Voices beyond borders
Lucy Kgweetsi | Monday December 15, 2025 06:00
The End of Year Clap & Tap Gospel Music Festival, organised by Lighthouse Lip, was about to begin, a night dedicated to Prophet Ntate Isaac Setati, yet alive with the pulse of an entire gospel music community. The hall wasn’t just a venue; it was a vessel, ready to carry every footstep, clap, and note into something larger than itself.
Dineo Tsa Tumelo Gospel Choir stepped onto the stage first, their crisp uniforms catching the stage lights like tiny prisms. They moved with precision, their harmonies threading through the hall, weaving a tapestry of sound that wrapped around every listener. Feet tapped in unison, hands clapped, and the air seemed to vibrate with their devotion. By the end of their set, the audience was no longer separate; they were part of the music, swaying, clapping, breathing with it.
Then Lentswe la Baitshepi Gospel Choir entered, their bold, colourful uniforms signalling an energy shift. And then came Quest from Lejwe la Motheo Artists Development, a choir from South Africa stepping in seamlessly, his voice weaving through the choir’s intricate harmonies. Together, they created a spectacle, rapid footwork, soaring vocals, and expressive movement that made the stage feel alive, almost dancing in tandem with the audience. Every crescendo, every clap, every note pulled cheers, ululations, and spontaneous shouts from the crowd. Here, Clap & Tap revealed itself not just as music, but as a living, breathing culture, a language understood by everyone in the hall.
From South Africa, Isaac & The Mighty Messengers Gospel Choir brought disciplined power. Their uniforms were sharp, their choreography precise, their harmonies razor-sharp. Watching them was like witnessing the physical embodiment of sound itself. Their performance contrasted with the fluidity of the local choirs, demonstrating the diversity, depth, and growing influence of the Clap & Tap gospel community beyond Botswana’s borders.
Motheo wa Immanuel Church Choir closed one round, appearing in soft, understated uniforms. Their smooth, reflective harmonies offered a quiet, almost meditative counterpoint to the evening’s kinetic energy. It was a moment to pause, to honour the reason for the festival, to remember Prophet Ntate Isaac Setati, not in spectacle, but in shared reflection.
Throughout the night, every uniform change marked a new chapter, every movement told a story, and every collaboration, especially Quest with Lentswe la Baitshepi, highlighted the communal heartbeat of Clap & Tap. The festival was more than a performance; it was an experience, a testament to the artistry, discipline, and faith that bind this community.
When the final notes faded, silence lingered for a heartbeat before the applause erupted. The festival had been a pulse, alive, collective, and enduring. Clap & Tap had not only celebrated a life, but it had reminded everyone present of a living, breathing culture, where music, movement, and devotion converge across southern Africa.
Breaking expectations and inspiring admiration, the female choir master of Lentswe la Baitshepi led with precision and grace, proving that talent and authority in Clap & Tap transcend gender.