Nov 28, 2024, 12:00 AM
Nov 28, 2024, 12:00 AM

Lesotho declares war on Famo music gangs amid rising violence

Provocative
Highlights
  • Famo music originated in South Africa in the 1920s and has connections to storytelling.
  • Recent violence linked to Famo gangs has led Lesotho's government to label some groups as 'terrorist' organizations.
  • The cultural significance of Famo music is overshadowed by the violent associations it has developed.
Story

Lesotho is facing a troubling rise in violence linked to Famo music, a genre that originated in South Africa during the 1920s. The situation intensified recently as the Lesotho government took drastic measures by banning certain Famo music groups, designating them as 'terrorist' organizations. This crackdown comes in the wake of various violent incidents, including shootings that left several individuals dead. The escalation of violence is believed to be tied to feuds among Famo gangs, particularly involving the Terene and Liala Mabatha factions. Many of these gangs have roots in illegal mining operations, which have also permeated South Africa, prompting cross-border violence where gang members retaliate against family members of rivals who may be in Lesotho. The cultural origins of Famo music, which historically served as a means for storytelling and celebration, have unfortunately shifted to reflect more violent associations. As the genre has infiltrated deeper into the social fabric of Lesotho, younger men have been drawn to join Famo gangs, often starting their involvement during initiation ceremonies. The impact of these gangs reached institutions of authority as some gang members infiltrate the military and police, creating a climate of fear among citizens who might otherwise report criminal activities. As a result of the government’s interventions, several individuals have already been sentenced to prison for merely wearing attire associated with prohibited Famo groups. The complicated interplay of culture, violence, and law enforcement in Lesotho underscores a grim reality where popular forms of expression become entangled with criminal behavior. Artists genuine to the Famo genre feel pressured due to the violent environment fostered by rivalries, harming their ability to create and share music without risk. The situation remains tense as communities grapple with the realities of these gangs while trying to preserve aspects of their cultural identity amidst a backdrop of violence and repression. Efforts to separate Famo music from its modern connotations of violence may prove challenging, given the deep-seated issues intertwined within it and that resonate throughout Lesotho’s socio-political landscape.

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