11 Dec 2025

Maun, recently, witnessed the birth of a refreshed cultural celebration at Cresta Riley’s Hotel: the Poetavango Music and Arts Expo. The event is a spirited spin-off of the long-running Maun International Arts Festival (MIAF), which has served as a cultural anchor for the region for years.

For Poetavango chairperson,  Legodile Seganabeng, the day was more than just another event; it marked a quiet revival of an artistic tradition that had been on the brink of fading.

“Last year we did not have the main festival because of financial challenges,” he said, explaining how a once well-funded cultural pillar found itself struggling to stay afloat without consistent government support.

Determined to preserve the festival, Poetavango turned to partnerships, finding critical support from the Orange Botswana Foundation. The collaboration made this year’s music-focused edition possible.

Orange Botswana Foundation Social Impact Coordinator, Dineo Mpule, said the partnership aligned with the organisation’s mission to uplift cultural and artistic initiatives.

“We are proud to be the main sponsor of the Music and Arts Expo happening today,” she said. She noted that Orange Botswana contributed P150,000 to the festival, adding that the foundation supported projects that advance culture and expand access for communities.

“Culture brings together a wide range of audiences across all social groups, establishing dialogue between countries and communities which is why it is important to support such initiatives,” she added.

According to  Mpule, supporting Poetavango was not merely an act of charity but an investment in creative potential, particularly in bold and innovative projects that nurtured young artists, musicians, and authors who would shape the future economy.

Poetavango has long been synonymous with poetry, powerful verses that fill rooms and captivate audiences. However,  Seganabeng acknowledged that this strong identity had unintended consequences, as other art forms such as comedy, visual arts, and music often remained overshadowed.

“Poetry became so big that people never fully saw our capacity in music,” he said.

The Music and Arts Expo was crafted to shift that narrative. For the first time, music claimed centre stage, providing young performers with opportunities they had long awaited, while showcasing the breadth of Poetavango’s artistic reach.

“We needed something that would turn the corner so that when we bring music back to the main festival, people will know what we are talking about,” he explained.

One of the most distinctive features of the event was its intentional inclusion of children, an often overlooked demographic in arts festival planning. Face painting, water slides, swings, and a lively play area transformed the venue into a family-friendly space, ensuring that entertainment extended to the youngest festival-goers.

“People forget about children, yet they also need entertainment, and it is important that they also explore and experience fun,” said Seganabeng.

The expo also sought to uplift music in a region where the art form continues to struggle for visibility and where opportunities for young musicians remain limited. Poetavango hopes this renewed focus will help shift that dynamic.

Judging by the enthusiasm of the crowd, the organisation had succeeded. Families lingered long after performances ended, musicians mingled with supporters, and a renewed sense of cultural pride rippled through the venue. ENDS