All Quotes

"GABS glitches hinders productivity economic growth - Kedikilwe 14 February 2024"

"Residents decry shortage of medical supplies 14 October 2025"

"Atamelang urges farmers to commercialise 6 August 2025"

"Minister says Botswana Railways executives are underpaid 8 April 2025"

"Women catalysts for change 17 March 2025"

"Patience, perseverance pay for Digwa 8 November 2024"

"Concern over Unlawful Transport Operators 22 February 2025"

"Morolong wants marijuana ban in Kgatleng 13 December 2016"

"Mps Adopt Motion on Provision of Water to Farming Areas 24 July 2025"

"BDP aims for constructive engagements 28 November 2024"

"Dr Butale Calls For Scrapping Civil Imprisonment 16 March 2025"

"EU and Botswana ties key to economic growth - Minister 4 June 2025"

"Botswana eyes deep, beneficial ties with China 18 June 2025"

"Without South Africa, there is no Nando’s."

"We are made special here – made different – full of flavour and fire. We have ‘this thing’ – this indescribable fire, energy and spirit, and it’s worth reminding ourselves of it. Whatever this thing is that we have, may we never lose it."

"These things only happen here and it felt like it was already written that they would be part of the story"

"The fact that brands still want to work with brand Kwesta after 18 years? I must be doing something right"

"I’m blatantly saying that if I was to leave the game tomorrow, any day and Touchline was the last rapper left I would be fine with how it."

"Sarafina! was not only an entertainment show, it was a 'struggle' piece of art. It is actually really sad that it is not recognised. We were soldiers on stage, fighting for this country through art."

"I have taught myself that maybe South Africa doesn't recognise the talent in actors. Because since I began my career I have never received a single award. For all the iconic characters, I never achieved anything."

"When you are a star in America you can feel that you are a star. To be a star you must have money. In the States they pay actors a lot of money to portray certain characters. They (understand) that the character has to live inside of you (spiritually) and it changes your life forever. So they give you millions. In SA, you are just an actor trying to sustain a living."

"This industry is hard; we're struggling. The beautiful thing is that fans can sit at home and watch how everything came together, not knowing what we went through."

"I am very scared of love. It scares me so much. I love very hard and I bring my all"

"Nothing is easy. It is not easy to have a baby, for a tree to grow—but that’s what is beautiful."

"I don't know what is important and what is unimportant, so I call it all immensely important."

"Nothing is easy. It is not easy to have a baby, for a tree to grow--but that's what is beautiful. That is part of the beauty. To wish for a life of ease is ridiculous. When I think about how I really do feel it overcomes me. Then I wonder if I've done enough"

"My Friends Write to Me from America that Joseph Wright (my Son) "has Painted a Likeness and also moddel’d a Clay Bust of General Washington which will be a very great honour to My Famaly.""

"I most heartly thank my god for Sparing My life to See this hapy day."

"I joyne with all My friends in the pleasing prospect that Posterity will See, and behold the Statue of the man who was apointed by his Contry, and the voice of the Enlightend Part of Mankind to be the great general to Save the Liberties of the Christian Religion and Stop the Pride and Insolence of old England. and by his truly great and Noble Example in all human Vertues he has Restord Peace on Earth, good Will toward mankind."

"Truly hapy are You Sir, to have the greatful thanks of all Europe—with the Prayir of the Widows and the Fatherless—You have my most greatful thanks for your Kind atention to my Son in taking him in to your Famaly to encourage his genii and giving him the pleasing opertunity of taking a Likeness that has I Sincerly hope, gave his Contry and your Friends Sir, Satisfaction."

"I am Impatient to have a Copy of what he has done that I may have the honour of making a model from it in Wax Work—it has been for some time the Wish and desire of my heart to moddel a Likeness of generel Washington, then I shall think my Self ariv’d at the End of all my Earthly honours and Return in Peace to Enjoy my Native Country. I am Sir with gratitude an Respect Your very humble Servnt"

"I was an artist with many social connections, and – don’t tell! – I may have been a spy. I was born on Long Island, New York in 1725, but by the time I was four I was living in Bordentown, New Jersey. My father was a devout Quaker, and I was passionate about art, especially sculpting, so when I was twenty-one I moved to Philadelphia, the center of American art. I married a fellow Quaker, Joseph Wright, and we moved back to Bordentown, before he unexpectedly died in 1769. But I didn’t give up my art dreams, and along with my sister Rachel, who was also a widow, we started a business making wax sculptures, and soon we had salons in Philadelphia and New York City. I met Benjamin Franklin, and he convinced me to move to London and introduced me to important people who wanted to be sculpted. Things were bad between Britain and its colonies, and I supported the efforts of Prime Minister William Pitt who was trying to reconcile everyone. But at the same time, while my many subjects – including the King himself – were posing, we’d talk openly and honestly about what was going on. If any valuable military or political news came my way, I’d write it in a letter to the Continental Congress, which I would then smuggle out in my wax statues. I also tried to help American prisoners of war who were jailed in England. And at the same time, I also tried to compensate Loyalists for their losses. I wanted to get back to New Jersey, but I died in London in 1786. Nobody knows where I am buried."

"I really don’t know where my insecurity stems from but it probably helps me to humble myself in my craft."

"To be honest, I wasn’t a popular kid growing up hence I sort of relate to the villain-like characters. I somehow know how to add a bit of spectacle because of some of the emotions I know they sort of feel."

"It is not as glamorous as many people think. I think one of the biggest challenges is getting work. It can be quite difficult. It can be quite challenging not knowing when the next gig will come."

"You can appear on screens all the time and people think you are doing well, but behind the scenes you may be struggling. It can be really tough."

"For African folk, mostly, the history goes back 200 years. That's what we've been given, and it's from Western perspectives. We don't know much about our own history. Blood Psalms poses a lot of questions and will give people a lot to think about."

"It was overwhelming at first, but what I took out of it was that everyone’s working, it’s like you’re sponging in anything and everything they’re telling you because everyone was helping me. I’d say it was educational but at the same time overwhelming."

"If you’re not grounded, you’re easily swayed in this industry."

"When we believe, we believe hard. I would go to hell and back for what I believe in—or, in my case, who I believe in. Even when I fall short, I still go all in."

"Grab any opportunity with both hands, no matter how big or small it is."

"Respect everyone, don't just respect someone because you feel like they're better than you, but respect everyone because respect can also go a long way."

"My interest in scrying started when I bought an "authentic gypsy crystal ball" at an auction house in rural upstate New York. I have no idea whether the crystal ball [had] ever truly belonged to a gypsy or not, but it was a beautiful peace of glass, and I had a keen interest in the metaphysical so I bought my first scrying tool, totally clueless as how to use it."

"The day I decided to commit to being an artist was one of the best days of my life. I knew what I loved to do and what I now had to do. Although it was a totally frightening career choice, it was also one of the most liberating."

"Moving to New York to get an MFA in poetry was a pretty affirming moment. I started to research poets who were performance artists and discovered people like Vito Acconci. From there, my poems walked off the page and into the streets in an action poem style. Photography has always been a big part of my life and when I started researching early performance work, I never understood why the “documentation” of the work was of such bad quality. I went back to school, to the International Center for Photography, to learn the skills necessary to capture aesthetically compelling work, to eliminate the hierarchy between the performance and video and photos. At that point, I hit my stride."

"When I was 15, I fell in a frozen lake. I was walking on a lake outside of Boston and the ice started cracking. The next thing you know, I was fighting to get out. The lake was a water reservoir so it was illegal to walk on it. Afterward, I was scared to tell anyone about what happened for fear of getting into trouble. Even though I was freezing for days after, it was also kind of exciting."

"When I do these performances now, the feeling in my body seems to mirror that lake experience. I did a performance a few years ago where I threw myself through sheets of glass and after that I found the vocabulary to describe how I felt physically eluded me. It was like a secret in my body. When thinking about how to approach the reenactment, I started reading about how William Turner worked. He would take real-life events and turn them into the most beautiful images using color and light. He was also very interested in the sublime—man’s powerlessness in the face of nature. I channeled him as an inspiration when making the video."

"There are two phases of the exhibition—day and night. When you walk into the gallery during the day, in this reality, it is actually night. There are 75 night-blooming jasmine plants in boxes with shop lights above them suspended from the ceiling. Because the lights are off, the plants are tricked into thinking it is night and release their rich smell. The viewer walks through a maze of flowers and arrives at the video projected on a screen of myself walking and falling through a frozen lake in the center of the gallery. There is an audio score accompanying the video by experimental jazz composer Jason Ajemian. Every day at 5:30pm, the video turns off and the lights start to turn on in a synchronized choreography to a piece of music. The "day" then begins and the lights turn off again at 5:30am. It is a very sensorial experience with smell, video, light, color, and sound."

"It’s sort of like building a puzzle. I get an idea and then see how it best fits. If it is an idea for a performance, I start to think, Should it be live? Is it best for video? What time of day? What kind of camera? Where should it be shot? Then I think, How should it be installed? Single-channel or installation? If it is for a live audience, then everything changes; now you are thinking outside the frame and with a 360-degree view. Then the questions start again. All the projects start with an image. If the work is physically challenging, then I work backward to figure out how I can make it. How can I cover myself with bees while doing tai chi? How can I throw myself through sheets of glass? How can I fall through the middle of a frozen lake?"

"I start researching and make calls to people whom I think can help me. The first 10 calls are all usually the same: “You can’t do that, it's impossible.” But then I find someone who is one the same page as me and the fun starts. When we finally have a date, then I prepare physically and mentally. Trampoline training, tai chi practice, ice baths, ashram stays, etc. A lot of research goes into the projects—the goal is to make the final image."