Poet, Sani Mafote (78) recited the poem with evocative words as Bangwato welcomed their rightful kgosi to the kgotla after 99 years. The poem was initially met with enthusiastic applause. But his words have been interpreted by other people, especially the Bakgalagadi community to be offensive and somehow continue to perpetuate stereotypes and trivialise their past struggles. Mafote now finds himself in the heat of controversy. ‘Mong-arona o tsile rea leboga, hare ne o seo maloba re atholwa Sekgalagadi, re atholwa ke bo Masisi le bo Tsogwane.... ...Bana ba monna esi bagana go bidiwa Makgalagadi goroga ka pula phuthi’. These are some excerpts from Mafote’s poem.
The poem has, however, irked some quarters whose view is that the poem has far-reaching implications for the minority tribes. As such, they believe the poem was insensitive and offensive. From time immemorial, the Bakgalagadi tribe has been considered one of the minority tribes in Botswana. But now in the wake of ‘me2 movements’ and ‘I wear what I want’ the woke generation is having none of it.
Increasingly, Batswana from all corners have found their voices and it is no wonder the poem has sparked controversy. However, just like the saying, Pina ya Setswana ga ena bosekelo, Mafote believes his was just another artistic expression, which meant no harm.
In an interview with Arts&culture this week, the poet said he was just expressing himself.
“My message was of happiness because we were celebrating the return of the Kgosikgolo Khama. We didn’t know where he was all these years, and we were happy to see him back and healthy,” the poet explained. He continued: “It was a joyous moment for us because we really did not understand what was wrong as Bangwato and Batswana, so to see him back and even taking over his kgotla was a joyous moment”.
The poet is, however, remorseful that his expression may have rubbed others the wrong way but maintains his was just merely an artistic expression. “I think people did not understand where I was coming from. I acknowledge that I may have rubbed some people the wrong way. I didn’t mean to offend anybody. For me Pina ya Setswana ga e na bosekelo, just like songs in poetry, we curate words and phrases,” he emphasised. “But I am sorry about the outcome,” he added. Meanwhile, the controversy further reached Parliament where the Member of Parliament for Takatokwane and Minister of Sports and Arts, Jacob Kelebeng, expressed his disappointment with the poem.
“On behalf of Bakgalagadi, and there are a lot of them who are not happy Mr speaker, we don’t want ethnocentrism, where we have other ethnic groups that are considered as minorities. That is why they are treated and subjected to such treatment and description as displayed by the poet,” Kelebeng said.
He said as a Minister of the Arts, his wish is for the creatives not to divide the nation. However, the MP David Tshere for Mahalapye West had a different view, arguing that ‘Pina ya Setswana ga ena bosekelo’.
For his part, one of the renowned poets, Moroka Moreri told Arts&Culture that the topic is sensitive because it involves emotions. “A poet recites what they see from the nation. It may be painful but a poet recites what and how the community behaves. In my view, he was using examples of what was going on during his era. It is hurtful, yes, but it was going on at the time. As to what was happening to Bakgalagadi, it is history, we can’t erase history and pretend it didn’t happen. The truth is back then Bakgalagadi were not treated like other tribes,” Moreri said. He said the poet likened the treatment that was meted out against Bakgalagadi in the past to what Khama went through. However, he believes there should be a conversation and educational campaigns around these issues.
Renowned linguist, Professor Thapelo Otlogetswe said the poem signifies a generational difference. “He is speaking from a historical context. I believe he had no intention to offend. I understand that but he is coming from a tribal context in which Bakgalagadi were considered malata a Bangwato. It is almost an idiom to mean to treat someone unfairly. Society now is very sensitive. For him even if his intentions were pure, his language belongs to a bygone period,” Otlogetswe said.
“It is a language full of serious tribalism because, for generations, Bakgalagadi have been treated poorly to the point that when someone behaves in an uncultured manner, ke mo Mokgalagadi. This is objectionable for people who want to have an open Botswana, which does not discriminate based on tribalism, and there is no excuse for using such,” he added.
He said the maxim Pina ya Setswana ga e na bosekelo, has been used repeatedly to justify offensive language in music and poetry. However, he believes that Pina ya Setswana is available for commentary and criticism. “We can criticise the lyrics of a song without worrying about the intention of the artist and if it is acceptable artistically,” he said.
For Otlogetswe, national unity is of paramount importance and due to that we should strive for reconciliation. This is not the first time there have been issues over the use of what is considered offensive language in an artistic creation by some quarters of society. There have been songs such as Tinto by Matsieng and Ka kgweetsa nkuku by Shumba Ratshega which also elicited divided opinions.
Whilst the jury is still out on the debate, for the tribe in question the lines cut deeper, reopening wounds of marginalisation. According to them, the poem is a reminder of the subtle yet enduring prejudices they faced.
This incident underscores the delicate balance between artistic expression and cultural sensitivity. It has reignited conversations about the responsibilities of creatives in a multicultural society, where diverse identities converge and sometimes clash. For many, especially in the creative space, the poet’s work is a reflection of our society while for others, it reflects an unchecked privilege that overlooks the power dynamics at play. As the debate rages on, it poses a broader question: How can art challenge the status quo without being offensive, where do we draw the line?
A local poet’s recital over the weekend at welcoming ceremony of Kgosi Khama IV in Serowe has generated controversy, especially among Bakgalagadi. The adage, “Pina ya Setswana ga ena ba bosekelo” has long been used to shield artists from criticism of their creations. But where do we draw the line when such works offend someone else? Mmegi Staffer Sharon Mathala, writes about the topic that has elicited divided opinion in society
