Lesotho’s Famo Music: A Cultural Saga Plagued by Gang Violence and Government Crackdowns

Lesotho’s Famo Music: A Cultural Saga Plagued by Gang Violence and Government Crackdowns

Lesotho’s Famo Music: A Cultural Saga Plagued by Gang Violence and Government Crackdowns

Lesotho's Famo Music: A Cultural Saga Plagued by Gang Violence and Government Crackdowns
Image from NPR

Lesotho’s Famo music, a genre deeply woven into the fabric of Basotho culture, is grappling with a profound identity crisis. Once the melodic expression of shepherds and mine workers, Famo has become synonymous with escalating gang violence, prompting significant government intervention and raising questions about its future.

At the heart of Famo’s transformation is Puseletso Seema, the 77-year-old ‘Queen of Famo,’ a pioneer who broke gender barriers in a male-dominated industry. Seema’s story reflects the genre’s pastoral origins, born from the songs of herdboys in the Lesotho mountains and later embraced by Basotho miners in South Africa. The accordion, introduced in the mines, became its signature instrument, turning shebeens into stages for emotional expression.

However, the idyllic image of Famo has been shattered by a surge in gang-related killings, fueled by lyrical ‘diss battles’ that often spill into real-world feuds over turf. This violence has escalated to such an extent that in 2024, the Lesotho government launched a severe crackdown, declaring some Famo groups as ‘terrorists’ and imposing bans on media reporting. Prime Minister Sam Matekane acknowledged the gravity of the situation, even admitting to the involvement of some security forces members in these gangs.

Despite its rich heritage and continued popularity, particularly among illegal Basotho miners in South Africa, the genre’s association with bloodshed threatens its legacy. While cultural activists like Mpho Malikeng lament the government’s broad bans, fearing they stifle legitimate artistic expression, the ‘Queen of Famo’ herself distances her art from the violence, stating, “I don’t like music that is vulgar or insulting or insinuating any hate.” The challenge for Lesotho now is to preserve its unique musical heritage while confronting the violent shadow that has fallen over it.

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