This document provides information about the CHIPABO arts education project in Botswana. It introduces the project management team and arts educators who facilitated a workshop. Pictures from the workshop and past CHIPABO events are included. There is a note from the chief facilitator Stephen Chifunyise and information on teaching drama. The document ends with donation details and contact information for CHIPABO.

1. APRIL 2016ISSUE 1
STEPHEN J.
CHIFUNYISE
FACILITATES
CHIPABO’S AEDE
WORKSHOP
NTIRELANG BERMAN
AND BLACK GYPSY
AMONGST
CHIPABO’S ARTS
Inside this issue:
Meet the project
management team
2
A word from the team 2
Meet our arts educators 3
Workshop pictures 4
CHIPABO in the media 5
Note from Stephen J.
Chifunise
6
Blast from the Past: CAF 7
CHIPABO’S diet:
teaching drama
10
Special speech 11
SNAPSHOT AT THE CHILDREN’S ARTS FESTIVAL
2015 IN GABORONE
#POSSIBILITIES

2. MEET CHIPABO’S PROJECT MANAGEMENT Page 2
Neo L. Kebiditswe
Deputy Project Coordinator
Edward Moroka
Project Coordinator
Pearl Ntshole
Finance Manager
A WORD FROM THE TEAM
“It was all a dream”, this hallmark statement from the late Hip Hop artist, Notorious B.I.G. has captured the
magnitude of this project for us. It is one thing to conjure an idea or a vision, but it is a different ball game when
you actually implement it. The three of us got together and bonded through a common vision: taking this theatre
industry by storm. The ‘hows’ and the ‘could we’ also accompanied that vision. Doubt is the biggest enemy of
any dreamer, which is why we couldn’t dream alone. It became more than a personal fulfillment or professional
gratification; it became a calling. Coincidence exists to those who take life at a superficial level, but for us who
have endured the phrase “experience is the best teacher”, understood that we came together for a reason. We
passed life’s challenges within this industry with flying colours, and a good report pays homage to the student’s
character and endurance. And so, we took our dream to CIPA and the dream is now a reality.
CHIPABO was conceptualised intellectually and birthed with a lot of pains. However, it’s upbringing will
emphasise that it is not how you start, but how you finish. Our vision as project managers will enable us to
succesfully co-parent with our sponsors and our arts educators, because this child named “Bringing Arts
Education to More Children” deserves longevity. Indeed it was all just a dream, but now it’s time for a different
phrase. “It always seems impossible, until its done”. The late Nelson Mandela said it perfectly. Our child will
grow up to inspire every CHIPABO child to live their artistic lives through that statement. Halala CHIPABO
Halala...Halala !

3. MEET OUR ARTS EDUCATORS ! Page 3Volume 1, Issue 1
NTIRELANG BERMAN
ARTS CENTRES:
RAMOTSWA & MOCHUDI
KEALEBOGA “BLACK GYPSY” MOSEKIEMANG
ARTS CENTRES:
GABORONE & MOGODITSHANE
BAITSHIDI MOETI
ARTS CENTRES:
MAUN & SEHITHWA
THATO “SISCA” MOSOKABANJE
ARTS CENTRES:
KASANE & KAZUNGULA
MEDUPE AMOS MEDUPE
ARTS CENTRES:
MOLEPOLOLE & BROADHURST
ORATILE JOSEPH
ARTS CENTRES:
FRANCISTOWN & TONOTA

4. Page 4Volume 1, Issue 1 MEET OUR ARTS EDUCATORS !
Arts Educators learning to play marimba during the AEDE
workshop. The marimaba facilitator was Zechariah Mhaladi.
Arts Educators learning to play mbira during the AEDE
workshop. The mbira facilitator was Godfrey Moeng.
HAZEL NDWANA
ARTS CENTRES:
ORAPA & LETLHAKANE
Arts Educators learning to play the Jembe drums during the AEDE
workshop. The jembe drum facilitator was Ntirelang Berman.
ONTIRETSE “DOPS” BAIPIDI
ARTS CENTRES:
KANYE & JWANENG
KAGO MELEMO
ARTS CENTRES:
SEROWE & PALAPYE
Stephen J. Chifunyise was the chief facilitator for the
CHIPABO AEDE workshop.

5. Page 5CHIPABO IN THE MEDIA !Volume 1, Issue 1
ONE WEEK AFTER THE CONCLUSION OF CHIPABO’S AEDE WORKSHOP, Midweek Sun Newspaper PUBLISHES AN ARTICLE ABOUT
CHIPABO, AEDE AND THE PROJECT. CAPTURED IS EDWARD MOROKA , THE TEAM, AND ARTS EDUCATORS POSING WITH THEIR
CERTIFICATES AFTER SUCCESSFULLY COMPLETEING THEIR TRAINING IN AEDE.

6. STEPHEN J. CHIFUNYISE’S CORNER
Minds of people –exploited adequately.
Natural resources usage by minds.
Cultural heritage – organising the cultural things in
such a way that they can be kept original for
the next generation because our culture is our
property and no one should compete with us
for it.
Safeguarding the intangible cultural heritage, for
example dance, social events, festivals ritual
events
Knowledge about the nature and traditional
craftsmanship
PROJECTION AND PROTECTION OF THE DIVERSITY OF
CREATION
Copying the original dance or an aspect of culture
then you modify it without distorting the orig-
inality.
Applying for international funding for the
convention
Exporting of the culture to other countries as a way
of benefiting from it.
Keeping heritage in the forms that the next
generation can be able to see and use.
VALUE CHAIN PRODUCING
MARKETTING > CONSUMPTION > RECORDS KEEPING
Training of Trainers (TOT) AEDE
Body of the trainee- exercising should be considered
every morning and evening at list 30mins, eating
enough fruits and balanced meals and drinking more
water.
Confidence- having the much needed confidence,
being able to introduce yourself leaving no room for
questions or doubts
Trainee inspection- ask yourself about what u have
learned, how to improve and or maintain, what have
others learned from you.

7. Page 7BLAST FROM THE PAST !Volume 1, Issue 1
LITTLE THEATRE 2015
CAF OPENING CEREMONY AT MANTLWANENG
THEATRE 2015

8. MANTLWANENG THEATRE 2015

9. LITTLE THEATRE 2015
CHIPAWO KIDS AT CAF 2015, LITTLE THEATRE

10. CHIPABO’S DIET: TEACHING DRAMA
TEACHING DRAMA
Drama is a form of play that performs a conflict and
conflict resolution at the end
-what are aesthetics of a play?
-find artistic ways of showing conflict in a play that
will be accepted by the audience
How to create a play
How to write a play for radio, television and stage
performances
HOW TO PERFORM A PLAY
There are different ways/ strategies
1. Either the kids or the trainee tell a story, the play
can be dramatized and fully prepared for
performance
2. Come up with a scenario and ask children to say
life related situations so as to use in the play.
3. Using a story in the book, written scripts, poems,
pictures or from some quotes
PROCESS OF CREATING A PLAY
 Discuss the idea or the story to see where
the conflict is and also its resolution.
 Improvise the content of the play .
 Put the play in pieces and display it.
 Determine the voice variation aspects, group.
casting, body usage, dance and songs
 Use children to come up with their own
words. so as to enrich their language and
minds.
 Take over the decision on improvised aspects
 Perform the improvised piece.
Example of the play performance of Shakespeare o a Tshela
Exampe of a play setting at Maitisong Theatre
Example of theplay performance of Phuti
Volume 1, Issue 1 Page 10

11. SPECIAL SPEECH BY BEN SEMOMMUNG-CHILD PROTECTION SPECIALIST : UNICEF
Page 11

12. SPECIAL SPEECH BY BEN SEMOMMUNG-CHILD PROTECTION SPECIAL : UNICEF Page 12

13. DONATE TO US
CHIPABO is an NGO that relies on your donations in order to function. Without your donations,
our artistic Botswana children will not be able to nurture their talents, CHIPABO style. Your donations will ensure that
our artistic children receive the best artistic coaching, education, exploration and sensitization. Be a part of this
incredible initiative and become a CHIPABO DONOR TODAY!
BANKING DETAILS
NAME OF ACCOUNT HOLDER: CHIPABO
ACCOUNT NAME: Cheque Account
ACCOUNT NUMBER: 62421689053
BANK: FNB
BRANCH: Branch Mall
Page 13
WHERE YOU CAN FIND US
POSTAL ADDRESS: P.O. BOX 4974 GABORONE, BOTSWANA
E MAIL: chipabobotswana@gmail.com
CELL: (+267) 723817617 (Edward Moroka)
(+267) 71840178 (Edward Moroka)
(+267) 74594801 (Neo L. Kebiditswe)
(+267) 71241154 (Pearl Ntshole)