My country, Botswana, and particularly the Okavango Delta, has been the subject of several nature and wildlife films. But rarely do these films feature people. And almost never do these films acknowledge our people for their role in protecting our water, nature, and wildlife since the beginning of time.
On my journey to tell stories of the people of the Okavango, I have gotten to know some of these legendary humans, including one of the region's revered medicine men, former safari guides, and elders from our indigenous communities. They are all “living libraries” of the Delta and its traditions.
But the world - even my fellow Batswana - have been missing out on these human stories of the Okavango Delta.
Maybe things would have been different if Batswana actually got to be part of the production teams that film in their communities? What if their lived experience was seen as an asset in creating more authentic films?
As a producer of the recently released National Geographic Society (NGS) film, "Nkashi: Race for the Okavango” – which was made in Botswana, in Setswana – I got to capture the personal stories of three mokoro polers who are competing in the annual Nkashi Classic. It’s a time-trial mokoro race that has been organised by the Botswana Wild Bird Trust since 2018, but more importantly, a celebration of our local conservation heroes.
When the NGS team first approached me to be a producer of the film, I made it clear: the world needs to come and work with us, not simply take from us.
Let this film be an opportunity to tell our stories with care and nuance. Let it be an opportunity for mentorship and growth for the promising, creative filmmakers of Botswana.
Historically, wildlife films about Botswana have been made by Western production companies, and the content hasn’t been accessible to the people who live here. So when “Surviving Paradise” was released in 2021, it was a major moment for Botswana. Not only was it available on a global platform, but for the first time for a film set in the Delta, a Black Motswana was credited as cinematographer.
The COVID-19 pandemic was a major impetus for hiring local filmmakers, because film companies had to keep their productions moving amid lockdowns. But it shouldn’t have taken a global pandemic for production companies to realise there’s an abundance of talent here.
Part of the challenge, I learned from the few Batswana in the industry, is a lack of deliberate programmes aimed at training and nurturing local wildlife filmmakers in Botswana. There are also financial barriers that prevent filmmakers from accessing gear, prime locations, distribution deals, and the right human resources for their films.
While many production companies use the excuse “there aren’t enough local filmmakers,” we can’t expect to advance the film industry here if Batswana aren’t afforded opportunities in the first place.
The making of “Nkashi: Race for the Okavango” showed me what a truly collaborative filmmaking process could look like. During the production process, National Geographic Society’s Impact Story Lab (ISL) – whose very mandate is to advance the film industry – paired up with local filmmakers in the field. The ISL shared the technical and creative expertise for which they are known, and held professional development workshops designed for filmmakers of different levels of experience.
At the same time, the team at Parable Motion, other local filmmakers, and the composers and artists who contributed to this film, shared what it means to tell an expansive, culturally meaningful story about the Okavango Delta. They know what it’s like to steer a mokoro and negotiate with the complicated waterways – and the occasional hippo! They know our local vernacular and turns of phrase. They know people will dance in their seats when a scene is set “Ko Seronga.”
As a storyteller, our work has to be guided by the question – “who is this for?” From the beginning, our collective team agreed to make this a film for the people of Botswana, with Botswana Television (BTV) as the distribution partner. We wanted people to actually be able to see a movie that was made in their own communities.
I hope this collaborative approach to making Nkashi: Race for the Okavango sets an example for the broader filmmaking industry. When production companies come to Botswana, my hope is they’ll work with local talent and local filmmakers, and create opportunities for early-career filmmakers. Don’t we all remember the person who gave us our first opportunity on a set?
I may be one of the first Motswana National Geographic Explorers who produced a film here – but I refuse to be the last. When people see “Nkashi: Race for the Okavango” and see themselves on both sides of the lens, I hope it’ll inspire the next generation of storytellers who tell stories about and for Botswana.
*Thalefang Charles is a National Geographic Explorer, storytelling manager for the National Geographic Okavango Wilderness Project, and a producer of the film, “Nkashi: Race for the Okavango.” The film premiered in Botswana and is showing on national broadcaster, BTV 1 channel starting March 9
