Where To UPDATED Download Botswana Music

Luis, from Colombia in one of our usual chats on facebook asked me to share with him some of the music from my native country, Botswana. I gladly obliged. That began a very exciting exchange, back and forth from the both of us. As you might have guessed, that included an interesting exchange of reggaeton and kwaito-kwasa genres among others.

The other pressure was also to find some music that has some elements that I could somewhat claim not to just be distinctly African but proudly Botswana as well. (But remember they still had to be fitting for the setting at that particular time).

Where To Download Botswana Music

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The study analysed field recordings drawn from the Smithsonian Folkways Recordings and the British Library. Through computer analysis, researchers used signal-processing tools to quantify musical data and establish compositions that fell outside of the norm. Remarkably, most of the recordings from Botswana happened to be wildly different. While other vast regions like Pakistan and Indonesia also had a distinct outlier ratio, the question remained, why was Botswana so unique?

This itinerant lifestyle without a fixed home may well be why, unlike the majority of sub-Saharan African music, drums do not feature. Instead, heavy percussive instruments are traded for simple hand-clapping rhythms while string instruments lay down the melody. These string instruments are, in themselves, diverse. Once more, the roaming nature of the people may have prevented a standard from being settled upon. All the while, various ideas were passed along from group to group in effect deepening the rabbit hole of individualism.

Thus, during this time, dissonant voices came together to form a strange mix. This was exacerbated further still when the British placed the region under protection to try to restore order. With its boundary now unimpeached, this odd mix blossomed as though trapped on a petri dish. However, it was simultaneously discouraged as racist theory posited that it hindered development. During this period, music culture became oddly stilted and often reduced from a collective practice to an individual one which heightened the complexity.

Truly, truly SoundCloud. April, as most people call her, has a beautiful voice and a combination of a jaded, rose-coloured glasses gaze when it comes to the entertainment industry. She's booked to perform at the classy Maitisong Jazz Festival this year and says she'll maybe release an EP around that time, but I personally make no promises on her behalf on that. She studied IT in Russia and currently somehow balances that and recording. Her musical output and progress this year will definitely depend on her temperament but the talent definitely exists, it's just up to her to show up and show out.

Motswafere's a local legend in the making for several reasons. Firstly, he came out third in the country's biggest music competition, My Star. Second, he's absolutely gorgeous and an LGBT icon & activist in a time when the likes of FAKA and Mykki Blanco are thriving as well. And third, his performances are absolutely electrifying. Few Batswana seem to know this but he's been the only Motswana invited to appear on Coke Studio ZA, having been discovered by Dave Thompson, the former Sony Africa director who also discovered the likes of Lira, TKZee and Mpumi Dlamini, on Facebook. He's currently working on a debut album which will see him performing in French, English, Tswana, Zulu and Ndebele, and is apparently also willing and ready to sign (may he not be Fifi Coopered), so 2018 should be a year full of greats for this one.

"I really thought these guys deserved something more," Vollebregt tells NPR by phone from his home in Gaborone. "I really wanted to do something for them." So he began inviting the musicians over to his house, where he'd give them some money and a few beers, film them playing in his driveway and upload the results, like Ronnie's "Happy New Year," to YouTube.

The origin of Botswana's overhand, four-stringed guitar technique is a mystery, even to the musicians themselves. Most say they learned it from an older relative or family friend. (Some also play in a more conventional underhand style, but usually cite some other, non-Botswanan inspiration for doing so; Sibongile Kgaila, one of two electric guitarists featured on I'm Not Here to Hunt Rabbit, mentions Zimbabwe's Leonard Dembo as an early influence.)

Compared to neighboring Zimbabwe and South Africa, Botswana's music industry is minuscule. With only 2 million inhabitants in an area the size of France, "There is no market here," says Vollebregt. For traditional musicians, "it's a real struggle" to get their music heard.

Aglow and Vollebregt wanted to document other styles of traditional Botswanan folk music played on stringed instruments that pre-date the guitar's arrival to Africa. So they also included two songs by Babsi Barolong, an 85-year-old retired diamond miner who plays a three-stringed violin-like instrument called the fenjoro, and another two by Oteng Piet, a former cattle herder who plays one of Botswana's most ancient instruments, the segaba, a one-string, bowed instrument.

Prior to the release of I'm Not Here to Hunt Rabbits, Vollebregt's uploads appear to have helped some of the musicians achieve a measure of success. In 2013, Piet, Barolong and Moipolai performed two weeks of shows in Cape Town at the behest of South African musician and playwright David Kramer, who had also seen the videos. Other musicians featured on Rabbits had already achieved a degree of national recognition; Solly Sebotso has toured internationally and won several national guitar contests, and the album's lone keyboardist, Annafiki Ditau, wrote "Re Babedi," the rare local hit on Botswanan radio. Success is relative, however: Despite her renown, Ditau, who is blind, still makes most of her money playing outside a supermarket near Gaborone's main bus terminal.

With I'm Not Here to Hunt Rabbits, Aglow hopes to build on the success of Vollebregt's YouTube videos, some of which have over a million views. "To me, this seemed to be a cultural event, a cultural music that I'd never seen anywhere else," he says.

For the musicians themselves, the goals are more pragmatic. "I am hoping that this record is going to give me a living," says Piet, who also works as a cook at a primary school. "I earn a living [but] it is not so much that I can do some of the things, like buy my kids clothes or something like that. It's only a little money."

Botswana musicians are to benefit from a mobile app that will help them distribute their music. Designed by Botswana IT company, Intellegere Holdings, the free app will feature 100% local content and also sell physical copies of the albums.

The music camp of Botswana Association this past weekend held a music show to showcase what the participating learners acquired over the 5-day course of the annual camp. The music camp which has been conducted annually since 1985, brings together people from all walks of life in Botswana interested in the music field, to learn specific traditional musical instruments such as segaba, setinkane, marimba, instrumentals ,and choral classical music.

Well now i see this trend in Africa, you know Africans we like copying whatever Americans are doing, i think we think that is civilization. Our music is so changed. We call ourselves the N word, do u even know what it means.

Speakers and attendees were invited to join in a number of nighttime activities throughout the duration of the conference. Activities included a reception hosted by the Ministry of Trade and Industry, performances by local musicians at a popular club hosted by the Botswana Musicians Union, and an art exhibit at the Thapong Visual Arts Center, also hosted by the Botswana Musicians Union.

In January, the inhabitants of this country celebrate the New Year with outdoor parties, traditional music, dances and popular events with lots of food and drink. More than seventy percent of the population is Christian, so it is hardly surprising that they celebrate this festival of Christian origin just like in the rest of the world.

One of the most important festivities in Botswana is the Maitisong Festival, a popular festival which takes place in March and lasts nine days. For more than a week, the people take to the streets to enjoy numerous shows of traditional music, performing arts and cultural events. It is a kind of carnival, but with cultural and artistic content, and it takes place in Gaborone.

If you are in the northwest in April, you can attend one of the most culturally rich festivals in Botswana. The Festival of Maun combines tribal dances, music, poetry and everything which has to do with the tribal culture of this area of the country. A very authentic celebration, which you cannot miss.

If you visit the Kalahari desert in August, you're in luck, because you will see one of the most unique Motswana festivals. The bushmen celebrate at the Kuru Dance Festival, a traditional festival full of music, dance, and songs. The celebration lasts three days and is an authentic celebration which highlights how alive the Bushman culture is today.

At the end of October and the beginning of November, the Spirit Of Praise is celebrated, an annual music event which attracts artists from all over the country. The exciting event is a competition to choose the best artists through a 7-week search. The public select their favorite artist from among all the participants.

Interest in heavy rock grew in the country, according to Vulture, helped by foreigners bringing in records, especially in Maun, where several expats were based. Momentum built in the 1990s when Nosey Road established a music festival, and other Botswana bands, such as Metal Orizon, emerged.

Enamored with this music, in 2008, Vulture, who grew up in Rakops, formed Overthrust to play "old school metal." Soon after, Vulture organized the first Winter Metal Mania Fest in Ghanzi. Fifty people showed up. 17dc91bb1f