Dikhwaere in Botswana: an enduring cultural practice
| Friday August 30, 2013 00:00
In Botswana, the festive season is characterised by outdoor activities because that time of the year is summer. In some parts of the country, members of the community may form sporting teams, notably football teams that compete against each other for a selected prize. The end of the games is normally marked with picnics where people come together to feast.
In certain parts of the country, however, the festive season, in particular Christmas Day, Boxing Day and New Year's Day, competition performances of live choral music and dancing, coupled with feasting by the performer groups, are featured. A group that performs the live music is known as khwaere (pl: dikhwaere). The word khwaere is a loanword adopted into the Setswana Language and derives from the English word 'choir'. However, dikhwaere is not just a term that refers to the singing and dancing ensemble but a generic term that refers to both the ensemble and the repertoire of songs that are performed during the celebrations. Synonyms for dikhwaere are medikano and dikopelo, although medikano also refers to evening entertainment of song and dance that young girls and boys engage in after completing the day's chores. The girls may perform separately from the boys or both boys and girls could get together in mixed group performances. The word dikopelo, on the other hand, translates to 'singing sessions.' Venues for dikhwaere are traditionally at the lands (the farmstead areas) because summer is also the ploughing season in Botswana, and that is where many people would be at that time.
The singing culture of Batswana and features of change and acculturation Music, both instrumental and vocal, is central to the culture of Batswana and therefore plays an important role in their daily lives. Music has been, and still is, performed during special occasions, including the following: The celebration of a successful hunting expedition religious ceremonies such as appealing to the ancestors for protection, social rituals such as rites of passage and healing, doing some work as a group, especially if the work is very tedious, at war to motivate the warriors to fight with courage, in festivals such as harvest, and in funeral ceremonies.Singing by Batswana, i.e. the various ethnic groups that inhabit Botswana, was originally such that all voices were in unison, meaning that there was only one part that everybody sings even though the differences in the timbre or tone colour of the voices makes it possible for the listener to differentiate between the female and male voices. The coming into contact with Europeans by African people actually brought together two distinct cultures. Vocal African music has changed from the unison style to multiple-part singing, notably the four-part singing consisting of soprano, alto, tenor and bass. Popular tunes have been harmonised to become four parts and sometimes the individual parts have been split into two, e.g. instead of just having one soprano, you have first soprano and second soprano.
Dikhwaere in BotswanaSome parts of the country are typically more dikhwaere-oriented than others. These are mainly in the southern, western, central and eastern parts of the country, which cover the Southern, Kweneng, Kgatleng, the South East, Central, and Ghanzi Districts, although, the latter and a few others not here mentioned only took up the practice in recent years.The content repertoire for the songs is quite varied with themes ranging from community issues such as the incidence of crime and how it could be combated, the good and evil aspects of traditional medicine, and the might of one choir over another. They extend to events of significance or concern currently taking place in other regions of the globe such as devastating floods, hurricanes, wars, and the outbreak of diseases. Expressive choreography is a significant feature of this genre, so that the accompanying movement is indicative of the mood of the song. It may be lively and energetic to show excitement, or gently swaying expressing solemnity.
A typical khwaere performing on Christmas Day and preparationsDikhwaere preparations start with the assembling of a selection of songs to be performed during the festive season and involve daily practices during which an individual comes up with either an original composition or a rehash of a popular tune.The tune in the original composition would then be harmonised by adding other parts such that the soprano, alto, tenor and bass voices in such a way that they are clearly defined and blend beautifully. Members of the group have an input in refining the song. Practice sessions, which are usually held in the evenings, start around October and continue until shortly before Christmas when concentration is on polishing the songs during rehearsals. Attention is also paid to other aspects of the impending performances, such as making sure that the attire for the event has been chosen and that everybody in the group has their outfit ready.
What is in the name of a khwaere?The name of a particular khwaere normally suggests something about the attributes of the group. Such attributes include level of determination and preparedness, ability and artistic prowess, and self-ratings by the khwaere in comparison with other dikhwaere. Some names have proved to be very popular, examples being International, Dipaletswe (They have failed), Dangerous, No Mathata (No Problems), and Rangers. The name 'No Mathata' suggests that the particular khwaere has absolutely 'no problem' if it has to face another khwaere in a competition. Below is a selection showing four dikhwaere from different parts of the country that go by the name No Mathata:
*No Mathata from Pitsane in the Southern District.*No Mathata from GaMoswaana in the Southern District.*No Mathata from Kgope in Kweneng District.*No Mathata from Mpeechane in the Southern District.
Below are examples of dikhwaere that go by the name 'Rangers.' Amongst these, the most popular is Rangers-Marena Choir from Artesia in Kgatleng. The khwaere in question has been in existence for years, and because of its immense popularity in the Kgatleng District and beyond, newly formed dikhwaere have adopted the same name, ostensibly aiming at achieving an equal measure of success or more:
*Rangers Choir from Tonota in the Central District.*Rangers Choir from Pitseng in the Southern District.*Rangers Choir from Mosomane in the Kgatleng District.*Rangers Choir from Ramotswa in the South East District.*Rangers Choir from Molapowabojang in the Southern District.*Rangers Choir from Mmankgodi in the Kweneng District.
The music of dikhwaereAs stated earlier in this article, the themes of dikhwaere songs focus on issues of concern to the community. Below are three examples of songs with different themes.
Song 1: Dingaka Tsa SetswanaDingaka tsa Setswana Traditional doctorsDingaka tsa Setswana Traditional doctorsBogolo jang fa 'pula di phaila Especially at the start of the rain seasonDi besa marapo Will burn bones (in the fire)
The song is about the mischief and evil intentions of traditional doctors who would go against nature and perform tricks, such as burning bones in order to prevent rain from falling. Rain is important for human existence, so any effort aimed at preventing or stopping it is detrimental to human survival. Only an evil individual would do something as evil as that.
Song 2: Fa re ka phalwaFa re ka phalwa ke Dipaletswe Should we be beaten by DipaletswePula e kana ka marothodi The rain would fallFa re ka phalwa ke Dipaletswe Should we be beaten by DipaletswePula e kana ka marothodi The rain would fall
The song expresses a condescending view by one khwaere of the lesser artistic ability of Dipaletswe, which is a rival khwaere. The confident khwaere says if by sheer luck or miracle, Dipaletswe outshines them, then an equally miraculous rainfall would occur. The khwaere that is rendering the song does not imagine ever being outwitted by Dipaletswe.Song 3: A re rapeleleng kagiso
Batho ba gaetsho wee! Oh my people!A re rapeleng Modimo Let's pray to GodA fedise dintwa le matshwenyego To put an end to wars and sufferingBatho ba gaetsho wee! Oh my people!A re rapeleleng kagiso Let us pray for peaceGo re go nne kagiso le lorato For peace and love to prevail
The above song echoes the theme of faith in God and the belief that divine intervention is the solution to all the trials and tribulations that mankind often experiences. With faith, the song states, mankind will never go through any form of suffering.
Leadership in dikhwaereDikhwaere, just like any other music ensemble, are guided by a chosen leader. The leader may be a man or a woman, but it must be someone with the charisma and inspiration necessary to keep the group in high spirits throughout a performance. A female director of a khwaere is known as a 'Mistress.' The term, as it is used, derives from the quaint ascription to 'lady school teacher' and has always been used with good intentions and respect. A male director of a khwaere is known as 'Teacher.' Like 'Mistress,' he takes part in and supervises the performance. He makes sure that the choreography is correct and the key of the musical piece suitable for everyone. He occupies a position of authority and respect in the group and may be eminently positioned at the front of the khwaere and dressed differently in order to underscore his leadership role. The 'Teacher' or the 'Mistress' may also carry a thin, supple stick that he or she brandishes authoritatively as a sign of command over the khwaere.
Musical instruments and props aplompA whistle, for which the Setswana word is phala, is the single most important instrument in the singing and dancing of a khwaere. It is played with great skill and only one person is assigned the role of blowing the whistle to bring about expressive change in the music, such as a moment of vocal silence known as setu during which the entire group dances ecstatically, displaying moves aimed at impressing the audience while intimidating the competition if two dikhwaere are 'in collision,' an expression commonly used for competition. Normally one or two members of a khwaere would carry a banner of the same colour(s) as the attire of the group that bears the name of the khwaere and its motto.
Emerging changes in dikhwaereIn a bid to support and sustain the tradition of dikhwaere, some enthusiasts are bringing into the practice some elements that threaten to defeat the objective of dikhwaere by seeking to make them provide entertainment in an atmosphere where, at times, there could be no difference between the performer and the audience as non-members of a khwaere may join in the fun without spoiling the performance. To enhance participation, such people have now taken the competitive spirit of dikhwaere to another level, that of sponsoring trophies that groups compete for.
The winning choir, as decided by a panel of adjudicators, receives a trophy. The introduction of trophies at dikhwaere threatens to dampen and even destroy the cordial disposition and mood of the celebration as the groups would aim at winning the trophies on offer.Traditionally the adjudicators at dikhwaere are inconspicuous and not seated at a table with trophies in front of them as it sometimes happens in some places in Botswana. At the end of the singing and dancing that has been alternately taking place between the two dikhwaere, a consensus would be reached by representatives from both groups as to which khwaere has won. If it is the first encounter between the two, say, on Christmas Day, the khwaere that lost will then make it a point to raise its performance so that it wins in the next round on New Year's Day. After their performances, the two groups enjoy a delicious meal and drinks provided by the host khwaere. Whatever happens, the mood between the two dikhwaere remains jovial.
ConclusionDikhwaere events are a popular form of entertainment during the festive season in Botswana. However, dikhwaere are not only restricted to the festive season as the events have been held on other occasions such as fundraising activities for different purposes. The themes of dikhwaere music reflect the alertness of the people to the conditions and situations that prevail at any point in time within the community, in the nation and even the wider world. Such themes point to a level of consciousness with regard to socio-political and economic issues by the composers. Lastly, the arrangement of voices from the originally unison cultural phenomenon of the Batswana into soprano, alto, tenor and bass typify the amalgamation of two singing cultures, that is to say, one being of African origin and the other being of Western origin.