In Botswana, a wave of creativity has been sweeping through the semi-desert country, particularly in the digital content creation space, where video producers are taking center stage. These individuals are not only shaping narratives but also redefining entrepreneurship in the creative industry. Let’s take a look at some of the notable figures who are making waves in the country’s video production scene, offering insight for anyone keen on understanding what’s happening in this space or who to look out for. This isn’t a definitive list but rather an attempt to catalogue the creative culture and entrepreneurship space. Here goes:

Leo Gucci: With a rich background in music intertwined with a mastery of corporate video production and photography, Leo Gucci stands as a beacon of creative versatility. His portfolio spans a kaleidoscope of projects, each bearing the hallmark of his ingenuity and artistic flair.

Gonna Elvis: Renowned for his captivating street photography and impactful corporate work, Gonna Elvis is the driving force behind The Photographers, a visionary company dedicated to encapsulating Botswana’s essence through visual storytelling.

Local Corner: A dynamic powerhouse spanning music videos, corporate endeavors, and podcasting, Local Corner embodies the spirit of multifaceted creativity. Their collaboration with SCAR on a widely acclaimed podcast underscores their commitment to narrative exploration across diverse mediums.

Owen Bands: A luminary in the industry, Owen Bands has sculpted the visual identities of numerous emerging artists, shaping the landscape of Botswana’s music scene. His return to filmmaking heralds a new chapter marked by innovation and fresh perspectives.

Cyc Jouzy: Revered for his impeccable visual aesthetic and unwavering professionalism, Cyc Jouzy reigns supreme as a titan of music video production in Botswana. His extensive body of work serves as a testament to his dedication and mastery of the craft.

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ReMmogo Visuals: Leading the vanguard of the new creative wave, Bokang of ReMmogo Visuals epitomizes the relentless pursuit of excellence. Through tireless collaboration and a steadfast commitment to quality, he has emerged as a trailblazer within the industry.

Neo Visuals: Exemplifying the pinnacle of professionalism, Neo Visuals brings a touch of sophistication to every project they undertake. Their prowess in corporate videography elevates Botswana’s visual storytelling to new heights.

Eyes of Bryce: Despite being a newcomer to the scene, Eyes of Bryce has swiftly carved a niche for themselves with their crisp visuals and innovative approach. Their collaborations with esteemed artists like Ozi F Teddy foreshadow a future brimming with promise and creativity.

Bone Buzae: A polymath of talent, Bone Buzae effortlessly transitions between music and content production, epitomizing the spirit of creative fluidity. His evolution from rapper to content creator embodies the entrepreneurial ethos that defines Botswana’s creative zeitgeist.

Mdu Tha Party: Leveraging his influence from radio to social media, Mdu Tha Party has cemented his status as a prolific content creator. His podcasts and vlogs serve as vibrant tapestries showcasing the diverse tapestry of Botswana’s talent.

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Good Vision: With a background steeped in music and entrepreneurship, Tabz of Good Vision brings a wealth of experience to his video productions. His contributions to podcasts and media platforms have solidified his position as a luminary within the industry.

Azizi Golekanye: As the visionary founder of Renov8Media, Azizi Goleknaye spearheads Botswana’s foray into film and music video production. His commitment to innovation and quality has garnered accolades both locally and on the international stage.

Super Honorable Mentions:

• Jack Bohloko: Making waves in music videos internationally, Jack Bohloko represents Botswana’s talent on the global stage.
• Serena Mmifinyana & Nikita Mokwagre: Trailblazers in a male-dominated industry, these two pioneering women leave an indelible mark on film and multimedia, particularly in their work with Multichoice.
• Director Mo: Renowned for his collaborations with William La, Director Mo is a force to be reckoned with in the realm of visual storytelling.
• Thebe Radiakwana: With a background in film education from Beijing, Thebe Radiakwana’s directorial prowess knows no bounds.
• Shike Olsen: A pioneer in media ownership and music videos, Shike Olsen continues to push boundaries in the creative sphere.
• https://www.youtube.com/watch?v=6cgBRkSLLWg
• Moabo Mogorosi: A legend in the field of TV commercials, Moabo Mogorosi’s contributions to the industry are unparalleled.
• Smokie Mogapi: From music videos to TV shows, Smokie Mogapi’s creative journey is a testament to Botswana’s innovation and talent.
• Otsetswe Sedimo: As the founder of Torch Studios, Otsetswe Sedimo brings a unique perspective to corporate and music video production.
• Thabiso Maretlwaneng: Leading the charge with his company, Dee Zone, Thabiso Maretlwaneng is a powerhouse in the production industry, particularly with his work on “Pula Power.”
• Botlhe Trekbond: Based in Maun, Botlhe Trekbond’s wildlife videography captures the beauty of Botswana’s natural landscapes.
• Thalefang Charles: With a focus on photography for National Geographic, Thalefang Charles showcases Botswana’s diverse ecosystems on a global scale.
• New Look Studios: A TV production company based in Lobatse, New Look Studios is at the forefront of Botswana’s television industry.

In addition to these luminaries and honorable mentions, a constellation of other visionary creators shines brightly, each contributing their unique flair to Botswana’s rich tapestry of digital content creation. From international collaborations to grassroots initiatives, these individuals collectively embody the spirit of innovation and creativity that defines Botswana’s creative landscape. As the industry continues to evolve, their collective vision promises to illuminate new horizons and push boundaries ever further.

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Social and political commentary is one of the core tenets of popular urban music culture and especially espoused in the deliberations of many a youth artist. Protest music and social views have evolved in recent years with artists like Ratsie Setlhako, 4 string guitarist Western, and conscious rapper across the landscape painting pictures of reality and people’s feelings over the years. Artists like ATI lace theirs with the niceties of rhythm which can result in people missing the meaning behind the message. Today, #EBWSparkSomething reflects on ATI’s work, his views, and how his journey in music has lead him to his current with music as the lense.

“It’s not about me, it’s about Batswana ko lapeng”, these are the famous words of the aptly named Atlasaone Molemogi aka ATI whose music has been more than an anthem, but at a level a reverberation of sorts of his views on the world and how feels about and sees it. We take a look at some of his music, in hope that we might shed a light on where he is headspace-wise; given all that he is currently taking on. While all of Botswana is buzzing and most youths are digitally chanting #FreeATI, we focus the lens on his words in music which point to his current.

The artist who is currently making things rather uncomfortable to for the Government of the day dropped Rolling Stone in 2018, a very self-reflective song which reflected the musings of an artist finding himself while projecting a feeling of being “the only man for the job” of carrying his people forward, a rock for the people. A man who’s been made a ”stepping stone” by many, something that had tired him out at the time.

It’s easy to get lost in the literal meaning of some of his words as an artist whose lyrics are often presented as very apparent and simplistic, Atlasaone has never been one to mince or hide in deep meaning what it is that he means to say – an understated trait of his, often masked in flair. Rolling Stone was a song released after a long break, it’s subject spoke with no hidden denotation to the gap he felt plagued the music game, his trade, the market in which he operates – it also felt as an allegory for the lack of leadership he felt existed at the time. These views came from an individual who felt he was “Barely moving (Trapped in my own self), I’m well-known figure but highly misunderstood” a show of hand with his personal battles balanced with a pursuit for artistic supremacy.

Rolling Stone was released at a time when naysayers were writing ATI off due to his highly publicized “mental health” unrest, something only he could truly ever chronicle for all of us, turning to prayer was another hand he extended to the true self he was seeking to find and his music was the canvas that told of it all.

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On Komirrsoo, ATI unambiguously reflects of how he saw himself as Badimo came calling, a careful listen divulges snippets of the conversation as a higher-power spoke to him (about what he is). He generously narrates the conversations he has in meditation, painting vivid pictures of encounters le Badimo (The Gods). The Gods ask him if all he’s listening, “a o reeditse”. a question prompts his true self to be more attentive, in the same breath tying his name as more than just a label but a calling, kana “ina lebe seromo”, an ode to meaning as espoused in many-a Tswana name. In lyric he acknowledges it; Atlasaone’s intricacies are revealed, they inevitably furnish him into recognizing that his is no mere denomination – that he is the one, God sent to shake the earth in song and in other ways that will impact the people, if this still sounds like ‘just lyricism’ then I’d urge you to delve deeper into his catalog.

I remember discussing Komirrsoo song with friends when it first came out, I distinctly recall pointing out how powerful his words on this record are. As much as we all could only suppose what he was referring to – we had a clear connection to its intimations beyond the vibrant rhythm of the song. This was perhaps the most obvious projection of ‘the calling’ he felt, ATI had to speak for and serve the people, “foko la badimo le ntse le re, komirrsoo”. The artist has grown to be a more honest writer, something he projects with more confidence now, something that’s easy to pick up on FME’s ‘Pelo’. His opener on that song continues to show us more form of his speak and the meaningfulness he encapsulates, “Pelo e e yame ye, e ya kibakibaka, e kibakibisisiwa, ke go promisiswa, e bo e dissapontiwa”, poignant echoes of melancholy in love and life.

ATI is tired of being ignored, he has had enough (much like this country’s youths) and has been explicitly shared his views online which has lead to an arrest this week by the Government of Botswana. On Skababawara, ATI shares a more blatant view of the need for inclusion, as he continues to seek an audience with Presindent Mokgweetsi Masisi.

“Although I might not be your K.A.Y.T.O.D.A…Y…/ More especially when things don’t go my W.A.Y/ That’s because i got P.U.R.P.O.S.E to fulfill before I die”, there is consistency in his narrative, a cry out from the man who has for long been asking the people of their readyness to take flight with him, “koko koko re ya tsena, koko koko re bulele” he pronounced on Khiring Khorong.

ATI is very talented, very creative, and very conscious of all that’s happening around him. His courage can only be commended and one thing is for certain though, the people are vibrating with him. He is stoking the right fires in us, blowing the winds of change, the little voices that young Batswana have suppressed over the years despite their misgivings. He is speaking to the people, he is with the people, he speaking for the people and we at EBW Magazine stand right behind him.

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#FREEATI

It’s awards night at your ‘favorite’ youth urban radio stations music awards night and everybody is arriving at the GICC for a night of celebration; a celebration of music and the people involved in its creation and in some categories those around them. It’s been a tough journey building up to this moment for many, one that started with hustling for studio time for some, finding the right producer for others, hopefully agreeing on payment terms for a few or terms of release and then a few weeks or months later a song or two dropping in the summer of 2017 with while some barely make it into the captive basket of the winter of 2018 to qualify for award season. Money has been spent in the recording, branding, packaging and distribution of some of your favorite songs, some of which you’ve got on your mobile for free as we speak (isn’t that nice, a free product for everyone).

Commitment, consistency and raw talent have been a few of the traits possessed by most of those who have kept the product churning out of the machine and for a few this has resulted in actual business or commercialization i.e. actual monetary or value related activity equalling business in the music industry – a huge opportunity filled space that still struggles to boom in our beloved Botswana.

On this night, it is clear early on that the artists have done a stellar job in getting their music out, the fans have been voting over the station’s SMS line ($$$), the fashion designers and stylists have done their best to get everybody suited-up proper (and made a bit of business while they were at that ($$$)), the emcees have long been confirmed (and dare we say, paid up ($$$)) because one of them has been the main hook for the marketing and making of this event, the production has to be world class and the lights in the room point to a world class stage ($$$), the musicians are arriving in style courtesy of sponsor X ($$$) who you wouldn’t normally catch associating with the music creators themselves but hey, if there’s value to be milked then many-a-brand are won’t be apologizing for showing up on this one special night…it’s just business after all.

There’s clearly some value being exchanged around music and the creator/musician’s product during the campaign and mostly highlighted on a night like this one by the glitz and glam associated with it all. It would seem that that value gained will somehow elude the main product’s creators as most of these Pula’s spent around and award show and the night itself will go towards the event owners and their suppliers – i’m not pointing fingers but surely the central product’s originator has to be the prime beneficiary around music on music award night.

How can the industry change this lack of ability to monetize around their own product? How can we ensure that artists don’t simply congregate on a night as glorious as the ‘winter’s coming’ and make a concerted effort to share more of the Pula value with the artists?

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We continue this piece in part 2 by exploring what it means to be doing business by category and examine opportunity by the winner’s and some nominees in the hope it will benefit generation next. Read part 2 here