Why SA stars dominate BW stages
Dumisani Ncube | Monday July 7, 2025 06:33
From the familiar voices of Generations and Scandal, to the beats of Kwaito and the roar of the PSL, our screens and radios have been saturated by South African content. This constant exposure hasn’t just entertained us, it has shaped our tastes, redefined our standards, and sidelined local creative industries. Today, South African artists headline our biggest music festivals, command the highest payments, and draw the largest crowds. Meanwhile, local artists are just show openers if they get booked at all. This imbalance has its roots in media dominance. Since the 1990s, satellite TV and pay-per-view services have made South African content a daily feature in Botswana homes. Generations of Batswana have grown up on South African music, news, culture, fashion, and slang. Over time, what we consumed became what we aspired for and what we trusted. Cultivation Theory explains this perfectly: long-term exposure to media shapes how people perceive reality. In Botswana, South African media has shaped our reality to the point that we often know more about South Africa’s political affairs and celebrities than our own.
This explains why South African acts dominate local lineups. They are what audiences want. And promoters, understandably, follow demand. Gilbert “PP” Seagile, former president of the Botswana Entertainment Promoters Association, once said: “We bring what’s in demand. If the masses want an international act, we bring one.” Local artists are often paid a fraction of what South African stars receive, not due to talent gaps, but due to perceived value. This has created frustration and discouragement in Botswana’s creative scene, where local performers work hard yet remain underappreciated on home soil. In response, many local artists are now mimicking what works across the border, from sound and visuals to social media personas. Social Learning Theory explains this: people imitate what they see succeeding. Unfortunately, this mimicry risks cultural erasure. In trying to be like others, we forget who we are. Contrast this with Nigeria, where authenticity is king. Artists such as Burna Boy and Wiz Kid succeeded by embracing their cultural roots and the world responded. Nigeria has built an industry that exports not just music, but language, identity, and confidence.
The hard truth? Botswana’s creative tastes have been shaped over decades, and shifting them won’t happen overnight. People know what they like, and for now, it’s often South African. But all hope is not lost. The solution lies in rebuilding from within, improving the quality, consistency, and visibility of Botswana’s content. Our music, films, podcasts, and digital stories must meet global standards and boldly reflect who we are. Policy can also play a powerful role. In the early 2000s, Zimbabwe introduced a 100% local content policy on radio. This gave birth to the Urban Grooves era, turning unknown artists such as Roki and Stunner into national icons almost overnight. A similar move in Botswana, even at 70% could spark a renaissance for local talent. This is not just about patriotism, it’s about economic growth, cultural preservation, and creating opportunities for Batswana in the creative economy. South African acts dominate because, for decades, they’ve dominated our minds. That’s the power of media: it doesn’t just reflect culture, it defines it.
Botswana doesn’t need to erase South African influence. But we do need to rise with our own stories, told in our voice. That’s how we reclaim our stages and our spotlight.