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Harambee targets signing 200 artistes

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Staff Reporter

ARTS management and promotions company Harambee Global Records is targeting to sign at least 200 artistes by the end of 2021.

The signing of the artistes will see the company utilising the M4 million investment that has been channelled towards a state-of-the-art visual and audio studio.

Harambee founder, chief executive officer and chairperson, Masitise Seleso told the Weekender, in Maseru this week that his company has seen it fit to invest in the arts sector as a way of contributing to the country’s GDP through youth empowerment.

The music and visual recording studio, that nearing completion, is housed at the company’s premises in the Stadium Area in Maseru and is primarily accessible to all artistes signed to Harambee as well as others from different music stables.

It has various sections among them administration, professional photographic studio, green screen, video and voice recording equipment, control room, recording booth, rehearsal room and an outdoor digital performing arts stage among others.

Harambee has just released a compilation album of 16 various artistes who were recorded at the stable over the past few months. The compact disc (CD) is already on sale at various outlets as well as through the online platforms.

The artistes on the album are Sipho Lukhele, Patrick Matete, Pitso Rah Makhula Tao Tash, Leka Leka and Kamohelo Tshola, who is the son of the legendary singer, Tsepo Tshola.

In addition, Harambee has entered into a three-year agreement with the Lesotho National Broadcasting Service (LNBS) to co-produce and market its TV programmes. Under this programme, Harambee has already pre-recorded a series of weekly programmes under the banner of The Spotlight in which local musicians are profiled. The Spotlight will broadcast after the 10pm SADC News starting from 7 May 2021 and every Friday thereafter.

Seleso said Harambee has written to the Lesotho Music Rights Association (LMRA) to invite the organisation to provide musicians under its umbrella to participate in the weekly programme. He also said individual musicians were welcome to participate.

The Spotlight intends to provide exposure to Lesotho’s artists and is shot on location at our studios,” Seleso said.

“If interested, artistes should contact our line producer and make arrangements for the pre-recording of the programme.”

Harambee will also be involved in organising Ultimate Radio’s 15th anniversary event on 15 May 2021 as well as the relaunch of the annual Ultimate Music Awards that were last held in 2017.

He said they have established good relations with the Tourism, Environment and Culture and Communications, Science and Technology ministries.

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Freezing weather primes Afriski for new season

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Silence Charumbira

THE season has now started for Lesotho’s iconic Afriski Mountain Resort after significant snowfall starting Monday.

The resort reported this week that it recorded two centimetres of snow on Tuesday from midnight until 3am. This as Lesotho has been recording temperatures as low as -4 degrees Celsius as the winter season peaks.

Snowmaking at the resort supplements natural snowfall when the conditions are right and helps prepare the resort for the winter season. With a week of cold weather and low humidity, “it’s currently perfect” a statement from the resort said this week.

“Due to adjustments and improvements to the water storage facility at the quarry above the resort, we are fortunate to have more control of the system and more efficient water pressure management,” the resort management said in a statement.

“A newly built pump house at the top of the slope insulates our pumps to prevent our pipes freezing. All these factors contribute to simpler operations, in terms of producing what we all want — snow.”

Technical director, Graham Joyce said: “We are super excited, our new system is operating even better than anticipated, we have a week of cold weather, to capitalise on even more snowmaking before season starts”.

In the prevailing freezing temperatures in Lesotho’s highlands, the conditions are prime. However, the same cannot be said for travellers to the resort as the roads are closed for all 2×4 vehicles. Only 4×4 vehicles “with good quality off road tyres or snow chains” are permitted.

“Our ski season opens on 10 June and runs until the end of August, we look forward to having our guests hit the slopes with us,” reads the statement.

Sitting 3222 metres above sea level, Afriski is the only snow resort in Lesotho and is located in the Drakensberg-Maluti Mountains of the Butha-Buthe district.

The resort has a full range of activities which include mountain biking, trail running, hiking, fly fishing, enduro biking and high-altitude training.

The resort augments natural snowfall with manufactured snow by way of pumping water into snow making lines. It introduced a M1 million automated snowmaking system which uses a reduced amount of energy while maximising snow production in May last year.

The implementation of the system started at the end of April 2020. The system was installed by MND Group while the commissioning and testing started on 1 May last year.

The equipment comprises of a storage dam located at the top of the mountain, a one-kilometre pipeline, a snowmaking booster pump, a transformer and electrical controls.

In the past, the resort relied on snowmakers to manually monitor wind, temperature and humidity conditions.

Afriski’s new state-of-the-art system works with a newly built high-altitude dam that uses gravity to feed water into these lines.

The post Freezing weather primes Afriski for new season appeared first on Lesotho Times.

DJ Lamiez leaves Maseru spellbound

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Mohalenyane Phakela

POPULAR South African disc spinner and television personality, Lamiez, set Maseru Club grounds ablaze on Sunday evening leaving revellers screaming and begging for more.

From the moment she took over the decks from local DJ Chixx, the crowd became hysterical.

DJ Lamiez was in Maseru for the Sparkling Sunday event organised by Kuna Sounds.

Even the chilly breeze that swept across Maseru Club did nothing to dent the party mood of revellers who had left the comfort of their homes for a dose of outdoor fun.

DJ Lamiez kicked off her set with early 2000s banger by Bongi Dube, Ngifuna Wena. The energy she brought on stage cajoled all revellers into dancing.

She clearly was having a time of her life and would often ditch the decks and join the patrons on the dancefloor. And she is good at it. So good that at one time, atop a speaker, she had the crowd spellbound.

When she left the stage, two hours later at around 8pm, it was as if she had performed for a few minutes. At least the audience thought so.

DJ Lameiz told the Weekender that she had fallen in love with Lesotho the two times she has performed in the kingdom.

“I love it here,” DJ Lameiz said adding; “It has been nothing but amazing”.

“I am loved and that has warmed my heart. This is the second time. The first time it was raining bit it was still amazing. I love how women have shown their love for me; it makes me more confident.”

All she wants now from Lesotho is a Se-ana-marena. But she is not in a hurry. She is only expecting it on her next show; whenever it is.

And her patience was quickly rewarded. Local artist, Uncle Donze, presented her with a charcoal drawn portrait which she gladly accepted.

DJ Lamiez was accompanied Scandal, star Mapaseka ‘Mpasi’ Koetle, also known as Lintle, the role she plays on the ETV soapie.

Lintle too had a trick up her sleeve. She asked revellers to dance while balancing Savannah cider bottle on their heads.

She also had some advice for Basotho.

“My mother was born here in Lesotho but this is my first time being booked in Lesotho. I love Sesotho so much hence I am addressing you in Sesotho. You should be proud of your language and culture. Let’s have fun, I love you Lesotho,” Mpasi said.

The local line-up was made up of household names like DJs Boots, Khebza, Chixx, Kopper and rapper Juvenile among others.

They proved why they were entrusted to share the stage with the South African stars as they also had the audience grooving.

The post DJ Lamiez leaves Maseru spellbound appeared first on Lesotho Times.

Tsepo Tshola dies

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Silence Charumbira

MOSOTHO jazz musician Tshepo Tshola has died.

Ntate Tshola aka The Village Pope died of Covid-19 related complications at Berea Hospital in Teyateyaneng on Thursday morning.
His death comes just a month before his 68th birthday.

He was hospitalised on 9 July allegedly with Covid-19.

His songs include his 1994 classic, Ho Lokile, Madambadamba done with legendary group, Sankomota, Shine your light and Ntate. He had a career spanning over 30 years.
More to follow.

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Model heads to Nigeria

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Staff Reporter

MODEL, ‘Malijeng Ntele, will be contesting in the Miss Premium Africa pageant in Nigeria.

The event will be held in Port Harcourt, Nigeria on 30 October 2021. However, models are expected in Nigeria for the bootcamp on 15 October.

The Johannesburg-based model told the Weekender this week that she was busy preparing for the event.

The Miss Premium Africa pageant is centred on promoting African culture, tourism, social and cultural integration, peace promotion, talent and skills acquisition and development, capacity building for self-reliance, self-employment and empowerment of young female’s in the continent of Africa.

“The Miss Premium Africa beauty pageant is not solely focused on just crowning beauty queens but is also aimed at assisting female youths showcase their beautiful culture and tourism opportunities in Africa,” a statement from the organisers reads.

“We aim to bring up young and patriotic ambassadors for peace and development in Africa at large. We also aim at redefining pageantry at large by producing queens with integrity and purpose driven mindset.”

The 24-year-old is the reigning Miss Premium Africa Lesotho holder. Therefore, she will represent Lesotho next month.

The Leribe born model told the Weekender that she was introduced to the pageant by her friend in July this year.

“I was introduced to the pageant by my friend, who is also the owner of African Fashion and Arts Festival (AFAF), Lorraine Kljajić. AFAF is a fashion show which I attended in Malawi in 2019. It is one of the many I’ve attended since the beginning of my modelling career in 2017,” Malijeng said.

“I have also participated in Fashion Meets Music Lesotho 2017, the Lesotho Fashion Week 2018/19 and Ubuntu Fashion Week 2020 in Zambia.

“I have contested in two pageants and became Miss NUL 2017 Top 5 and Miss Maseru 2018 Top 10. My first pageantry experience was Miss NUL 2016/17 and my first runway modelling experience was Fashion Meets Music Lesotho 2017.”

Malijeng said she was working hard to ensure her growth on the African modelling scene.

“I’d like to grow as a model and make an impact beyond Lesotho and possibly globally. It may not necessarily be about me being in stage. It also means I could start grooming and helping younger models achieve their dreams by aiding their growth,” she said.

Already involved in some agricultural projects in Lesotho, she also wants to invest more into the sector. Currently, she is running a sheep and a tomato project at her Ha-Motšoane, in Leribe while she is also involved in subsistence crop production.

“I’d like to grow my agricultural projects by going large scale and possibly invest in different countries. This is my way of ensuring that I make a positive impact on poverty reduction, food security and employment creation. These are some of the biggest challenges in many countries currently.

“I am deeply in love with entrepreneurship therefore, I want to expand and become involved in different initiatives,” Malijeng said.

Face of Lesotho winners speak

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Senate Lerotholi

Modelling is hard work: Relebohile Buti

Modelling requires a lot of hard work, the recently crowned Face of Lesotho queen, Relebohile Buti, has said.

Relebohile said this in an interview with the Weekender this week. The interview was in the aftermath of her Face of Lesotho win last month.

She was crowned the queen at a glitzy ceremony at Avani Maseru on 26 February 2022.

She said she was determined to leave a mark on the local modelling scene and be remembered for her good charitable work.

However, she said she was also wary of the huge amount of work that she must do to make a name for herself.

Nevertheless, she is hopeful that she will bag corporate endorsements that will enable her to engage in different projects and work with various people from different backgrounds.

Despite winning the title, Relebohile said that the Face of Lesotho journey was challenging and she at one time felt like quitting. However, she is now cherishing her decision to hang on as the experience has helped her grow.

“Face of Lesotho is not just a pageant, it nurtures one to realise their value in the community and better other people’s lives primarily by sharing knowledge,” Relebohile said.

“A queen is someone who changes the environment around them instead of being changed by the environment. A queen is someone who is willing to move mountains for other people by helping them grow and this is what I am hoping to achieve.”

Itumeleng Jane

Itumeleng Jane, the first runner up, said she was pleased with her new title. She added that modelling taught her to endure no matter the circumstances.

“Face of Lesotho helped me identify strengths that I never knew I had. It helped me discover who I really am and what I want to achieve going forward,” Itumeleng said.

Itumeleng said it took her a lot of hard work and dedication to be named the second-best model in the Face of Lesotho pageant.

Now that she has scored an achievement, she wants to learn more about the trade.

“People are still not knowledgeable in terms of the essence of beauty pageants. I encountered several challenges while seeking financial help. This however, taught me to be resilient because at last, I got the assistance that I needed. Had I given up, I could not be where I am today.

Refiloe Mafi Kolobe

Refiloe Mafi Kolobe, the second runner-up said her journey built her character as she interacted with different people from whom she learnt a lot.

Refiloe said her new title would help her focus on assisting people with hearing impairments.

 

The post Face of Lesotho winners speak appeared first on Lesotho Times.

Plus size model defies beauty stereotypes

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Senate Lerotholi

SINCE 2017, plus size beauty queen, Sebabatso Litlali (21) has been defying the fashion business stereotype that models are petite individuals.

She was the first plus size model to compete in the Face of Lesotho pageant on 26 February 2022 where she made it to the top six of the competition out of 15 participants.

Born and bred in Maseru, Sebabatso started her modelling career under Tgee Modelling Agency in 2017.

Her first career highlight was in 2019 when she was crowned Miss Spring Plus Size Lesotho.

And this year she scored another first when she contested in the Face of Lesotho pageant, the second largest after Miss Lesotho.

Sebabatso is currently a manager at Sothokids Modelling Agency and a board member at Mokherane Chaltin Tsatsanyane (MCT) Entertainment.

In her short time as a professional model, she has been engaged by different entities for brand ambassadorship including LNIG Hollard, Elibo Guest House, Hessie Creations and Flava Entertainment.

Among some of her exploits on the runway is being named the Miss Lesotho Plus World finalist 2019/20 and Miss Spring Plus Size Best Bikini Model in 2019. She was also crowned Miss Local Plus Size in 2020.

In January this year, Sebabatso was awarded a certificate of appreciation by Sothokids Modelling Agency for her valuable contribution to the sector and was also named The Most Hardworking Model by the same agency in January this year.

In an interview with the Weekender this week, Sebabatso said she was surprised to be the only plus size model in Face of Lesotho pageant this year. Therefore, she encouraged other models of her structure to brave it and strut their stuff on the ramp.

“I was surprised that I was the only plus size person who had applied to take part in the contest,” Sebabatso said this week.

“I encourage plus size women to seize pageantry opportunities. To those who are contemplating joining, I urge them to join quickly and believe that they will make it against all odds.”

However, those who choose to start modelling must be prepared to face stigma from people who question why they are modelling when they are big bodied, she said.

“People in Lesotho have not yet embraced the idea of plus size models. I have to explain to people that I am big but still a model and it is exhausting. I hope my involvement in several pageantries will help sensitise Basotho to embrace plus size modelling.”

To help empower young people to have self-esteem and recognisable brands, Sebabatso will this year be focussing on a project about building self-image and mental health.

“When I was learning about self-image, I discovered that mental health is core to human life. Since that discovery, I have been doing seminars teaching people about the importance of mental health.

“I have also toured different schools and hosted seminars where I was teaching about how self-image can affect one’s life whether positively or negatively. The way one perceives themselves and those around them is important,” Sebabatso said.

Inspired by South African plus size model and influencer, Thick Leeyonce, Sebabatso opines that the exposure that she has gained since 2017 has helped her become a stronger person mentally.

“The modelling industry has made me stronger. Whenever I go out there, I learn new things about myself. My capabilities surprise me all the time, self-development has been the benefit.”

She is also passionate about humanitarian work and says any beauty queen must influence change by caring for the people around her.

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Pencil artiste gets recognition from Steve Harvey

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Senate Lerotholi

SOME are born great; some achieve greatness, and some have greatness thrust upon them. The famous quote by William Shakespeare probably rings true for pencil artist, Mphohlela Ralethoko.

Popularly known as Uncle Donze, the artist recently hogged the limelight on social media when he posted a drawing of United States comedian, television producer, actor and writer, Steve Harvey.

The drawing was posted on Twitter, Instagram and Facebook and what initially seemed like a futile attempt to attract the global star’s attention ended up paying dividends.

This after the Harvey then responded to Uncle Donze’s Instagram story.

“Hi. My name is Mphohlela from Lesotho. This is my latest drawing of @IamSteveHarvey. Pleased retweet until he sees it,” he posted on Twitter.

The post was then replicated on other social media platforms and Harvey eventually responded after some of his 8, 4 million Instagram followers reposted it.

Although Harvey did not say much, he liked the Instagram story and responded with a flexed biceps emoji, which often refers to strength and power. On the post of the drawing, he responded with an emoji of folded hands.

After that, the 20-year-old told the Weekender that he was excited about the recognition.

“I am happy that I got the recognition that I was looking for,” Uncle Donze said.

And while he has not realised any monetary from the recognition, he said he was happy that it had gained him lots of social media followers.

The Lerotholi Polytechnic Architectural Studies student said he started drawing at the age of four. At the time he would draw cartoons getting inspiration from his older brother.

He however, lost interest along the way before he resumed drawing in high school after encouragement from his friend, Ketumile Matsoso.

He has been doing commissioned drawings since 2019, selling them for M150.

But last year, he then started focusing on celebrities who visited Lesotho and has drawn images of artistes like MrJazziQ, Lamiez, Pasi Koetle, Kabza, DJ Maphorisa, Lady Du, Makhadzi, Blxckie and Cassper Nyovest.

He has also drawn an image of business tycoon, Sam Matekane.

“I have now ventured into the professional art world after learning big, famous artists like Jono, Dry, Arinze and Kelvin Okafor. I gained motivation from their success and decided to follow the same path,” Mphohlela said.

But getting recognition from Steve Harvey remains one of the greatest highlights of his artistic life.

While he accedes that he has now had his fair share of fame, he is still struggling to get Basotho to appreciate art.

“The challenges I have encountered include having to import art equipment which is expensive and is unavailable in Lesotho. Another issue is that Basotho lack understanding of the value art and they want to pay paltry prices for art pieces.”

But he said he was hopeful that one day, this would change.

“I hope to have my own world class art gallery and studio, travel the world through art and motivate other people to seek a career out of it,” Uncle Donze said.

He was born with the talented but not great. It is unlikely that anyone will thrust greatness upon him but perhaps, just perchance, he will achieve greatness one day.

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Namibian scholar evaluates commodification of Oviritje

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Moses Magadza

Namibian scholar, Professor William Heuva, has published an eye-opening book chapter on Namibia’s Oviritje popular music, probably marking the first time that the genre has had serious critical attention at a very high academic level.

Entitled  “Commodification of Music in the Digital Age: Locating Namibia’s Oviritje Popular Music Genre in the Capitalist Music Economy,” the chapter appears in the Palgrave Macmillan journal called Indigenous African Popular Music, Volume 2 of 2022, pages 431– 446. It documents and examines the influence of neoliberal and digital capitalism on Oviritje music genre of the Ovaherero people of Namibia.

In this work which constitutes Chapter 25 of this book, Heuva concludes that although the Oviritje music genre has been incorporated in the dominant mode of production of Namibian neoliberal setting, and while all looks rosy in terms of new modes of production, distribution and consumption of music, the phenomenon has actually been profiting the Social Network Sites (SNSs).

These include Facebook, Twitter, YouTube, Tik Tok, Spotify and WhatsApp. He argues that the distribution has not necessarily benefited the artists who run the whole venture mostly on shoe-string budgets. Thus, while gaining from the new digital technologies of music production and a ‘conducive environment’ enabled by neoliberalism, the artists, according to this well-nuanced article, take home by far very little.

Heuva refers to Oviritje artists as ‘music entrepreneurs’. He borrows the concept from Andrea Moore (2016) who uses it to refer to American unemployed youth who during the 2008 financial crisis were taught music entrepreneurship skills by the International Contemporary Ensemble to survive the crisis.  For Heuva, while Oviritje artists were not taught entrepreneurship skills, they went through the ‘broader classroom of life’ to acquire the necessary music skills in the midst of economic difficulties and disadvantaged family backgrounds.

Heuva notes that although Oviritje initially emerged as a non-profit venture operated for public interest, it has been progressively commercialised and objectified on various digital platforms in the digital capitalist era.

Arguably the most critical observation which colours most of this is that the development of the Oviritje music genre of Namibia and its subsequent commoditisation beginning in the 1990’s, is part of the neoliberal phase of capitalism across the world which includes digital capitalism.

Clearly conceived and written from the point of view of critical theories, if one considers the character of the majority of the scholars referred, this chapter opens up many key critical terms and relations in music and many cultural practices in the world. The chapter takes the reader to the basics by first unbundling the concept of “popular culture” itself since the Oviritje music genre is now clearly part of popular culture in Namibia.

Heuva explains that while “culture” is the way of life of any group of people living in a geographical location, “popular” culture refers broadly to mass mediated, frequently youth-driven trends, politics and leisure. So it follows that “popular culture” is the commercial side of culture (such as music) which appeals to the masses, particularly the young people. All this is aided by the modern digital technology.

Heuva provides a useful background: At Namibia’s independence in 1990, the new government was keen to revive the cultural heritage of the people. This coincides with the development of globalisation, whose spirit, ironically, clashes with the prerequisite of the genuine revival of any specific culture in the world.

Globalisation, the author emphasises, is the creation of countless markets in order to promote conspicuous consumption which in turn promotes a high exploitation of the basic artist and not necessarily genuine cultural revival. This means that the adoption of neoliberal policies in Namibia in the 1990’s had a massive impact not only on the economic sector, but also in terms of the transformation of the cultural industry.

This neoliberal development, within whose wings the Oviritje music genre is caught up, makes sure that there is the development of new technologies, including digital technologies, to recruit new and widespread audiences and consumers.

As Heuva argues, this has positive and negative effects on society in that in the process of turning Oviritje into a widely consumed musical commodity, the Internet Social Network Sites (SNSs) led to the artists and their fans being turned into providers of free digital labour online for the benefit of GAFAM corporations. GAFAM refers to Google, Apple, Facebook, Amazon and Microsoft who provide space for the consumption of popular culture.

The writer also delves into the development of Oviritje itself, pointing out that Oviritje is actually Herero slang for songs and that it began around the late 1960’s among school learners at sports and school events.

The roots of Oviritje in traditional Herero music are distinct and clear.  In its infancy, the genre invited a meagre income to the performers. It was a non-profit micro activity. Through the influence of neoliberalism, the genre now uses predominantly electronic instruments and has become a mass-produced item, driven by urban youths so much so that it has outstripped other music genres of Herero origin like Outjina (practised by women) and Omuhiva (practised by men.)

The youth orientation of Oviritje naturally attracted mass production and commercialisation which provides the wheels of capitalism. Omuhiva and Outjina art forms declined as they remained with the old Hereros who were conservative and less inclined to embrace the capitalist mode of production. This situation demonstrates the link between capitalism and certain genres of music. Oviritje became popular through being hyped up until it became sellable.

The author introduces another interesting observation which is: despite the fact that popular music reflects issues of importance to their target audience, it is not always the case that popular music does critique some of these issues and Oviritje is not an exception. In fact, popular music songs outside the west are not as critical of capitalism as are popular music in the West.

 

The book in which Heuva’s chapter appears was edited by Abiodun Salawu and Israel Fadipe. It examines how African indigenous popular music is deployed in democracy, politics and for social crusades by African artistes. Exploring the role of indigenous African popular music in environmental health communication and gender empowerment, the book subsequently focuses on how the music portrays the African future, its use by African youths and how it is affected by advanced broadcast technologies and the digital media.

The book also contains some very informative articles like “The Communicativeness of Select Nigerian Afro-hip-hop Lyrics and Sociological Perception of Women” by Umwana Samuel Akpan, “Promotion of Food Sovereignty in Africa Through Yoruba’s Indigenous Music” by Lere Amusan and Ernest Jakaza’s “Singing Democracy and Politics in Post-Independence Zimbabwe: A Critical Discourse Analysis of Self-censorship in Zimbabwean Indigenous Theological-Sungura Music,” amongst many others across Africa.

Heuva is Professor in Communication and Media Studies at North West University, South Africa. His expertise is in Critical political economy of communication; Communication (telecoms, media and ICTs) policies and regulations (laws); Sociology of the media (including the ‘new media’); Media and information literacy and media history. He holds a BA, BA (Hons) and an MA in Journalism and Media Studies from Rhodes University and a PhD in Critical Political Economy of Communication from the University of KwaZulu-Natal).

 

He is the author of Media and Resistance Politics: The Alternative Press in Namibia, 1960-1990. Basel: P. Schlettwein Publishing (2001).

 

*Moses Magadza is a doctoral student with research interests in framing, agenda setting, (re)presentation, social justice theory and critical discourse analysis.

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Club 266 speaks on trafficking, pornography allegations

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Staff Reporter

THE management of the newly-opened Maseru nightspot, Club 266, has blamed some disgruntled former employees of peddling falsehoods about its operations.

In recent weeks, social media has been awash with allegations that the club’s management has been involved in human trafficking, pornography and prostitution among others.

It has also been alleged that the club has been allowing underaged patrons while failing to pay its staff.

But in a statement this weekend, the club’s management refuted the allegations.

Gustav Serfontein, the proprietor said the rumours were being spread by malicious former staffers.

“One of our former managers resigned and established a company that is now competing with us and we suspect that is where all the malice is coming from because they feel the best way of competing is bringing us down,” Serfontein said.

“He is going after clients with whom we had signed contracts.”

He said his legal team was working flat to institute criminal proceedings against the perpetrators of the malice.

The allegations being raised against his business were serious and he would ensure that his name was cleared.

Serfontein said his business condoned neither prostitution nor pornography within its premises.

Another allegation was that the club was failing to pay its 40 workers in the last two months.

But manager Mamo ‘Kristal’ Mophethe said while the business had taken a dip in July and August due to high operational costs, they were working hard to normalise the situation.

Meanwhile, Kristal said they were forging ahead with business and have recently launched a concept called Club 266 Cares.

“This is a community social investment project that takes the club closer to the communities to show them our love and how we work as a team. The concept was launched with the Beach Party at Maqalika Dam on 17 September 2022 and was followed by a free Bikini car wash for our patrons at the Maseru Club Car Wash along Mpilo Road. Marabeng Park in Ha-Foso will host the next one on 8 October 2022,” she said.

 

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Strive to feed the mind: Mary Bosiu

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LAWYER, author and motivational speaker, Mary Bosiu, says she is on a mission to help people improve their lives and reach their fullest potential. Bosiu recently released her fourth book but bemoans the dearth of the culture of reading. She opines, just like feeding the body with food, people should always read and feed their minds. Weekender (WK) reporter, Seithathi Mphatsoane, this week sat down with Bosiu and below are the excerpts of the interview:

WK: Please tell us who exactly is Mary Bosiu?

Mary Bosiu is a simple woman on a mission. One may ask what my mission is. My mission is to help people to be the best they are meant to be and I totally love doing that. You can’t help unleash somebody’s potential and not prosper yourself. It is like lighting a torch for somebody and holding it, you will not walk in darkness yourself, and I am that type of woman.

WK: Then there is Mary Bosiu the author. Tell us where it all started.

Bosiu: I grew up as a shy girl, nervous and a little bit confused, which was very painful because when you have that challenge, most people don’t think you’re shy. Instead, they think you’re full of yourself, so that was painful for me. But there is something that I had in me which helped me, I always loved to excel. For me it’s either I do something well or I don’t do it at all, so the fact that I loved to excel helped me to do well in school. My primary years in Thaba-Tseka were the most disadvantaged.

At one point, I used to be in a place where four classes were cramped in one room. Now when I look back, I consider myself strong because I managed to make it under those circumstances up to tertiary level. This is one of the stories I tell people to inspire them because I want to give them hope that they can also do it if I have done it. At one point, when I had to go to high school, I slept at a cattle post because the rivers were full and to get home using the footbridge, the route was too long.

When I went to high school, I discovered that everyone there was up to date with current affairs because they lived in the lowlands, and I had come from the mountains. But my love to do well came in handy because I did so well that I did not have to supplement any subjects at the end of the year. I then went to university where I did not even know what I wanted to study. I had to advice from someone. I found a lawyer who also came from a disadvantaged background like me. I said to him, “I want to study law, but I am shy. Do you think I’ll make it?” He replied, “I know a lady who is shy, but she has done law and she is now a magistrate. If she can do it, then I know you too can.” That is how I landed in the legal profession. I have a profession and a call. However, most people have professions only and most land in the types of professions that don’t fire them up.

WK: Tell us about your journey in law. When did you graduate?

Bosiu: I went to university in 1977. I started off prosecuting criminal cases in 1982. I did that for four or five years. I later applied for a post at the Lesotho National Development Corporation (LNDC) and to my surprise I got the job. I started being a commercial lawyer and that is where I am now. I own a consultancy agency, Bosiu Consultancy which deals with commercial transactions only. As I was working for LNDC, which converted me into the commercial lawyer I am today, I did fairly well, and I was promoted to be part of the executive. Despite my good performance, the shyness didn’t go away. You can’t be a leader and not be confident, so I thought of reading more on leadership. I had seen that some of the things we did as leaders were inappropriate. The more I read about leadership the more I got fascinated.

I am the type of person who is not an information junkie.  Rather, I’m a revelation junkie; when I read something there is revelation. I ask myself, “What does this say to me?” After reading, I also summarised what I learnt. This continued for a long time until I realised that I had so much information and it created hunger in me to share what I had learnt. I remember preparing myself to write a module and looking at the information I had gathered, I asked myself why I couldn’t write a book.

WK: Speaking of books, you now have an interesting story to tell because you were reading to beat your fears, I suppose…

Bosiu: I did not read to beat my fears. Instead, I read to know things that I did not know about. I wrote my first book in September 2009 and in less than a year I was given an award by Vodacom through their project called Vodacom Wall of Fame. The company honoured people from different sectors. I was the new kid on the block then. I continued from there and went on to win several other awards.

Mark my words, all the awards I’ve received had nothing to do with what I had learned at the National University of Lesotho. I have been honoured for my passion. I have been invited to a number several countries to give motivational speeches.

WK: You have a new book; please tell us about it.

Bosiu: It is called Ignite the Power in You. I feel it should have been the first one because the main purpose of this book is what I have just advised, “Do what makes you tick”.

Identify your purpose. We have many people who landed themselves in trouble because of making wrong choices. I have one in mind who was a hardcore criminal and served a 10-year prison term, yet he managed to bring himself out of that mud and today the world knows him as an author. Whenever I see his book, I pick it because I know I will find something useful in it. All he keeps on saying is, “I will never do crime again”.

He continues to say while other prisoners were planning for their time after prison, he would be in the library reading books. As we speak, he has his own publication company.

I remember after reading one of his books I went out of my way to find his cellphone numbers to congratulate him.

WK: You are obviously a torch bearer for many Basotho and many young women. Tell us what principles you subscribe to daily. 

Bosiu: My number one principle is integrity. Don’t give up easily on your dreams, but at the same time, don’t sell your soul. What you do today will be your past but one day it will land in your future. If you do something messy it will mess you up, so be in the habit of doing something that you are proud of. Somebody once said fame without character will turn into flames.

WK: We are in a space where integrity is a rare commodity. Looking at our politics, our leaders have done so well in destroying integrity, what can young Bosotho do?

Bosiu: I really have no answer to that but what I can say is as my motto says, “Excellence blended with integrity.” Integrity is an important principle for success. What’s the point of having success when you have cheated someone, you can never have peace with yourself. My second principle is humility, it does not matter how successful you’re, if you are arrogant who cares about you. You repel people, yet you need people. Lastly, hard work. The last time I checked hard work still worked.

WK: Tell us about your family, where you were born, siblings, and so on.

Bosiu: I was born and bred in Thaba-Tseka district in a place called Lesobeng. We are a big family of nine children, five girls and four boys. Whenever I talk about my father I get emotional. He was a father, a businessman, a partner and a friend. He was a prominent person in the community because of the services he provided. Just being around him was something special. My mother on the other hand, was a little bit shy but I have learned generosity from her, she is a giver. She is also a forgiving person and I have taken that from her. We were many in my family and we have struggled a lot. My mother was not working and my father was a teacher.

We are six girls; three boys and I have my own two boys who didn’t follow their mother but both did Accounting. I also have four grandchildren and I adore them.

WK: Where does one get a copy of your book and how are the sales?

Bosiu: I have two outlets in Maseru, one at Pioneer Mall and another one at the NRH complex, but I sweat to sell this book. I prefer to bulk sell, so I do go to cooperatives, schools and offer them. If the buy like a few books let’s say ten the offer is that I come to school to do free motivational talk. Which is a good deal because if we do one hour is not a small amount.

WK: The culture of reading is dying I’m sure is something that you think of as a writer. What do you think we have to do because there is just no substitute for reading? What must be done to encourage young people to read? 

Bosiu: That’s a tough one. The little I can do is to continue doing what I am doing by encouraging schools and corporates to buy a few books so that I can do free motivational talks and I call it “feeding the mind”. I tell people that every day, you have a feeding programme that feeds your body, your physical wellbeing. You go to church, and you feed yourself spiritual wellbeing, but you need to feed your mental wellbeing too because the mind appreciates or depreciates depending on what you feed it. If you are feeding it with daily gossip, it will not help you much. Your mind generates ideas. In schools, I have seen posters which say: “small minds discuss people, average minds discuss events; great minds discus ideas”. If you don’t feed your mind with information, how on earth will you progress in life?

 

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2023 SA Dance Music Awards

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As Dlala Thukzin, Kabza De Small, and Skye Wanda lead nominations…

Dance music geniuses Dlala Thukzin, Kabza De Small and Skye Wanda are leading the 2023 South African Dance Music Awards nominations.

Dlala Thukzin, real name Thuthuka Zindlovu, is leading with four nominations this year with the prestigious Best Gqom Record, Best Dance Album, Best Producer and Best Male DJ.

Following closely behind with three nominations is Kabelo Motha, aka Kabza De Small, with the Best Dance Album, Best Producer and Best Male DJ, and Nonhle Mhlongo, real name Skye Wanda, with the Best House Record, Best Female Vocalist and Best House Record.

The SA Dance Music Awards recognize and celebrate the artists who have pushed boundaries, broken barriers, and set new standards of innovation and creativity within the dance music industry.

As the premier platform in SA dedicated to honouring the exceptional talents and achievements of artists, producers, DJs and industry professionals in the realm of dance music, they strive to shine a spotlight on the remarkable contributions made to the local and global music scene.

Voting is open for all South Africans and will close at midnight on August 28.

The awards ceremony will take place on September 2 at The Durban Playhouse Company.

Below is the list of nominations.

Dance Music Rising Star

FlexAudionative

Thabisoul

Senjay

Ndloh Jnr

Funkysoul

Best Male DJ

Kabza De Small

SOA Matrix

Oscar Mbo

Dlala Thukzin

DJ Terance

Best Female Vocalist

Nkosazana Daughter

Ami Faku

Mawhoo

Mashudu

Skye Wanda

Best Male Vocalist

Sir Trill

Daliwonga

Young Stunna

Sino Msolo

Russell Zuma

Best Live Act

Young Stunna

Black Motion

Pabi Cooper

Mawhoo

Russell Zuma

Best Producer

Dlala Thukzin

Drega

SOA Matrix

Sam Deep

Kabza De Small

Best Dance Album

Oscar Mbo – Groovy Since 90 Sumthin

Morda – Asante

Kabza De Small – KOA II

Pabi Cooper – Cooperville

Dlala Thukzin – Finally Famous

Best House Record

Skye Wanda – Amazwi

Oscar Mbo & C-Black feat. Mawhoo – Umoya Wami

Morda & Oscar Mbo feat. Murumba Pitch – Mohigan Sun

Maline Aura feat. Drega – Mabebuza

Best Female DJ

DJ Lesoul

Lerato Kganyago

Thandi Draai

Ayanda MVP

Sedii Moshounyane

Best Gqom Record

Que DJ & DJ Lag – Where’s your father

Dlala Thukzin feat. MK Productions, Sykes & Sfundo – Mina

DJ FunkyQla & DJ Lab – Lift Club

Ndloh Jnr feat. Dreamteam & Daliwonga – Obay’zolo

Best Radio DJ

Ayanda MVP

DJ Lesoul

DJ Sonic

Best Photographer

Starlight Pictures

OK Majozi

Sphesihle Sogoni

Blacksheep

Bathathe Photography

Best Compilation Album

Dogg Dbn – Sounds of Wine Wednesday

Thandi Draai – Africa Gets Physical, Vol, 4

 

 

 

 

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Mexican-American visual artist visits Lesotho

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…urges government to support the arts industry

Tokelo Khausela

MEXICAN-American visual artist, Beatriz Vasquez, has urged the Lesotho government to invest in the arts industry as it tells stories of Basotho and also has the potential to grow the country’s economy.

Ms Vasquez made a name for herself through her work of experimenting with the conceptual use of papel picado or perforated paper, which is a traditional Mexican decorative craft made by cutting elaborate designs into sheets of paper.

She has been in the country since Monday this week.

Ms Vasquez told the Lesotho Times in an interview on Tuesday evening that she had recognised a lot of talent in the Lesotho arts industry which the government had failed to appreciate.

She is visiting Lesotho to share her expertise in art and explore the rich Basotho culture through a programme dubbed Art in Embassies. Her visit was made possible by the United States Embassy in Maseru and she will leave the country this weekend.

Since her arrival, Ms Vasquez has engaged with artists, weavers and scholars, holding master classes at the American Corner in Maseru to exchange  ideas on  how they do their art, market it and promote collaborations.

Ms Vasquez said she was focused on creating artwork that has meaning and connected to her ancestry and heritage.

“The papel picado is an ancient Mexican craft that is created with paper and normally hung on every building in Mexico to celebrate its uniqueness,” Ms Vasquez said.

Through conversations with Lesotho artists, Ms Vasquez said she discovered there was no platform for them to thrive in this country.

She therefore urged the government to appreciate that art formed an integral part of education, hence its importance.

“Everything one sees was created by an artist. I have faced challenges too. If one cannot find support in their hometown, they should relocate where it is appreciated, where resources are available, then come back to their hometown and pave a way for others,” Ms Vasquez said.

“If we don’t foster that vision, it will go to waste. The government should prioritise funding arts and creating organisations that are going to support the art. That is how the economy will thrive because art is important.

“I have noticed that there is no support for arts here, nor is there an arts council or organisation that supports art fully, for it to thrive. There is no pathway to make art a career in Lesotho.”

Ms Vasquez added artists should work with resources that are available to them, and commended the versatility of local artists.

“The art in Lesotho is visible and incredible. The artists are some of the most talented and ready to voice their concerns. The sad thing is the talent is there but there is no platform to nurture it,” said Ms Vasquez.

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Musa Keys sets out to fill up Limpopo stadium

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‘35,000 people is quite scary but I know that I’m gonna do it’ . . .

Picture: Musa

Musa Keys is set to become the latest South African artist to headline a stadium show after the amapiano star announced that he will be hosting a festival-style concert at Polokwane, Limpopo’s Peter Mokaba Stadium.

In a promotional social media video, the ‘Selema (Po Po)’ hitmaker, who’s originally from Limpopo, positioned the concert as a homecoming festival.

The video opened with Keys taking calls from family members asking him to come back home. “You shouldn’t let your life allow you to forget about us,” his grandmother said. “No, I’ll come visit you first,” he responded.

Later in the video, Keys stood on the pitch at Peter Mokaba stadium and said, “It’s happening on the 27th of December 2023 at the Peter Mokaba Stadium. 35 000 people is quite scary, but I know that I’m gonna do it, and I know that with God it’s already done.”

In his caption, Keys shared his excitement, “Words can’t describe how Delicious I’m feeling rn. So anxious, so happy, super proud of Myself, and hella excited for the experience we’re about to witness. #dettydecember.”

A press release sent to IOL Entertainment explained, “Detty December is a one-of-a-kind music and lifestyle extravaganza that embraces the essence of the festive season… The festival will encompass a mega concert offering various music showcases from a top-notch curated line-up, as well as an immersive cultural experience.”

It was also revealed that building up to the festival, Keys plans to engage with his community to create activities that will give back to the community in various ways.

Keys has enjoyed a highly successful year, which has included his first US tour, a certified gold single with Davido in the US and various music awards.

“Having a strong family upbringing, nothing truly beats coming home for me,” he shared in the release.

“We have been blessed with a long fruitful year of building the Musa Keys brand across the globe.

“It feels so good to finally be back on home ground to celebrate with my entire city. Honestly Detty December is a dream come true for me.

“As much as it’s a scary undertaking, together with my community and backed by my amazing team, we are about to make history in Polokwane.” – IOL

 

 

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Multi-award-winning musician Zahara has passed away

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Multi-award winning musician Zahara (real name Bulelwa Mkutukana) has passed away. The hitmaker died at a private Johannesburg Hospital on Monday night. Fiancé Mpho Xaba was by her bedside.

The Loliwe hitmaker was admitted in hospital with liver complications two weeks ago. A source close to the muso told Sunday World that the singer passed away just before 9pm.

“The family will release a statement soon. She was with Mpho when she passed away,” the source added.

Mkutukana family spokesperson and Zahara’s cousin Oyama Dyosiba said he was struggling to locate Xaba on Monday night.

“I am getting calls from everywhere. I am in Cape Town and doing my best to get hold of Mpho. I can’t get hold of him,” he added.

Zizi Kodwa, the minister of sport, arts and culture, posted on X: “I am very saddened by the passing of @ZaharaSA. My deepest condolences to the Mkutukana family and the South African music industry.

“Government has been with the family for some time now. Zahara and her guitar made an incredible and lasting impact in South African music,” said Kodwa.

A week ago, the family confirmed that Zahara was hospitalised for a week.

ALSO READ |  Family confirms rumours about Zahara’s weeklong hospitalisation

They thanked those supporting them and expressing compassion for the then ailing musician. This after reports the singer was rushed to hospital due to “liver complications”.

The statement read: “Unfortunately, even though our daughter’s hospitalisation has been of strict confidentiality within our family and close friends, that hasn’t stopped the spread of disingenuous information on the internet. We want to stress that any reliable information regarding Zahara’s health will be communicated via her official social media platforms or by herself.”

The singer’s family from East London also arrived in Joburg to be by the singer’s fiancé, Xaba’s, side.

Zahara was admitted to a medical ward but her condition became worse and she was transferred to the ICU section of the private hospital.

Last week, the singer’s situation deteriorated and she was reportedly unresponsive.

Hit albums and awards

Zahara released five hot selling studio albums, from double platinum debut Loliwe (2011) to Nqaba Yam (2021), peaked at number 1 on iTunes.

She has scooped 17 South African Music Awards in her career, plus three Metro FM Awards  and one Nigeria Entertainment Awards.

 

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Nadia Nakai set to drop AKA tribute single ahead of his birthday

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Rapper Nadia Nakai has announced the first single from her highly anticipated album, which is a tribute to her late boyfriend rapper AKA.

The acclaimed rapper Kiernan ‘AKA’ Forbes was gunned down in a suspected hit outside Wish restaurant on Durban’s popular Florida Road in February.

His friend, chef and entrepreneur Tebello ‘Tibz’ Motsoane, who was his former manager, was also gunned down as the two hugged and embraced on that fateful evening.

Till today, their killers have not been brought to justice.

As AKA’s 36th birthday approaches, emotions are especially high among his family and friends who continue to remember him.

Nakai has been teasing her tribute project since late last year and recently teased fans with a preview during one of her Instagram Lives while on holiday in Mauritius.

Titled ‘Never Leave’, featuring KashCPT, the song pays tribute to AKA.

Their relationship was blossoming when he was killed with them both looking deeply in-love, even when they tried to hide it.

“And the day I got that news, I wish you kept on this damn pendant,” she wrote.

On the single’s artwork the pendant in question could be seen in Nakai’s hands, where her matching tattoo with Mega is as well.

@ZazuB said: “Makes sense now when you once said ‘you always wore your necklace, but on the day you decided to take it off’… not sure we’re you said this but I remember. Love and light mama Bragga“

Fans are very eager to hear Nakai’s newest work and all the emotions she has bottled inside.

@Bumblebee1901 tweeted: “May you heal(whatever that entails personally for u) whilst carry him with you forever.

“Thank you for bearing yourself out like this n also for us to relate somehow n connect to your pain. Long live SUPERMEGA” – IOL

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Rated R hangs up the mic 

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Moroke Sekoboto 

RENOWNED radio personality Relebohile Mafatle, better known as Rated R, has officially stepped down from his role as a radio presenter after more than two decades in the industry. 

The Moshoeshoe II-born veteran resigned from Bokamoso FM last Thursday, marking the end of an era in radio presenting. However, his passion for the medium remains undiminished as he intends to shift his focus to production. 

Rated R is one of the radio presenters who played a significant role in uplifting the local music scene through airplay and interviews. 

Reflecting on his career, Rated R said he started in radio way back in 2002 at the now defunct Joy FM, where he worked for four years. 

“From there, I joined People’s Choice (PC) FM for three and a half years, hosting the programme Anything Goes from 12:00 to 15:00, and a Sunday show called Groove Connections from 15:00 to 18:00. During that time, I also hosted Urban Jamz on national television until 2018,” Rated R said. 

“I then joined Sky Alpha (online radio) in 2018 to 2019, before joining Bokamoso in 2020. At Bokamoso I first hosted the Sunday show from 6am-9am, then did the Monday to Friday show from 12 midday to 15:00 and also held down the 22:00 to midnight slot.” 

Like many who grew up in the township, Rated R was inspired by iconic South African radio personalities. 

“I grew up listening to Metro FM, where Thomas Msengana, a.k.a Bad Boy T, hosted the morning drive. He was my hero. I also admired Glenn Lewis, who hosted the afternoon drive. They were witty and made listeners laugh effortlessly, showing that being a radio personality isn’t about mastering the English language but about being genuinely entertaining. These two inspired my love for radio.” 

Despite his departure from presenting, Rated R emphasised that he’s not quitting radio entirely. 

“I just want to take a step back and recharge after doing this for 23 or 24 years. I won’t be on air anymore, but I would want to shift to behind the scenes, such as producing a show or running a station. In Lesotho, radio isn’t always taken seriously. Many people get into it without passion or proper training; they just show up, learn the basics, and start talking without delivering meaningful content.” 

He also praised the structure of South African radio, where presenters are supported by a team of scriptwriters, music compilers, and content creators. 

“In Lesotho, it’s a one-man show, which can be exhausting.” 

He added: “Radio plays a crucial role. They are making positive strides, but there’s always room for improvement. I admire what MoAfrika is doing under Ntate (Sebonomoea) Ramainoane’s leadership. He stays true to his vision, and I can say MoAfrika stands out as the leading station in the country.” 

Rated R also reflected on his impact on the local entertainment industry during his time on Urban Jamz. 

“We initially played international music, but my producer and I decided to localise the content. We started interviewing local artists and playing their music. At first, the quality of their music videos was poor, but we encouraged them to improve. Eventually, artists like Juvenile, Dunamis, and Chocolate Soul began producing high-quality videos,” he said. 

 

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Step Afrika! dances into the heart of Lesotho 

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Letsatsi Selikoe 

THE picturesque landscape of Lesotho has come alive with energy and rhythm as the renowned United States dance troupe, Step Afrika!, graces the mountain kingdom for the first time. 

Step Afrika! is a dance company dedicated to the African-American tradition of “stepping.” As a non-profit organization, it tours both nationally and internationally, presents residencies and workshops worldwide, and uses stepping as an educational tool. It stands as the world’s leading authority on the art, having toured more than 60 countries. It is ranked among the top 10 African American dance companies in the United States. 

Step Afrika! blends an array of contemporary dance and art forms to create a cohesive, compelling artistic experience. Their performances go beyond mere dance shows; they integrate songs, storytelling, humour, and audience participation. The combination of technique, agility, and sheer energy makes each performance unique, leaving the audience’s hearts pounding. 

The traditional Sesotho dance, Liphotha (gumboots dance), served as the inspiration for the creation of Step Afrika! two decades ago. The founder and producer of Step Afrika!, Brian Williams, first encountered a young boy performing Liphotha in Maseru in 1994. This mesmerizing experience sparked a deep passion in him, eventually leading to the establishment of Step Afrika!, a dance company inspired by this unique African art form. 

Born in Houston, Texas, and a graduate of Howard University, Williams’ dance journey began over 30 years ago as a member of Alpha Phi Alpha Fraternity, Inc. He has since devoted his life to celebrating cultural heritage through dance. His global performances and lectures have elevated stepping to a prominent art form, earning him the title of Washington, D.C.’s official cultural ambassador. 

As part of Step Afrika!’s week-long visit, they also stopped at the Sentebale Children’s Home in Thaba Bosiu on Monday. 

Founded in 2006 by Prince Seeiso Bereng Seeiso, Principal Chief of Matsieng, and Prince Harry, Duke of Sussex, the orphanage has been a sanctuary for countless children, providing a safe and nurturing environment for orphans in Thaba Bosiu. The visit by Step Afrika! was not just a performance; it was an empowering experience aimed at inspiring the youth of Lesotho. 

Sentebale’s Country Director, Ntoli Moletsane, said the purpose of the visit was to inspire the children. 

“We want the young people here to understand that dance is not merely an art form – it can be a career, a means to make a living, and a way to express oneself.” 

The event buzzed with ululations and deafening cheers as Step Afrika! showcased their signature energetic dance styles, blending traditional African and contemporary influences. The joy on the children’s faces illuminated the event as they clapped along, their spirits lifted by the melodic beats and rhythmic movements. 

The Sentebale Children’s Home not only welcomed guests that day but also with a renewed sense of hope and possibility, reminding everyone present that every child deserves the opportunity to dream and dance their way into a bright future. 

Also speaking at the ceremony, Charles Blake, Public Affairs Officer at the U.S. Embassy in Maseru, echoed the powerful message that the children’s dreams can indeed take flight, no matter where they come from. 

“It’s vital to pursue your dreams. I assure you, everything is possible when you put your mind to it and dedicate yourself,” Mr Blake said. 

The event concluded with a special dance circle, inviting the children to join in. Laughter rang out, surrounded by the unity of culture and creativity, illustrating that though they may come from different corners of the world, the language of dance knows no boundaries. 

Apart from Sentebale, Step Afrika also visited the Hoohlo Primary School, American International School and held a show at Maseru Mall situated restaurant, Nada. 

 

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Lesotho gears up for National Music Awards 

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Seithati Motsoeneng 

FOR the first time in history, the Lesotho government, in collaboration with the Melodious Awards and LESCOSA, will host the National Music Awards. 

The event will take place on Friday at the ‘Manthabiseng Convention Centre, where outstanding artists will be recognised across various categories for their contributions to the music industry. 

The initiative aims to support and recognise local artists, providing them with better opportunities and increased recognition both within and beyond Lesotho’s borders. Nominated artists will be voted for by their supporters, and those with the most votes will be crowned winners in their respective categories. In addition to receiving an award, winners will be presented with surprise prizes. 

Speaking at a press conference on Tuesday, the Minister of Tourism, Arts, and Culture, Motlatsi Maqelepo, affirmed the government’s commitment to nurturing Basotho talent as a means of driving economic growth. 

“As part of the government’s national development goals, arts have been identified as a key sector that can contribute to the country’s progress. We are taking a significant step forward by embracing the talents of Basotho,” Mr Maqelepo said. 

He added that, with this inaugural edition of the National Music Awards, the government’s goal is to celebrate local talent before it gains international recognition. This, he believes, will open doors for Basotho artists on the global stage. 

Mr Maqelepo highlighted how South Africa had supported its own artists, leading to many of them achieving international success, and expressed hope that these awards will have a similar impact on Basotho musicians. He said Lesotho’s music scene had grown significantly, with some events now exclusively featuring local artists who draw crowds just as large as when international acts are present. 

The minister stressed the importance of recognising and appreciating Basotho artists, who continue to put Lesotho on the map through their talent. 

In her remarks, the Chief Executive Officer of LESCOSA, Makhukhumala Kama, hailed the awards as a significant milestone in the recognition of Basotho’s artistic talent. 

“For the first time in history, the government has voluntarily taken the lead in celebrating our musicians,” Ms Kama said. 

“This is a huge step for the arts industry, as the government has traditionally played a background role. This year, however, they are spearheading the awards, with a budget of M500 000 allocated to ensure the event’s success.” 

She expressed excitement on behalf of her organisation, which advocates for the interests of artists, saying it is thrilling to see the government taking such a prominent role in acknowledging Basotho music – a recognition that is not often given. 

 

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Masasa crowned queen of Lesotho’s Bicentennial 

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Seithati Motsoeneng 

IN celebration of Lesotho’s 200-year anniversary, the Beauty Pageant Association of Lesotho, in collaboration with the Ministry of Tourism, Arts, and Culture, crowned Lintle Masasa as the special Miss Bicentennial. 

The competition, held at Makoanyane Square on Tuesday night, saw nine beauty queens vying for the coveted title. 

But it was Ms Masasa, a 25-year-old former Miss Lesotho 2022, who was ultimately crowned Queen of Basotho’s Bicentennial. Notably, she was the first Miss Lesotho to have been a teenage mother, breaking barriers in the pageantry world. 

Unlike traditional pageants that often exclude mothers and married women from participating, Miss Bicentennial welcomed all women, regardless of their personal circumstances. This inclusive approach set the competition apart and reflected a celebration of diversity and resilience. 

Ms Masasa, as the grand prize winner, walked away with M20 000 in cash, while the other competitors were awarded M1000 each for their participation. 

Speaking to Lesotho Times, Tlali Tlali, organiser of the Beauty Pageant Association of Lesotho, said they were approached by the Ministry of Tourism to come up with creative ways to celebrate Basotho’s bicentennial, which led to the creation of the Miss Bicentennial pageant. 

“For this competition, we wanted to break away from the restrictions of traditional pageants and allow all girls to compete, regardless of their personal circumstances,” Mr Tlali said. 

“As we celebrate 200 years of the Basotho nation, it was important to build a stronger, more resilient generation of girls for the future.” 

He said the exclusion of certain women from pageants often imposed challenges on them rather than empowering them. 

“By promoting inclusivity, we aim to remove the stigma from women who have lived through life’s challenges and mistakes.” 

Ms Masasa, in her interview with Lesotho Times, expressed her pride in being crowned Miss Bicentennial, calling it a significant moment in her life. 

“It is an honour to wear the crown that connects our country to its roots while also reflecting our current times,” Ms Masasa said. 

She expressed concern that in the modern era, the Basotho people had lost touch with their cultural heritage which she said was important to reconnect with it. 

“Though Lesotho has made great strides in development, we have forgotten much of our roots and adopted new cultural norms, which seem to be eroding our moral fabric. In the days of Moshoeshoe I, Basotho were united as a people. Today, unity seems to be the most challenging thing to achieve, whether in villages or workplaces.” 

Through her new title, Ms Masasa said she will continue her mission of educating young Basotho children about the importance of unity and cultural heritage. She believes that by embracing their culture, the younger generation can become better leaders and build a more united nation. 

 

The post Masasa crowned queen of Lesotho’s Bicentennial  first appeared on Lesotho Times.

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