Latest news with #Basotho
DW
20-05-2025
- Entertainment
- DW
Basotho blankets on the runway – DW – 05/20/2025
Sharon Farr 05/20/2025 May 20, 2025 South African designer Thabo Makhetha weaves her Basotho heritage into fashion, making global waves — but what happens when international brands such as Louis Vuitton feature the iconic blanket's motifs in their designs?
Daily Maverick
14-05-2025
- General
- Daily Maverick
Golden Threads — clinging to traditional herding culture on Lesotho's scarred and shrinking land
When a culture, whose economy has long been built on each family having a small herd or flock, is crowded into shrinking areas of land, what is left of the commonage? Are the notoriously overgrazed Lesotho mountains a case of the tragedy of the commons, where too many people selfishly plunder the commonage, taking more than their fair share? Or is the tragedy in the capturing of the commons, where the powerful elite in a society are able to claim large parts of the commonage for themselves, pressing more and more commoners onto smaller parcels of land? The method of capture could be the notion of a title deed, defended with fences and brute force, or the construction of a nation state that throws a hard political border across grasslands where herders had long moved their animals between summer and winter pastures. When a culture, whose economy has long been built on each family having a small herd or flock, is crowded into shrinking areas of land, what is left of the commonage? How much can that shared grazing be expected to support all those families? What does this mean for a single community – like South Africa's apartheid-era tribal lands or Bantustans – or a nation state such as Lesotho which is now ring-fenced by a hard border and whose land practices are shaped by how the landlocked country has integrated into South Africa's stronger economy? It's hard to imagine that the villagers whose homes dot the Lesotho landscape amid neat rows of summer maize and sorghum can feed themselves from such excoriated land. An erosion gully near Quthing in Lesotho's southwestern lowlands is as deep as the mature trees growing inside it are old. Boom-and-bust cycles of droughts followed by ample rain spells leave the ground open to this kind of scarring. A farmer near Malealea village has words with a 'herd boy', local parlance for men of any age who mind small cattle herds or flocks of sheep and goats. It looks as though the cows have wandered into his maize fields and helped themselves to some corn on the cob. Lesotho's population is 2.3 million, and many in rural areas rely on some form of agriculture to feed themselves or earn a bit of an income. Cattle, sheep and goats are more than just a form of currency and savings. They have deep roots in marriage dowries and other customary practices. Wool was one of Lesotho's most bankable exports a century ago, when the looms of the European war machine couldn't weave fast enough to keep pace with the slaughter in the trenches. Once this traditional herding culture saw the benefit of running flocks of sheep for meat and wool, stock numbers shot up. This simple economics has driven extensive overgrazing that is decades-old and hard to repair. Another major export: muscle. Lesotho's men have long fed new blood into the conveyor belt of migrant miners in South Africa. Basotho men began investing their earnings in sheep, whose flocks they added to the longer tradition of cattle herding. Then came the mohair boom, which saw the country's stockmen add goat herds to the mix. With 60% of the country covered in rangelands, today more than half of rural families in the higher mountainous parts depend on wool and mohair for their income, writes soil and conservation specialist Mashekoe Likoti in a 2019 report for the Lesotho Ministry of Forestry, Range and Soil Conservation. Rangelands experts were concerned about the state of the country's grazing as far back as the 1980s. Things continue to deteriorate because of 'weak institutional arrangements, poor grazing management practices, climatic conditions, overstocking, fire and brush invasion,' according to Lesotho's Department of Range Resources Management. Soil must be the country's biggest export today, though, but not in a way that tops up the national coffers. Every hour, Lesotho's rivers ship an estimated 4,500 tonnes of fertile topsoil – 'up to 300 lorry loads' – down to South Africa, according to 2016 figures from the European Union. This hefty delivery of an ancient growing medium doesn't benefit the croplands of farmers downstream. Rather, it fills up reservoirs like South Africa's hydroelectric mega-dam, the Gariep, a few hours' drive downriver. Cattle herding is one of the oldest forms of animal husbandry for indigenous communities in this part of the subcontinent. But the practice of leboella in Lesotho – the widely used system of rotating herds between summer and winter pastures so that the veld can rest and recover – is hard to do when the commonage has shrunk over generations and household numbers have grown. Moving herds in keeping with the needs of the veld is also difficult with the modern-day arrival of fences, notions of private land ownership, or, in this case, the nation state that puts a hard border across traditional herding routes. Many of the old customs that govern how people share grazing spaces have been lost. The Dutch named it the Orange River, as a tip of the hat to their monarchy, the House of Orange. The Basotho call it the Senqu. Today, 'white gold' is the new money spinner. Lesotho earns about 10% of its gross domestic product from water it ships off to its South African Development Community (SADC) neighbours: South Africa, Namibia and Botswana have thirsty economies and the cash to pay for Lesotho's water. From the headwaters the Orange-Senqu flows or floods along every twist and turn of an artery that runs just more than 2,4000km from Khubelu, and sponges in northeastern Lesotho, to Alexander Bay, where it spills into the Atlantic Ocean on the South African-Namibian border. Damaged wetlands and grasslands up here spell disaster locally and downriver: erosion, lost soil, silting of dams, higher risk of boom-bust water flows that cause flooding and damage infrastructure. Restoring the scar tissue of these heavily damaged grasslands is central to regional climate resilience. It will boost crop production and herd capacity in Lesotho. It'll mop carbon pollution from the atmosphere and contribute to longer-term climate stability. It'll better regulate the water cycle in the Orange-Senqu catchment. It'll also provide natural shock absorbers against extreme events such as droughts and flooding following severe storms. In his 2012 book, Orange-Senqu Artery of Life, journalist Thomas Kruchem captures the sentiment of an agricultural student who reflects on the lost bond between his people and nature. 'The times when our grandmothers taught the little ones how to live in harmony with nature have gone,' he told Kruchem. 'There is no longer a way to pass on traditional wisdom. People are chiefly interested in how they and their families are to survive.' An academic confirms this, saying that the customs that once 'safeguarded water, fields and pastures have been thrown out of the window, because they are no longer relevant in the economic situation that people find themselves in'. A farmer near Malealea village in the lowlands points to the Makhaleng River gorge, which may soon disappear under a rising waterline. Locals have long known that a dam was planned for this side, but now it looks as though construction may be imminent. Many families will be relocated, should this happen. The dam is part of a long-standing agreement between Lesotho and Botswana, which will move water through nearly 700km of pipes between the start and end of the scheme. Sterkspruit on the South African side of the Tele Bridge border crossing looks as heavily napalmed as the Lesotho lowland just uphill from here. The British set in motion a land grab with the 1913 Land Act which after 1948 the National Party stratified further, leaving most of the country's population crammed onto 13% of the land. DM
The Citizen
14-05-2025
- Entertainment
- The Citizen
Mahlasinyane is a proud Mosotho at heart
SEBOKENG.- Mahlasinyane aka Refiloe Moketetsa is one of the up-and-coming young and vibrant story tellers, who are also Hip-Hop and Gospel artists who are never shy to assert who they are, proud of their heritage. Mahlasinyane, from Boitumelo, in Sebokeng, is dedicated in story telling through music, doing so in his native language of Sesotho. This young and energetic artist recently released a single on Youtube titled, 'Kene keo rata'. 'I am passionate about who I am, my origins and my heritage. I am also a dedicated artist, wo for the love of music, wishes to share my talent with everyone. Through music, I share my, voice, life experiences and culture which is the very most important thing to me.' In December this year, he aims to release a full album of seven songs that will be called, 'Lerato la dichelete'. With a unique blend of traditional Basotho rhythms, modern Hip Hop beats, Mahlasinyane creates authentic and captivating music that resonates with listeners, being nourishment to their ears and leaving them in awe. At Caxton, we employ humans to generate daily fresh news, not AI intervention. Happy reading!
News24
14-05-2025
- Entertainment
- News24
Lesotho style, Paris dreams: Designer Thabo Makhetha ready to take Basotho heritage global
Thabo Makhetha is a fashion designer who integrates Sotho heritage into her designs, notably using Basotho blankets. From launching her collection in 2011 to showcasing at SA Fashion Week, her milestones include collaborating with Jerry Mofokeng and international recognition with her designs featured at global events. Makhetha focuses on celebrating Basotho culture through bold, impactful designs while aspiring to showcase her work on international platforms in cities like Paris. Once again, celebrated Sotho designer Thabo Makhetha has taken the fashion industry by storm with her latest collection showcased at SA Fashion Week in April, and she has set her sights on international runways. Known for her remarkable use of the Basotho blankets, the designer celebrated heritage once again in her latest collection, featuring the iconic print in pastel colours and various shades of brown. For Makhetha, fashion has always been a huge part of her life and the only plan in terms of a career. 'Fashion is just something that's always been with me,' she told News24. In her early life, Makhetha often heard that her gift for sewing came from her grandmother, Dikeledi, whose name inspired the print in her newest collection, showcased at SA Fashion Week. 'The collection that you also saw now, the print on this 100% cotton is called Dikeledi. That's my grandmother's name. 'People say that I got the gift for sewing from her. It's just always been with me. I've never actually thought about doing anything else. I don't know what else I can do but fashion,' she said. The Dikeledi collection featured the Sotho print on 100% cotton, showcasing a lighter and more versatile evolution of the blanket design. 'It's a translation of a lighter fabric and possibly the future of textiles for Basotho culture in terms of using those beautiful bold prints and colours,' she said. The boldness of Sotho blankets For Makhetha, the designers are meant to make a powerful statement while also putting Sotho in the spotlight both locally and globally. 'It's my story, it's my heritage. It's amazing; it stands out,' she said, adding that the boldness of the blankets is not just about aesthetic appeal but also about making a cultural statement. According to the designer, her journey in the fashion industry started in 2009 after she completed her tertiary studies. Instead of seeking employment and working under someone else, she dived headfirst into building her own brand. Two years later, in 2011, she introduced the celebrated 'Kobo ea Teng' collection, marking her signature use of Sotho blankets. When asked if she thought her work would become successful enough to land on SA Fashion Week's runway, Makhetha said bigger milestones are yet to come. 'We haven't yet gotten to the part where we're having these interviews, and you and I are talking in Paris and all these other foreign locations. So that's the answer to that one,' she grinned. Career milestones and creative collaborations Makhetha's career has seen various significant milestones, with one of her proudest moments being her collaboration with legendary South African actor and director Jerry Mofokeng. The two worked together on 'Hope on a Horse' in Cape Town, an artistic performance blending fashion and storytelling. Mofokeng, who directed the event, praised Makhetha's vision, describing her work as a way of wearing 'the best of yourself on your skin.' Mofokeng, who donned one of Makhetha's pieces for a poetry programme in Cape Town, told News24 about how the garment impacted him. 'Nobody must touch my body except Thabo. And she got me right... really brought the best out of me,' he said. He also applauded Makhetha's ability to redefine traditional Sotho elements, particularly referencing her latest show as a redefinition of 'Tethana,' a Sotho skirt symbolising youthful grace among Basotho maidens. 'There is something in Masoto for the little young maidens called Tethana. She redefined Tethana today. 'That last dress is something for the awards ceremony. It cannot be worn at anything less than that. It requires an event that has lights and cameras,' the veteran actor said in an interview with News24 after the fashion show. Another memorable milestone was when former Elle magazine editor Jackie Burger showcased a Thabo Makhetha cape seated at the front row of a Louis Vuitton fashion show. 'And I think for her, it was that seal of approval to say, 'Girl, you're doing the right thing. Keep going in this way'. And really encouraged me to get to where I'm at now as well,' she said. A celebration of culture and craft Makhetha's SA Fashion Week collection demonstrated her creativity and dedication to preserving and celebrating the Basotho culture. The final dress during her show made a huge impact and was described by Mofokeng as perfect for award ceremonies. This is because it symbolised the grandeur and bold elegance Makhetha is known for. 'That last dress is something for the awards ceremony. It cannot be worn at anything less than that,' he said. 'It requires an event that has lights and cameras.'
News24
11-05-2025
- Entertainment
- News24
Black pride and African history take centre stage in Mantsopa at The Market Theatre
The play Mantsopa, which is currently being staged at The Market Theatre in Johannesburg, highlights the ridiculousness of tribalism, as the similarities between the Basotho people's traditional dance mokhibo and the amaXhosa's ukuxhensa were impossible to ignore. In fact, a friend who travelled to Ethiopia last year said the traditional dance in that country was also similar to the above mentioned, arguing that the links between African people predated colonialism. Written and directed by veteran actor and theatre guru, Jerry Mofokeng wa Makhetha, Mantsopa chronicles the life of the matriarch who dismantled patriarchy before this was popular. She did this with her strong connection to a higher power that would propel her to become a trusted adviser to King Moshoeshoe of Lesotho. So powerful was Mantsopa that, had she lived in this era, instead of the 1800s, the playwright says, through one of the actors, that buildings, national roads and monuments would be named after her and authors telling her story would be penning bestsellers. Alas, the play alone is a step in the right direction towards rewriting formidable black women into history. An equally powerful matriarch in Mantsopa is veteran actress Florence Masebe, who plays a family elder. Thespians are hailed daily for their authentic portrayal of their characters but one has to salute Masebe for her firm grasp on indigenous South African languages in their purest form. Mofokeng wa Makhetha described Mantsopa as a pioneer in women's fight for equality, saying her power defied gender, politics and even culture. So fearless was she that she would not even bow to the feared mercenaries. He referenced an era when women were prohibited from getting an education, adding that once they gained access into those spaces, they outperformed their aspirations. Mofokeng wa Makhetha said: He explained the conflicting reports around Mantsopa's banishment, with some historians saying advisers of the king were starting to question: 'Ke mang Morena mo? [Who is the actual king here].' Others claimed that the ban was self-inflicted as her marital family felt unsafe following her husband's death. Through drama, music and poetry, the cast awakens the audience to the interconnectedness of African customs. For example, they unpack the practice of 'ho kenella motho', 'seya ntlo' or 'ukungenelwa', which is when a relative of a deceased husband takes over the widow as his new wife. While this may have incited laughter from the audience, the scene where physical violence and dominance are used to coerce a woman into marriage touches on the gender-based violence and rape culture women continue to grapple with in a different millennium. In fact, to me, the insults that the character is met with for rejecting these advances read as parallel to femicide in contemporary society. Today, a lot of women lose their lives at the hands of men who are not man enough to handle rejection. I found it unfortunate that the play was mostly performed in English, especially as there is ongoing discourse about the preservation of African history and the indigenous languages. The director said: While the play brings audiences closer to Mantsopa's bloodline and the intimidating responsibility of carrying on her legacy, at its core it is an educational piece of theatre that reunites African people with their identity. Mofokeng wa Makhetha reminds audiences that native Africans' relationship with God and their knowledge of this higher power predated colonisation. Take a sho't left to The Market Theatre for this and other lessons about African tribal relations and how these are woven into contemporary society. The season, which was originally meant to run until 11 May, has been extended to 18 May, due to public demand.
