On my Harvard experience: For many of us in the creative and cultural industries, we were often told that intelligence is only about math and science, which weren’t my strong point. I worked as an actress for a while, and what some might see as a pivot into academia was actually inspired by meeting Howard Gardner, the Harvard professor who developed the theory of multiple intelligences. His work validated the idea that intelligence goes beyond traditional math and science—it includes creativity, emotional understanding, and more.
This theory, which I encountered as an undergrad and later explored further at Harvard, changed my life. It gave me the confidence to embrace my own intelligence and bring that perspective into my work, whether in research, policy, or working with economists and bankers. It allowed me to fight for the value of different types of intelligence in the boardroom, particularly in an African context. I grew up thinking I wasn’t smart enough, like I wasn’t this or that, I can’t do math, I can’t do science. But it’s not about that—we all have different ways of understanding the world and learning. It’s different for everybody, you know.
I was also influenced by Steven Seidel’s concept of the pedagogy of listening—truly listening with all your senses. This was impactful, especially as an introvert, and I’ve applied this approach in classrooms, boardrooms, and other learning environments. Both of these theories helped me reclaim and contextualize knowledge for Africa, and they continue to shape my work today.
On making a difference post-Harvard: I'm currently working on a project with the Bank of Botswana, where we're focusing on diversifying the economy; Botswana has long relied on diamond production and has been trying to shift away from this dependency. We're exploring how the creative and cultural industries (CCI) can play a significant role in this diversification.
One of the key projects I'm leading is shifting mindsets to highlight the economic value of the visual arts. Drawing on my experiences from Harvard, where I studied not only education but also took courses in law and business, I'm using case studies and research to build a strong economic argument for the CCI. This involves making the numbers make sense to economists, bankers, and policymakers.
We’re now exploring the creation of a national endowment for the CCI, which would fund the development of the creative industry. It's been an intellectually stimulating challenge, and Harvard equipped me with the tools and networks to implement such large-scale economic projects. It’s no longer just about how much an artwork sells—it's about making a national economic case for urgent diversification, and I’m proud to be driving this shift.
On Impact: In Botswana, about 80% of the population works for the government, which is concerning given the warnings from institutions like the World Bank about our wage bill. There's a pressing need for public-private partnerships and a stronger private sector. One initiative I’m especially proud of is Ora Loapi, the entity I founded, which has made significant strides in promoting contemporary African art both locally and globally.
Ora Loapi became the first entity in Botswana to showcase at international art fairs, such as the upcoming Abu Dhabi Art Fair. We’ve been intentional about placing emerging visual artists into prestigious markets, helping them grow from low-income artists to significant contributors to the economy. Through our work, we've collected valuable data on how these artists have increased their income, built homes, and experienced year-on-year appreciation of their artwork.
This data has been crucial in influencing policy formation at the National Archives and in advocating for mandates that support the creative sector. What’s especially important is that we've achieved all this without government support—Ora Loapi is fully self-funded, showing a strong sustainability model. We've also pushed for greater privatization in the arts, contributing to the development of a more robust private sector that helps diversify Botswana’s economy.
Our work aligns with the African Free Trade Agreement and has had a ripple effect on broader continental policies. We’ve found ways to influence these policies through our independent, private-sector-driven initiative, which is something I’m incredibly proud of.
On Failure: My parents never went to school, so going to Harvard felt like a journey of discovery for me. When I returned home in 2019, after teaching and working as a research assistant at Harvard, I assumed I'd quickly find a job. But I ended up being unemployed for two years, struggling to make ends meet and eventually moving back home. It was humbling. But during that time, I realized I wasn't supposed to be looking for a job—I needed to create my own opportunities. That period pushed me toward entrepreneurship and building the world I wanted to live in.
Another challenge I've faced is learning to navigate sexism in leadership roles. There were moments in boardrooms where I was told to fetch coffee because I was the youngest or the only woman. Those experiences taught me to stand my ground and not compromise my values. I wouldn’t call these failures, but rather lessons in resilience and staying true to myself in environments that challenge my principles. Now, I don’t compromise or make myself small to fit in.
On Advice to Current or Prospective African Students: Think expansively. Take courses across different schools—whether it's law, education, engineering, or medicine—and interact with people from all disciplines. For me, the magic was in expanding my horizons, exploring different campuses, and connecting with diverse perspectives. It’s where the most impactful learning happens.
