Held at St John Gwest Church, the evening brought together seven choirs from various corners of Gaborone and surrounding villages, serving as both a fundraiser and a reaffirmation of identity. The guest line-up featured Basha and Moya choirs from Tlokweng, Adulama from Ledumadumane, Calvary choirs from Mogoditshane and Old Naledi, and Taung Church Choir. Each brought its own interpretations, but all adhered to the foundation of clap and tap structure tight vocal harmony, rhythmic clapping, and spiritual messaging, devoid of instruments or embellishments. Bana Ba Metsi, as hosts, performed a set of more than 10 songs. Among them were new compositions, Morena o Tsohile, alongside long established pieces that remain popular among their core audience. "The lack of percussion was not incidental. “We haven’t introduced instruments because our music is not for spectacle,” said Knight Lesedi, a committee member. “It’s about blessing, healing, and remaining accessible to both the elderly and the youth,” he added. That philosophy extended beyond the stage. The concert’s primary purpose was to raise funds for the completion of the church building and to support upcoming choir events, including an anticipated CD release. “We operate without sponsors,” Lesedi explained. “As a non-profit church choir, our projects depend entirely on voluntary support and fundraising through efforts like these,” he added.
Unlike many public events, there were no security barricades or formal crowd control. Attendance was high, but discipline was communal. “We usually work with other choir leaders to manage the crowd,” Lesedi said. “It’s a form of mutual respect that’s worked for us over the years,” he noted. Performers wore leteisi, reinforcing the choir’s intent to honour cultural identity within a religious context. “Our faith doesn’t cancel out our culture,” Lesedi stated. “We wear both without contradiction,” he said. The attire underscored the choir’s mission, to merge spiritual devotion with community heritage, rather than viewing them as separate spheres. The presence of Miss Clap and Tap 2024 princesses added a layer of subtle recognition. Their attendance hinted at the growing visibility and relevance of clap and tap music within Botswana’s cultural conversation. It was not treated as a spectacle but as validation of a form that continues to evolve without losing its roots. The evening began with a scripture reading and prayer, and the rest unfolded through uninterrupted choral sets. While each choir had its own voice, the cohesion came through shared restraint and collective intent. It was not entertainment in the commercial sense but it was not designed to be.
