18 Dec 2025

As the sun sets on 2025, the dust is far from settling on Botswana’s cultural landscape.

This year, the Blue, Black and White did not just participate in the global creative economy, but demanded its seat at the table.

From the high-fashion runways of Paris, France to the digital corridors of Silicon Valley, Batswana creatives transformed 2025 into a year of unprecedented visibility and structural revolution.

However, amidst the glitz of international awards and the rhythm of chart-topping hits, a multi-million Pula question lingers: Can this momentum be converted into a sustainable future?

The defining moment for the industry came from the highest office in the land. During the 2025 State-of-the-Nation Address (SONA), President Advocate Duma Boko announced a staggering P200 million allocation for the creative sector.

This historic injection of capital, coupled with the introduction of the Creative Industry Bill, signals a shift from treating the arts as a hobby to recognising it as a professional economic pillar.

Furthermore, the Ministry of Sport and Arts struck landmark deals with Google, Meta and TikTok to ensure that local content creators can finally monetise their craft effectively.

“The question remains,” industry observers note, ‘will creatives use this funding to build sustainable businesses, or will the opportunity slip through our fingers?’

In the music scene, 2025 was the year of the power play and strategic move. We witnessed high-profile cross-border collaborations, most notably Han C teaming up with Lesotho’s Wave Ryder for the Pepetletsa remix.

Some local legends also expanded their brands south. DJ LebGee and Charma Gal headlined South Africa’s Shandesh show, while DJ Latty’s relocation to South Africa paid dividends with a feature in Black Motion’s Monateng music video.

Meanwhile, Oliver Gaolaolwe proved Botswana’s vocal prowess by winning Season 1 of the Africa Music Challenge, a Pan-African victory that resonated across the continent.

The visual and sartorial arts reached heights previously unimagined. Under the Creation Botswana initiative, supported by Absa Bank and Lucara Botswana, eight local designers showcased their collections at Paris Fashion Week in France. Brands like Botocy, Glotto and Dihdah represented the pinnacle of Motswana craftsmanship on the world’s most prestigious runway.

In the world of fine art, Naledi Maifala clinched the prestigious ANNA Award for women artists, while Pako Lesejane and Totang Motoloki showcased their work at the G20 Art Exhibition, to ensure that Botswana’s perspective was represented in global diplomatic circles.

In the Film, Animation and the Digital Frontier, the ‘orange light’ of DStv’s Mzansi Magic (Channel 161) glowed brightly for local filmmakers. Three films, Route 2, Moporofeta and Abashwe, made their regional debut this November, following the success of the film Morwaake, which won Best African Film at the Ekurhuleni International Film Festival. Perhaps the most futuristic win came from Theo Silitshena, who secured deals with Disney and Titmouse. His work as a co-writer on the US film To the Moon marks a giant leap for Botswana’s budding animation industry.

The literary and media world also saw its stars rise. Bakang Wren, of BOPA, ended the year on a high note by winning the Best Media Writer award at the annual Botswana Literature Awards. Wren noted that the award is “recognition for creative writers that fuels our energy as we work to make our creatives shine.”

On the global stage of movement, Lebogang Mabifhi flew the flag high at the L.A. Redbull Dance Your Style world competition. Although she did not bring the top prize home, she left indelible footprints on the global dance stage.

Regrettably, the year’s achievements were shadowed by profound loss. The industry stood still in August to mourn the passing of A.T.I (Lekhete). An icon whose influence transcended music to become a cultural phenomenon, his demise left a void in the heart of the nation. Earlier in the year, the industry also bid a painful farewell to former My Star winner Sharon Sibonge. These losses serve as a sombre reminder of the vibrant spirit and resilience the industry must maintain to honor those who paved the way.

As 2025 draws to a close, the foundation has been laid. With new legislation, global digital partnerships and a P200m financial boost, the ‘starving artist’ trope is finally being challenged. The creative industry in Botswana is no longer just about entertainment, but about enterprise. ENDS