Visual Art in Botswana
Since the 80’s the visual arts in Botswana have grown at a very rapid rate. The country has seen many important forums like the Tsabong Cultural Centre, National Art, Basket and Craft exhibitions becoming part of the national calendar activities. There are also structures in place like the Tsabong Cultural Centre for exhibitions and marketing arts and crafts products. Visual arts being taught and examined in schools and having young and upcoming artists realizing their dreams of becoming fine artists has illuminated the sector and given the country some fine works.
Sunset (2014) by Amantle Ntima
Botswana is known for its authentic handmade crafts, especially the basketwork from the north and west of the country. They are the significant and authentic signature of the people of our country and reflect their character and identity. With us in Botswana, as everywhere else throughout the world, crafts are an integral part of our culture. Much of the fine art practice is not that common as it is practiced more by the few who studied art at schools. This began in the late 80’s and is in a way becoming more common to our youth and the older people as a source of income.
Botswana Stamp (2014)
by Bakang Ramogojwana
Untitled (2014) by Brian Garcin
We have see the Thapong Visual Arts Centre, the Kuru Art Project and regional museums in our country becoming centres for excellence of our visual art practices. This is for both fine art and crafts. The contribution of the government in directing both government departments and the civil service to procure works of art has also contributed to the growth of what we see now being done in the country. It was a positive move but it has also had negative effects. There is a lot of poor quality work being sold which is an embarrassment for the sector. There is not much quality control or even pricing, even though the Department of Arts and Culture is doing its best to capacitate the artists.
Zebra Pattern (2014)
by Caroline Kefilwe Sentsho
Giraffes (2014)
by Gabriel Manterlui
Exchanges with other artists from outside the country is encouraged, through cultural exchanges that the Botswana government has with other countries like the People’s Republic of China or South Africa, just to mention two. Artists are going for residencies, workshops and participating in exhibitions. There is also an exchange of ideas as to how to improve skills.
Speechless (2014)
by Ivy Radipod
Silhouette of an African Lady (2014) by John Tjivert
The Thapong artists’ workshops added value to the visual arts in this country. Artists from all over the world came together for two weeks with the aim of sharing ideas and exchanging views on their art practice. Through it we met artists like Neo Matome, Phillip Segola, Stephen Mogotsi, Mokwaledi Gontshwanetse and Velius Ndaba, coming up as pioneers of the sector that made it through this exchange. Later other Botswana artists like Monica Selelo, Andrew Matseba, Doreen Gomang and Thamae Setshogo joined. They all made their art practices known throughout the country and abroad.
Footprint (2014)
by Kaelo Kgang
Dreams (2014) by Kanni Balasubramanian
Most of our young artists are now striving to become masters in what they do. They are also making their earlier unrecognized contributions to the economic prosperity of their government known through corporate services, environmental refurbishments through art commissions, art exhibitions, art auctions, print media services, gallery and museum activities. There are also art agencies or integrated marketing communication agencies, and other economy generated entrepreneurial art services. There are associations formed like the Botswana Visual Artist Association, which in a way help the artists to have a home and facilitate their thoughts in regard to their practice - speaking with one voice.
Segokgo (2014)
by Moses Olemogeng Maaramele Qaeqhad
Earned Stripes (2014)
by Onkabetse G. Mpolokeng
Without doubt, artists and other art producers have, over the years, been well rewarded for their art practice. Some have competed for the highest awards and offices in the country and abroad. They have also been directors for technical schools and colleges of education. On the administration side, one has also seen art graduates become Directors and Heads of Arts.
Young Motswana (2014)
by Pako Molebatsi
Nelson Mandela (2014)
by Rosego Molefi
All in all, the economic potentialities of art are clearly reflected among the art undergraduates in the universities and colleges. Most of the graduates are self-employed and many are employers rather than employees. Botswana artists just like others around the world have acquired sound economic powers that have made them relevant to their people and nation.
Epidemics (2014)
by Tshepo Gouwe
Love (2014)
by Tutu Motshambane
I have a belief that with this project there will be more doors open for our artists as they become better known. And this has come at an important time when the arts are competing with diamonds for economic diversification.
Thank you
Monica Banyana Selelo
Principal Curator, Visual Arts Head of Visual Arts
Ministry of Youth
Sport and Culture, Gaborone
