Volume 50 Issue 2 - February 2012 : Art & Culture

 Consequently, everyone seems to be staking their claim and exploiting the market to their advantage. It’s survival of the fittest given that apart from piracy, Botswana music seems to be losing the fight to foreign artists. It does not take a rocket scientist to decipher that of late foreign music has been dominating the local music scene. Be it radio stations, ring tones on cell phones or parties, there is no doubt that Nigerian sounds of hit songs, Sawa sawa and Oleku and Zambia’s Una mami, have taken over and literally inflicting a huge dent on the nascent local music industry.

Local music promoters are also cashing in on this new found love for foreign music hence organizing shows featuring these artists at exorbitant asking prices. The development has not only crowded out local artistes but even sales of their albums seem to have plummeted to an

all-time low. However, seasoned music promoter Gilbert Seagile aka PP wa Pimp blames local artistes for lack of professionalism. “A lot of them do not take their music as business and they should, before it is too late, realize that Zambians and Nigerians are slowly carving themselves a niche here,” says PP. “Batswana musicians must wake up to the fact that foreign music will continue to dominate the local music industry as long as they do not appreciate the fact that being professional is key to success because some of them are so unprofessional to the extent of failing to hounor shows they are lined up for.”

Notwithstanding, PP says Batswana musicians should not only look at the negative side of foreign artistes staging shows here since they can collaborate and network with them in many different ways. Collaborating with foreign musicians can be one avenue through which to penetrate foreign markets, he says. Lekoko Entertainment director and music promoter, Seabelo Modibe, says Botswana is a free market economy hence he does not see why foreign artistes should not jump for such an opportunity.

“Local musicians are difficult to work with, yet they want easy money,” charged Modibe. He says traditional music used to be popular but has since succumbed to a sudden death because of greed.

“Our artistes make demands that will just put you off,” argues Modibe, noting that young musicians should emulate the likes of Duncan Senyatso and Banjo Mosele, among others, who possessed will power to make a mark on world stage. Notwithstanding, there are local acts who ooze the same energy and have immense ability to make it internationally. The likes of Mapetla and Wizards proved they could hold their own when they shared the stage with Nigerian and Zambian artistes recently. A music enthusiast, Arabang Setlhogile, says she loves foreign over local because foreign artistes are so innovative and produce captivating sounds. “Local musicians tend to be more biased towards Kwasa kwasa and Kwaito and in most cases end up producing sub- standard quality,” says Setlhogile.

However, Botswana Musicians Union (BOMU) president, Alfred Mosimanegape, blames local radio stations for/giving foreign musicians more airplay.

 After much publicity by local radio stations, promoters become aware of these musicians and invite them for local shows, as their motive is to make money, says Alfredo Mos.

 “Our radio presenters are not so patriotic and prefer foreign music over local music. We are failing to penetrate foreign market because our music does not receive the same treatment in other countries,” observes Alfredo Mos. By the look of things it seems foreign musicians stand a better chance to benefit more from the Copyright Society of Botswana (COSBOTS) unless the status quo changes.

 While efforts have been made to try and bring change it seems that such has all been in vain.

 “When you listen to local radio stations you get worried because some even go to the extent of dedicating shows to Zimbabwean and South African musicians while they hardly extend the same gesture towards our music icons,” charged Alfredo Mos who added that, “we give them free CDs but they still prefer to buy”. Ya Rona Fm programmes manager, Uyapo Khupe, however, argues that radio presenters do not necessarily determine what music to play on radio since there are producers or committees that compile music for them.

 Some of the factors they consider, he says, include how popular the songs they choose are. However, Ya Rona FM’s policy is that very third song should be local, which means one third of their music is local, thus giving two thirds of airplay to other music.

 “We play enough local music from genres such as Kwaito, House and Hip Hop in line with our format. Maybe people think we are not playing local music because we do not play Borankana, Kwasa

Kwasa and Gospel.” Ya Rona FM prides itself for creating opportunities for the youth by affording them sufficient airplay. “Presently we are doing a lot and we have contributed to the growth of some young musicians who are now going places or receiving invitations to perform at various events,” opines Khupe.

 Duma Fm’ acting programmes manager, Kealeboga Dihutso, says they have a specific structure which they follow when they compile musical programmes. The policy is that the radio station should play two local songs per hour notwithstanding that the bulk of its content should constitute more talk (70 per cent) especially on local issues.

Our license agreement stipulates that we should have 30 per cent local content, so we have made a deliberate decision to support local artistes,” emphasized Dihutso. Dihutso advices Batswana musicians to utilize other media to promote their works such as DStv and Wikipedia as music is not only about song but the musicians profile.

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