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The story within a story

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Fiction often operates with tickling “story within a story” or even more! A story within a story, also referred to as an embedded narrative, is a literary device in which a character within a story becomes the narrator of a second story. Multiple layers of stories within stories are sometimes called nested stories.

The inner stories are told either simply to add entertainment or more usually to act as an example to the other characters. In either case, the inner story often has a symbolic and psychological significance for the characters in the outer story. There is often some parallel between the two stories, and the fiction of the inner story is used to reveal the truth in the outer story.

In Sizwe Bansi is Dead, a play by the great South African dramatist, Athol Fugard, there is “a play inside a play inside a play.” You see it, for instance, when Styles plays himself, his workmates, his boss, his clients at the studio – all by himself on stage.

At some point, Styles becomes director and producer of the play by facilitating Sizwe’s story, beginning with the photograph.

Much later, Buntu helps Sizwe rehearse the different roles of Robert Zwelinzima. This helps us reflect on various meanings of the word acting in this play. Life for black people under apartheid becomes a series of acting. They end up acting even the acting!

At the level of basics, the play sets out to expose the awkwardness of apartheid South Africa’s pass book laws. However, this basic issue opens up finer challenges (physical and spiritual) that Africans face in the system of apartheid.

Brian Crow and Chris Branfield, refer to what they call “a social theatricality” in the play. This refers to a complex play about a society in which people are playing at being what they are not in order to survive.

This means that on stage, we see a play that says life is a play. Sizwe is looking for a job but he has neither a pass nor a job permit. He risks arrest and deportation back to the homeland.

When Sizwe and Buntu pick the late Robert’s pass-book and a valid worker’s permit, Sizwe has to now spend his life acting Robert in order to live. Therefore there is a brute collapse between acting and living:

“All right, I was only trying to help. As Robert Zwelinzima you could have stayed and worked in this town. As Sizwe Bansi …? Start walking, friend. King William’s Town. Hundred and fifty miles. And don’t waste any time!”

Dying and death operate at various and related levels, but with huge ironies. Indeed Sizwe dies physically in as far as no one with the official identity of Sizwe will be seen again.
Sizwe has died and becomes Robert and because this is the only the way to make Sizwe live a more economically convenient life. That suggestion of resurrection is rude, sinister and absurd:

“Are you really worried about your children, friend, or are you just worried about yourself and your bloody name? Wake up, man! Use that book and with your pay on Friday you’ll have a real chance to do something for them…”

Sizwe Bansi is Dead was created and improvised by white dramatist, Athol Fugard and black dramatists; John Kani and Winston Ntshona. It was finally put into written form by Athol Fugard in 1972.

In William Shakespeare’s play, Macbeth, before the three witches meet with Macbeth and Banquo after the battle, there is a witch who tells a story to the other two witches about her escapades.

She says she has met a sailor’s wife who was eating chestnuts and she asked for some. The witch says that the wife of the sailor refuses with the nuts. As a result, the witch sets off to revenge through causing the woman’s husband to have an accident out at sea. She wants to spite the sailor’s wife by haranguing her husband! The witch’s poetic narrative goes:

“A sailor’s wife had chestnuts in her lap,
And munch’d, and munch’d, and munch’d.
“Give me!” quoth I
“Aroint thee, witch!” the rump-fed ronyon cries.

The witch becomes angry at being scolded. She goes out to sea to torment the husband of this woman who is a captain of a ship. The witch speaks proudly about her exploits:

“I myself have all the other,
And the very ports they blow;
All the quarters that they know
I’ th’ shipman’s card.
I’ll drain him dry as hay.
Sleep shall neither night nor day
Hang upon his penthouse lid.
He shall live a man forbid.
Weary sev’nnights, nine times nine,
Shall he dwindle, peak, and pine.
Though his bark cannot be lost,
Yet it shall be tempest-tossed.”

One clear cause of conflict is that the sailor’s wife is a “have” and the witch is a “have-not.” This has always been a source of conflict in society at all times. The sailor’s wife, though she is a “ronyon,” a scabby thing, gets to eat all the good food, so she is “rump-fed” and has a lap full of chestnuts, which she eats right in front of the “have-not,” who can’t stand it, and bursts out with

“Give me!” But that only makes the sailor’s wife call her a “witch” and order her to go away.

This sort of scene was probably played out many times in the real life of Shakespeare’s time, because poor, old women often received little food and less respect. Naturally, the witch wants to get back at the sailor’s wife.

From this section of the play one can see that the witches were seen as supernatural and could control the wind they were able to trap the sailor at sea until he ran out of rations and died. Storms and wind were often thought to be attached to witches during the Elizabethan era.

In addition to the witches’ supernatural abilities to control weather, they also often predicted the future or gave prophecies to specific individuals. This occurred many times during Act One in Macbeth.

Not only did the witches predict that Macbeth would become king and could not be replaced by anyone born of a woman but they also predicted Banquo’s future along with his children’s.

The Witches’ curse of the sailor foreshadows what Fate has in store for Macbeth. The sailor is the captain of a ship, in the same way that Macbeth is to become “captain” of his land; like the sailor, Macbeth will be blown by the tempests of ill-fortune. Sleep will be denied to both.

King James VI of Scotland was deeply concerned about the threat posed by witches. He believed that a group of witches had tried to kill him by drowning him while he was at sea (a curse echoed here by the First Witch). During his reign thousands of people in Scotland were put on trial for witchcraft.

In 1604, under his rule as king of England and Wales, witchcraft was made a capital offence, meaning that anyone who was found guilty of being a witch could be executed. When Shakespeare wrote Macbeth in 1606, then, he knew that his audience would have felt a mixture of fear and fascination for the three ‘weird sisters’, their imaginations captivated by the mysterious meeting on the desolate heath with which the play begins.

In Chinua Achebe’s novel, Things fall Apart, chapter 11, there is a tale within the larger tale. It is the Tortoise Tale which is told by Ekwefi to Ezinma, her daughter.

In summary, the tale is about a tortoise whose greed gets the best of him, thus making greed his tragic flaw. One day, when the tortoise hears that the birds are having a feast in the sky he asks them to make him wings so that he can join. With reluctance the birds do what they are told.

The tortoise then goes to the feast and changes his name to “All of them.” The changing of names shows that the tortoise is very manipulative or, in the text described as “cunning.”

By changing his name, the tortoise convinces the birds that the feast is for himself and that he should get first pick on the food. Tortoise ends up eating all of the food which makes the birds very angry and they each take back the feathers they had lent him. They then betray the tortoise when he asks them to tell his wife to bring all of the soft things he owns to soften his fall from the sky.

Instead, the birds do the opposite and the tortoise lands on a pile of hard objects and breaks his shell.

Maybe Chinua Achebe included the Tortoise Tale in the book as a sense of foreshadowing to what might happen to Okonkwo because he killed Ikemefuna.

In the case of the tortoise and Okonkwo, both of them have a tragic flaw, the tortoise’s being greed and Okonkwo’s being pride. Based on the tale of the tortoise, we can conclude that something bad may happen to Okonkwo or his family in the near future as a result of his actions.

The broken tortoise shell is a very important component to the story because it symbolises the tortoise’s downfall because of his greed. This refers to the tortoise’s tragic flaw in the story.

Scholars of literature and some keen readers in Southern Africa must be aware of a small but very powerful novel by Joseph Conrad entitled The Heart of Darkness. Although it is a novel of 1899, it has sparked debate which could be very useful to both writers and scholars in Africa.

For decades the debate goes: is Conrad of Heart of Darkness a racist writer? Some say, ‘Yes,’ others say, ‘No’ and yet others say, “There are complexities in this matter.” The source of conflict is that the novel “portrays Africans as animals and savages.”

Here is the challenge: Heart of Darkness begins on the deck of the Nellie, a British ship anchored on the coast of the Thames. An anonymous narrator, the Director of companies, the Accountant and Marlow sit in silence.

Marlow begins telling the three men about a time he journeyed in a steam boat up the Congo River. The narrator tells us (the readers) the story as directly and as immediately as it was told to him and others by Marlow.

The novel causes a lot of interpretative questions which are often difficult to answer convincingly and hence the divisions when it comes to answering the fundamental questions that it provokes.

Is Conrad the writer of this novel racist? If Conrad is not racist, what about Marlow, Kurtz and the nameless narrator? Does any one of these three stand for Conrad’s views and experiences? Or, is there a bit of Conrad in each of them? If Heart of Darkness is anti-imperialist, is it necessarily anti-racism also?

The structure and style of the novel Heart of Darkness is the first challenge. We have a narrator reporting Marlow’s narration of Marlow’s experiences in Africa. This is a story inside another story, inside a story! Technically, Heart of Darkness ceases to be Conrad’s story.

It is partially Marlow’s story because only what is remembered or deemed important by him is narrated. It is also partially the narrator’s story because his record of what he heard Marlow say is his sole experience. We are therefore faced by a situation where we have no one to fully ascribe the story to. The story operates from several “subsequent” points of view.

Indeed, the story within a story technique continues to baffle or tickle readers over generations.

Memory Chirere

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Writing to inform

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Have you ever wanted to convey information which would capture some concrete details, give directions or paint in detail a particular event or phenomena? In this installment we will focus on informative writing. You have to learn to inform your readers about places, events or other important details. Let’s start with an example.

Dear Thabo,

I spent yesterday afternoon at the Exposition. Rose went out to see an engineer at the Southern Pacific exhibit to get some facts for her railroad story and as Thando had the day off we both went along and wandered around while she was talking with him.
We saw the kangaroos and the wallabies at the Australian exhibit. One kangaroo was taking his afternoon nap in a bed he had scooped out in the sand. The sun was shining brightly and very hot on his bed in the centre of the wire yard and he lay flat on his back with his legs all sticking straight up and slept. A lady kangaroo was making herself a bed in the sand and another was eating mud. A wallaby was hopping around. It looks like the kangaroos, only smaller, and its fur was gray instead of yellowish-brown. The kangaroos looked just like pictures of them, only more so. Their front parts are so much smaller and out of proportion to their hind parts that they look ugly and then seem awkward as they hop around.”

What a mellow, descriptive and informative writing. Have you seen the skill or craft of informative writing at play as the narrative unfolded? The writer is very alive to detail as he paints the events of the day. She is very attentive to particular facts and events; she captures the place, the animals and the general mood. She furnishes to us some facts about the kangaroos and the wallabies. She describes to us in informative detail how the wallaby looks like a kangaroo although is rather smaller. Let’s try another informative piece. As you read the extract, try to discern the craft way in which the writer captures informative detail.

“Dear Mr Moroka,

In school we joined a programme called Tree Amigos. Amigos means friends in Spanish. And being a friend to trees is what the programme is all about. Kids who join Tree Amigos do lots of good projects to help trees. For example, the kids in my school are recycling paper and raising money to save the rain forests. We are also planting lots of tree seedlings around the school property. We’re making our own forest!
Muzi”

What an informative and environmentally sensitive piece! The writer informs her audience about the conservation projects they are undertaking which projects aimed at conserving nature, trees in particular. The extract above is practical as well as informative; it is also inspiring. Have you seen how we have learnt the Spanish term for friends, ‘amigos?’

I think thus far we have discerned that the art of writing informative pieces begins by being alive to detail and being attentive to what is going on. If you want to write in an informative manner you have to be careful, observant, creative and attentive to detail. Decide in your mind the exact details you want to express. See clearly in your mind how your audience is going to respond to the information you want to convey.

Carefully reflect on that which you want to put across. The skill of being crisp and informative can be learnt, mastered and perfected. Be patient as you go, keep a positive mind. So here we are, let’s meet again next week for another installment.

Vuso Mhlanga

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An open letter to President Hichilema

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Your Excellency,

I am certain that you are wondering where and/or how I have the temerity to write to you directly, but a recent post you put on WhatsApp piqued my interest; your meeting with His Excellency the Prime Minister of Lesotho, and his delegation. The delegation came to introduce to you and your good office the candidate of the Government of Lesotho, for the post of Secretary General of the Commonwealth, Joshua Setipa.

Let me set off by stating that I have a friendship with Setipa, for over 50 years, so I may not be the best person to give an objective appraisal or opinion of him; this I will leave to the government.

Further to that, as a citizen of Lesotho, I may embellish the information that I would provide on Lesotho, thus I will as far as possible keep to information that is contained in books. This is not a research report, but more a simplified literature review of what I have read. I shall not quote them, or reference them, thus allowing others the space to research this matter further.

First, let me state my surprise at the alignment of time that I see; Commonwealth Day in 2024 is on the 11th March, the day we celebrate a life well lived, that of Morena Moshoeshoe.

Further to that, this year also starts the 200th anniversary of the move by Morena Moshoeshoe and his followers from Menkhoaneng to Thaba Bosiu. They arrived at Thaba Bosiu in winter, circa 1824.

Next year, 2025 will also be the 100th anniversary of the ‘plenary’ that saw the birth of this Commonwealth of Nations. A handover from the bi-centenary, to the centenary celebrations.

We are all aware that the Commonwealth was started at the Imperial Conference of 1926, but it had what I call a plenary in 1925; this happened in Maseru, Basutoland. It was held at the ‘secretariat’ building on Kingsway. The building was used as the Prime Ministers’ office after independence, more recently, and to date as the Ministry of Defence.

When King George came to visit Lesotho in 1948, to thank the country and her citizens for their participation in the Second World War, High street as it was then known, had its name changed to Kingsway.

At this plenary Britain called the ANZaC states, Australia, New Zeeland and Canada, together with South Africa. It had been only 13 years (1912) since the Basotho monarch had been asked to attend the formation of the South African National Native Conference (SANNC), whose aim was to preserve African land. The SANNC was the forerunner to the African National Congress (ANC).

With the formation of the Union of South Africa, the union wanted to engulf Bechuanaland (Botswana) Swaziland (eSwatini) and Basutoland (Lesotho). This had been unsuccessful.

Next they came up with the Native Land Act of 1913, to remove African land rights. So, the conference that brought about the birth of the SANNC was a pre-emptive response to this act; an attempt to keep African land rights and traditions intact.

I would like to point out that the founding document of the Imperial Conference that brought about the Commonwealth states that all member states are autonomous and not subordinate to another.

At the time of the plenary, Basutoland was subordinate to Britain. But in a masterstoke became what I believe to be one of the founders of the Commonwealth.

Despite her subordination, Basutoland had placed so strong an objection to the presence of a representative South Africa in Basutoland, that South Africa’s invitation had to be withdrawn, and South Africa did not attend. This was the first ‘anti-apartheid’ shot, made in the world; what is more important is that it was made by an African country.

No matter how one looks at it, she may not have been a ‘founding member state’, but Basutoland was part of the founding fabric of the Commonwealth.

One just has to imagine the anger of the South Africans and their government: Dr. D. F. Malan, the first Nationalist Prime Minister of South Africa, was a minister responsible for housing at that time.

Had Basutoland’s lead been followed, spatial apartheid might never have happened. The Commonwealth would take till the 1960’s, and the formal legalisation/legislation of apartheid to remove South Africa from within her fold. A matter that Basutoland saw as far back as the 1920’s.

As shown, at the conceptualisation of the Commonwealth Lesotho was not just there, but an active and formidable participant; though one has to look further to see her relationship with Great Britain/the United Kingdom.

Basutoland/Lesotho’s history is strange, to say the least. The first Europeans to arrive here in 1833, were French Missionaries. At this time Europe was embroiled in wars, which inevitably included the French and English.

But it is these same priests, most notably Casalis, who helped steer the country to Britain, and British protection. Casalis acted almost as a foreign secretary/minister of foreign affairs at that time.

The first treaty between Basutoland and England was the Napier Treaty of 1843, though it took till 1866 to solidify this treaty into a protected land.

The history of the cavalry in Lesotho, the only African cavalry south of the Sahara, is quite long. It starts in about 1825, when F. D. Ellenberger in his book ‘History of the Basutho’, states that Morena Moletsane had come across gun powder quite by mistake.

They had been raiding a missionary’s home and came across a strange powder, which they found useless, so they threw it into a fire, which ‘exploded’. Thus, to his people called European style housing, ‘Ntlo-ea-thunya’, a house that shoots. But after having his people ravaged/savaged by Mzilikazi, he sent his best warriors to work on Boer farms, and with their remuneration purchase arms and horses.

We are often told of a ‘battle of/at Berea’. My answer is that it was not a battle but a cattle raid. Its importance is not just in the battle, but in democracy. The British called Morena Moshoeshoe ‘paramount chief’, a first amongst the others. The time before Berea shows something slightly different.

As Casalis writes in ‘My life in Basutoland’, the British had demanded 10,000 head of cattle, for stock theft. A great ‘pitso’ was called and all eligible men, those who owned land, were called.

At the end of the pitso, after many votes, the citizens refused to give their cattle to pay the demand of the British. The significance herein is that there was a plebiscite, a vote. Morena Moshoeshoe lost the backing of the people and thus the vote; the British then attacked to ‘collect’ the cattle themselves.

Both Morena Moshoeshoe and Morena Moletsane were heavily involved in the ‘battle’ which was won by the strength of the Basutho cavalry. Looking forward to the gun wars, it was most fortuitous that Morena Moshoeshoe’s ally, Morena Moletsane would outlive him, till the end of the gun wars.

After annexation in 1866, in the mid 1870’s the British, citing distance and as such expense, ceded Basutoland to the Cape, which was what the Basotho had been fighting against for a long time; they wanted direct British rule. They wanted to be ruled by Mofumahali Queen Victoria.

The first, and most critical mistake that the Cape made was, not so much in attacking Morena Moorosi, accusing his son of cattle theft, but in beheading him.

So, when some years later they wanted to disarm the Basutho, and they found those of the south of Basutoland who knew of the beheading, reluctant to go with the plan. The Cape decided to go ahead with disarmament forcefully and met equal if not greater force.

The Basutho were better armed, more knowledgeable on the terrain and better supplied. Helped by his father’s long-standing ally, Morena Moletsane, Morena Lerotholi was able to field a well-armed strong cavalry, which inflict great pain to the Cape.

This led to the Cape defeat. Together with the number of other wars that the Cape was fighting, there was fight fatigue among her people.

So bad was it, that they did not come and collect their fallen troops; in Mafeteng there is a cemetery called ‘mabitla-a-makhooa’, or graves of the white men. The SA Military History Society has a ‘roll of honour’ for some of the dead, as not all were buried in Basutoland.

There are two significant outcomes of the war. In his book ‘The Mabille’s of Basutoland’, Edwin W. Smith states that there was a fact-finding mission to Basutoland by members of the Cape parliament, including Rhodes. Their conclusion was that the Basutho should be handed back to Britain for direct rule; which was the original wish of the Basutho.

As Whitehall was reluctant to take this role back, Basutoland spent a period of close to two years of self-rule. Thus it became the first African country (only?) to unshackle itself of colonial rule. And became the first African country to get the colonial rule it wanted; and re-shackled itself to Britain.

The second is how Britain agreed to go back and rule Basutoland. In his book, Rhodes Goes North, J. E. S. Green shows how the Prime Minister of the Cape went to Britain to sue for peace, and eventually agreed to give Britain 20 000 pounds per annum, of her import tax revenues to govern Basutoland.

Whilst not a founding member of the Commonwealth, Basutoland has carried her fair weight in the battle to save both the Commonwealth, and together the rest of the Commonwealth, the world at large.

Whilst SA will hype the losses during the maritime accident of the SS Mendi in the English Channel, Lesotho is less inclined to speak of the losses on the SS Erinpura. The Erinpura was sunk by German war planes in the Mediterranean Sea. Though I should say that, the prayer of the men on the Mendi would resound so well with those who lost their lives on the Erinpura.

When British Prime Minister, Sir Winston Churchill said; never was so much owed by so many to so few, I am certain he was speaking not just of the people of the British Isles, but the broader community within the Commonwealth, that stood together at this time of international need.

But having heard Sir Winston, there is a special bond of Basutoland within, and with the Commonwealth, that I would like to highlight. Apart from the ANZaC countries and South Africa, there were no air squadrons from other Commonwealth countries that I am aware of; except for Basutoland that is.

They paid for 12 or so Spitfire aircraft that would form the 72nd Basutoland, which flew in the Battle of Britain. No moSotho actually flew (in?) them, but they had been financed by the Basotho.

For all the prowess of a moSotho man with arms, in his book ‘Basotho Soldiers in Hitler’s War’, Brian Gary not only writes about the gift of aircraft that fought in the Battle of Britain, he also shows that Basotho soldiers, who were hauling various ordinances through the Italian Alps, were allowed to carry arms.

Aircraft and carrying arms for an African in World War II; Lesotho is not just a pioneer member of the Commonwealth, but a beacon.

As Lesotho many of these pioneering attributes continued. Whist South Africa was banned from sports and entertainment, Lesotho filled the gap for her. Exiles like Hugh Masekela and Mirriam Makeba were hosted for sell out concerts in Lesotho. South African interracial sports, with matches between the likes of Orlando Pirate, Wits University, Kaiser Chiefs, to name those I remember, started in Maseru.

I have touched on politics and war, sport and entertainment; let me go to superstition. It would go against what is expected of me not to go without anything superstitious.

Britain has given the world three major sporting codes. Rugby, which is dominated by the big three of New Zeeland and South Africa. Cricket, which expands from the rugby three to include India, Pakistan, most of the Caribbean states and a few African counties.

These sports are obviously ‘Commonwealth Sports’, as they are dominated, or played predominantly by Commonwealth countries. They have also given us football. This is a truly global sport, the largest sport played across the world, on all types of surfaces, with all types of round looking objects. We can’t call all of these footballs.

The last time a Commonwealth country won the World Cup it was England in 1966; the year Lesotho gained her independence.

The next World Cup is in 2026, the millennium celebrations of the Commonwealth; who will head the Commonwealth then? Will a Commonwealth team have the necessary ‘juju’ to make it?

Your Excellency, this is but a brief note on Lesotho, and it is my way of using the words attributed to Morena Moshoeshoe, when asking for protection from Queen Victoria that say; take me, and all the lice (those that are symbiotic to me) in my blanket. I do hope that these words will be of use to you as seek consensus on Lesotho and her candidate for the post of Secretary General of the Commonwealth.

Yours truly

Khasane Ramolefe

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Culture quibbles

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A few weeks ago these pages carried a substantial piece by Mokhosi Mohapi titled “A reversal of our traditions and culture”, written in the form of an open letter to the government of Lesotho. The first sentence of Mohapi’s article took me by surprise, as he stated: MPs and Senators’ primary role is to protect and preserve the traditions and culture of the Basotho people. I would have thought the primary role of MPs and Senators would be to ensure that Basotho are secure (being protected, for example, from criminals), that they have adequate access to social services such as education and healthcare, that the economy is sufficiently stable to offer citizens some chance of employment, and so on. Fat chance, you might scoff.

But then I realised that Mohapi had a more specific contention in mind, as he stated: The Laws of Lerotholi were set to protect social order, traditions and culture of Basotho. Mohapi’s immediate concern is with the 2024 Estates and Inheritance Bill, which proposes radical changes to the existing order of things. (See the article in last week’s thepost, “MPs bulldoze through Inheritance Bill”, which gives a good idea of the background).

I’m aware that this Bill has provoked considerable controversy, and that is not my topic in this article. Nor do I wish to contest what Mohapi was saying in his piece — this is by no means a case of Dunton v Mohapi. But I did take note of the way the phrase “traditions and culture” kept resounding in Mohapi’s article, rather like a cracked bell, and what I want to do is open up those terms for examination.

Please bear with me as I slip aside for a moment with a little academic stuff. Back in 2006 I published an article titled “Problematizing Keywords: Culture, tradition and modernity.” For those of my readers with a scholarly bent and who might want to hunt it down, this was published in a journal called Boleswa Occasional Papers in Theology and Religion 2:3 (2006), pages 5-11. There I made a number of points I want to bring up in what follows.

The first fallacy I tackled in that article was the tradition/modernity binary — the notion that in Africa there was tradition and then, wham!, the white man arrived and there was modernity. Are we seriously to believe there were no great cities in Africa before the white man landed, that the peoples of a whole continent lived entirely in villages? Nigeria tells a different story.

Are we to believe there were no great libraries? Mali and Ethiopia tell a different tale. No writing systems? No medicine? I’m not saying that if I’m in pain I don’t prefer a dose of oramorph to an infusion made from some leaves picked off the slopes of Thaba Bosiu, but the point remains: the tradition/modernity binary is crude and crass and it’s demeaning about Africa.

We cannot get very far with simplistic ideas about where we are coming from and where we are at. And yet of course we do come from a past. I’ll quote — or, rather, paraphrase from memory, as I don’t have the work to hand — an observation made by T.S Eliot in his essay “Tradition and the Individual Talent”: We know so much more than those who came before us. But they are a large part of what we know.

But of those who came before who is it, exactly, that we know? When Mohapi repeatedly uses the phrase “the traditions and culture of the Basotho people” I take it he is thinking of the Basotho as constituted under Moshoeshoe I and the descendants of those generations.

For how much do we know about the “traditions and culture” of the various Sotho-speaking groups let’s say two hundred years before Moshoeshoe gathered them together to form the modern Lesotho state? Isn’t it likely there were significant differences between the “traditions and culture” of these groups, differences that were later rationalised or homogenised?

Two points here. First, we mustn’t forget what an extraordinary innovator Moshoeshoe was —and I guess that might be said also of Lerotholi, whose laws are the chief focus of Mohapi’s article. Second, culture is not static, it is not immutable. It evolves all the time.

For example, for how long has it been the case that adherence to the Christian faith could be said to be part of the culture of Basotho? (Or, for how long has football been part of the culture of the English? We are credited with the invention of football, but that doesn’t mean it’s been part of who we are since time immemorial).

That brings me to my next point, or a string of points, moving from England back to Lesotho. When I was a schoolboy I bought myself a copy of the book Components of the National Culture (1968) by the great British Marxist Perry Anderson. One of my schoolmasters — one of the few who didn’t like me — caught me with it and said “just the sort of book I’d expect a troublemaker like you to be reading. Just don’t show it to anyone else!”

The significant term in Anderson’s title is “components.” Culture is put together — it is an assemblage — and its components may have different sources.
That leads me on to the invention of tradition, and an example for Basotho.

I guess all my readers know Qiloane, the sandstone pillar at Thaba Bosiu the distinctive peak of which is said to be the inspiration for the shape of the traditional Basotho straw hat. Well, that notion is dubious to say the least; there were hats of the same shape from elsewhere in the region long before the Basotho got hold of the design.

Does this really matter? Well, no, because even if a tradition is invented, it still has the persuasiveness of a tradition. It’s just that knowing this might dissuade us from making big claims about the unchangeable nature and sanctity of tradition.

And the same goes for culture. I leave you with a quotation from the Ghanaian philosopher Kwame Anthony Appiah (it’s from his terrific book Cosmopolitanism: Ethics in a World of Strangers): We do not need, have never needed, a homogenous system of values, in order to have a home. Cultural purity is an oxymoron.

Chris Dunton is a former Professor of English and Dean of Humanities at the National University of Lesotho.

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