Botswana’s history is one of an unwavering exercise of self-determination and quest for self-rule. Post-independence, self-government prioritized an overarching philosophy of Kagisano or social harmony within which the aims of education were framed, in conjunction with a political commitment to Botho through democracy. For economic and social reasons the current educational policy of Botswana is based on outcomes based education (OBE), with its metrics of quantifiable outcomes. The article argues that Olúfemi Táíwò’s analysis of decolonization provides a philosophical lens through (...) which to interpret Botswana’s current educational pathway within the prevailing decolonization discourse. OBE clearly exhibits features of neo-colonialism, as it pertains to the national value principles. We draw on Ndlovu-Gatsheni decolonial epistemic perspective to frame the discussion that were possible to integrate OBE with Botswana’s ethnically inclusive, community-based view of democracy and associated virtues, this would be a worthwhile goal for education and could lead to a particular form of indigenised democracy. Substantive distinctions among the concepts of decolonization, neo-colonialism, and decoloniality, underwrite this thesis. We see the project of envisaging a future of education in Botswana as having to do with disentangling colonialist-imperialist cultural reproduction from indigenous aspirations. (shrink)

This article reflects on the conceptual and aesthetic practices engaged in the development of a performance work by Thenjiwe Niki Nkosi and Pamela Phatsimo Sunstrum titled DISRUPTERS, THIS IS DISRUPTER X. Nkosi/Sunstrum liberally describe this multimedia performance work as an ‘anti-opera’. In 2014, the Iwalewahaus African Art Archive at the University of Bayreuth invited Nkosi and Sunstrum to make further developments to an anti-opera they had been conceiving since 2013. The invitation formed part of ‘Mashup The Archive’, an artist (...) residency encouraging contemporary artists from Africa to engage with the Iwalewahaus Archive. The resulting performance was presented at the Schokofabrik, Bayreuth and was a tour through a ‘maquette’ of the anti-opera. It was a ‘living maquette’ in which audiences (termed ‘Safarists’) travelled through stations illustrating sketches of scenes, histories of characters, and other fragments of narrative exposition. The artists illustrated these stations using both ‘relics’ from the Iwalewahaus Archive, and newly generated digital and analogue content. Using a common tactic found in electronic music known as ‘sampling’, Nkosi/Sunstrum recontextualized and reinvented these artefacts to form part of the anti-opera narrative. The world of the anti-opera was created by video projections, sound streamed live to Bayreuth from Johannesburg, handmade replicas of archival objects, original music created from archival instruments, live performers and a professional opera singer. South African literary theorists Delphi Carstens and Mer Roberts suggest that the sci-fi genre ‘offers a potential vehicle for expressing the African oral mythical mode and a (re)writing of the continent’s marginalized oral histories in the mythopoeic mode’.1 Nkosi/Sunstrum are interested in the radical implications of this view and are using sci-fi as a tactic for imagining and ‘occupying’ new African futures. (shrink)