National Arts Council Promises Beyond Pipe Dreams

Arts and cultural development is oftentimes used as a space-filler when talking about national development. However, in the month of May, Botswana joined the bill of countries with a national arts council. This step serves as a beacon of hope for a long embattled sector in the country’s history. While the progress is to be celebrated, questions continue to loom regarding whether the body will be as effective as it is aspirational. Launched in an elaborate event hosted at the National Museum in the heart of the capital city, the premises, which is still under renovation, rose to meet the glamour standard of the guests. [ihc-hide-content ihc_mb_type="show" ihc_mb_who="1,2,3,4" ihc_mb_template="3" ] With His Excellency the President of the Republic of Botswana Dr Mokgweetsi Masisi as the guest of honour, the affair was slated to be a gathering of power players across the fields of business, diplomacy, politics and the creative sector. In her remarks, Shombi Ellis, CEO of the National Arts Council of Botswana (NACB), echoed the council’s Board Chairperson Brian Dithebe’s sentiments that the road to the realisation of the institution had been long and laborious, but not without cause. The two rightfully stated that the work of the institution would be to earn the trust and support of its stakeholders. Even at its inception as a democratic nation, Botswana’s political leadership touted the role and importance of culture in the fabric and cohesion of the society. However, it is remarkable that it would take over four administrations to move toward safeguarding, developing and promoting the independent well-being of the cultural sector and its practitioners. During his administration, President Lieutenant General Dr. Seretse Khama Ian Khama instated the establishment of the ‘President’s Day Competitions,’ the breadth of the skills and trades recognised under award categories gave hope that the initiative could lead to the professionalisation of cultural produce and practice in Botswana. Spanning beadwork, mogolokwane, dance, singing, poetry, traditional instruments and more, the long patronised creatives had been given an opportunity to not only spar against one another but also earn acclaim for their prowess. This hope continues to remain a dream deferred for many, yet the NACB promises to make it manifest. Botswana now joins the over 70 countries represented in the membership of the International Federation of Arts Councils and Culture Agencies (IFACCA). With its membership composition being of “public institutions whose purpose is to advance the arts and culture, through investment, policy and promotion”, IFACCA offers “to a unique, collegial international community of peers and provides them with space to share knowledge and experience; forge partnerships; explore new ideas; learn from others; and receive support from people uniquely placed to understand their work, ambitions and challenges.” Future Market Insights projected that the global cultural tourism market would be valued at USD 5,931.2 million by 2023, with estimated growth to USD 22,772.0 million in 2023, something that the presence of arts councils across the world should hold as bargaining chips on national development negotiation platforms. No stranger to the performance stage himself, President Masisi reiterated his performative past and vouched that the new institution would be for artists and guided by artists with the full support of the Government of Botswana. Citing the successes of young artists such as the incomparable Mpho Sebina, Samatha Mogwe, and one of the evening’s performers, Dato Seiko, the President put forward that the existence of the institution ought to right the wrongs done to the late legends like Ratsie Setlhako and Gaotwesepe Gopolang, whose songs continue to elicit enthusiasm among listeners of all generations, in belonging to a sector without centralised governance. Although iconic fashion duo, BLACK Trash Designers, had some of their wares on display for the presidential entourage and public to view, it cannot go without saying that their industry and others went unmentioned in the proceedings. This begets the question: What and who gets seen as the primary concern of the National Arts Council of Botswana? This question will be answered in the execution of the mandate. In its definition of its role, the National Arts Council of Singapore – established in 1991 – says it “provides a sustainable funding infrastructure through grants and arts housing support for the arts community to achieve a vision of Singapore as home to diverse and distinctive arts that inspire our people, connect our communities and position Singapore globally”, which Ellis’ statement that NACB “aims to inspire and develop the local creative and culture sector by nurturing creative excellence and preserving the nation’s rich cultural traditions” moves towards. Yet, with the numerous missed opportunities due to global categorisations of need and national portrayals of ability and effectiveness, the new body has a monumental task of proving to the nation’s artists that it can work at the levels of the British Council (whose remit extends the cultural interests of the United Kingdom whose National Arts Council is the world’s oldest), Switzerland’s Pro Helvetia and Germany’s Goethe Institute that have all been showing interest in providing avenues for artists in Botswana to gain access and recognition beyond national borders. With a national population barely inching toward a third of Lagos, Nigeria’s 15,94 million, it will take concerted efforts for Botswana as a whole to make a significant dent in the global imaginary of cultural players and trendsetters. It rests upon the leadership at the National Arts Council Botswana to ensure that not only are the most commercially viable producers given uninhibited access to the global market but also that grassroots level development is being done with audiences and producers to nurture a respectful outlook toward the roles that cultural practitioners play. As the Setswana proverb reminds, “Moroto wa o’ esi ga o ele.” None of the necessary changes will be realised if not through group action at all levels. May the promise of a glistening future be realised for artists for generations to come. [/ihc-hide-content]

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National Arts Council Promises Beyond Pipe Dreams

May the promise of a glistening future be realised for artists for generations to come!

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National Arts Council Promises Beyond Pipe Dreams

May the promise of a glistening future be realised for artists for generations to come!

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