The magic of two (2021) by Tessa BarlinProject FUEL
As the San community of Botswana, our forms of play go beyond mere recreation. They serve as windows into our beliefs and values, illuminating the lived realities at the heart of our culture.
The stick (2021) by Tessa BarlinProject FUEL
Stick game
Among the many games we play, one notable example is the stick throwing game. In a world where carrying a stick can mean the difference between life and death, this game serves both to settle disputes and to prepare young men for combat.
Kgao and Tjivita (2021) by Tessa BarlinProject FUEL
The tapered, meter-long stick is gripped by its thick end and swung with force, spinning through the air as it flies away from the mound, a heap of sand specially prepared for the game.
Nxuoka with the Melon (2021) by Tessa BarlinProject FUEL
Melon game
While the stick-throwing game is primarily played by the men in our community, women are often seen playing a ball game using a tsama (melon) as the ball.
The Melon (2021) by Tessa BarlinProject FUEL
The wild melon found in the Kalahari Desert is scientifically known as Citrullus vulgaris, but we call it Tsama. The women form a line, singing and applauding as the game begins. The person at the front holds the ball and steps forward five to six times in rhythm with the music.
The game begins (2021) by Tessa BarlinProject FUEL
While waiting to pass the ball to the girl next to her, she shuffles swiftly, spins to one side with a small hoop, then leaps forward and passes the ball along as the song continues. One by one, they all take their turns, repeating the joyful rhythm of the game.
N!a- The game of expression (2021) by Tessa BarlinProject FUEL
n!à: The gesture game
Another game that reflects our community’s spirit is the gesture game, known locally as n!à. It’s a gesture-based game, similar to rock-paper-scissors, where players express themselves through specific hand signs, showcasing quick thinking and cultural expression.
The Audience (2021) by Tessa BarlinProject FUEL
This game weaves together expressions of communal identity and the self, while also serving as a strategic contest. As players engage, each extends their right or left arm. To score, the correct arm must be extended at the exact moment set by the rhythm of the music.
Jumping the rope (2021) by Tessa BarlinProject FUEL
Yet, the favorite game of all remains skipping rope. Two people hold each end of the rope while others jump over it playfully, joyfully improvising their moves to avoid tripping and keep the rhythm alive.
After all the fun (2021) by Daniel MyburgProject FUEL
Mostly played by middle-aged members, these leisure activities generate meaning through body movements, gestures, sounds, and symbols. For us, dancing and singing transcend everyday conversation, carrying ancestral tales and verses across generations.
Project FUEL would like to thank the San community of Xai Xai village, Botswana for opening their hearts and home for this research.
Project FUEL documents, designs and passes on human wisdom and strengthens the wisdom of indigenous communities using art, digital media, and community outreach programmes. The arts lead the way to raise support for the challenges these communities face today, like migration, quality education and access to basic amenities like water and roads.
Cultural consultant: Bojosi Joster
Image Credit: Tessa Barlin and Daniel Myburg.
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