Vernacular architecture in land-locked, mountainous Lesotho, comprises wattle and daub circular thatched structures or more recently rectangular shaped dwellings spaces, distinguished by murals on the exterior walls.
The dust jacket of this book written in 1956, depicts the notions and visual iconography associated with Lesotho – huts with mural painting and men in blankets.
Traditionally, women build the homes, design, paint or scraffito murals called litema on the walls. Litema were originally painted using oxides in earthy tones to create hard-edged blocks or borders of geometric designs. Windows or doorframes were often emphasised as features outlined in several colours. Sometimes designs are impressed, outlined with round pebbles pushed into the wet clay surface.
But painting during the winter months was an impermanent solution. After summer rains, designs fade requiring updating the following season and cyclical regeneration. Inspiration for Sotho mural designs originate from the natural world, their traditional heritage and more recently from Aranda blanket designs.
From 1900 onwards, the practice of designing litema by BaSotho women, provoked the Ndebele to develop their own wall painting styles and methods.
Besides the exterior, women craft architectural wall units for interior spaces. Originally made in monochrome colours, but today fabulous combinations and artistic invention result from using commercially made enamel and acrylic paint.
Photograph taken by Constance Stuart Larrabee. 1940s.
These elaborate structures store crockery in wonderful displays, the circular shape, light colour and shiny reflective surface of plates and their placement within the shelving, adds an integral part to the overall composition and design.
Interior walls in rooms are painted with patterns one may describe as reminiscent of wall paper. However one speculates that Shweshwe fabric, beloved in Southern Africa, and known as Moeshoeshoe (after king Moshoeshoe) by BaSotho women in Lesotho, influence these designs. This cotton print cloth, was adopted by BaSotho women as their national dress. Originally European, it is currently made by the De Gama factory, (under the three cats brand) in South Africa.
Shweshwe is also the national dress of the Tswana people and has significance across other ethnic groups in Southern Africa. The use of fabric generally, as an important visual resource and reference for other artwork production and photography can be seen all over Africa today.
Historically favored colours and designs of shweshwe sold in trading stores during the 1940/50's were plain brown with a small white dot and indigo with a small white dot. These two shades still resonate with BaSotho women, used at wedding ceremonies, in conjunction with the blanket wrap, as is evident in this photograph.
King Moshoeshoe (1786-1870) after whom this fabric is named in Lesotho, might be considered something of a fashion icon. Examples of resilience and change characterize Lesotho cultural heritage and this stamp provides an insight into the Kings interest in other eclectic attire.
He was also the first adopting the blanket as winter-wear. The upper reaches of this mountain kingdom can be freezing cold in winter, necessitating the blanket as both practical and necessary. The drape of the blanket, folded, worn and secured in particular ways, designates the status of married men, women and children. My blog on "Basotho blankets", Sep. 2017, specifically describes the influences and production of blankets made by Aranda.
Other modes of wearing these blankets are shown by groups of initiates undergoing puberty rites, who dip entire blankets in red oxide to indicate completion of circumcision.
In winter, herd boys swathed in blankets have their own style and with a swagger and stance provide perfect photo opportunities for tourists, also demonstrating other appropriated articles of footwear like gumboots. These boots associated with the mining industry in South Africa are issued as standard regulation gear. Basotho men, as migrant labour on the mines have adopted them to use back home for Lesotho winter conditions. The prevalence of mining songs and the popularity of the gum boot dances in Lesotho attest to migrant labour practices.
Photograph by Julie Fox
Traditional dance costumes combining a range of historic garments and new items are depicted in this stamp.
