Bantu language
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2 episodes with setswana
5 episodes with setswana
3 episodes with setswana
2 episodes with setswana
2 episodes with setswana
2 episodes with setswana
Reaksie word ontvang op die onderwysministerie wat sê hy sukkel om gekwalifiseerde onderwysers in Afrikaans, Khoekhoegowab en Setswana te kry. Maatskaplike aktivis, Shaun Gariseb, is van die mening dat die lynminister die probleem ignoreer. Hy verduidelik.
Many thanks to SRAA contributor, Dan Greenall, who shares the following recording and notes:Broadcaster: Radio Botswana 1983Frequency: 4.845 MHzRX location: Brantford, Ontario, CanadaReceiver and antenna: Panasonic RF-3100 and longwire antennaNotes: Radio Botswana used to be famous for their "barnyard" interval signal. While my recording, from 1983, only captures a few seconds of the cowbells, it does include their full national anthem and sign on announcements in Setswana (presumed) and English.
Gugs Mhlungu profiles Singer/songwriter, Miss Ready on her latest music. 25-year-old Tshepiso Ndlovu (aka Miss Ready) is a soulful and versatile singer, rapper, and songwriter. Miss Ready is a rising voice in the South African music scene, her latest single, “Leboko” meaning ‘poem’ in Setswana is a heartfelt collaboration with renowned producer J-Smash. See omnystudio.com/listener for privacy information.
Clement Manyathela hosts former SABC Setswana news anchor Ezekeil Matjila to reflect on his life, career, and his passion for the Setswana language.See omnystudio.com/listener for privacy information.
Botswana is a large, landlocked country in Southern Africa, a vast stretch of desert and savannah between South Africa, Zimbabwe and Namibia with a population of only 2.2 million. While widely overlooked internationally for their music, over the past 20 years Batswana has steadily built a diverse and fruitful local scene that includes traditional choirs, hip hop and kwaito, R&B and jazz and even heavy metal. While the biggest star in the country, Franco, packs stadiums with his Congolese-derived Setswana kwassa kwassa, Vee Mampeezy, Charma Gal and a host of aspiring stars champion a distinctly local fusion called house kwassa: a mix of rumba guitars, house beats and kwaito vocals. In this program we hear from Kabelo Mogwe of the popular cultural troupe Culture Spears; hip hop star Jujuboy; the metal band Skinflint; Afro soul singer Mpho Sebina and reformed house kwassa badboy Mingo Touch. We also head to a midnight recording session with young producer Zolasko and singer Naisi Boy and learn the insides of the Botswana music video industry with videographer Jack Bohloko. Produced by Lollise Mbi and Morgan Greenstreet APWW #813
Interview by Angela CroudaceThe music world is often dominated by Western narratives, but Botswana's Skinflint is challenging those narratives by carving out a unique space for African metal. Founded in late 2006, the band emerged with a vision to blend heavy metal with the richness of African culture and mythology. HEAVY spoke to the band's core members - Giuseppe Sbrana (guitar, vocals), Kebonye (bass), and Cosmos (drums) - to discuss their musical journey, influences, and the themes behind their latest album, Baloi.“Skinflint started with a simple idea: to tell the stories of Botswana and Africa, particularly the darker sides of our mythology that aren't often covered by Western media,” Giuseppe explained. “Africa is rich in history and tales, and we wanted to bring those narratives to life through metal.”The band's name, while catchy, lacks deep meaning. “It just sounded good,” Kebonye said with a chuckle. However, their mission is far from superficial. With a growing fan base across the globe, they have become a significant voice in the underground metal scene, sharing stories steeped in African folklore.Despite their passion, Skinflint has faced significant challenges in promoting their music in Africa. “In the beginning, many people didn't understand what we were trying to do,” Giuseppe admitted. “The metal scene here is small, and venues that support our music are rare. We've had to create our own opportunities.”They emphasize the necessity of collaboration among bands in Botswana, sharing resources to build their own stages and sound systems. “It's a DIY punk attitude,” Giuseppe noted, reflecting on the resilience of local artists. “But the hard work is worth it when we get on stage and share our stories.”Their latest album, Baloi, which translates to "witches" in Setswana, delves deep into Botswana's rich mythology. The title track addresses themes of love and betrayal, inspired by the legend of Lenswala Baratani - a tale of two lovers shunned by their tribe. “These stories are part of who we are,” Giuseppe stated. “We want to share them, even if they can be dark and unsettling.”Another standout track, Sangoma, explores the concept of blood magic and witchcraft. Kebonye explained, “We want to showcase our culture, the good and the bad. People fear what they don't understand, but we believe in the importance of telling these stories.”As Skinflint continues to gain traction internationally, they are often dubbed "Africa's heavy metal Gods." However, the band is quick to redirect the spotlight. “While we appreciate the recognition, there are so many great bands in Africa,” Giuseppe urged. “It's important for people to explore the diversity of African metal and the stories it has to offer.”Their dedication has resulted in a loyal following not just in Africa but worldwide. When I asked about future tours, the excitement was palpable. “We'd love to play in Australia,” Guiseppe exclaimed. “Just connect us with a promoter, and we'll be on the next plane!”At the heart of Skinflint's ethos is collaboration. Each member contributes to the songwriting process, with Giuseppe penning the lyrics while drawing on ideas from the band. “It's a family atmosphere,” he described. “We want to push each other to new heights, incorporating each member's strengths into our music.”As our conversation drew to a close, it was clear that Skinflint is more than just a band. They are storytellers, cultural ambassadors, and innovators in the heavy metal genre, determined to break boundaries and share the untold stories of Africa with the world. Their journey continues, one heavy riff at a time.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.
Access 2 Perspectives – Conversations. All about Open Science Communication
Speaker's Profile: Angelique Trusler, Community Manager at The Carpentries ORCID ID: 0000-0003-2340-8538 Dr. Angelique Trusler, with a Ph.D. in Educational Psychology, is the Community Manager at The Carpentries in Africa and a Researcher at North-West University in South Africa. She leads efforts to enhance researchers' data science skills across Africa, organizing workshops and training programs. Under her leadership, The Carpentries in Africa has grown significantly, hosting over 200 workshops and certifying more than 160 instructors. Dr. Trusler also spearheaded translating a computing glossary into seven African languages, including Afrikaans, Setswana, isiXhosa, isiZulu, Amharic, Kiswahili, and Southern Sotho, and hosted a major virtual event, CarpentryConnect South Africa 2021, with participants from 28 countries. Passionate about open science, she collaborates with researchers to improve data science education and research, aiming for universal access to these crucial skills. Find more podcast episodes here: https://access2perspectives.pubpub.org/podcast Host: Dr Jo Havemann, ORCID iD 0000-0002-6157-1494 Editing: Ebuka Ezeike Music: Alex Lustig, produced by Kitty Kat License: Attribution 4.0 International (CC BY 4.0) At Access 2 Perspectives, we guide you in your complete research workflow toward state-of-the-art research practices and in full compliance with funding and publishing requirements. Leverage your research projects to higher efficiency and increased collaboration opportunities while fostering your explorative spirit and joy. Website: https://access2perspectives.pubpub.org
Lollise is a musician, fashion designer, and visual artist from Botwana in southern Africa, now based here in New York. After many years of recording and touring with Underground System and the FELA! band, Lollise steps forward with her own bold Afro-futurist pop, rich with layers of kinetic, danceable percussion and gentle waves of ambient noise. Drawing on Setswana folk song, the sounds of nature, and infectious dance beats, she plays some of the hybrid songs from her debut LP, I Hit The Water, in-studio. Set list: 1. Semang Mang 2. eDube 3. Mme Mma Ndi
Gao Motsemme is the epitome of empowerment!Gao Motsemme, APMG Change Management Certified, CIMA Cert BA, AAT, is a master of Balanced Leadership, Communication, Interviewing, and Presentation. Fluent in English, German (C1), and Setswana, Gao is also a devoted mother of three.Known as a Human MRI/Psychic Surgeon and Freedom Illuminator (Embodiment Queen), Gao helps individuals break free from generational toxic relationship patterns, embrace self-love, and radiate true confidence. Her goal is to empower you to excel in the boardroom, bedroom, and beyond—in just 90 days!For the past 7 years, Gao has dedicated her life to empowering people to reinvent themselves, redesign their lives, and rebuild their confidence after major life changes. Her journey began with personal trials, including the end of a marriage and a judicial injustice that led to a five-year separation from her children. These experiences awakened her to her power and calling.With her unique ability to tune into energetic fields, Gao scans and addresses patterns that hinder your freedom and success. Join us as Gao shares her wisdom, insights, and strategies for transformation and empowerment.
With the crucial May elections looming, video hosting service TikTok has entered into partnerships with the Independent Electoral Commission of South Africa (IEC) and civil society organisations, to prevent misinformation and provide users with reliable information to ensure a well-informed electorate. TikTok announced an in-app Election Centre, no paid political ads and investment in media literacy as its broader strategy to maintain a creative, secure and respectful environment during the electoral period. TikTok public policy and government relations director Fortune Mgwili-Sibanda said that the in-app Election Centre represented a pivotal step towards safeguarding the integrity of the electoral process. The in-app centre will be available in local languages such as isiZulu, Afrikaans, Sesotho, Setswana and English, and users will gain access to a wealth of authoritative information from reliable sources about the South African elections. "In order to maximise the visibility and accessibility of our in-app centre, we have implemented labels on content associated with the 2024 general elections. These labels also serve as direct links to the centre, enabling viewers to access comprehensive information about the elections with a simple click," he said. He added that TikTok would facilitate access to popular election hashtags, ensuring that users searching for related content could effortlessly find and engage with relevant information. "Protecting the integrity of our platform, particularly around elections, is a responsibility we take seriously. We're proud to be a place that brings people together, and we work hard to keep harmful misinformation off our platform," he highlighted. IEC CEO Sy Mamabolo has welcomed the steps TikTok has taken to create a page for useful authenticated educational information about the upcoming elections. Mamabolo noted that factual information and positive information were key to defending citizens from disinformation, misinformation and malformation. He applauded TikTok for its efforts in educating users and combating the potential spread of harmful misinformation. "The burgeoning use of digital media in recent years has seen a corresponding surge in digital disinformation, particularly on social media platforms. Electoral processes have not been spared. Left unchecked, this phenomenon stands to undermine the conduct of credible elections," he said. Meanwhile, TikTok also has a long-standing policy of not allowing paid political advertising, and accounts belonging to politicians or political parties are not able to advertise or make money on TikTok. To further strengthen its mission, TikTok has joined forces with fact-checking organisation Africa Check on a media literacy campaign in the lead-up to and during the South African elections. Notably, this collaboration introduces a groundbreaking first for the platform - the inclusion of sign language.
1840 was a leap year, and in November David Livingstone had left Britain for Africa. His story of exploration and commitment is extraordinary. While he would go on to become better known for his attempts at finding the source of the Nile River in east Africa, it was his formative phase of life at mission stations in southern Africa that we're interested in. Born on 19 March 1813 in Blantyre, Scotland, he was the second of seven children and employed at the age of ten in the towns' cotton mill. This was way before rules about these things, and this ten year-old worked twelve hours days as a piecer, who's job it was to lay broken cotton threads on the spinning machines. He was drawn to the teachings of local evangelist, Thomas Burke. He studied medicine, and then was ordained as a minister of the church at the Charing Cross Medical School. A chance meeting with south African Scots missionary Robert Moffat in London was to change his life. Moffat was running the London Missionary Society's station at Kuruman, and Livingstone asked him if he “would do for Africa” as in survive. “I said he would” Moffat wrote later, “if he would not go to an old station, but would advance to unoccupied ground, specifying the vast plain to the north where I had sometimes seen in the morning sun, the smoke of a thousand villages where no missionary had ever been…” Forgive my pathetic attempt at a Scots accent. Young David Livingstone was going to take that to heart over the next few decades and would become known as the greatest missionary in Africa, even though the truth is he converted only one person to Christianity. He left England for the Cape in November 1840, and spent most of his time on board studying Dutch and seTswana. Joining him on board was someone else we're going to hear quite a bit about in coming episodes, another LMS missionary called William Ross. You know how everything connects one way or another. So we have Livingstone and Ross sailing to southern Africa - imbued with the concepts of evangelical christianity with it's core message Influenced by revivalistic teachings in the United States, Livingstone entirely accepted the proposition put by Charles Finney, Professor of Theology at Oberlin College, Ohio, that "the Holy Spirit is open to all who ask it". For Livingstone, this meant a release from the fear of eternal damnation. And being an earnest young man, he felt that folks should hear about this. Initially he wanted to go to China, but the looming first Opium War led to the London Missionary Society directors deciding southern Africa was safer. Livingstone and Ross landed in Simon's Bay in March 1841 after a stop off in Brazil. Livingstone stayed at Dr Philip's home in Cape Town. Philip spoke quite a bit about how he believed in the policy that all people were equal before God and the law and Livingstone believed that too. Clearly then Livingstone was not going to be welcomed by the Boers and British settlers most of whom by now definitely did not believe this message. Livingstone sailed up the coast to Algoa Bay in May and then he took a two month ox-wagon trek along with William Ross to the Kuruman Mission. There he immersed himself in Tswana life and trekked more than a thousand kilometres to Mabotse in modern day Botswana which is near Zeerust. The Boers in Pietermaritzburg had gone through a combination of good and bad. In 1839 more than half a dozen people had died when a candle tipped over in one of the houses there, burning down 13. The blaze was made worse by the gunpowder stores in most of the houses, and the fire was so intense, it set fire to nearby wagons. Hendrick Potgieter based on the high veld had still not reconciled with Andries Pretorius - but things were about to change.
1840 was a leap year, and in November David Livingstone had left Britain for Africa. His story of exploration and commitment is extraordinary. While he would go on to become better known for his attempts at finding the source of the Nile River in east Africa, it was his formative phase of life at mission stations in southern Africa that we're interested in. Born on 19 March 1813 in Blantyre, Scotland, he was the second of seven children and employed at the age of ten in the towns' cotton mill. This was way before rules about these things, and this ten year-old worked twelve hours days as a piecer, who's job it was to lay broken cotton threads on the spinning machines. He was drawn to the teachings of local evangelist, Thomas Burke. He studied medicine, and then was ordained as a minister of the church at the Charing Cross Medical School. A chance meeting with south African Scots missionary Robert Moffat in London was to change his life. Moffat was running the London Missionary Society's station at Kuruman, and Livingstone asked him if he “would do for Africa” as in survive. “I said he would” Moffat wrote later, “if he would not go to an old station, but would advance to unoccupied ground, specifying the vast plain to the north where I had sometimes seen in the morning sun, the smoke of a thousand villages where no missionary had ever been…” Forgive my pathetic attempt at a Scots accent. Young David Livingstone was going to take that to heart over the next few decades and would become known as the greatest missionary in Africa, even though the truth is he converted only one person to Christianity. He left England for the Cape in November 1840, and spent most of his time on board studying Dutch and seTswana. Joining him on board was someone else we're going to hear quite a bit about in coming episodes, another LMS missionary called William Ross. You know how everything connects one way or another. So we have Livingstone and Ross sailing to southern Africa - imbued with the concepts of evangelical christianity with it's core message Influenced by revivalistic teachings in the United States, Livingstone entirely accepted the proposition put by Charles Finney, Professor of Theology at Oberlin College, Ohio, that "the Holy Spirit is open to all who ask it". For Livingstone, this meant a release from the fear of eternal damnation. And being an earnest young man, he felt that folks should hear about this. Initially he wanted to go to China, but the looming first Opium War led to the London Missionary Society directors deciding southern Africa was safer. Livingstone and Ross landed in Simon's Bay in March 1841 after a stop off in Brazil. Livingstone stayed at Dr Philip's home in Cape Town. Philip spoke quite a bit about how he believed in the policy that all people were equal before God and the law and Livingstone believed that too. Clearly then Livingstone was not going to be welcomed by the Boers and British settlers most of whom by now definitely did not believe this message. Livingstone sailed up the coast to Algoa Bay in May and then he took a two month ox-wagon trek along with William Ross to the Kuruman Mission. There he immersed himself in Tswana life and trekked more than a thousand kilometres to Mabotse in modern day Botswana which is near Zeerust. The Boers in Pietermaritzburg had gone through a combination of good and bad. In 1839 more than half a dozen people had died when a candle tipped over in one of the houses there, burning down 13. The blaze was made worse by the gunpowder stores in most of the houses, and the fire was so intense, it set fire to nearby wagons. Hendrick Potgieter based on the high veld had still not reconciled with Andries Pretorius - but things were about to change.
Danielle Swagger est une rappeuse botswanaise active depuis 2012. Née d'un père botswanais et d'une mère zimbabwéenne, elle grandit à Gaborone, capitale du Botswana. Elle fait ses premiers pas dans le rap à 17 ans, quand son frère rappeur lui propose d'enregistrer un couplet sur l'une de ses chansons. Influencée par Viola Davis, Missy Elliott, EVE ou encore Michelle Obama, elle cherche à inspirer d'autres femmes à travers sa musique. Ses textes, en anglais, abordent notamment les violences de genre, la résilience et l'importance de ne jamais cesser de croire en ses rêves. Fan de cinéma américain, elle choisit le nom Danielle Swagger en clin d'œil au personnage de Bob Lee Swagger, interprété par Mark Wahlberg dans le film Shooter, tireur d'élite. Parallèlement à la musique, elle commence à travailler comme mannequin à l'âge de 19 ans. Ce métier, qu'elle exerce toujours aujourd'hui, lui permet de promouvoir l'image des femmes africaines dans la mode, mais aussi de toucher une plus large audience et de gagner sa vie. Désormais installée à La Réunion, l'artiste poursuit son chemin et développe de nouvelles collaborations. Elle nous parle de son nouveau single aux sonorités reggae « Wipe'Em Out », interprété en anglais, en français, qu'elle est en train d'apprendre, et en Setswana, sa langue natale. Actuellement à la recherche d'un booker, Danielle Swagger travaille sur un nouvel album et a hâte de faire de la scène pour partager sa musique sur toute la planète. Titres diffusés : 1. "Are You Ready?" 2. "Wipe'Em Out" 3. "Yelele" Madame Talk est totalement indépendant, sans publicité et gratuit. Vous pouvez soutenir le podcast en faisant un don ponctuel ou mensuel ici : https://fr.tipeee.com/madamerap.
Danielle Swagger est une rappeuse botswanaise active depuis 2012. Née d'un père botswanais et d'une mère Zimbabwéenne, elle grandit à Gaborone, capitale du Botswana. Elle fait ses premiers pas dans le rap à 17 ans, quand son frère rappeur lui propose d'enregistrer un couplet sur l'une de ses chansons.Influencée par Viola Davis, Missy Elliott, EVE ou encore Michelle Obama, elle cherche à inspirer d'autres femmes à travers sa musique. Ses textes, en anglais, abordent notamment les violences de genre, la résilience et l'importance de ne jamais cesser de croire en ses rêves. Fan de cinéma américain, elle choisit le nom Danielle Swagger en clin d'œil au personnage de Bob Lee Swagger, interprété par Mark Wahlberg dans le film Shooter, tireur d'élite. Parallèlement à la musique, elle commence à travailler comme mannequin à l'âge de 19 ans. Ce métier, qu'elle exerce toujours aujourd'hui, lui permet de promouvoir l'image des femmes africaines dans la mode, mais aussi de toucher une plus large audience et de gagner sa vie. Désormais installée à La Réunion, l'artiste poursuit son chemin et développe de nouvelles collaborations. Elle nous parle de son nouveau single aux sonorités reggae "Wipe'Em Out", interprété en anglais, en français, qu'elle est en train d'apprendre, et en Setswana, sa langue natale. Actuellement à la recherche d'un booker, Danielle Swagger travaille sur un nouvel album et a hâte de faire de la scène pour partager sa musique sur toute la planète. Madame Talk est totalement indépendant, sans publicité et gratuit. Vous pouvez soutenir le podcast en faisant un don ponctuel ou mensuel ici : https://fr.tipeee.com/madamerap.
In this episode of the SCBWI Podcast, we are joined by Lawrence Schimel!Lawrence Schimel is a full-time author, writing in both Spanish and English, who has published over 120 books in a wide range of genres. He is also a prolific literary translator, working into both English and Spanish, of over 140 books.His picture books have won a Crystal Kite Award from the Society of Children's Book Writers and Illustrators, been selected for the White Ravens from the International Youth Library in Munich, Germany and have been chosen for IBBY's Outstanding Books for Young People with Disabilities three times, among many other awards, honors, and distinctions.For his adult books, he has won the Lambda Literary Award (twice), the Spectrum Award, the Independent Publisher Book Award, and many others.His translations have won a PEN Translates Award from English PEN three times and a National Endowment for the Arts Translation Fellowship (with Layla Benitez-James for HIJA DEL CAMINO by Lucía Asué Mbomio Rubio), and have been an Honor Title for the Américas Award and the Global Literature in Libraries Best Translated YA book Award, and been finalists for the Eisner Award, the Thom Gunn Award, and the Lambda Literary Award, among other honors.His writing has been published in over 50 languages, including Afrikaans, Arabic, Armenian, Basque, Catalan, Changana, Chinese, Croatian, Czech, Dutch, English, Esperanto, Estonian, Farsi (Dari), Filipino, Finnish, French, Galician, German, Greek, Hebrew, Hungarian, Icelandic, Indonesian, isiXhosa, isiZulu, Isindebele, Italian, Japanese, Korean, Kurdish, Latvian, Luxembourgish, Macua, Maltese, Polish, Portuguese, Romansh, Romanian, Russian, Scots, Sena, Sepedi, Serbian, Sesotho, Setswana, Siswati, Slovak, Slovene, Spanish, Swedish, Tshivenda, Turkish, Ukrainian, Welsh, and Xitsonga translations.He started the Spain chapter of the Society of Children's Book Writers and Illustrators and served as its Regional Advisor for five years. He also coordinated the International SCBWI Conference in Madrid and the first two SCBWI-Bologna Book Fair conferences.Follow Lawrence Schimel on Twitter: http://www.twitter.com/LawrenceSchimelBuy BEDTIME, NOT PLAYTIME! here:https://bookshop.org/p/books/bedtime-not-playtime-lawrence-schimel/16170723?ean=9781459826731 and check out the rest of his books here:https://bookshop.org/contributors/lawrence-schimelSCBWI on Instagram: https://www.instagram.com/scbwi/SCBWI on Twitter: https://twitter.com/scbwiBecome an SCBWI member today: https://www.scbwi.org/join-scbwi/Shop the SCBWI Bookshop.org page: https://bookshop.org/shop/SCBWISupport the showSupport the show
Sandile Ngidi and Uhuru Phalafala honour the life and legacy of Keorapetse “Bra Willie” Kgositsile. Sandile asks Uhuru about Kgositsile's exile in the U.S., his impact on the Black Arts Movement and the significance of Pan-Africanism. Uhuru also emphasises several influences on Kgositsile's poetics and politics: his mother and grandmother, Setswana literature and language, music, as well as Amílcar Cabral. Sandile reads Kgositsile's “June 16 Year of Spear”, Uhuru reads “For Gloria Bosman” and they both reflect on his poems “Red Song” and “No Serenity Here”. Sandile Ngidi is a poet, art critic and Zulu/English literary translator. He is committed to researching the role of black intellectuals as critical producers of emancipatory knowledge, practices and thought especially in colonial and apartheid South Africa. In 2018, Mahlephula Press published his poetry chapbook, You Can't Tell Me Anything Now. Uhuru Phalafala is a senior lecturer in the English department at Stellenbosch University. She is a co-editor along with Phillippa Yaa de Villiers of Keorapetse Kgositsile: Collected Poems, 1969–2018 (University of Nebraska Press, 2023). Uhuru is the author of Mine Mine Mine (University of Nebraska Press, 2023), a mythopoetic epic on the migrant labour system. One of her forthcoming books is a monograph on former national poet laureate Keorapetse Kgositsile. In this episode we stand in solidarity with Chinese poet, Zhang Guiqi (known by his pen name Lu Yang). You can read more about his case in an article by PEN America https://pen.org/press-release/grave-concern-for-poet-zhang-guiqi-sentenced-to-six-years-in-prison-for-calling-on-xi-jinping-to-step-down/ and an interview with his daughter: https://www.rfa.org/english/news/china/poet-aughter-08052022092139.html As tributes to Zhang Guiqi. Uhuru reads “I Belong There” by Mahmoud Darwish and Sandile reads one of his own poems in Zulu and English. This podcast series is made possible by a grant from the U.S. Embassy in South Africa to promote open conversation and highlight shared histories.
Sun International has broken ground on its latest development: the R295-million expansion of its Sun Vacation Club (SVC) – one of South Africa's leading timeshare models – at the group's iconic Sun City resort, in the North West. The group's first significant expansion at the resort since the development of the Aviary in 2004, the Lefika Villas comprises 58 luxury villas – 48 three-bedroom villas and 10 four-bedroom villas – as well as a recreational area with a resort pool, family restaurant and kid's play area. “We are experiencing significant demand for SVC accommodation at Sun City and this expansion will help satisfy this demand. We are confident that this development will achieve above market returns,” Sun International CEO Anthony Leeming told media during the sod-turning event this week. The development forms part of Sun International's multimillion-rand masterplan that includes the potential development of another 200 two-bedroom units. This will be fully dependent on the success of Lefika Villas and driven by demand. The addition of Lefika Villas, which will be able to accommodate up to 400 additional guests, will increase the SVC at Sun City to 478 units once it is completed by November 2023. “Sun City remains perennially popular and post-Covid, we have seen an increase in demand from leisure, conference and sporting guests. We have invested significantly in the property and the Resort is in great condition. We are also seeing great demand for self-catering units at the Sun Vacation Club,” Leeming continues. “The Lefika Villas were born from the market demand for a high-end luxury, self-catering product at Sun City Resort. The SVC Lion suites and the three-bedroom units sold out in record time, highlighting the appetite for more space and more luxury,” explains SVC Group GM Janita Donaldson. As part of the development, there will be significant inclusion of surrounding communities in upliftment and knowledge and skills transfer projects, with a stipulated 30% build value to be allocated to local contractors, Sun City Resort GM Brett Hoppe adds. According to the development team, the design of Lefika Villas, which means “stone” in the local Setswana language, draws inspiration from the adjacent stone-walled Itlholanoga heritage site. The settlement, located on the northern face of the hill overlooking the entire valley, is rated as a level five for historic significance and is a designated provincial heritage site. Sun International enlisted the assistance of leading archaeological and heritage experts, including University of the Witwatersrand archaeology professor and Origins Centre director Mandy Esterhuyzen, who will assist with the management and preservation of this and surrounding historical heritage sites. The villas are also designed with as little intrusion of the surrounding natural landscape as possible, with all the units arranged to accommodate existing natural features, typography and views. “Special attention was also given to the preservation of existing natural features on site. The new villas have been located around existing natural topographies such as existing rock outcrops and existing trees as far as possible. The serene bush setting feels miles away from the heart of the bustling Sun City Resort which is literally two minutes away,” says Sun International development manager Mark Pitchers. Meanwhile, Sun International is continuing with several current upgrade projects at Sun City, which is home to the iconic 327-room The Palace of The Lost City Hotel, the 241-room five-star Cascades hotel, the 380-room Cabanas and the Bush Bungalows with 14 chalets, as well as the 340-room four-star Sun City hotel. The group embarked on a complete R208-million refurbishment of the The Palace of The Lost City, including the installation of a Spa and gym, which will be completed in November when the hotel celebrates its thirtieth birthday. The exclusive Salon Privé in the Sun City Hotel has also been given ...
Sun International has broken ground on its latest development: the R295-million expansion of its Sun Vacation Club (SVC) – one of South Africa's leading timeshare models – at the group's iconic Sun City resort, in the North West. The group's first significant expansion at the resort since the development of the Aviary in 2004, the Lefika Villas comprises 58 luxury villas – 48 three-bedroom villas and 10 four-bedroom villas – as well as a recreational area with a resort pool, family restaurant and kid's play area. “We are experiencing significant demand for SVC accommodation at Sun City and this expansion will help satisfy this demand. We are confident that this development will achieve above market returns,” Sun International CEO Anthony Leeming told media during the sod-turning event this week. The development forms part of Sun International's multimillion-rand masterplan that includes the potential development of another 200 two-bedroom units. This will be fully dependent on the success of Lefika Villas and driven by demand. The addition of Lefika Villas, which will be able to accommodate up to 400 additional guests, will increase the SVC at Sun City to 478 units once it is completed by November 2023. “Sun City remains perennially popular and post-Covid, we have seen an increase in demand from leisure, conference and sporting guests. We have invested significantly in the property and the Resort is in great condition. We are also seeing great demand for self-catering units at the Sun Vacation Club,” Leeming continues. “The Lefika Villas were born from the market demand for a high-end luxury, self-catering product at Sun City Resort. The SVC Lion suites and the three-bedroom units sold out in record time, highlighting the appetite for more space and more luxury,” explains SVC Group GM Janita Donaldson. As part of the development, there will be significant inclusion of surrounding communities in upliftment and knowledge and skills transfer projects, with a stipulated 30% build value to be allocated to local contractors, Sun City Resort GM Brett Hoppe adds. According to the development team, the design of Lefika Villas, which means “stone” in the local Setswana language, draws inspiration from the adjacent stone-walled Itlholanoga heritage site. The settlement, located on the northern face of the hill overlooking the entire valley, is rated as a level five for historic significance and is a designated provincial heritage site. Sun International enlisted the assistance of leading archaeological and heritage experts, including University of the Witwatersrand archaeology professor and Origins Centre director Mandy Esterhuyzen, who will assist with the management and preservation of this and surrounding historical heritage sites. The villas are also designed with as little intrusion of the surrounding natural landscape as possible, with all the units arranged to accommodate existing natural features, typography and views. “Special attention was also given to the preservation of existing natural features on site. The new villas have been located around existing natural topographies such as existing rock outcrops and existing trees as far as possible. The serene bush setting feels miles away from the heart of the bustling Sun City Resort which is literally two minutes away,” says Sun International development manager Mark Pitchers. Meanwhile, Sun International is continuing with several current upgrade projects at Sun City, which is home to the iconic 327-room The Palace of The Lost City Hotel, the 241-room five-star Cascades hotel, the 380-room Cabanas and the Bush Bungalows with 14 chalets, as well as the 340-room four-star Sun City hotel. The group embarked on a complete R208-million refurbishment of the The Palace of The Lost City, including the installation of a Spa and gym, which will be completed in November when the hotel celebrates its thirtieth birthday. The exclusive Salon Privé in the Sun City Hotel has also been given ...
This series of podcast episodes will focus on Decolonising Research, and feature talks from the Decolonising Research Festival held at the University of Exeter in June and July 2022. The eleventh epsiode of the series will feature Shibani Das from the University of Exeter and her talk 'Decolonising 'National' heritage: How Indian museums and cultural spaces are addressing their colonial pasts.' Music credit: Happy Boy Theme Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Transcription 00:09 Hello, and welcome to rd in the in betweens. I'm your host Kelly Preece. And every fortnight I talk to a different guest about researchers development, and everything in between. Hello, and welcome to the latest episode of Aldi in the in betweens, and this our 11th episode in the decolonizing research series. In this episode we're going to hear from University of Exeter PhD students Shivani does with her presentation decolonizing national heritage, how Indian museums and cultural spaces are addressing their colonial pasts. 00:53 This is a conversation that's been happening for about 10 years quite strongly within the mean this continent. And it addresses a couple of issues, branching from changing syllabus to changing architecture to changing public attitudes about our colonial past. So who am I to speak to you about all this, this is just to outline that I will be speaking to you not from a political perspective, but from a professional one. I have. I'm currently an HR CCDP doctoral candidate at the University of Exeter, and partly funded by BT archives. But my professional training back in India has been in and around museums and organizations that deal with cultural spaces. So just a list of the places that I have worked at. And I have been closely associated with the Government of India as well as private organizations. So the following five slides will just be an insight to what I have experienced and would not be a blanket statement I would be making across India, I'm sure there will be many people in the conversation, who want to have their own points of views. And I welcome that. Towards the end of the presentation. I've mentioned my email id and my profile. So I'll be happy to continue this conversation sometime later as well. But having said that, let's carry on. So, to begin with, I would like to talk to you about what decolonization means, in the Indian perspective. Across the past month, we've been having conversations about decolonization in the academic space or in the research space on how to how we deal with decolonization within the archives. But decolonization as a national conversation has taken a different route in India completely. So, the three main components of this conversation that are recognized the politician or the museums or cultural spaces, and the Academy space, so for a large part of Indian political history, the conversation has gone from the right hand side, the left hand side, what I mean by that is from the academic space through the cultural space into the cultural space, there was a large Academy conversation about when decolonization began, a lot of British historians believe that began when the Empire began to crumble. So with this second world war onwards, in the process of decolonization, Indian academicians did not appreciate how much focus was given to the British as actors in this conversation. So when the British decided to leave India that was a process of decolonization. What sort of nationalist historians or subaltern or postcolonial historians began arguing about was that decolonization would actually be the process of independent India, shedding the layers of its colonial past, which pushes a timeline back to 1950s 1970s. And the opening up of the Indian economy opening up the Indian quality to the larger world. This had an impact on cultural spaces and how they were designed, which led to opera how politics was designed, with regards to our colonial past, but ever since 2014, there has been a switch in how the Indian public and have been in government understands this, the conversation has switched course and short moving from the, from the from the left to the right, there is a there is a major sort of a tangible political movement to change or to manipulate or to edit, how Indians think of their past or react to their past and that political change has impacted cultural spaces and internal Academy spaces. This sort of two way conversation is quite an interesting one that we will discover more with examples that come ahead. So I've taken the liberty of sort of condensing condensing this conversation down to three simple steps. I do realize it's very reductive, but to have a good conversation, I feel some reduction is essential. So three steps for basically decolonization How would I as the government of India or as India, talk about decolonization and my approach to it. Number one, you remove, remove any selectively remove any tangible remnants of one's colonial past, if you can't remove it, then you appropriate symbolism, the conversation that we will be having would be around the India Gate and this coronation Park in New Delhi. And we'll go ahead and talk about that in a bit. Number two is God right or you 05:36 name whatever, you can't change immediately. So here we have conversations about rewriting how people react to your history or learn their histories, be it through syllabus, in schools, or in universities, or in how we interact with history on a day to day basis. For example, road names, metro station names, museum names, etc. And step number three, which is the final step, which is almost in completion right now in Delhi, is rebuild, undertake massive and drastic construction projects to change the historical landscape. Now, these steps, in my opinion happen over a long period of time, you have to begin to corrode a public's reaction or relationship with that history, to be able to take a drastic step like rebuilding a construction or tangible space. So the first conversation I'd like to have with you in the first case study we like to discuss is removed. So, on the left hand side of this presentation, you see a very interesting sculpture from coronation Park in North Delhi. It was built in 1911. On the right hand side of a familiar symbol of Indian democracy, which is India Gate built in 1921. In New Delhi, the coronation Park is a very interesting Park, it is largely abandoned, it is not it's not in the center of the city is not celebrated. It's not the focus of civic life in that area. It is sort of a graveyard of sculptures that, at the at the moment of independence when we had a lot of Imperial sculptures across the city on road crossings, and the government did not know what to do with it. They just picked everything up and the deposited in one land where the royal the bar was held in 1911. But when approaches when one approaches the park today, what one sees is just streams and streams of magnificent Imperial sculptures left and complete abandonment taken from taken out of where they were originally designed for out of that context. And not sort of responded to or agreed with or addressed by any any any person crossing the road. So that's one way of dealing with decolonization. That was when India did not know what to do with its past. So it decided to pick everything up and push it sort of like under the carpet or in a cupboard that you never want to open ever again. This park still exists and most of these sculptures are an absolute ruin. This is an example of one way of how one can deal with one's colonial past. If you can't remove the colonial symbol you can re appropriate the meaning of the colonial symbol which come which brings me to India Gate, possibly one of the most iconic symbols of Indian democracy. For Delhi at least. India Gate is a celebration of everybody who had passed away fighting for the British Empire in the First World War. It is an imperial symbol it isn't it is a power it is a symbol of all those Indians who lost their lives not for Indian freedom but for British freedom. However, this does not sit heavy on an A common Indian person's mind. The appropriate appropriation of the symbol has been so complete that it is it's visible on most sort of tourist banners, it's the center of our Republic Day celebrations. It is something that all Indians will in the evenings come and sit next to celebrate a very sort of personal relationship with it, you will have ice cream Windows walking up and down the street kids playing it's a very open space wherever we can walk in and it is understood to be a symbol of reverence and respect for one's past not not majorly sort of associated with our colonial history. So these are two ways that India has dealt with some of these major symbols of its colonial history. I spend a lot of time trying to wonder what causes this selection. Why in the India Gate did not have the same do not suffer the same destiny as sculptures from the coronation Park and the within the comes to mind. It wasn't that you can't physically remove it and you can't physically break it down. But I'll be happy to to know what you guys would feel about this as well. 09:57 The second idea is to rewrite and to rename Now these are two heavy ideas that are on the same slide. But they have a similar logic behind them. So there has been a move to rewrite history, not just within the larger Academy historiography, but also within how schools and students understand or learn that history is. So between the two major examples I can give you, the nCrt school syllabus changes, and the undergraduate course changes. Within the school syllabus changes. We've had a series of educational reforms that have moved ideas like say caste politics, or Mughal history, or communal writing or communal violence in Indians. In Indian Indian past, there's also been a move as a fairly political move to suppress the role of the Congress in the independence movement. Just to give a little bit of a background Congress was the larger political force that has been largely defeated now by the current incumbent government, which is the BJP. So ideas like for example, codes from the hero have been removed. The role of rural county in certain movements has been reduced in text. Even as far as population data about how many Hindus versus how many Muslims live in a country, or that their employment rates have been smashed. In school, the textbooks now we need to understand the sort of the sanctity with which a normal school child or or sort of a parent would regard what is it mean a text given that it is published by the government, it is considered to be of a certain value that cannot be questioned, and has been marked up and used for like school learning or passing exams. So the level of questioning that happens at this level is very minimal, which makes change like this very dangerous. This change is going to expounded when one reaches the undergraduate courses. Over the last five years, the undergraduate courses for history learning for the BA in history has been has changed drastically. Just one example that like to begin with is changing the name of, say, history of India to history of Wrath of Hara thrash, which is sort of more in a commercial dualistic Hindu approach to looking at the history of, of India. There's also been a move to sort of have courses that are titled 12:27 Indus Valley Civilization so so the Civilization and its Vedic connection. So when you have courses title like this, there's an assumption that be the history or Hindu history goes back as far as Indus Valley Civilization, which is not a historical fact. But I think through strategies like titling, like making titles like there's so many courses like this, a lot of students would not be able to exercise their ability to critically, critically address this issue, or critically understand the politics behind these kinds of changes. You also have changes in the administration of colleges, you have, in recent past, we've had a massive change in the removal of certain Dean's of principals who don't agree with political changes happening across the country. And those who are ideologically inclined tend to find themselves in positions where they can control, for example, which PhD thesis gets passed or which PhD application is successful. So you have sort of a systematic change and a sieve and a syllabus change happening at the same time. On the right hand side. It's a very interesting list. Initially, I was thinking of doing an entire background or just the number of name changes that have happened in India across and this is just a small summary of it. It's a conglomeration of CTG city name changes, road name changes, museum name changes, and it's color coded. So, when I was looking at this list, I was trying to break down logic behind it. And I found a three way logic. The first is changing a name from a British name to a secular name. The second is from Google name or a Muslim name to a Hindu name. And the third is from a Imperial name to a Hindu name. As you can see that there is a large movement towards making every name more indica, more Hindu. And the definition of indica is largely becoming a non Muslim or, or isolation like a separation change. So I've just made a color. I've just made a color coding happening. So everything in blue is your secular changes. So how Kingsway has been renamed to rajpath Queensway to Janpath all these names are largely understood to be a common secular common communal shared nomenclature, but as we move on to everything in yellow or everything in white, you see either change from for example, the web, the most interesting one was the Mughal museum that was changed to Chatrapati Shivaji Museum in 2020, which is a very recent example, this museum was to be built in Agra, which was a city made by a permaculture ruler. It was supposed to champion the Mughal contributions to Indian culture such as miniature painting or architecture. But in 2020 20, after the museum was already in construction, the Chief Minister of particular state announced that the name has to change initially to brasure Museum, which is a local Indic population or the local language population. And later, it was argued that you would have Chatrapati Shivaji, who is a very strong Mahabharata, Africa from Maharashtra, West India. So this is a trend that we all see happening very often, there are tangible repercussions to these trends, where you have a lot of financial investment in changing names, in rotations, as well. But mostly what it does is it tries to manipulate or change how the public addresses or reacts to history on a day to day basis. 15:59 The second idea is rebuilding. And this is something that I feel very personally sort of passionate about these two particular projects, and they are very recent projects. The idea of rebuilding is when you have managed to have sort of I feel discrete changes to how the public reacts to their history, or public understands their history, you've taken the time of changing the syllabus, you've taken the time of changing the road names, slowly, you're corroding how the population is reacting or responding to their own past. What you can then do is commissioned large scale projects, which undertake massive construction, either breaking down and rebuilding or building once again, and there is a trend in recent past that is creating a lot more like this, the India's moving to a more aggressive, symbolic front, a very aggressive, nationalistic kind of jingoistic front that they are putting across this. There are many examples of this one way one common example that a lot of Indians who have joined this conversation will be familiar with is something called the angry Hanuman motif. There was there is a deity called Hanuman. He's a part of the larger epic of Ramayana, which is an ancient epic in India. He's the symbolism of that figure has changed in the recent past. Initially, he was a symbol of loyalty of servitude, of bravery, and always depicted in a sort of amicable manner in paintings. In the recent past, in the past five years, there was a graphic artist in the south of India, who created a sort of a more aggressive muscled version of the same day. And before you knew it, that symbol serve spread across subcontinent at a speed that nobody predicted by be it either in car stickers or in WhatsApp profile photos. It began to be adopted by a lot of population in India because they began at some level, responding positively to this change, of attitude of change of nature to a more aggressive or more sort of nationalist or jingoistic front. But the two examples I've taken up over here, the first is the central reverse the central Vista redesign project in in September 2019, the government of India undertook a project, they made a sudden announcement that they would undertake major reconstruction on the Kings way and the Queen's were erstwhile kings and queens. So, now the Janpath and the rajpath, which isn't center of Delhi, which is called Docklands, Delhi, are bakers and latrines Delhi. because of two reasons, the first was pragmatic reasons or, for example, government offices are very old buildings, they need remodeling they need re they need to accommodate more people, they need to have a lot more efficient working by putting everybody in one building so all these pragmatic concerns that were coming up the second reason was a sort of an ideological opposition to who design this part of the city be it meant specifically Latvians and Baker B them specifically being British, artists, architects, and the idea of the entirety of central value being a British project or a Brit British construction and the government sort of expressed some concerns with how the British chose to depict or chose which aesthetic elements from which design path design history of India did they choose to incorporate and how the current India the powerful current modern India should rebuild something that is more in tune with a more authentic Indian aesthetic. So there was is a large sort of pushback to this decision, especially in a pre pandemic time, there were protests happening about the level of construction that will be required, specifically in a time where India was suffering through a pandemic and needed sources resources in other in other parts of the, of the country. The scheme of this redesign was extremely massive from breaking down any building that is not heritage sites or anything built after 1950s will be broken down, including the National Museum, the entire central secretariat will be evacuated and made into museums of freedom and democracy. And a massive construction would take place that would eradicate all these parks and public space that you see on the side. 20:48 So this project has sort of divided India a lot in the recent past, specifically with having sort of all academicians to one side and say, sort of a push back from a more pragmatic part of India on the other side, and that only Gupta, who's very respected historian from Delhi spoke about how Janpath or Raj producible was supposed to be a more like a more civic friendly space, for example, to allow a car like a classless a costless space for Indian Indians to come in enjoy their own city, their own capital, to come in have picnics here to have football games here to have walks around India Gate was something that was supposed to be a very common practice amongst delegates who would do this on a day to day basis. However, the current project plans to eradicate all these civic spaces and change a lot of what India Delhi sees as its historical past or its landscape. Now, it is an argument that hasn't been cited as of yet the construction project is ongoing. But one this is I feel one way of handling or decolonizing. One one's own past is sort of pushing back and breaking down these remnants. And then it begs the question of at what point do we stop? At what point do we understand that, like, we put a limit of how much we can go back into a pure version of Indian past, right. The the next example, that came away recently, this month actually was the revealing of a new national symbol. So on the parliament building on top of the parliament building, we would have the Ashokan, Lion Capital head, which you see on the left hand side, this is from 250 BC, from the Shogun empire. It was it sort of Pope's entire pillar, that was the pillars that were built up across India. On the left hand side, you see a line that is a lot more aesthetic it is it shows us an idea of sort of protectiveness or of pride, as opposed to as opposed to the right hand side that can that tone, like in terms of tonality, in terms of aesthetic shows a lot more of an aggressive militant, or sort of an anger that was absent in how India perceived itself in the past. My personal opinions aside, there is a larger collage conversation happening about this sort of tonal tonality change or aesthetic change that one is noticing across India, but this is another example of how we are sort of decolonizing or changing how we want to be perceived across the world. Which I found very, very interesting. However, I mean, I can I can understand how it would be would feel that I'm being very negative about these changes. So I'd have a nice slide about how I think that decolonization also has positive impact on how museums portraying themselves. So on the top you have my favorite museum in Delhi, which is the National Museum as you can see, this is a picture from the basement. I think it's the one early medieval crafts and constructions and that's what the gallery is called. As you can see, it's a very sort of old institution. There are large glass cabinets separating the viewer from the artifact. It's air conditioned, it's very sanitary. It's very Imperial. 24:20 Everything is shut off behind certain glass and wooden cabinets, Kavita Singh, who is the head of department of art and aesthetics department in JNU. Jawaharlal Nehru University has written a very nice article called The museum is national where she discusses the impact or the influence of Imperial thought on Indian history on how the national museum itself is designed. So the initial galleries that you have are periodic galleries such as in this Valley Civilization mariage manga Setswana. Moving on to your early medieval late medieval but the moment Indian history starts approaching this Mughal phase National Museum changes its galleries name to materiality. So it becomes from early medieval late medieval becomes brutal architecture, or metal work or musical instruments are most in a way, denying the Mughal aspect of the Islamic aspect of Indian history by how it's designed. It's a very Imperial institution. So also it sort of repels a lot of Indians from entering the institution who feel like they don't belong inside of they don't have a right to walk inside. So it does create a space of otherness. It does elevate civil, I mean culture towards sort of upper level of only being accessible to the elite who feel like they can enter the museum and walk in whenever they want. On the bottom, we have a nicer a much a much more different way of approaching Indian culture, which is the National Museum in Japan. This is an open open design museum that celebrates village life and broom and poo making that's a local culture. The space is a lot more welcoming to a larger class of Indians, it is a lot more spread out is more in tune with indigenous architecture, and indigenous weather, it also would have employed a lot more locals in the construction and maintenance of the museum. So it does have a lot more specialized focus in terms of where the load the location or the locality of what it is celebrating as opposed to a national mall mostly sort of dominating centralizing figure, the National Museum, which has captured the artifacts from across the Indian subcontinent. As the last line to my conversation, today, I'm gonna be starting the cutting to talk to you about opening up the conversation, I want to talk to you about the thin line between decolonization and re colonization. There's something that I began thinking about when I was thinking, what how India is dealing with its past where, in order to address a past, we are trying to replace it with another idea of our history, which has very tangible repercussions on how future generations will see India and how future generations will think about India. So at what point? Do we sort of white like, at what point we fill the vacuum that decolonization that? The idea of removing a colonial perspective of our past? At what point will the bathroom become so strong that we need to fill it with something else? Is that something that will always happen? Can we have an absence? Or can we have can we deal as a people with a change in our how we perceive our history without putting another ideology on top of it and making sure that gets accepted. So when I think about how India is dealing with its colonial past, I feel that there are some negatives of house aggressively it is trying to do so. At the same time, I do believe that there are a lot of positives in the sense of making, changing how we perceive design or how we perceive our cultural spaces, who is supposed to be what's meant for who who understands or appreciates, or, or is able to access it. But it is a thin line that we do need to discuss and address at some point. I do understand I've been speaking for a good 30 minutes now. And I could go on for much longer. But I would like to now open the field, open the conversation up to any questions that anybody might have. Please feel free to use the chat or unmute yourselves. We can talk about I have a lot of examples on my notes that I would love to discuss with you. We can compare how other nations are dealing with that as well. But in the long list of lectures where I saw a lot of conversations about research, and sort of African African reaction, etc. I felt this conversation about how India is dealing with it in its own way, was an important one to have. Thank you so much for your time. It's been a pleasure. 29:02 And that's it for this episode. Don't forget to like, rate and subscribe. And join me next time where I'll be talking to somebody else about researchers development and everything in between
After acquiring platinum producer Lonmin's operations in 2019, diversified miner Sibanye-Stillwater continues to contribute to reparations for those community members who were affected by the violent wage-related protests near the then-Lonmin-operated Marikana platinum group metals (PGMs) mine between August 14 and September 18, 2012, which claimed the lives of 40 miners, two police officers and two Lonmin security guards. Since 2019, Sibanye has been actively engaging with various stakeholders in Marikana to “create a new legacy through healing and hope in collaboration with all shareholders”, in an effort to bridge the divide between the area's mining operations and the people who live there. This led to the establishment of the Marikana Renewal programme, which was launched in 2020 by Archbishop Thabo Makgoba. The heart of the Marikana Renewal programme is what has been called the Letsema Process – Letsema is a Setswana word that means “voluntarily working together”. Social facilitation organisation ReimagineSA has been contracted to facilitate engagement and drive the Letsama Process. MEMORIAL PARK The Marikana Renewal programme held its first pitso – a traditional Sotho gathering – in May, which was attended by 94 family members of the deceased, during which it was emphasised that the lives those striking miners who were killed in the conflict were “honoured” by engaging their families to help co-create a path toward constructing a memorial park. The memorial park, which Sibanye group manager properties for South Africa PGMs Fritz Jooste said was still in the conceptual stages, will be situated in between the two koppies where the majority of the deaths occurred on August 16, 2012, when hundreds of strikers armed with knobkerries, pangas and guns stormed police lines and were shot down after non-lethal riot control methods failed. Speaking to members of the media on July 14 on the site where the violence erupted ten years ago, Jooste said the memorial park was being conceived as possibly an amphitheatre, with walkways, indigenous landscaping and a remembrance monument erected in honour of the 44 people who lost their lives in the clash. “We would like for people to visit the area. Previously, Lonmin's proposal was to almost commercialise it, which we don't think is appropriate,” Jooste said. He explained that the reason the memorial park has taken so long to erect is partly because Covid-19 broke out shortly after Sibanye acquired Lonmin's assets, partly because negotiations with the Bapo Ba Mogale landowners had to be concluded, and partly because multi-stakeholder engagement had to be achieved. With the first pitso now concluded, and two more scheduled for the remainder of this year, Jooste said Sibanye was planning for the implementation of the memorial to begin next year. SUPPORT TO THE BEREAVED In 2014, 23 widows and 21 family members accepted offers of employment by Lonmin, most of whom Sibanye continues to employ. Closure counselling also continues to be offered to widows and their beneficiaries. Meanwhile, Sibanye continues to offer legal support for the widows and families of the miners killed who have not received any compensation from the State, by engaging with the relevant authorities with a view to pursuing compensation. Sibanye is also building houses for the bereaved, comprised of housing requested by some of the widows during a meeting with Sibanye CEO Neal Froneman in 2019. As such, Sibanye committed to providing 16 houses to widows who had not received any of the 34 houses built by a trust fund set up by the Association of Mineworkers and Construction Union in 2016. Sibanye managed to build eight of those houses before Covid-19 resulted in delays to the programme, Jooste said. Eight houses are currently being built in locations that were selected by widows, including in the Eastern Cape, Mpumalanga, North West, the Northern Cape and Lesotho. Of the eight houses that have been built, seven have been r...
With more than 7 000 languages globally, we look at mother tongues. Can Kiswahili be Africa's lingua franca? And we explore two people's complex relationships with their languages: Setswana and Arabic. Chapters 02:20 - Kiswahili 19:27 - Setswana 29:42 - Arabic
Botswana is a large, landlocked country in Southern Africa, a vast stretch of desert and savannah between South Africa, Zimbabwe and Namibia with a population of only 2.2 million. While widely overlooked internationally for their music, over the past 20 years Batswana have steadily built a diverse and fruitful local scene that includes traditional choirs, hip hop and kwaito, R&B and jazz and even heavy metal. While the biggest star in the country, Franco, packs stadiums with his Congolese-derived Setswana kwassa kwassa, Vee Mampeezy, Charma Gal and a host of aspiring stars champion a distinctly local fusion called house kwassa: a mix of rumba guitars, house beats and kwaito vocals. In this program we hear from Kabelo Mogwe of the popular cultural troupe Culture Spears; hip hop star Jujuboy; the metal band Skinflint; Afro soul singer Mpho Sebina and reformed house kwassa badboy Mingo Touch. We also head to a midnight recording session with young producer Zolasko and singer Naisi Boy and learn the insides of the Botswana music video industry with videographer Jack Bohloko. Produced by Lollise Mbi and Morgan Greenstreet in 2020 APWW #813
Leading up to my first workshop in Gaborone, Botswana, I sat down for the Femme Focused Mid-Morning show radio segment on Gabz FM where radio host, Gaone Lorato Kgaswanyane-Khumomatlhare, celebrates women for their extraordinary contributions to society, remarkable triumphs and unmatched fearlessness. In this episode, I speak a little about my life story and my life's work, and how I continue to overcome life's difficulties growing a business and tending to my mental health. We especially spoke about celebrities and mental health and I offered my opinion on the current state of the industry. We got real comfortable in this episode, I even left with a traditional Setswana name. You don't want to miss this episode! CONNECT WITH LATOYA Follow Latoya De'Shaun on Instagram - @Latoyadeshaun Go to info@patentleatherproject.com to join Latoya's Gain Confidence + Transform your Life online coaching program. Let Latoya know who you are and why you're interested in changing your life and starting a work from anywhere business. BOOK LATOYA FOR MAKEUP GIGS Email Latoya at me@latoyadeshaun.com to book her for high profile makeup gigs BOOK LATOYA FOR SPEAKING GIGS Email Latoya at me@latoyadeshaun.com to book her for speaking gigs related to makeup, mental health, and entrepreneurship
Gillian Bremner was looking for something different when she retired from her role as CEO at Presbyterian Support Otago. Little did she know she would soon be running a multi-tiered tourism company in Botswana.
Okavango Delta ke sekao sa gore go ka nna jang ha batho ba tsaa tsia dikhumo tsa tholego. Le thokometswe ka fa molaong ke legotla la UNESCO. It's the world's 1,000th UNESCO World Heritage site. Ke naga e tletseng diphologolo ka mehuta, jaanong seo se dira gore e nne sekgantshwane sa Bojanala lehatshe ka bophara. Mme gase banni bothe ba akolang katlego ya Okavango. Re simolola ka go utwa ka botshelo ja bogologolo go santse go tsomiwa dikubu, mme re tsenelela mo kgang ya gore, ke eng sese dirang gore lefelo e nne legae la batho? Ebile ke mang yoo tshwanetseng go boelwa ha naga dira dipoelo? Mo ke karolwana ya Bothano ya tse borobabodedi tsa Guardians of the River. O ka reetsa polelo yothe ka sekgoa ko www.wildbirdtrust.com Polelo e, o ne oe tisetswa ke lentswe la ga Dawson Kgosi Ramsden, yo o neng a ranola mantswe a ga Kerllen Costa, yo neng a bega polelo ka sekgoa. Polelo e ranoletswe mo Setswaneng ke nna Thalefang Charles, ebo e gatisiwa ke ba Faya Chune Republik, House of Pod, le Crania Studio. Mantswe a mangwe ke aga, Gabonamang GB Kgetho, Tomeletso Water Setlabosha, Katlego Isabella Motsamai, ga mmogo le Keikantse Phele, mmueledi wa ditshwanelo tsa batho. Dipina tsa SeYei di ne di opelwa ke bo Mme ba Seronga ha Seorooro se letswa ke Thopho Tom Rethiyo. Polelo ya Sekgoa e kwadile ebile e gatisitswe ke Cat Jaffee le ba National Geographic Okavango Wilderness Project. Barotoetsi ke National Geographic Storytelling Grant le Wild Bird Trust.
This week's podcast episode features Seopedi Baitsile, founder of The Upcycle Project in the African nation of Botswana. Seo discusses her inspiration for her work, which makes a difference "one bottle at a time." She also talks about how she is helping to combat the increase in non-biodegradable packaging waste seen in Botswana with an education campaign focused on #NtsholeleMoSkaftining, which is Setswana for "bring your own container." You won't want to miss this uplifting interview! To view Seo's work, visit this week's Meet Me on Planet 3 Blog Post and The Upcycle Project's Instagram Page: t.u.p._ Click HERE to learn more about Botswana from National Geographic Kids. If you enjoyed this episode, subscribe today, and tell a friend to Meet Me on Planet 3 as well! Also check out my blog, follow @meetmeonplanet3 on Instagram and Twitter, and email me with topic suggestions or questions - meetmeonplanet3@gmail.com.
Unati Mgandela and Stan Montsho, Co-authors of Imiphumela Yobulumko – Maungo a Botlhale, on what to expect from this poetry book written in both Setswana and IsiXhosa languages, with a purpose to remind our beloved rainbow nation that unity, love, working together and common vision. See omnystudio.com/listener for privacy information.
Sabata-mpho Mokae is an academic, novelist and translator. He teaches Creative Writing in African Languages at the Sol Plaatje University in Kimberley. He has written an accessible biography 'The Story of Sol T. Plaatje' (2010) and Setswana novels 'Ga ke Modisa' (2012), 'Dikeledi' (2014) and 'Moletlo wa Manong' (2018). He has translated two children's books by Gcina Mhlophe ('Our Story Magic' to 'Semaka sa Dinaane' and 'Stories of Africa' to 'Dinaane tsa Aforika') from English to Setswana. He has also co-edited, with his British colleague Professor Brian Willan, two academic books; 'Sol Plaatje's Mhudi: History, Criticism, Celebration' (2020) as well as 'Sol T. Plaatje: A life in letters' (2020). In 2014 he was a writer-in-residence at the University of Iowa in the USA where he was subsequently awarded a fellowship. He has won the M-NET Literary Award for Best Setswana Novel (2013), M-NET Film Award (2013), South African Literary Award (2011 and 2019) and the Humanities and Social Sciences Award (2020). He is an affiliate at the Tsikinya-Chaka Centre at Wits University.
Guest: Asanda Ngoasheng | Political Analyst and Research Assistant at Centre for Rights and Justice at University of Sussex See omnystudio.com/listener for privacy information.
In this episode, I connect with a very dear soul sister and friend, Farrah Theresa. Farrah is a nature connection guide, permaculturalist, and musician. Her and I speak about 'ecological identity' and the various threads that lead into and out of this concept. We gently dig into rich soil together, co-locating ourselves in the sacred realms of being human, being here on earth, being of earth, and being for earth. Farrah also shares a powerful guided meditation as well as a gorgeous and haunting song weaving that she channels on the piano in the moment. Farrah's BioMy name is Farrah, South African born and bred on the land of the Sesotho , isiZulu, IsiXhosa & Setswana, currently living on Sḵwx̱wú7mesh Nation (Squamish) land in British Columbia, Canada.With my foremost training Social Anthropology & Psychology I first channeled my love for the service of humanity from a social perspective and later into eco-social endeavors as an Environmental Educator, Permaculturalist and general plant-enthusiast in Thailand, Malaysia, South Africa and most recently, the West Coast of Canada. Something kept tugging at me soul to go deeper, to connect with the roots of my childhood in wild places where the dangers of baboons, green mambas and wild bush-pigs kept us ever witness to our place in the world. Thus began my journey 'back to my wildish-nature' through the guidance of the Work That Reconnects, Forest Bathing, Coyote's Guide and Braiding Sweetgrass. And so I offer you this co-exploration of deepening & expanding our true relationship with the natural world through intentional earth-based practices. My deepest hope in these offerings is that we may learn to live our lives in authentic gratitude for all that we are gifted in this life, and in so doing co-create a more harmonious world. ______________________________________________________________________To learn more about Farrah and her beautiful offerings you can find her online at...Website: https://www.farrahtheresa.com/Current Offering: Self-Guided Forest BathingInstagram: @farrah_theresaSoundCloud: https://soundcloud.com/farrahtheresaPatreon: https://www.patreon.com/FarrahTheresaShow Notes:Music "Running Water" by Jason Shaw from the Free Music Archivehttps://freemusicarchive.org/music/Jason_Shaw/Audionautix_Acoustic/RUNNING_WATERS______________2-46"Clear Waters" by Kevin MacLeod from Incomtech https://incompetech.filmmusic.io/song/3516-clear-watersPodcast theme music is "Karma Cat" by Dyalla (Creative Commons License)Books MentionedComing Back to Life ~ by Joanna Macy and Molly Young Brown Thinking Like a Mountain ~ Multiple AuthorsMagdalene Manuscript ~ Tom KenyonEcological Intelligence ~ Ian McCallum Ecotherapy: Healing with Nature in Mind ~ Linda Buzzell and Craig ChalquistAnansi Boys ~ Neil GaimonWomen Who Run With the Wolves ~ Dr. Clarissa Pinkola-EstesSupport the show (https://www.patreon.com/ambersamaya)Support the show (https://www.patreon.com/ambersamaya)
We discussed a number of things including: 1. Richard's background and his impact on population health worldwide 2. Progress on the COVID-19 response - vaccines and treatments 3. Concerns about inequity in relation to the pandemic 4. Programs that are addressing these challenges Since the beginning of the AIDS epidemic, Richard Marlink, MD, has worked to establish HIV/AIDS research, training, and clinical care programs in the United States and abroad. He was instrumental in setting up the first HIV/AIDS clinic in Boston, and in the mid-1980s in Senegal, he was part of the team of Senegalese, French, and American researchers who discovered evidence for and then studied the disease outcomes of the second type of human AIDS virus, HIV-2. Previously at Harvard, Marlink helped create two partnerships with the government of Botswana: the 1996 Botswana-Harvard Partnership with the Harvard AIDS Initiative, where he was executive director, and the African Comprehensive HIV/AIDS Partnerships, a public-private partnership with the government of Botswana that was launched in 2000 with funding from the Bill and Melinda Gates and Merck foundations. Also in 2000, Marlink founded the Kitso AIDS Training Program, which would become Botswana's national AIDS training program. Kitso means “knowledge” in the local Setswana language. Marlink was the principal investigator for “The Tshepo Study,” the first large-scale antiretroviral treatment study in southern Africa, funded by the Bristol-Myers Squibb Foundation's Secure the Future initiative. His research in the region also includes clinical and epidemiological evaluations to help determine how antiretroviral treatment and national treatment programs can best be accomplished in Africa. Since 2000, programs he has created and/or led have trained tens of thousands of health care workers and helped establish national programs on the care, treatment, and prevention of HIV/AIDS in several African countries. Following the 2003 launch of the U.S. President's Emergency Plan for AIDS Relief (PEPFAR) to combat global HIV/AIDS, the largest commitment by any nation to combat a single disease in history, Marlink was Botswana's country director for the Botswana-Harvard PEPFAR effort. In addition, while serving as scientific director and vice president for implementation at the Elizabeth Glaser Pediatric AIDS Foundation, he was principal investigator of Project HEART, another PEPFAR Track 1.0 effort in five African countries. Project HEART began in 2004 and by 2011 had placed more than one million people living with HIV into clinical care sites in Cote d'Ivoire, Mozambique, South Africa, Tanzania, and Zambia. More than 565,000 were placed on life-saving antiretroviral treatment.
After listening to this podcast episode you will fall in love with Botswana and will definitely add it to your list of countries to visit ASAP. In this dynamic episode, we talk to Katso Thobega, a medical student and a part-time model :) from Botswana. (You can find her on Instagram at instagram.com/_katso._/) You'll learn about different tribes of Botswana, national traditions and dishes, amazing wild nature of the country... You'll even have a chance to learn a few words in Setswana language! She also created a special playlist with the best Botswanan music just for our listeners! (youtube.com/playlist?list=PLQVKRnMbdgyiZyNjw-iC65Fei6HlYLKu5) Dive in! And don't forget to subscribe so you don't miss the next episode!
Welcome to Season 2 of the Shades and Layers podcast! Trigger WarningIn this episode, Thokozani Ndaba, Founder and Executive Director of the South African non-profit Ntethelelo Foundation, shares her story. We talk about the impact she's been able to make through her life's work in one of her home country's poorest neighborhoods, Alexandra township. Thokozani and her team of volunteers at the foundation use Applied Drama and theatre techniques to help young girls, their families and broader community to find solutions to their own unique set of challenges. She also addresses issues around being a sexual assault survivor, and how this fuels her work. Pic by Nunu NgemaMENTIONED IN THIS EPISODE:- South African Visual Aritsts, Lady Skollie and Nelson Makamo - Lekgotla - loosely translated it means a gathering or meeting place in Setswana, but the word also encapsulates democracy in action where participants (leaders) are contributors to important decisions concerning a community. These can range from local feuds to criminal cases to the future of a clan. -Award Winning Activist: In 2018, Thokozani was awarded a GLAMOUR Women of the Year Award for her work
In this episode, we’re looking at the Kalahari Ecosystem. Botswana is a country that named its currency „Pula“ - the Setswana word for „rain“. Rain dictates life. Massive thunderstorms cross the vast open plains of the Kalahari and create heavy local downpours. The mighty Kwango river floods the Okavango Delta in the north, turning the dry sand into the worlds largest inland delta. Thousands of animals make their annual migration to grazing grounds - and in their shadows, predators like Lions follow. Let’s have a closer look at the seasons of Botswana! Become a supporter today and gain access to exclusive content like bonus podcast episodes, video and audio material as well as regular Q&As: https://www.patreon.com/sirga
According to the World Health Organization, coronaviruses are a large family of viruses that cause diseases ranging from the common cold to more serious diseases. Covid -19 is a type of coronavirus that now affects more than 162 countries out of 195. This outbreak is serious! And in this program you can find more information and ways to prevent the spread. Listen, download and share for free. Voice: Pholoso Maje Image: Washing Hands Music "Burn Your Village to the Ground" by A Tribe Called Red. Used with permission. Links:
Caitlin Lanigan didn't even own a passport growing up in suburban Buffalo, New York. But deciding to do a semester abroad in Australia sent her down a Divergent Path that took her all around the world. After college, Caitlin volunteered for the Peace Corps in Botswana. She lived there and worked in a medical clinic for two years. Caitlin has some amazing stories to tell from her experience in Botswana. She was profoundly impacted by the kindness of the people there every day. And experiences like having to wash her clothes by hand or being without tap water for weeks at a time made her grateful for the little things we take for granted. She hitch hiked around the country and met many generous and friendly Bostwanan people. She even learned to speak Setswana, the national language of Bostwana. Botswana has the highest concentration of elephants in the world and is home to such natural beauty. Caitlin would see elephants almost every day on her way to work! They would even terrorize the village at times and dig up sewer drains in search of water. Crazy stuff! Read more about Caitlin here: https://rolliepeterkin.com/caitlin-lanigan-volunteering-peace-corps-botswana/ ------- Please feel free to reach out to me on social media! Instagram - https://www.instagram.com/rolliepeterkin Twitter - http://www.twitter.com/rolliepeterkin Facebook - https://www.facebook.com/rollie.peterkin Website - http://www.rolliepeterkin.com/contact My book - The Cage: Escaping the American Dream http://amzn.to/1Y0xbzD
This is a public service announcement about the coronavirus or Covid-19 disease outbreak. While countries all over the world are on lockdown, and panic is the order of the day, this is a time when Indigenous Peoples around the world are encouraged to stay calm, and be strong, in the face of severe adversity. What is most important to note, is that our elderly are the most vulnerable. We need to take extra precaution to save the lives of the ones who are dear to us, and the ones who have shown us the way to go, who have guided our feet on the path that we all walk. Producer: Shaldon Ferris Voices: Pholoso Maje Image: Washing Hands Music "Burn Your Village to the Ground" by A Tribe Called Red. Used with permission.
This is a public service announcement about the coronavirus or Covid-19 disease outbreak. The Covid-19 Pandemic is upon us, and we all need to adhere to all the hygiene protocols. While it is important to ensure the well-being of our elders in the time of this global pandemic, let us take care of our children too. If this is new for us, imagine the psychological impact it has on our young ones. Take the time to explain it to them, first hand, as opposed to what they see and hear on social media, television and radio. Producer: Shaldon Ferris Voices: Pholoso Maje Image: Washing Hands Music "Burn Your Village to the Ground" by A Tribe Called Red. Used with permission. Links: Coronavirus, World Health Organization
Jacaranda FM — In a world in lockdown, many businesses, both small and large, are facing closure. Jo Watts, owner of talent acquisition company, 'Talent Brand', joined me on a Zoom call to talk about that, sleepless nights, and an initiative that is going to change everything!We are all under stress and pressure to keep our livelihoods and businesses up and running through lockdown and into a new and unknown future. What we may not realise is that as humans, some of our best lightbulb moments come from helping each other! As Mahatma Ghandi said: "The best way to find yourself is to lose yourself in the service of others." And that is exactly what Jo did! It was during a sleepless night that Jo came up with the Real Heroes Connect, an edutainment platform offering critical information about preventing the spread of the virus!To educate as many essential workers, educators and learners as quickly as possible, Jo and her company, Talent Brand, joined with Mobitainment and TTRO to produce a series of nine short animated videos, available in English, Afrikaans, isiZulu and Setswana and available across multiple platforms, providing information about topics such as physical distancing, when to self-isolate, safely travelling to work and school and how and when to get tested. Another great article: Danny and Oli Milne chat stage fright, nudity, and lockdown drinking These short, animated videos are available in both static and interactive format. The former enables employers to broadcast the videos at plants, canteens, and in training rooms and classrooms. Meanwhile, the mobile interactive videos developed by Mobitainment can be watched on employees’ phones. By SMSing “HERO”, or your “company name” or “school” to 30864, employees and learners will obtain a link which they can click on to watch the video whenever they are ready, without incurring data costs.
This is a public service announcement about the coronavirus or Covid-19 disease outbreak. While we adhere to the precautionary measures that prevent the spread of the coronavirus, it is important to strengthen the defenses in our body through responsible and healthy nourishment. Having a healthy immune system means that our bodies can fight the virus. Within the community there are a great variety of foods that grow and are produced that can cover the needs of our families and of those elders who live alone. Producer: Shaldon Ferris Voices: Pholoso Maje Image: Washing Hands Music "Burn Your Village to the Ground" by A Tribe Called Red. Used with permission. Links: Coronavirus, World Health Organization
This is a public service announcement about the coronavirus or Covid-19 disease outbreak. While countries all over the world are on lockdown, and panic is the order of the day, this is a time when Indigenous Peoples around the world are encouraged to stay calm, and be strong, in the face of severe adversity. What is most important to note, is that our elderly are the most vulnerable. We need to take extra precaution to save the lives of the ones who are dear to us, and the ones who have shown us the way to go, who have guided our feet on the path that we all walk. Producer: Shaldon Ferris Voices: Pholoso Maje Image: Washing Hands Music "Burn Your Village to the Ground" by A Tribe Called Red. Used with permission. Links: Coronavirus, World Health Organization
Another lesson of Setswana . In this episode I suggested that if anyone wants to do a zoom live and find out more about each others cultures , I'll be more than happy to accept the offer . Link to pdf : https://files.peacecorps.gov/multimedia/audio/languagelessons/botswana/Bw_Setswana_Language_Lessons.pdf
Continuation from Lesson 2 on the pdf . Link : https://files.peacecorps.gov/multimedia/audio/languagelessons/botswana/Bw_Setswana_Language_Lessons.pdf Music credits : Yoon Jiyoung - Shade
Me being such a person who is eager to learn languages and cultures of other countries , I thought it would be nice for you to learn some Setswana if you are interested . Credits to Peace Corps : https://files.peacecorps.gov/multimedia/audio/languagelessons/botswana/Bw_Setswana_Language_Lessons.pdf This episodes music credits : The Marías - Hold It Together
@FreshOn947 @TheZweli @MantsoePout @Shannon_Leibach @DJFreshSA #FreshOn947 A new day will dawn in Africa Brand SA’s Africa Day initiative focuses on harnessing African unity in response to Covid-19 The ensemble features leading South African Arists including DJ Maphorisa, Kabza De Small, Riky Rick, Rouge Rapper, Youngsta CPT, Shasha, Tresor and Dee Koala. Brand SA will be celebrates Africa Day 2020, with a unique initiative designed to encourage and promote African unity. The initiative, called Play Your Part – “Africa Unite”, will be spearheaded by the launch of a new ensemble song, written and produced to celebrate the diversity of Africanism in all of its many facets, especially in language and the arts. The song, which is also titled Play Your Part – “Africa Unite”, aims to highlight and foster African unity, and features a number of languages spoken on the continent, including Swahili, Lingala, Zulu, isiXhosa, seTswana, English, Afrikaans, Shona and French. This multi-lingual approach is inspired by the bold, vibrant, and resilient African spirit, which has once again come to the fore during the current Covid-19 pandemic. The Play Your Part – “Africa Unite” song, which is inspired by this unique African world view, features leading South African artists including DJ Maphorisa, Kabza De Small, Ricky Rick, Rouge Rapper, Youngsta CPT, Dee Koala and Shasha from Zimbabwe, as well as Tresor, who hails from the DRC. The lyrics are a clarion call to Africa’s large youth population to stand firm in the face of the Covid-19 pandemic and to #PlayYourPart in halting its advance. The Play Your Part – “Africa Unite” song which features the tagline ‘unity in action’ will be available for streaming and downloads on all major platforms including Apple Music, Deezer and Spotify from Monday, May 25th. Proceeds from streaming and downloads of the song will go toward the Solidarity Response Fund. The fund’s mandate is to support the national healthcare response to Covid-19, contribute to humanitarian relief efforts, and mobilise South Africans to work together to prevent the spread of the virus. It also aims to support the country’s people in dealing with the socio-economic impact the pandemic has had. BIO Themba Sekowe - well known in the industry as DJ Maphorisa - is the man behind many of your favourite club bangers. The multitalented performer/producer was born and bred in Soshanguve, Pretoria and started his career from an early age. The release of the chart topping single “Y-Tjukutja” in 2013 – which was undoubtedly the biggest song in South Africa that year – catapulted his career into the entertainment industry. This proved only to be the beginning. The following year he produced and also featured on Mafikizolo’s Khona, a song which topped many music charts and won several awards in South Africa and beyond including Song of the Year at the 2014 MTV Africa Music Awards. Most recently, DJ Maphorisa’s smash hit Midnight Starring featuring DJ Tira, Busiswa and Moonchild Sanelly has reached the Gold single sales milestone, with the music video on well over 2,6Million views. The latest single off his GQOM WAVE compilation titled Oncamnce featuring Kwesta, Stilo Magolide and Zingah is following suite, and blazing up the radio charts. DJ Maphorisa also collaborated with American super group Major Lazer on the 2017 African anthem Particula, which topped the charts across 17 countries on the continent. The video has garnered over 22 million views on Youtube. This came after enjoying the great success of 2016 with the major South African hit Ngud by Kwesta ft Cassper Nyovest, as well as his own pan African hit “Soweto Baby” featuring Wizkid and DJ Buckz, which also took the 2016 award for Best Collaboration at the MTV Africa Music Awards.
Botswana is a large, landlocked country in Southern Africa, a vast stretch of desert and savannah between South Africa, Zimbabwe and Namibia with a population of only 2.2 million. While widely overlooked internationally for their music, over the past 20 years Batswana have steadily built a diverse and fruitful local scene that includes traditional choirs, hip hop and kwaito, R&B and jazz and even heavy metal. While the biggest star in the country, Franco, packs stadiums with his Congolese-derived Setswana kwassa kwassa, Vee Mampeezy, Charma Gal and a host of aspiring stars champion a distinctly local fusion called house kwassa: a mix of rumba guitars, house beats and kwaito vocals. In this program we hear from Kabelo Mogwe of the popular cultural troupe Culture Spears; hip hop star Jujuboy; the metal band Skinflint; Afro soul singer Mpho Sebina and reformed house kwassa badboy Mingo Touch. We also head to a midnight recording session with young producer Zolasko and singer Naisi Boy and learn the insides of the Botswana music video industry with videographer Jack Bohloko. Produced by Morgan Greenstreet and Lollise Mbi.
UN says Burundi elections were unfair +++ Rights Group calls Burkina Faso authorities out on extrajudicial executions +++ Over 5 million COVID-19 cases worldwide +++Nigeria's toxic sea kills fishes +++ Botswana divided over Setswana as official language
Mpho Sebina is a singer songwriter hailing from Botswana. I discovered her music through mutual friends who'd shot some of her videos. There's something about her voice- it's soothing, transporting, ethereal yet grounded, full of emotion, I just love it!Hailing from Botswana, Mpho studied international business in Malaysia before pursuing a full time career in music. And I'm glad she did, music is better off with her in it.In 2017 she released a 6-track EP, Neo, released a single called Masa with Thato Jessica in 2019 and is currently working on new material that I hope we get to hear very soon. We talk about her musical trajectory - shifting from studying business to a career in music. We talk about her influences, singing in her native Setswana - of which personally I'm a huge fan, Setswana is such a lyrical language. Mpho is softly spoken, even her speaking voice is soothing and melodic, I think you'll see what I mean…Guest: Mpho SebinaTitle: Mpho Sebina - Masa, tapping into my Setswana heritageSong Excerpts: No Evil and Loves Light by Mpho Sebina and Masa by Mpho Sebina and Thato JessicaIG: @mphosebinaSong on playlist: Moonga K - Heartbeat 8 See acast.com/privacy for privacy and opt-out information.
Hello mamas and mamas-to-be! Today I wanted to share something personal and it may be triggering, so please proceed with caution. Violence against women and children during this covid-19 lockdown in my home country, Botswana is on the rise. Violence continues to happen, with limited movement and social distancing, women and children are more vulnerable to all kinds of abuse. In one week alone, there were 45 reported cases of rape and defilement with the youngest victim aged 2, a baby. I still cannot fathom that, but I understand and know this kind of violence from close family so well. I continue to pray for the victims and pray that many find courage to come forth and seek help and find safety. Let us stand together in prayer to pray against this violence, especially that affects the innocent children. I wrote a 2 pager on my LinkedIn page, requesting the President and his ministers to respond to this issue. While we wait for that there are things we can do; we can pray that these women and children find peace and hope in Christ. He is the one who can embrace them and heal their pain just as he continues to heal mine. Please be mindful that the entire podcast is 57 minutes with the first 28 minutes being in Setswana language and the remaining 28 mins being the English version of part 1. If you speak or prefer English forward to part 28:30. I thank you for your listenership. Please share the helpline numbers with those that may need and if this is happening to you, find courage to seek help. Send 'HELP' to 16510. When it is SAFE please call or text to 74265081/71311244/71888993/71525309/11611 Until next week, Love Una Matthew 15:18 But what comes out of the mouth proceeds from the heart, and this defiles a person. For out of the heart come evil thoughts, murder, adultery, sexual immorality, theft, false witness, slander.
SAfm — The Proteas will take on England in the fourth and final Test against England starting at the Wanderers on Friday and we spoke to the Proteas Spinner Keshav Maharaj. Renier Swart and Peter Cronje are both rugby commentator who do their presenting in Setswana and Venda languages for Motsweding FM and Phalaphala FM respectively. Guest: Proteas Spinner Keshav Maharaj Guest: Renier Swart - Commentator in Setswana for Motsweding FM Guest: Peter Cronje - Commentator in Venda language for Phalaphala FM
SAfm — Renier Swart and Peter Cronje are both rugby commentator who do their presenting in Setswana and Venda languages for Motsweding FM and Phalaphala FM respectively. Guest: Renier Swart - Commentator in Setswana for Motsweding FM Guest: Peter Cronje - Commentator in Venda language for Phalaphala FM
Welcome to Week 7 of the Wise Not Withered Character Showcase! I took a break last week, and I will take another break in another six or seven weeks, so thank you for your patience! I am so excited to showcase Tsalo-Sesha Serena, the Mother of Nature. This character is particularly special because from conception all the way through to the completion of her story, she is truly the product of collaboration, between me and the talented writer RatoMil from South Africa.When I sent the list of 25 characters to RatoMil, she proposed a new character, the 110-year-old Amazonian "Real-Life Mother Nature". The backstory that RatoMil created for her was this: She used to be a city girl but lost everything she had worked for to an abusive marriage and found herself lost in the wild. For some reason she connected with nature and decided to settle there away from the toxicity of the city. She discovered she has a connection with the plants and animals thus she can hear and understand them and vice versa. She discovered her super powers and used them to survive in the wild and also protect wild life and nature.I looked through my list of characters to see if there were any that could be combined with RatoMil's idea, because I found it very intriguing and different from anything I had come up with on my own. Scrolling through my list, I stopped at the 48-year-old Legless Rock Climber and realized how perfectly the two characters could be combined. So, I proposed a new character who would be 79 years old, right in between 48 and 110.Updating RatoMil's original description, this is what the character's final synopsis became: She used to be a city girl, but lost everything she had worked for to an abusive marriage. Following a near-fatal plane crash in her 30s, she found herself without legs, lost in the wild. Ethereal plants and creatures helped her heal, and she connected with nature and decided to settle there, away from the toxicity of the city. She discovered she has a connection with the plants and animals thus she can hear and understand them and vice versa. Using her superpowers she has been able to survive in the harsh jungle environment for decades, and can also protect wild life and nature. Even without legs, she has powerful upper-body strength that allows her to swim against strong currents, and climb her way up and around trees. Working together with vines and leaves, she can also traverse effortlessly across the jungle floors.RatoMil and I chatted on the phone about the character and the story, and we decided that she would have two names: the first would be her given name (which would then become hyphenated with her husband's), and the second would be the one she chooses after awakening in the jungle. Her new name would show that she is fierce yet calm, gentle yet strong; the change of names would indicate her transition of letting go of her past and stepping into her new role and embracing her new reality.One of the most important aspects for the Wise Not Withered project was that for each character, the story's focus must be on her NOW, at her CURRENT AGE. Understandably many writers wanted to include backstory and/or flashbacks, and while backstory is essential for the writer in creating a well-rounded, believable character, I was very firm about needing the focus to be on present-day events.However, because the Real-Life Mother Nature character essentially has two lives—her city girl life, and her post-accident awakening—I thought it would be appropriate to give a bit of backstory as to who she was in her first life, and to show the stark contrast. Instead of writing it out like a story however, RatoMil and I collaborated yet again on an opening poem, which you will hear from RatoMil herself at the end of the episode.While I was drafting the poem, I thought about how beautifully ironic it would be to compare the restriction our protagonist felt in her marriage to the tight grips of vines and drowning in water, while later she connects with and finds solace in vines and water, this time in a drastically different and intensely liberating way.The illustrator for this character was Eazala Maria, from Argentina. When I first saw the close-up illustration that Eazala made for Tsalo-Sesha, I was in tears. She so perfectly captured everything I wanted the character to be, with wrinkles and sunspots, looking very peaceful and kind. I love the colors she used, and the details are simply incredible. The main illustration for this character happens to be my profile photo on Instagram!Now onto this character's incredible name! RatoMil speaks Setswana, one of the eleven official languages in South Africa. She suggested "Tsalo-Sesha", which means "rebirth". Eazala speaks Spanish, and proposed "Serena", which represents tranquility. RatoMil and I were talking about full names, and I thought it would be interesting for our character to have a long name. I myself have two middle names, in addition to what I grew up thinking was an excessively long first name. I used to be really embarrassed about my long name, but I love it now. So instead of picking just one of the names that the artists suggested, I decided to combine them, and our character's full name became Tsalo-Sesha Serena, which just feels right.The rest of the story recounts a group of invaders who come to the jungle in search of a mystical flower. The leader of the group reminds Tsalo-Sesha of her ex-husband, and I purposely left characteristic details about this man vague, so that readers may envision him however they want. There is another woman with the group, named Anna, who realizes that she no longer wants to help the others find the flower, and decides to stay with our protagonist in the jungle. The ending implies that Tsalo-Sesha is mentoring Anna as the rest of the invaders give up their search for Anna and leave.And that's about it from me about the story of Tsalo-Sesha! And now here is RatoMil, first introducing herself, then talking about the story, her experience with the project, and finally reading the poem that we wrote together. In the next phase of the project, voice actresses and composers will add even more life to these characters, and I am happy to announce that RatoMil will be the voice actress for Tsalo-Sesha's story. So without further ado, here is the one and only RatoMil!"Hello, I am Lerato Mileng, also known as RatoMil, all the way from South Africa, and I am a creative writer and storyteller, amongst other things. My first writing pieces, or written piece, was when I was an adult. I started writing creatively at a very late stage, as an adult. I was going through a very tough time in my life. To be particular, I was going through abuse. The experience was very painful whereby I could not find words to utter and express the feelings, and the next best thing I could do was write. I did what I call "bleeding on paper". Through that, poetry was birthed. I realized that this bleeding on paper created poems. I don't remember the first particular pieces, but it was poetry. I started writing through poetry, which was birthed by writing therapy.When I recognized it as well as the passion, the love for writing, then I took it further, decided to go further into creative writing. From poetry, to now books, books to scripts, scripts to... You know, the journey just grew like that, at a very rapid speed. I believe that I found myself in writing. I found my calling. So that's how the journey of me writing started, through writing a poem, and bleeding on paper basically.So I am the writer of Tsalo-Sesha, who is the Real-Life Mother Nature. Initially the idea was an Amazonian woman who was a hundred and ten years old, who becomes the real-life mother nature. It is an idea that came while I was going through the list of characters to choose to write about. And while I was going through this list, this story just came to me. I felt like actually, this story needs to be written. I want to write this story.I suggested to Juliana, the facilitator of Wise Not Withered, how about a story like this? She loved the idea. However, we decided okay, let's come to a common understanding, common ground. There was a character on the list, that was a forty-nine-year-old World War III veteran who lost her legs. So we decided to join the two stories and make them one.We worked on the story together, combining the two characters. Eventually our character became the seventy-nine-year-old Tsalo-Sesha, who is the real-life mother nature—the legless mother nature. She loses her legs in the process of the story.Yeah, it's a beautiful story. You know, the story flowed through me. I feel that writing is a very spiritual thing. Some stories need to be told, and I feel that it was one of those stories that flowed out of me that needed to be told. It was easy for me to write it, because some elements of it I could relate to, referring back to the abuse I went through as well. It's best to write what you know about. Elements of nature, turning into mother nature... Was just a beautiful twist to the story that developed. With Juliana also writing this with me, coming in to add other elements, it just grew into a beautiful narrative.Tsalo-Sesha was not originally born as Tsalo-Sesha. She is an African woman who was named Sammy Tswana by her parents. Sammy Tswana fell in love with a foreign man, from overseas, America. She went against her parent's will and eloped with this guy. They got married, they were happy, this guy was doing these great things for her, being the perfect guy.Sammy loved plants, she loved nature, and had a good hand at growing plants. In this new home in America, she could not seem to grow her plants. The environment as well, there was no outside, it was this apartment... Concrete jungle, you know? She would grow her plants indoors, on the balcony, but they would always die. There's something about plants, they're very sensitive to bad auras. That was the subtext of the story, that the plants always died.Eventually the main reason the plants died came out, which was that her knight in shining armor was not so much of a hero or a good guy. He was actually a criminal and an abusive person, and with time his character started showing. And this woman was now trapped in her home, abused and depressed, losing a part of herself every day. Through the story, Sammy had to escape.She was good with art. She was a creative person and she loved flowers. So she started painting, and making some money. Eventually she raised enough to go back home. She escaped, she ran, on the first plane flight back to Africa. The plane crashed, and that's when she loses her legs. Somewhere in the jungle, that's where the plane crashed. Now she became reborn into Tsalo-Sesha, and became one with nature, and grew into something beautiful that lives for and protects nature.Later on there were more characters in the story that came looking for something very precious. They wanted to take it back to use for wrongful means. There was a lady there that was special. Tsalo-Sesha was able to hide in plain sight, like a mystic being. The special lady was the only one who could connect with Tsalo-Sesha in a spiritual sense, and could feel her presence. Eventually they connected and became friends. It turned out to be a beautiful narrative. I just love the story, it's a beautiful story... It narrates how a woman can come out of a negative situation, a very testing situation, and grow from it, and become a powerful force.I joined Wise Not Withered because I wanted to be part of the force, the collective that works on changing the narrative of elderly women in the industry, particularly the game industry, as well as the whole entire world. Elderly women are seen to be frail, withered. The wise element in them is overlooked. They can change a lot of things, if the world can connect with the wise element of elderly women. I wanted to be part of that force that changes the narrative, and I knew that I could write stories that showed that part.It has been a beautiful journey. It was a joy writing that story with Juliana, and the poem. It was just blissful! It just flowed. How I wrote it, how she also had pieces gel together, making one story. I loved the process so much. I can't wait to see how far this goes. I can't wait to see the finished product. I can't wait to have these stories, written by women, globally... This whole concept of the global collaboration project, changing the narrative of the elderly women, in the gaming industry, as well as the world. Thank you!"——Stay tuned for more showcases of the Wise Not Withered characters, every Sunday until May of 2020!
Helen Herimbi presents: i(m)bali LIVE featuring Khuli Chana. The motswako giant speaks to the music journalist in front of a live audience. They discuss Khuli's upbringing, challenging himself to rap in Setswana, the impact Hip Hop Pantsula had on his music and his life and co-founding Morafe. He also opens up about going solo, being shot by members of the South African Police Service, finding his voice again, being caught between Cassper Nyovest and AKA's beef, his upcoming album (The Planet of the Have-Nots) and more. Engineered and edited by Kitso Moremi.
In this episode, you'll hear about the results of the Fluent Show survey, followed by your questions on my personal language learning thoughts and story. Top 5 Languages Studied by Fluent Show Listeners Spanish French German Italian Russian But that is far from everything, so here is the complete amazing list of 43 languages you guys are studying: Chinese, English, Japanese, Korean, Swedish, Arabic, Dutch, Greek, Persian, Irish, Norwegian, Hawaiian, Vietnamese, Icelandic, Polish, Sign Languages, Esperanto, Scottish Gaelic, Welsh, Sicilian, Portuguese, Kumeyaay, Latin, Luxembourgish, Xhosa, Zulu, Setswana, Yiddish, Hindi, Afrikaans, Danish, Hmong, Thai, Slovak, Malagasy, Finnish Your Questions, My Answers Here are the language learning questions I answered in this episode of the Fluent Show Have you ever considered another profession or do you have another passion? (from Nikolapolyglot, IG) Tell us more about your education, college, internships (Michelle, Twitter) How is Luxembourgish changing your perspective on your own native German dialect?” (Val.5467, IG) How you choose which languages to learn, and if you've ever given up on a language and why. (Spanish con Salsa, Twitter) Get Involved If you want to get involved with the Fluent Show in more ways, here are some ideas: 1. Send An Intro For The Show You can become the welcoming voice of this podcast! Record an introduction in a language of your choice, saying * what your name is * where you live * which language you're speaking * and "you're listening to the Fluent Show" Then email your intro as an audio clip to kerstin@fluentlanguage.co.uk, and get excited to hear yourself on the show. Thank you to Bonnie for this episode introduction. 2. Sign Up To The Newsletter Receive my free weekly newsletter with language learning tips. (https://fluentlanguage.activehosted.com/f/9)This is how you can be first to find out about retreats, new language courses, and podcast episodes. 3. Support This Podcast If you liked this episode, please tell someone about it. Click here to tweet about the show (https://ctt.ac/00VIW), go to your Podcasts app and leave us a review, or simply text a friend about the Fluent Show. Thank you!
Some members of a panel of experts on a Setswana language station of the SABC concurred that Section 25 of the constitution on land expropriation should be reviewed with the sensitivity it deserves . This was during a round table debate which followed public hearings by a delegation of the Joint Constitutional Review Committee which toured the North-West this week. The panel consisted of a constitutional lawyer , a communal and a commercial farmer, as well as a representative from traditional leadership.The view that land was still in the hands of the whites and should be shared, dominated the debate . Dyaell Gaetsewe reports.
Bruce Whitfield talks to Lesley Donna Williams, CEO of Tshimologong Precinct (named after the Setswana word for "new beginnings").
The team is joined by amaBhungane investigative journalist Craig McKune to talk #GuptaLeaks. Lorato Palesa Modongo then tells us about a new Setswana feminist dictionary.
CliffCentral.com — Donald Molosi is a multi award-winning classically trained actor, and writer, from Botswana. He trained in classical singing at LAMDA. Molosi is privately a language historian and he speaks Setswana, Swahili, French and English fluently. He is conversational in Zulu and Ndebele, and understands Kalanga.
The North West provincial government has dismissed reports that the province has been renamed to Bokone Bophirima. Bokone Bophirima which translates to North West in Setswana is listed on the provincial government's official website. Afriforum is campaigning against the name change, saying it came as a "big shock" as there was no public consultation. Initially a proposal was made to rename the province after Moses Kotane, who was the general secretary of the SA Communist Party. For more Sakina Kamwendo spoke to Sam Mokaila, Spokesperson to North West premier Supra Mahumapelo...
Welcome to the Classroom, a show dedicated to all the things they never taught us in school. This is my second episode in Setswana. Areyeng! If you listened to episode 4, The Classroom with Steven Pienaar’s former coach Clive Wessels, you already know this guy. Thabang Loeto is a talented soccer player from North West. He’s on his way to professional soccer, so the front row asks: How do you take care of the talent you have? What are you doing to make it work for you in the future? What do you think about the tips that Clive Wessels gave to you a few weeks ago? Do they work? And all in all, can your hard work take you somewhere you wish to be? Music in order of appearance: Whatever feat Gucci Mane/young Dro by QMachette Chat Cox: Who Wan't it Photo: Lyndlee Johnson Phaphusi - Lenaneyo 6 : Itirele tsela ya gago goya porofeshenale Ke ago amogela mo lenaneyong la Classroom, Ke kgaolo ya borataro (6) ebile ke lenaneyo la bobedi (2) ka leleme la Setswana. Mme lenaneyo lone le bua ka tsotlhe tse resa dirutiwang ko sekolong. Fa oka reetsa thulaganyo yabone (4), The classroom le mokatise wapele waga Steven Pienaar e leng Clive Wessels, O setse o itse monna yo o. Thabang Loeto ke setshamiki sa kgwele ya maoto gotswa ko Bokone Bophirima.o motseleng ya gaagwe goya ko porofeshenale, Yanong mela e e latelang ya botsa: O tlhokomela yang talente e o nang le yone? O dira eng gonetefatsa gore yago berekela mobokamosong jwa gago? O nagana eng ka maele a Clive Wessels ago neileng one ka bekenyana tse difitileng? A dia bereka? Ene gotlhe mo o, Ago dira kanatla ga gago goka gotseela gongwe ko o lakatsang gonna gone?
Welcome to the Classroom. This third episode of my show might be the world’s first podcast in Tswana language! But as the Classroom is about all the things they never taught me in school, please let me know if someone did it already. So, how are you celebrating your Easter? What would you do if never got another chance to celebrate Easter holidays? Have you done anything bad in Easter? Vincent Majela, my brother, joined me in the Easter Classroom to tell us about all the things he has done with his friends and family during the Easter holidays. Music: Amitron_7 - Glory end what grace begun Gospel of mars - Venus Photo: Natasha Hein Phaphusi - Lenaneyo 3: Ke tsela efe e e siameng goka keteka tsatsi la paseka? Ke ago amogela mo lenaneyong la Phaphusi, ke kgaolo ya boraro (3) ebile ke lenaneyo lantlha (1) la leleme la setswana. Mme lenaneyo lone le bua ka tsotlhe tse osa di rutiwang ko sekolong. O keteka yang letsatsi la gago la paseka? Otla dira eng fa oka setlhole o bona tshono yago keteka tsatsi la paseka? O dirile eng se se phoso se o kitlang o selebala ka nako eo o neng o keteka tsatsi la gago la paseka? Go ntseile ura (hour) gobua le Vincent Majela ka mokgwa yo ene a ketekang letsatsi la gaagwe la paseka ka gone, le ka tsotlhe tse a didirang fa ana le ditsala tsa gaagwe le balosika.
Tebogo Motswetla, a leading African cartoonist from Botswana, on his journey of becoming a cartoonist; the 25th anniversary of his character “Mabijo”; applied aspects of his work; seTswana language dialogue; the creative process, censorship, and freedom of expression.
Tebogo Motswetla, a leading African cartoonist from Botswana, on his journey of becoming a cartoonist; the 25th anniversary of his character “Mabijo”; applied aspects of his work; seTswana language dialogue; the creative process, censorship, and freedom of expression.
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