Kg' oesakeni: The Musical, to thrill theatre lovers
A play that explores the themes around the new found life of the Basarwa, told through the eyes of a young Kua maiden, a granddaughter of Nzabwe will thrill theatre lovers at Maitisong next week Saturday. The story is portrayed through the native song and dance of the Kgalagadi people.
According to a press release from the production companies, Lepatata Arts Ensemble and Botswana Blue arts series Foundation, in his book Tears for my land, Kwela Kiema explains that New Xade was named Kg’ oesakeni (which means ‘in search of a better life’) by a delegation of four men, including himself, in April 1997. Sources indicate that it was inspired by the government relocation of the people of New Xade, which was intended to give them “a new lease on life”.
The play explores the themes around their new life- their identity, spirituality, socio-economics and general well-being. According to the director and writer of the musical play, Shabba Kgotlaetsho, the case between Basarwa and government that culminated in 2008 intrigued and propelled him to research and find out more about the Basarwa. Initially he wanted to shoot a film but later resorted to a stage play. He updated the details and added oomph to the script, to give it substance and relevance.
“This play presents what I have assessed and brings the viewer into the realm of their life,” he said in an interview with Vibe. The creative arts space is not without challenges, even for Kgotlaetsho, who has many years of experience as an arts practitioner. Top of the challenges is financial constraints. “Putting together this production together cost about 300 thousand Pula but we are likely to get much less profit. There are many expenses one incurs. Right now, I have 18 Basarwa living with me right now. I have to accommodate and feed them. It is a tall order and one has to rely on generosity and favours.” He further lamented that government is focused on grassroots development of the arts and doesn’t pay much attention to matured artists.
“There is a disturbing discord between government and artists. We have created a system that just doesn’t work,” he said. He further explained that lack of financial support is a huge impediment that can frustrate even those the most talented practitioner. Kgotlaetsho however insisted that Batswana are patriotic and support home grown talent. “The problem is that there isn’t sufficient marketing of projects, so the audience would not know about the production,” he said.
Last year Kgotlaetsho staged Hosana, a musical celebrating Botswana through Kalanga spiritual music systems of Hosana, Sangoma and Mancomane. The story is a plot against faith and religion at a time when Christian missionaries made first contact with Southern Africa. Exploring local social communities’ values and needs, the story covers a fictitious nation of Baka-Habangana community whose village chief was the first to convert to the Christian religion.
The play received rave reviews. Before then, Kgotlaetsho had been rendering support to different ensembles until he decided to go at it alone. It has been a journey fuelled by passion but not without pain, and resilience has carried him through especially as he focused on the bigger picture. The support from the public has also encouraged him to continue telling relevant and interesting stories unique to Botswana’s social and political landscape.