In an era where social media trends come and go in seconds, a new generation of creators is proving that digital platforms can also preserve history, celebrate culture, and reconnect people with their roots. Among them is Lester Kole (LK), a Bulawayo-based content creator whose unique blend of entertainment, nostalgia, and historical storytelling has earned him a growing audience across Zimbabwe and beyond.

From forgotten cultural traditions and legendary musicians to everyday stories that shaped Matabeleland, Lester has become one of the region’s most recognisable digital storytellers. In this exclusive interview with My Kasi Magazine, Lester (LK) opens up about his journey, his passion for preserving local heritage, and why telling our own stories has never been more important.

TR: To those who may know your content but not the person behind it, who is Lester Kole beyond social media?
LK: Beyond social media, I’m just a creative guy with a 9-to-5 job who loves creating things. I make music beats, do graphic design, videography, and of course create content. Creativity has always been a part of who I am. Whether it’s telling stories through videos, designing graphics, or producing music, I enjoy bringing ideas to life.
Content creation is simply one of the many ways I express that creativity.

TR: What inspired you to become a content creator, and when did you realise that Bulawayo and Matabeleland had stories worth sharing with a wider audience?
LK: Growing up, I realised that many of our stories were either being overlooked or told from an outsider’s perspective. We often wait for foreign creators or international media to tell our stories, celebrate our culture, or explain our history to the world.
I don’t think that should always be the case.
We are the custodians of our own stories. Nobody understands our culture, humour, language, and experiences better than we do. I wanted to play my small part in preserving and sharing those stories not just for people outside Zimbabwe, but also for young Zimbabweans who may not know them.
Bulawayo and Matabeleland have an incredible history and rich culture that deserve to be documented and celebrated by us.

TR: Your content combines entertainment with history. Why was it important for you to bring these two worlds together?
LK: History doesn’t have to feel like a classroom lesson. Some of the most fascinating stories are hidden in our everyday culture in the music we grew up listening to, the places we come from, and the people who shaped our communities.
I realised that people are more likely to engage with history when it’s presented in an entertaining and relatable way.
If I can make someone laugh, smile, or feel nostalgic while teaching them something they didn’t know, then I’ve done my job.
Entertainment makes history accessible, especially for younger audiences who consume content differently today.

TR: What does Bulawayo mean to you personally not only as a city, but as a place of memory, culture, and identity?
LK: Bulawayo means a lot to me. I was born in Plumtree and now live in Bulawayo, so in many ways I have experienced both worlds. Plumtree gave me my roots, and Bulawayo helped shape the person and creator I am today.
Bulawayo is known as the Capital of Arts and Culture in Zimbabwe, and I genuinely believe it deserves that title. There’s something special about this city.

It has produced incredible musicians, artists, comedians, and storytellers over the years.
For me, Bulawayo represents creativity, resilience, and community. It’s a city that proudly embraces its culture and traditions while continuing to inspire new generations of creatives. Through my work, I hope to contribute in some small way to preserving and celebrating that identity.

TR: How do you research the historical and cultural stories you tell?
LK: Research is probably one of the most important parts of what I do. The internet is a useful tool, but I’ve learned that you can’t rely on it completely because misinformation exists everywhere.
My father helps me a lot with fact-checking and providing historical context.
I also speak to friends in the music industry whenever I’m covering artists or musical history. On top of that, I read books and compare information from multiple sources before sharing anything publicly.
I believe cultural storytelling comes with responsibility. If you’re going to tell people’s stories, you owe it to them to do your homework properly.

TR: How do you make history interesting for younger audiences?
LK: I try to present history as a conversation rather than a lecture. Young people love stories—they just don’t always love textbooks.
I use humour, nostalgia, relatable examples, and modern storytelling techniques to make historical topics feel relevant. Sometimes all it takes is asking a simple question like, “Have you ever wondered where this came from?” and suddenly people become curious.
History isn’t boring. It’s the way we tell it that sometimes makes it boring.

TR: Are there any forgotten stories from Matabeleland that you feel deserve more attention?
LK: Absolutely. There are so many stories from Matabeleland that deserve more attention and proper documentation. Some of them are things many of us grew up around but have never taken the time to preserve or explain.
Take Malayitsha, for example. It’s more than just transporting goods across borders it’s a cultural and economic phenomenon that has connected families across Southern Africa for decades. Then there’s cattle herding, which for many young boys in rural communities was more than simply looking after livestock. It taught responsibility, leadership, problem-solving, and even created lifelong friendships and traditions that are slowly disappearing.
Traditional music is another treasure that deserves to be celebrated more. Matabeleland has produced incredible sounds, instruments, and musicians whose contributions have shaped our cultural identity, yet many young people know very little about them today.
I believe we’re only scratching the surface. There are countless stories hidden in our language, traditions, music, and everyday experiences. If we don’t tell and preserve them now, we risk losing an important part of who we are. That’s one of the reasons I do what I do to make sure these stories continue to live on for future generations.

TR: What has been the most surprising thing you’ve discovered while creating content?
LK: The most surprising thing has been discovering just how much people care about preserving their culture and history.
Whenever I post a story about an artist, a song, or a cultural practice, people share their own memories and experiences in the comments. I’ve realised that nostalgia is a powerful thing. Many people simply want to feel seen and reminded that their experiences matter.
I’ve also learned that there are many experts within our communities people who are willing to share their knowledge if we take the time to listen.

TR: Nostalgia plays a big role in your videos. Why do you think people connect so deeply with it?
LK: Nostalgia reminds us of who we are and where we come from. It connects generations.
A song can take someone back to their childhood. A story about a cultural practice can remind someone of their grandparents or their hometown. These moments create emotional connections that people don’t easily forget.
In today’s fast-moving world, nostalgia gives people an opportunity to slow down and appreciate their history and identity. That’s why it resonates so deeply with audiences.

TR: Do you see yourself as an entertainer, historian, or storyteller?
LK: All three.
I’m an entertainer because I want people to enjoy the content. I’m a storyteller because I love sharing meaningful experiences and cultural narratives. And while I wouldn’t call myself a professional historian, I do take historical research seriously and strive to present it responsibly.
At the end of the day, I think storytelling sits at the centre of everything I do.

TR: How important is it for Matabeleland to tell its own stories?
LK: It’s extremely important.
If we don’t document and share our stories, someone else eventually will—and they may not always get them right. Every community deserves the opportunity to define itself and preserve its own cultural heritage.
Storytelling is a form of preservation. Future generations deserve to know who we were, what we valued, and how we lived.
By telling our own stories, we ensure that our voices remain part of the historical record.

TR: Which part of Bulawayo’s identity do you feel you represent the most through your work?
LK: I believe I represent Bulawayo’s creative spirit.
Bulawayo has always been a city of artists, musicians, and storytellers. It’s a place where culture isn’t something you occasionally celebrate—it’s part of everyday life.
Through my content, I try to capture that spirit by celebrating our music, history, humour, and people. If someone watches my videos and walks away feeling proud to come from Bulawayo or inspired to learn more about Matabeleland, then I’ve accomplished what I set out to do.