That’s all I can say. On Friday, December 13th, 2013 was the inaugral annual cultural day of the Bangwaketse. It was organised by the Bathoen II Trust. Kgosi Bathoen was Kgosi Seepapitso II’s father, although in some literature he is known Seepapitso III. As the historian Jeff Ramsay observes in his life Bathoen’s father was “known as Seepapitso II (wabobedi); he only started to be referred to as III when his grandson Seepapitso was designated the IV at coronation by his father Bathoen II. Bathoen II was apparently convinced from study of geneology that III was more appropriate, although according to European norm for numbering royals, in the context of Bangwaketse monarchs, at least beginning from Ngwaketse, suggests II to be appropriate for Seepapitso. By European, I mean counting only namesakes who actually rule, not all princes who may also share a name.”
Ramsay further observes that “This issue has also arisen in Molepolole where the current Kgosi is actually only the second person named Kgari to occupy the local Bakwena throne although now he is known as Kgosi Kgari III. Two explanations for this are 1. the prior Kgari was Kgari a Sechele II and (to my knowledge real reason) line of Kgari aSechele I brother of Sebele I who unsuccessfully sought the throne in 1894-6 inserted themselves into the mix. This is awkward given current Kgari is a direct descendent of Sebele I.”
So when I attended last Friday’s cultural event I was coming to a village rich with history. For generations the Bangwaketse have been a formidable force in the land. Schapera writes of the Bangwaketse king that “ Makaba was a warrior Chief under whom the BaNgwaketse became the strongest and most feared tribe in all Bechuanaland” (Isaac Schapera 1942). This view is shared by Ngcongco (1977) who says of Makaba “Makaba [was] the most formidable ruler among the Tswana kings of the pre-Difaqane period”. Even much later after under Kgosi Makaba during Seepapitso III’s reign there were excellent examples of Bangwaketse’s progressiveness. Bangaketse were the first Bechuanalang morafe to drink water from a standpipe. Morton and Ramsay write during Seepapitso III’s reign “mephato were put to work constructing and maintaining roads, repairing dams, clearing mogau and searching for matimela. Makgodumo dam was built in 1913 and three boreholes were sunk around Kanye. For the first time anywhere in the Protectorate, people drew their water from standpipes. Schools were improved and better qualified teachers found. Seepapitso pressured parents to keep their children in school and encouraged their performance by regularly visiting them and introducing academic prizes and sports competitions” (Morton & Ramsay, 1987:16). What a modernizer!”
The cultural even was therefore held on the shadow of greatness and progressiveness. I don’t know what I was hoping to see coming to the celebration. I went to attend the celebrations somehow worried that the Bangwaketse had become cold and weak over the years. Many merafe had been engaged in their cultural celebrations and the Bangwaketse have seemened to stay on the margins. In Ghanzi there is the annual Kuru Dance, in Molepolole there is Dithubaruba, the Kalanga have Domboshaba while the Bangwaketse had not celebrated their culture. Little did I know that I was so wrong about the Bangwaketse. The Bangwaketse are still a formidable force to be reckoned with in the arts. They are big! Raophethekga Motlhaleemang, Taselebomo (motho wa ga Sebako), Seitiso Moahi and other poets reassured me that though Sekokotla Kaboeamodimo may be gone, the morafe’s poetry is still in excellent hands. Yes I do remember the spectacular Sekokotla with those famous lines:
“…. a ko o rapele morwa Dikgageng, O rapele kgosi e nkatamele
A nnee kgomo ke ye go e anywa, ka kwa ga Rramonnedi ke kotame hela
Ke eme hela ke sa kganela sepe, kana ha motho a boka o itatswa mabogo
Ka ke itse ha ke boka seharatlhatlha ke boka motho o marapo a thata…”
Dikhwaere, the traditional guitarists, the food, setapa sa Sesung, dikgafela were all most impressive. This is a warning for those who have an ear to hear: Bangwaketse ga ba tlakatlakelwe and boy am I proud to be one Moruele! I am not even talking here about┬ásome Bangwaketse’s finest artist such as Tebogo Mathiba, Tshepo Lesole,┬áShanti Lo (Tumiso Loeto), Gong Master,┬áSeragantswana cultural group, Banjo Timothy Mosele and some of our top international artists. You have been warned. The Bangwaketse are back with a bang and they have something to prove that e santse e le ba ga mokgalo o thebe; batho ba ga setlhong ga se hubarelwe.
Bangwaketse have a rich culture. One of the most admirable elements of Sengwaketse culture is the Sengwaketse wedding. Three features set it apart. The Sengwaketse wedding happens kwa kgosing before the village elders and the King. The bogadi cattle are brought to the Kgosi to be inspected and counted. Second, during the Sengwaketse wedding, bogadi must be given in cattle only; eight cattle and a sheep to be precise. Finally, a groom must have built his bride a house in the groom’s private property. This is to ensure that the new bride has privacy and a place of her own.
The Bangwaketse’s language is equally unique and rich, being one of the central dialects which has been affected minimally by languages that Bangwaketse have come into contact. This according to the writings of Cole (1955) as well as Chebanne et al.
The Bangwaketse annual cultural event is therefore a welcome development in Botswana’s vibrant cultural calendar. The country is the more richer with the Bangwaketse’s annual cultural celebration. This can only be to the benefit of the Bangwaketse as morafe and to the national tourism.
