Mpho Sebina has worked her way from being a local talent to becoming an internationally operational artist.
While many may only pay attention to her musical offerings, her growth into being a multi-hyphenate practitioner crossing various sectors hasn’t been accidental.
Over the past 12 months alone, Sebina has been part of a number of diverse public and private fora that have offered a glimpse into the makings of her evergreen presence. At the core of this burgeoning universe, however, remains a ministry guided by honouring and being in service to music.
A quick Google search for recording artists in Botswana reveals Mpho Sebina alongside long-time staples like Vee Mampeezy, Charma Gal, Joe Morris, Banjo Mosele, and Zeus. Among the results also appear a number of musicians of the newer generation whose creations are closely associated with the modern trajectory that the country is taking yet their creativity remains unbound by locality. Fellow multi-hyphenates, William Last KRM and Samantha Mogwe appear in a show of bringing to life one of Sebina’s core principles of leading with authenticity.
It is from this authenticity and mutual respect that Sebina and Mogwe not only collaborated on the song “Marang” – on Mogwe’s EP titled VII (seven in Roman numerals) – but translated this into crafting a space for kinship and self-celebration. At the dawn of this past September, Sebina and Mogwe invited their audiences to a melodious evening of celebration and revelation.
Versus movement
Titled “A Sisters Medley,” the event that took place at the Stanbic Bank Piazza at Molapo Crossing was more than a concert but a gathering of creatives with a mutual desire to create space for self-expression and cultural appreciation. As the name implies, the billing placed women at the forefront, aligning with Sebina’s intentional approach to collaboration and empowerment. The muso states: “The event was inspired by the Versus movement in how artists of the similar stature are brought together to share their offerings.” Yet their collaboration invited newer artists like Sebaga Rabantheng and Dato Seiko into the fold.
On being a collaborative artist, Sebina states: “I always learn a lot from seeing how other people work through the process of putting things together and their execution. Collaborating with other artists gets me out of my comfort zone and always allows you to broaden your perspective.” With a career that has stemmed from imaginative covers to solo work and notable features, this strategic rise informed the selection of the musical sets that she and Mogwe dished out to their adoring audience. Yet in the midst of all the lights, costume and hospitality being doled out, Sebina attests to the fact that she has to “compartmentalise” when she appears as the singer or the trader behind the art.
Interactive
“A Sisters Medley” is but one of a number of productions she now has under her belt. Committed to providing space for independent musicians such as herself, a long-running project of hers has been the Naked Soul events. First established at the now defunct Bier Baron which had opened its doors to the public in the Main Mall in 2015, Naked Soul sessions came to be because Sebina “wanted to fill a gap and provide a space for live – but not necessarily mainstream – musicians to share their music in an intimate setting”. The interactive musical experience that Sebina describes as “ever-growing and ever-evolving” then grew into a variety of concept events that include the Naked Soul Picnic. The picnic instalment has amassed a following to the point of surpassing attendance of more than a thousand audience members. It is this acumen that Sebina incorporates into her continual growth.
While Botswana steadily grows in its understanding and valuation of the creative industry, it is people like Sebina who continually work toward ensuring that the independent sector is able to play and compete. With the market size of independent label music production in the United States of America being valued at “USD 356.0 million in 2023”, according to industry research firm, IBISWorld, and Sub-Saharan Africa generating USD 70.1 million in 2021, according to the IFPI – largely through streaming – it is timely that producer-artists-businesspeople such as Sebina continue to advocate through practice for a country like Botswana to be an active contributor and recipient of the profits.
On-the-job learning
On being given platforms to speak as both a business person and a practising artist, she says: “I’m learning as I go and it’s important to share the knowledge because I want the industry to grow.” Some of this on-the-job learning has resulted in her darting in on the importance of never compromising on good sound and also ensuring that one’s patrons are given ultimate security so that they can exist without worry while revelling in the artistry.
This is a non-negotiable task, of course, when your billing has artists such as Dato Seiko, Jordan Moozy and Abidoza who have their own disparate followings. South African IDOLS alumnus Shekhinah, rising RnB songstress Thato Jessica, soulful and jazzy Marcus Harvey, and the producer Mpho Sebina will perform at the November instalment of the picnic. Co-hosts Freddy Pro – fresh from Gaborone Pride – and Mdu Tha Party – fresh from the DStv Delicious festival – will be ushering the audience at Bojanala Waterfront through what promises to be an engaging affair.
It is admirable that through the years of her practice, Sebina has expanded her outlook from being that of one who must succeed to that of one who can’t attain that success without co-existent development. Whether on the business, artistic, production or leadership fronts, Sebina continues to offer a prototype for artists from Botswana with expansive backgrounds to bring their full selves to the proverbial table. It beggars’ belief that if there is timely and direct investment in such thinkers and doers, Botswana wouldn’t be able to achieve its aspirations of economic and cultural innovation and excellence.
