Education services provided by museums constitute an important part to heritage education in post colonial southern Africa (Kubanji, 1999; Shava & Zazu, 2012). The case of the Supa Ngwao Museum in Botswana, as observed in this study, illustrates this observation. In a focus group interview, the education officer pointed out that the museum provides heritage education and awareness services and support to the general public and schools groups in and around the northern region of Botswana (#FgI 7). Probed for more information the education officer said: “more than 3000 school children visit the museum every year” (interview #NGWAO). Given that the country’s population is less than two million (see Section 7.1), the number of learners visiting the museum is quite significant, making the education services offered at the Supa Ngwao Museum an important part of heritage education practice in post colonial Botswana.
Asked to describe the learning activities that school children undertake at the museum the education officer pointed out that:
I think all regional museums; I think we are doing same things. Often we give the learners a lecture, say on a particular heritage topic e.g. the importance of the Kgotla or the cultural value of cattle to Batswana people. We take learners, you saw those cultural objects [referring to exhibited objects] yes we take them around and talk about those objects. The children like it; they enjoy it (interview #NGWAO).
When asked about how relevant the education at Supa Ngwao Museum is to learners, the education officer was quick to point out that government expect them (meaning the heritage educators) to make sure the objects displayed in the museum and their interpretation and presentation is relevant to Batswana cultural views (McKernan, 2008). She is quoted in an interview saying:
Yes that is our President, yes he want us to go to culture. He is always talking of culture. He wants us to go where we are from, yes to renew our cultur.
(interview #NGWAO).
In elaborating on her point she alluded to one of the educational exhibitions mounted at Supa Ngwao Museum called the Mapoka photo cultural project (#FoSN). This project is an outcome of a cultural exchange project between school children in Botswana and Germany (#FgI 7 & interview #NGWAO). In the same interview the education officer provided background information to the project when she said:
We have these friendships from Germany university of Giessen. They brought their students this side. They wanted to share ideas about life, how people in Botswana survive and how people in Germany survive and they want to see whether it’s the same (interview #NGWAO).
The rationale of the Mapoka photo cultural project, as outlined in Section 6.14 (e) and 6.16 (j) of Botswana’s National Policy on Culture (#DocNCP), and alluded to earlier in this chapter, is premised on the need to integrate indigenous culture into the country’s education system and also to use opportunities for cultural exchange programmes (Republic of Botswana, 2001). It is therefore an education project hugely shaped by the discourses of “culture and identity”, as pointed out in Section 7.1. The goal of the Mapoka photo cultural project is therefore partly to promote local Batswana cultures.
The Mapoka photo cultural project exhibits pictures taken by 103 photographers from Mapoka representing life in the village (#FoSN & interview #NGWAO). School children from Mapoka and Batanani primary schools were given disposal cameras and asked to take pictures capturing themes representing life in Mapoka village (#FgI 7). Working with students from Giessen University in Germany an exhibition of the pictures was developed. Figure 15 below shows part of the Mapoka photo cultural exhibition at Supa Ngwao Museum.
Figure 15: Part of the Mapoka Photo Cultural Exhibition at Supa Ngwao Museum, in Francis Town (#FoSN)
The value of the Mapoka photo cultural project in supporting heritage education at Supa Ngwao Museum, as pointed out by the education officer, is very high (interview
#NGWAO). She said that most school children visiting the museum were showing a lot of interest in the exhibition. Interesting to highlight is that the Mapoka photo cultural project also covers topics such as the Kgotla (#FoSN), a traditional institution, whose role and value was, as outlined in Chapter One (see Section 1.2.1), negatively impacted on by colonialism. This observation coupled with the production of the Kgotla booklet (#DocSNBK 2) illustrates how the discourses oriented towards reviving of indigenous cultures are reproduced within heritage education practice. A critical analysis of the Kgotla booklet (#DocSNBK 2) revealed that the rationality for its production revolves around the quest by the post colonial government of Botswana to address the subjugation of indigenous cultures and practices associated with colonialism (see Section 4.5.5). The booklet is therefore symbolic of the discourses of
culture and identity as noted in Section 7.1. The use of the booklet at Supa Ngwao Museum’s education programme is also motivated by the same discourses.
The booklet clearly states that “the traditional Kgotla system in Botswana is not as effective as in the old days” (#DocSNBK 2). As already pointed out by scholars, such as Mamdani (1996) and Sharma (1999) the booklet further argues that “The Chieftainship Act and National Constitution have in theory supported the system, but in practice they have contributed to its downfall” (#DocSNBK 2). The Kgosi (Chief) is now a civil servant who works under the watchful eye of government and his powers are reduced (see Section 1.2.1). Given this observation a number of questions can be asked about how educators are dealing with the subtle tensions and contradictions inherent within educational initiatives such as the Mapoka photo cultural project and the Traditional Tswana Kgotla booklet. Also apparent is the challenge regarding the value and feasibility of reviving traditional institutions such as the Kgotla in modern day Botswana (interview #REV). This challenge is further discussed in Chapters Eight and Nine.
Elsewhere in Botswana the influence of discourses shaped by the country’s colonial history and the need to address the marginalisation and disvaluing of indigenous cultures are at play (#FgI 7). An example is that of Tsodilo museum where efforts to represent local Hambukushu cultures and practices are underway. In Box 7 below is an excerpt illustrating how Tsodilo museum is working towards increased community participation and representation.
Box 7: The role of the Tsodilo Site Museum
The Tsodilo Site Museum, which was officially opened in 2000, has two permanent exhibitions called Tsodilo and My Tsodilo. The first exhibition is a celebration of the physical landscape, geology, and archaeology and rock art of Tsodilo. It presents archaeological and ethnographic artifacts of Tsodilo and the region. The purpose of the second exhibition is to present the experiences of people who have interacted with Tsodilo. It is composed of twenty-five interviewees with quotes from the local community, tourists and researchers. Selected Hambukushu and Jun/hoasi stories and experiences are displayed together with those of the researchers. The Tsodilo Site Museum, as an interpretation centre, is therefore a reflection of and a meeting place for the local community, scientists and consumers – the tourists. By reflecting the local interpretations and featuring pictures of the ordinary people of Tsodilo, the museum becomes a space that allows the local community to appropriate its culture. The Tsodilo Site Museum, the only other national museum in the country, receives an annual allocation for a national visual and performing arts festival. The festival entails community celebration of the intangible heritage at Tsodilo through poetry, drama, traditional dances, stories, visits and interpretation of the sacred sites, promotion of local crafts through exhibitions and visual-arts competitions. It is expected that this visual and performing art festival will go a long way in the promotion of community ownership, participation, revival, and transfer of knowledge and significance, especially to the younger generation.
Source: (#DocNMMAG)
In summary it therefore suffices to conclude that heritage education within museums in Botswana is also influenced by the discourses of “culture and identity”, “access to and ownership” as well as “national unity”, as shaped by the country’s colonial history and reproduced within the country’s heritage policy. However, the implications of these discourses, as observed in this study, on the quality and relevance of heritage education practices in country and entire region is critiqued in Chapter 8. This is because, as noted in this study, it looks like more emphasis is on redressing issues of “access and ownership” , “culture and identity” as well as
“national unity” than anything else. Considering that heritage education is perceived to play more than this, as argued for in Chapter Two (see Section 2.3), the current constitution and orientation of heritage education at Supa Ngwao Museum is worth critiquing.