The Origin of Lesotho’s ‘Terrorist’ Gangs: South Africa’s Famo Music Influence : Analysis

A minibus taxi filled with passengers headed from Johannesburg to Lesotho, with the radio playing a familiar Famo song. Famo music, which blends African songs with Western instruments, has a long history among Basotho people, but recent violence led the government to ban certain Famo groups. The ban has affected live performances, causing fans to enjoy the music in private. Some artists, like Thope Tse Khang, can still perform. Famo music originated in Johannesburg’s slum yards in the 1920s and spread to Lesotho. In recent years, violence and gang rivalry have tarnished the genre’s image, as violence related to Famo escalates in Lesotho. The feuds among Famo gangs have resulted in numerous deaths and contribute to Lesotho’s high murder rate. The violence is linked to illegal mining and turf conflicts. The initiation schools in Lesotho serve as recruitment grounds for Famo gangs, offering money to entice vulnerable youth. Despite the ban on certain Famo groups, some continue to be involved in criminal activities, including infiltrating government agencies like the police and army. The genre’s association with violence has led to its decline in urban areas like Maseru. While Famo music remains popular in rural Lesotho, many people are now wary of its connection to gang activity and violence.

Analysis:
The article provides a detailed account of the history and current situation of Famo music and its association with violence in Lesotho. The sources are not explicitly mentioned, which could raise questions about the credibility of the information presented. The article shines a light on the impact of recent violence on the genre and how it has led to the government banning certain Famo groups, affecting live performances and leading fans to enjoy the music in private.

However, the article seems to focus more on the negative aspects of Famo music, particularly its association with gang violence, illegal activities, and its decline in urban areas. While these are important points to highlight, the article might lack balance by not discussing the cultural significance of Famo music or how it has positively impacted the Basotho people.

Additionally, the article does not provide a broader context or analysis of the socio-economic factors that contribute to the violence and criminal activities associated with Famo music. It’s essential to consider factors such as poverty, unemployment, and lack of opportunities that may drive youth towards gang involvement.

Given the sensitive nature of the topic and the potential for bias in reporting, readers should be cautious and seek additional sources to gain a more comprehensive understanding of the situation. The prevalence of fake news and the political landscape in Lesotho could influence the public’s perception of Famo music, leading to misconceptions or stereotypes about the genre and its practitioners. It’s crucial to approach such topics with an open mind and critical thinking to avoid misinformation or oversimplification of complex issues.

Source: Aljazeera news: How South Africa’s Famo music gave birth to Lesotho’s ‘terrorist’ gangs