17 Sep 2020

 Just like any other young man born and raised in Maanega, a small rural settlement in Kweneng, Taka Baponi grew up taking care of his family’s small stock.

Education became a luxurious privilege of a few well off families who could afford to take their children to school.

Coming from the other side of the economic fence Baponi’s family could not afford to send their children to school.

At a tender age Baponi showed all signs that he would become a reputable musician.

He played his makeshift guitar with great gusto and most of his age mates became worried and suspected the talent was influenced by witchcraft.

No one matched his extraordinary skill. It was not surprising then that soon, Radio Botswana producers took note and came knocking. 

This endeared him to many and he was soon christened Kotaeshwele, mainly because of his reckless playing skills. 

Kotaeshwele would carry his guitar to every corner of the village to entertain his friends and perfect his playing skills.

This was the start of a promising music career that now, four decades down the line has faded into oblivion. He has never set foot into a classroom. His  hope was to scale the musical heights with his favorite instrument.

He had a great determination of success in his music life, a dream that came crushing down.

The 68-year-old now lives a desolate life at Diphohung lands with a legacy now darkened by periods of personal sadness and bitterness.

He has regrets that his talent has gone to waste. 

The modest earnings he got at the height of his musical journey were not enough to put food on the table and is now a registered destitute person.

A man of very few words, Kotaeshwele strongly feels his music is not enjoying the same treatment as many folklore artistes though he popularised the four string guitar genre.

Age is catching up with him and he has little hope for the future as a recording artist.

His health has deteriorated but his undying passion for his guitar remains strong.

Quizzed on whether he could still fret on his guitar Kotaeshwele could not remember the last time he played the instrument.

His niece, Doreen Baponi who assisted with the interview explained that at some point organisers of the Bakwena cultural festival invited him to play at the Dithubaruba cultural festival in Molepolole.

“ Ke motho yo o pelo tshweu ha a tshwara sheleng o betsa a ntsha!....o amogela madi a bagolo ha a tshwara gaa nne’” added Doreen.

Kotaeshwele was revered in his home village of Molepolole and even beyond.

To many artistes who came after him Kotaeshwele was an inspiration.

He was a major influence on his young brother the late Malefo Mokha fondly known as Stampore in music circles.

They both learned the art from their father Baponi Mokha who used to play segaba back in Maanega.

Stampore notched a few songs that recorded equal success. 

When Kotaeshwele disappeared from the stage Stampore penned down Mahipihipi and somewhere on the lyrics he pretentiously asked “ Kotaeshwele o kae?….nkgonne ga ke mmone…bangwe ba re o ile Jwaneng!”……

Stampore used to ‘steal’ his big brothers guitar to perfect his fingers on the fret board. 

He did much better and unlike his older brother who spent much time in Lentsweletau, Stampore caught the attention of music promoters and managed to record a few albums.

In the late 90s the guitar boom died down and was overtaken by new and appealing genres such as kwasa kwasa and traditional dance, the latter fused with modern instruments. 

The likes of Kotaeshwele and his ilk retracted to the villages and lands where their careers were headed to serious trouble. 

He now pleads with any Good Samaritan to assist him put food on the table. ENDS