Behind the scenes with radio rookie turned Artists’ boss
Long before the applause, the sold-out shows and the viral moments, there are individuals working tirelessly behind the scenes to put it all together, turning talent into something tangible.
One such unsung hero is Gape Makwati, a passionate Serowe-born creative quietly building dreams through self-sacrifice and a solid belief in Botswana’s artists.
Shy by nature, the soft-spoken 30-year-old introvert is not interested in fame; rather, she is focused on building stars, shaping stories and ensuring artists are seen, heard and respected long after the applause fades.
“I am just a socially awkward girl who enjoys being an aunt and loving her friends,” she shrugs.
Yet behind that humble, down-to-earth description is a woman helping shape Botswana’s entertainment landscape through her company, Makwati Media, where she manages artists such as Dato Seiko, Thongbotho and Corporate Sparkle Bedi, while also consulting for MissGeekays.
From the outside, artist management looks a glamorous occupation, defined by flashy events, backstage access and endless nightlife.
For Makwati, the reality is far less glamorous.
“Lots of admin, OMG! There are always calls to take, quotes to send and gang brainstorming sessions which I enjoy a lot. I also shoot a lot of my talent’s content so you’ll always find me on set shooting for a campaign or in studio with Dato Seiko.”
It is this willingness to do the unseen work that has made her so respected by the industry’s big players.
It is a surprise to learn that Makwati’s journey into entertainment did not begin with artist management.
Charmed by radio from a young age, that fascination eventually led her to Yarona FM after enrolling in one of the station’s Talent Callout training programmes.
Her first major break came as a producer for two of the station’s prime-time shows, a role that sharpened her understanding of entertainment from behind the scenes.
It was there that she discovered her true calling.
“Besides not having talents I can monetize like that, I’ve never really wanted to be in the forefront or the limelight. I don’t think I can handle the pressure,” she laughs.
Instead, she found joy in creating opportunities for others and letting her work speak for itself (something The Voice can relate to!) without the applause being ‘in my face’.
That mindset has become the foundation of Makwati Media, a brand, slowly becoming synonymous with artist development, strategy and creative direction.
Still, the work is not always easy.
One of her toughest battles has been learning to turn-down poor-paying events.
“Declining underpaying gigs even when we aren’t sure where the next gig will come from is tough but sometimes it has to be done,” she notes.
Then there is the emotional labour of managing creatives.
“Artists are like kids,” she says candidly. “And it’s sometimes annoying when you aren’t in the mood to baby anyone.”
Despite the frustrations, Makwati believes successful management is built on two things: boundaries and belief.
“You have to set clear boundaries from the get-go and keep revisiting them. Your life will be easy. Simply being a fan of the art and your artist helps too.”
That passion is evident when she speaks about one of her proudest achievements, building the Makwati Media Lounge at Kana Kgang.
To her, it represents more than just a space. It symbolises growth, community and proof that creative ideas can become physical realities.
But beyond the wins and curated social media moments, Makwati admits the industry still has a long way to go.
“We need to see legislation and regulation within the industry. We have never needed the government to come through for us like we do now,” she says firmly.
It is a statement many of the country’s creatives will relate to in an industry rich in talent but often lacking structure, protection and proper support systems.
Social media, she says, has opened doors internationally and made it easier for artists to connect across borders. However, she also warns about the dangers of chasing instant virality.
“Instant viral moments have affected the way artists feel their audience should receive their work. Sometimes that isn’t quite great when the time is not right,” Makwati warns.
Through it all, one thing continues to motivate her: passion.
“There’s a lot of disrespect for the arts sometimes,” she says. “And that’s annoying for people whose main motivation is the passion for it and not just financial gain.”
It is a sentence that best captures who Gape Makwati really is: someone deeply protective of the arts and the people brave enough to pursue them.
Away from work, people are often surprised to learn just how shy she really is.
“I hate taking pictures when I’m out most days,” she chuckles.
Makwati finds comfort in creating magic from the shadows rather than standing centre stage herself.
Yet even from the background, her impact is becoming harder to ignore.
As Botswana’s entertainment industry continues to grow and fight for global recognition, creatives like Makwati are proving that not every powerhouse needs to be loud.
Some build movements quietly through vision, consistency and belief in the people they represent.
