This series of posts will draw on the research I did for, and feedback I received on, a paper I gave about the metal scene in Botswana for the ‘Metal and Marginalisation’ conference in the University of York on the 11th of April this year. Many thanks to all those who helped with the writing of the paper, and to those at the conference whose responses were so encouraging and have given me extra material to consider for the future of this topic.
A note on usage: as far as I understand, the term Motswana is used to refer to an individual from Botswana, Batswana is used as the plural, the term Botswanan refers to groups or items, and the term Setswana to the culture or language. I’ve tried to use these terms consistently – please do tell me if I’ve made a mistake!
The southern African nation of Botswana is becoming recognised by the international metal community as one of the continent’s most active and exciting national scenes. Though composed of a relatively small number of fans – approximately 1,500 according to VICE– the scene boasts a healthy quota of active bands, and a dedicated corps of fans. The scene seems to be primarily concentrated around the capital city Gaborone, and the northern city of Maun.
To date, much of the interest in Botswanan metal has focused on the works of South African photographer Frank Marshall, whose collection of portraits of Batswana metalheads, Visions of Renegades was one of the first mainstream exposures of the scene. In this series of posts, however, I’m going to look more closely at its relationship to scenes abroad by examining the scene itself (Part One) and its domestic and global reception (Part Two), and finally a list of bands, sources, and some thoughts about where this interest could take me next (Part Three).