gone through several transitions to become what it is now.  An initiative of the Botswana Development Corporation (BDC), the mandate of Botswanacraft is to develop the rural-based handicraft industry. It plays a crucial role in exporting handicrafts made in Botswana and securing a market for them.Groth who joined the organisation in 1992 says that at some point before they had their own building, they used to have around six outlets in Gaborone but the escalating rent figures forced them to eventually close them down until they bought land and opened shop where they are now based in Block 8.  'When we first got here, there was only a bush and nothing more to it.' He goes on to recall that when clearing the bush they consulted with an elder who advised them not to cut the Mopipi trees because in Setswana culture this tree is not supposed to be tampered with. He then points out to the two Mopipi trees which are still there and have the fire place lying in between them. There is another Mopipi tree inside the compound around the building. Groth goes on to say that the fireplace is one of the oldest structures in Botswanacraft. He recalls how the first Letlhafula event that was hosted after being influenced by the American thanksgiving and was centered around the fireplace. 'The event was small and intimate. There were only two artists performing by the fire place and the audience surrounding them.' Since then, Letlhafula has grown to become an annual event highly recognised by people who appreciate traditional Setswana cuisine and different forms of artistry.

To date Botswanacraft has hosted live performances by artists of repute such as Vusi Mahlasela, Oliver Mtukudzi, Hugh Masekela, Ringo  Mahlingozi ,Jimmy Dludlu, Elemotho, Kayrece Fotso, Kesvian Naidoo, Lira and Salif Keita among others. Local artists who have graced their stage include the late Duncan Senyatso and Stampore, Lister Boleseng, Socca Morukgomo, Kabo Leburu, Shanti Lo and Women of Jazz amongst others.

Groth said that because of the set up, the music shows at Botswanacraft cater mostly for the middle-age to a mature audience who have certain expectations of the shows that they attend. He says that although music in Botswana is still at an infancy stage Batswana have shown that they prefer to attend live shows. He however says that upcoming artists have a greater challenge because instead of producing quality music they are just aiming to obtain a quick buck and that proves to be a hindering factor in their development as Botswanacraft hosts artists who are able to do live performances for their audience. He continued to say that this is why it looks like Botswanacraft is hosting the same local artists to perform there.  'Our aim is all for the arts and growing the arts in the country and therefore we cannot host shows where people put in CDs and pretend to sing,' added Groth.

He says that the music scene in Botswana has changed and deteriorated instead of improving.  'Our music in Botswana was on point in the early '80s .We had people like Jonas Gwangwa and Hugh Masekela who were in exile here and they were very influential in the style of music that was made back then. Musicians worked hard in those days and did live performances at places like Club 500, Bodiba and Blue Note around town.'He emphasises that back then music was about passion and dedication but now it's all about money and fame. Groth however said there are upcoming artists like Samantha Mogwe, Berry Heart and Lee Tshipana who all have potential to grow and expand to become reputable recognised artists. He said that Southern Africa and the rest of Africa is looking for a new star and Botswana has the potential to produce that star. He however points out that since the passing on of Brenda Fassie and Lebo Mathosa there has been no one who has been able to fill the gap and make waves like they did.

With regard to hosting the shows, Groth says that just like any other business venture, some shows make profit while others make a loss. He said they do reviews at the end of the year to see what they can do to cover costs.According to him, the Botswanacraft has become a success story due to the diligence of it's staff members who represent it's brand value through commitment and handwork.  'It is up to the staff because they can either make or break a brand,' he said.  Botswanacraft houses a craft shop, Megopong Restaurant that serves traditional Setswana food, a rehearsal room for artists to prepare before their performances and an outdoor stage where music shows take place.