Choene thinks bigger than the frame
Laone Choeunyane | Friday October 2, 2026 10:45
He is talking about solving problems, challenging convention and changing how Botswana presents herself to the world.
His journey began with a P300 payment that convinced him there was a future in doing what he loved.
Choene was pursuing real estate after abandoning his initial ambition of becoming a doctor.
Alongside his studies, he had been experimenting with YouTube vlogging. When someone paid him for his work, he made a decision that would redirect his career.
“I am quitting school. I am gonna do this,” he recalled.
That decision laid the foundation for OniroHouse Digital, which he founded in September 2018. But he had neither the equipment nor the resources to match his ambitions.
Enter Blaine, a legendary local battle rapper who became instrumental in Choene’s early development.
After the two connected over their shared interest in creating, Blaine began lending him his camera, giving him the opportunity to experiment and develop his craft.
Choene says he relied on borrowed equipment for years before purchasing his first camera in 2019.
His transition into filmmaking was also driven by his experience as a rapper known as Marinade Buzae. Frustrated by directors who could not execute his ideas, were unavailable or charged fees he could not afford, he decided to learn the craft himself.
Today, OniroHouse works across commercial production, filmmaking, creative consultancy and brand development.
Its portfolio includes BTC’s widely circulated #Kgwamollo television commercial, while its production studio has supported music videos and other creative projects, including Channel O’s Botstop5.
Choene’s achievements extend beyond production. In 2023, he received the Mandela Washington Fellowship, the flagship programme of the United States government’s Young African Leaders Initiative.
Yet what distinguishes his approach is not simply the work he produces, but the environment he wants to create for the people who produce it.
Having experienced situations where creatives were poorly paid and treated as expendable, Choene has made the wellbeing of his crew a priority. He wants people to leave a production knowing their contributions are valued, even when budgets are limited.
He believes creative minds need the right environment to deliver their best work. That means allowing people to contribute ideas rather than simply follow instructions.
On a BTC commercial, he recalled, his team was encouraged to make suggestions and interact with talent freely. One crew member did not initially realise Choene was the director because everyone was contributing.
“It’s not just my vision,” he explained. “It’s my vision on paper, but it’s a collective vision in reality.”
This collaborative philosophy extends to his ambitions for OniroHouse.
While the company is known for commercials and brand work, Choene imagines something much larger: a multidisciplinary institution where creatives and problem-solvers from fields such as medicine, fashion, transport and infrastructure can develop innovative solutions.
“Creativity only exists as a form of solving problems,” he said.
It is a conviction that informs his criticism of Botswana’s creative environment. Choene believes businesses are often reluctant to take risks, favouring familiar ideas over work that challenges audiences and expectations.
He argues that too many local products reflect outdated thinking, limiting their ability to compete internationally.
For him, successful creative work must entertain, intrigue or establish an emotional connection with its audience. Technical polish and substantial budgets mean little if the finished product fails to make people feel something.
He also believes clients must learn to trust the professionals they hire, providing sufficient time and resources while allowing creative teams room to work.
His advice to emerging creatives reflects this balance between discipline and rebellion: professionalism earns trust, and trust creates room to introduce unconventional ideas. Arriving on time, communicating well and delivering on commitments can open doors that talent alone might not.
Choene credits Tshepo Ntshole-Hall among a few others with helping him understand the importance of professionalism and accountability early in his career.
Looking ahead, he is drawn to the immediacy of digital platforms such as YouTube, TikTok and Twitch, where creators must continually respond to changing audiences. He wants OniroHouse to become an institution that contributes to society far beyond entertainment.
Having travelled internationally as a Botswana creative, Choene says he has encountered respect for the country and its talent. His ambition is to build on that recognition by producing work capable of competing on the world stage.
Asked who he is beyond his professional titles, he describes himself as a grown man who thinks like a child, driven by a desire to change the game and improve Botswana’s image internationally.
For someone who began by borrowing a camera to realise ideas he could not afford to commission, the ambition is fitting. Choene is no longer just figuring out how to make the work. He is imagining what an entire creative ecosystem could become.