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The traditional usage
of animal skin coverings has been transferred to the blanket.
The Basotho wear the Blanket in all kinds of weather in Lesotho,
this country of climatic extremes. It has been said by a Mosotho
that you should always carry a blanket and a pocket knife with
you for then "You can sleep and you can eat."
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| Morena |
Seanamarena |
Sefate |
Victoria |
Preface | Origin
and Historical Route | Role
of Blanket in Present Day Public, Social and private Life
| Public Usage | Everyday/Utility
Use | Ritual Usage |
Meanings Not Found in Old Skin
Coverings... | Traditional
Basotho Blankets |
Mbalo Mattross. Design 1 | Sandringham.
Design 2 | Robertson/Victoria
England - Seanamarena. Design 3. | Matlama
Shawl. Design 4. | Pitseng
Moholobela Design 5. | Victoria
England Skin Pattern (Leopard skin) Design 6. | Pitseng
‘Armband of the chiefs’ (Thapa ea Seeiso) Design 7. | Victoria
England Crest - Design 8 | Magician
‘Monkeynut’ - Design 9 | Setsoto
- Design 10 | General Information
The Basotho blanket is such a common sight in Lesotho that
one tends to assume that it was a local invention. However,
its beginnings can be traced with some accuracy to the contact
between the Basotho and the Europeans during the nineteenth
century. A sparse European presence existed in Lesotho as early
as the 1800s. Afrikaner pastoralists from the south, who were
looking for grazing as early as the 1920s penetrated up to
the Caledon River valley during the droughts. From 1833 onwards
Christian missionaries and European Traders settled in Lesotho.
The missionaries and traders had some noticeable effects on
the Basotho community. The moral code of the missionaries emphasised
‘being decently dressed’. As the Basotho’s clothing consisted
of a variety of animal skin garments which were more scanty
than the missionaries were used to, new converts were influenced
to dress in a western way.
Moshoeshoe 1 wore western clothing on a Sundays, but during
the week he reverted to his kaross and skin garments. The traders
exhibited their strange and exotic goods, which were tried
and bought by the Basotho. The traders were soon trusted for
advice and help.
The very first blankets used by the Basotho were white,
smeared with red ochre. Then there appeared on the market small,
‘five and a half feet square’ blankets made of shoddy or reconstituted
yarn from old woollen coats and clothing. These blankets had
wide stripes of yellow, cream, scarlet, blue and maroon on
a grey background. Patterned blankets, manufactured on a box-loom,
were next introduced to the Basotho. Experimentation by manufacturers
on the dobby loom, producing variegated checks, was yet another
development and brighter colours started to replace the drab
shades of the earlier products.
"A great cloak of leopard skin, as supple as the finest
cloth, was allowed to fall negligently about his waist, its
folds covering his knees and feet. That Moshoeshoe was aware
of the significance of clothing as a sign of status and prestige,
is revealed by this description of Casalis, the French missionary.
The Friend newspaper, in 1860, describes how a certain Mr.
Howell presented a blanket as a gift to Moshoeshoe. This was
"a handsome railway wrapper made of light blue pilot cloth,
heavy and hairy". Moshoeshoe was delighted with this gift
and wore it over his shoulders ‘a la poncho’, in a way not
far removed from the way traditional animal skin mantles were
worn by the Basotho.
British political involvement, endeavoring to protect Lesotho
from invasion from the Orange Free State, started in 1867.
Also increased buying power of the Basotho after the discovery
of diamonds in Kimberley in the 1870s, a change in dress fashions
was noticeable.
For Frasers Limited, who traded in Lesotho alongside other
traders, Wormald & Walker, manufacturers of blankets in
England, produced a patchwork blanket in the late 1880s using
two Jacquard looms. The new design made the blanket such a
status symbol that the quality of the materials had to be improved
too. Another breakthrough took place when the manufacturers
felt that a still finer quality rug, known as an ‘Austrian
blanket" was necessary. The Basotho took to this blanket
so enthusiastically that in 1897 a deluxe model was produced,
called the "Victoria" in honour of the Jubilee Year
of Queen Victoria. This brand name became exclusive to Frasers
Limited.
Other blankets were manufactured like the ‘Kings’ blanket,
the woman’s colouful shawl, the initiation blanket and the
thick mountain rug, called the ‘Sandringham’. The well thought
out name and motifs received their own tribal names or descriptions
from the Basotho without the knowledge of the traders at first.
By the twentieth century there were approximately seven blankets
on the market with motif originating mostly in western paradigm.
There were other factors present that put pressure on the
Basotho to look to other sources than animal skins for covering.
Several Historians and writers refer to natural disasters,
such as continual droughts and some exceptionally cold winters,
as well as the rinderpest of 1897. These events depleted the
wild and domestic animals of Lesotho and the disasters continued
well into the twentieth century. The sudden population growth
of the Basotho after European contact and protection also added
to the pressure to look to alternatives for covering.
Most of the present day Basotho blankets conceived as ‘traditional’
have stayed unchanged for approximately 50 to 80 years and
some even longer. The Basotho displayed a deep rooted attachment
to certain blanket names and designs and to the upholding of
symbols of status. Manufacturing of blankets locally in South
Africa started only in the 1920s. The creation of the Frame
Group in approximately 1954 by Philip Frame to protect and
advance the selling of the Basotho blankets is also indicative
of a popular and stable market among the Basothos.
Most Basotho remember the blanket as ‘growing up with’
and that it was totally integrated into the life of the Basotho.
The blanket was ever present at home, on the road, in country
shops and at meetings. It was worn by parents and grandparents
alike. Some remember skin garments and karosses as still featuring
prominently when they were young, especially among the older
members of the family.
Unbeknown to the average Basotho, there were times of fluctuation
and change as far as the acceptance of the blanket was concerned,
for the most part measured by European standards of the day.
For example, with the Prince of Wales visit to Lesotho in 1925
‘those with blankets’ were not to go near the Prince. The order
was KOBO MORAO!, meaning ‘blankets at the back!’. About this
time missionaries also discouraged the wearing of blankets.
Apparently the connotation of the kaross was carried over to
the blanket and it did not appear ‘Christian’ enough. People
wearing blankets were regarded as ‘heathern’. Even during the
British royal visit in 1947 wearers of blankets did not feature
prominently on photographs. A change occurred after Lesotho’s
independence on 4 October 1966 and its internationalisation
of nationhood. The blanket gained popularity although its use
declined slightly due to increased urbanisation in the 1970s
and 1980s. It was believed at that time that ‘the blanket belonged
to the rural people’. The impact of the blanket on the miners
was slightly different. It became such an important commodity
in the life of a Basotho migrant labourer that he and his blanket
would not be easily parted. In the late 1980s the popularity
of the blanket took an upward swing; it was never to be ignored
again. The impetus given to the blanket cult, especially during
the past tow decades, came from the Baostho themselves. At
present (1993) it is estimated that 230 000 blankets or more
are still produced yearly, with a market that can still not
be fully supplied.
(Back to the Top)
Public
Usage.
When Pope John Paul II visited Lesotho in 1988 ( Ketelo
ea Morena Papa) a blanket gift was given to him, which is now
in the Vatican in Rome.
In 1989 the historical event of King Moshoeshoe II installing
his heir, Prince Letsie III, emphasised the visibility of the
blanket as ‘thousands of Basotho’ wearing their traditional
blankets’ gathered to see this memorable event. The King and
his procession were all dressed in western clothing with blankets
over and around their shoulders. Today the Basotho cannot go
without the blanket. At times it is expected of him to appear
in a suit, but at other times it is imperative for him to appear
in a blanket as well as his western clothing.
The interest of the Queen of Lesotho in the blanket in
the late 1980s was displayed when she gave input for designs
and ideas to a certain manufacturer, resulting in positive
discussions and a blanket designed by her and called Mamohato,
meaning Queen.
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The blanket is worn in all circumstances and in the most
humble surroundings as well as in the most important places.
Most Basotho keep a wardrobe of blankets, worn for utility
or functional purposes, or their wearing depends on the nature
of the occasion. All informants feel that appearing in a blanket
adds gravity, elegance and a certain symbolism to the event.
When wearing a blanket a person should also walk slowly and
graciously. When hard work is expected, the blanket is either
discarded or doubled up and hung over one shoulder by men.
Men also fasten the blanket on the right shoulder, leaving
the right arm free for movement of action. Women fasten the
blanket in the middle of the breast. This enables a woman to
feed her baby or do domestic work.
All Basotho blankets have a high pure wool content, sometimes
up to 90 percent, which keeps the body at an even temperature
and is useful even in the heat of summer. During rain the wearer
stays comparatively dry, as wool does not readily absorb water.
It also does not become heavy or cumbersome from water retention,
as do many artificial fibres. It is also fire-resistant, which
is useful since open fires are still used on a wide scale by
the Basotho. The Woollen Blanket is able to resist a lot of
effects like fire, rain and wear, and keeps its colour well".
Traditionally women carry their babies on their backs,
a useful way of caring for the young. For this task at least
two shawls/blankets are used, one to fasten the child to the
mother’s body and the other as a covering over the child and
the shoulders of the woman. When performing tasks, the woman
may drop the top shawl to her hips and tie it. When it is windy
or cold, or during the heat of the day, the top shawl can be
drawn up over the baby’s head, covering the mother’s shoulders.
When a woman is resting next to the road an extra blanket or
shawl around her hips can serve as a covering on the ground
to sit on.
(Back to the Top)
The blanket worn by a person reveals a diversity of information
to members of the community. The symbolism associated with
the ‘warmth’ of the blanket is far-reaching and encompasses
different practices. Eg. ‘Heat’ is associated with ‘fermentation’
like in beermaking or ‘fertilisation’. The young brides constantly
wear a shawl wrapped around her hips and ‘must stay warm’ until
the first child is conceived. At birth the child is also ritually
wrapped in a special blanket. The blanket can later on be used
to tie the baby to the mother’s back. It is also proper for
a woman to cover her shoulders, especially in the presence
of her father-in-law or on public occasions such as funerals
and church gatherings. A husband usually presents his bride
with a wedding blanket. At the birth of their first child he
presents her with yet another blanket. A blanket may also form
part of bohali, the gifts given to the bride’s parent as part
of the agreement of marriage between the two families.
When a boy prepares for his initiation school, he is entitled
to another blanket as proof that he has reached manhood. The
wearing of this blanket, apart form its utility purpose, symbolises
the emergence from the status of boyhood to that of manhood.
Other memorable events in a man’s or woman’s life are also
mediated by a blanket, for example the coronation of the king
or the induction of a chief, herbalist or head woman. Also,
when a person goes on a journey, a blanket is a suitable gift.
The old custom of wrapping a corpse in a blanket was ‘to stay
warm’ and is a ritual still meaningful today. The action of
Queen Victoria in the 1860s of giving protection to Lesotho
was apparently described by Moshoeshoe as ‘spreading her blanket’
over them.
(Back to the Top)
Blanket names like Sandringham, Victoria England or the
Prince of Wales Crest are tangible remembrances to the Basotho
of England’s involvement in their national and political life.
After World War II, motifs such as aeroplanes and bombs appeared
on blankets and became symbols of bravery, power and conquest
for the Basotho. After the British royal visit to Lesotho in
1947 the crown appeared on blankets and reflects a certain
touch of ‘royalty’ in the wearer. The acceptability of these
blankets apparently illustrates a traditional love, admiration
and adherence towards England although
the specifics of this association are not always clear
to the Basotho. The Poone (mealie) design, appearing on the
Seanamarena and Sefate ranges of blanket implies fertility
for both men and women. The cabbage leaf depicted on one of
the Pitseng blankets is a sign of prosperity. The solid lines
at both edges of all Basotho blankets are referred to by the
trade as ‘wearing stripes’ and are usually worn vertically
by the Basotho. It is believed that wearing these horizontally
can stunt growth, development and wealth.
(Back to the Top)
The way that this blanket entered the ranks of the Basotho
blanket is unique. It could well be the oldest traditional
Basotho blanket used in ritual. There is reason to believe
that this type of blanket was part of the ‘slop chest’ from
which sailing ships sold to sailors. An experience of an informant
when visiting Canada some years ago serves to reinforce this
deduction. He noticed a blanket similar to the Mbalo Mattross
at Hudson Bay. A number of small stripes, usually in purple,
were also visible at eh edge of these white woollen blankets,
similar to the ‘weight lines’ shown on the Mbalo Mattross.
These lines represented the value of the blanket in furs when
trading. Sailors off the Natal coast could have traded with
the Zulu people, swapping their blankets for other goods. An
analysis of the name, as given by this informant and a few
other informants, substantiates the fact that this blanket
filtered through Zululand to Lesotho, but exactly how is not
certain.
Mbalo seems to be a Zulu/Pondo word for ‘the kind/type
of’. It could also mean ‘the writing/mark of’ like on stones.
Mattross could have been derived from the Afrikaans word matroos,
meaning sailor. Thus the literal tranlslation could be ‘the
type/mark of the sailor’.
This blanket was widely accepted by the Basotho in the
early days of the nineteenth century. The Xhosa and Pondo also
used it on a limited scale for initiation purposes; therefore
this is the only blanket nor exclusively Basotho. The Basotho
used it for ceremonial burials, for example, to wrap the corpse
of a king before putting him into his grave. As this was an
expensive, pure woollen blanket it was used for the burials
of the more will to do. The size of the blanket could have
also played a major role in its utilisation. It is nearly the
size of a double bed blanket, 200 x 215 cm and could cover
a corpse with ease. The deceased are buried in coffins these
days, but they are often still wrapped in a blanket , before
being placed in the coffin, or if a coffin is not available,
the blanket suffices. This blanket is off the market now. It
is still highly regarded and is prized by those who are lucky
enough to have obtained one before 1980.
(Back to the Top)
This blanket is named after the Royal palace at Sandringham
in England and the first was imported from Scotland. It was
manufactured with loops, which were only cut afterwards, producing
a thick and heavy blanket. The finish of this blanket reminded
the Basotho of the inside of the stomach of a slaughtered lamb,
and they express it in the words qibi mohodu konyane. Because
of its warmth, it was worn especially in the snow-covered highlands
of Lesotho and therefore became a geographical indicator for
fellow Basotho, who called it the ‘mountain rug’. Stripes similar
to those on the very first blankets on the market, were used
and are referred to in the trade as the ‘basic Basotho design’.
The general name for blankets in the early days was nomdakana,
daka meaning line. The Basotho have a customary love for this
design. This blanket is produced in three types with a solid
single and multi-coloured stripe. The multi-coloured stripe
is worn by women, while men wear only the single stripe. This
blanket most probably dates back to before the turn of the
twentieth century and is a treasured possession of many Basotho.
It has been unobtainable since the early 1980s.
(Back to the Top)
This blanket was the idea of the late Lesotho trader, C.H.
Robertson, and was to be initially a blanket exclusively for
the kind and chiefs. It dates back to before the turn of the
twentieth century. The word Seanamarena literally means ‘to
swear by the king’. The meaning as applied to the blanket seems
to be obscure. Some informants give interpretations such as
‘where the chief buys’ (the best). Others say it is an ancient
saying of the Basotho and that story telling used to be concluded
by it.
The chromatic one of the two designs on the market at present
is the ‘traditional’ one. Later on the wives of the king and
chiefs also wore this blanket. From the beginning the trade
purposefully manufactured only a certain number per year, which
increased people’s desire to possess such a blanket. It is
reported that in the very early days stampeding, close to rioting,
occurred at trading stores like Leribe to obtain this blanket.
There is ample evidence that the wealthy, and even the not
so wealthy at times, regardless of descent who desire more
status, buy this blanket. This specific blanket name and design
belonged to Robertson Limited, but Frasers Limited eventually
succeeded in coming to an agreement with them to also trade
the Seanamarena. This they did under the Victoria England label
name. In addition they brought our a Poone design under the
Seanamarena label name. Lately the Seanamarena has been noticed
at initiation ceremonies for the sons of the affluent. This
blanket has the most status of all the Basotho blankets. All
informants become lyrical when hearing of or seeing the Seanamarena
blanket. Since its inception manufacturing has never ceased.
(Back to the Top)
The forerunner of this shawl was the handwoven Italian
imported Lake Shawl sold in the early days of Lesotho. It had
a similar pattern on all four borders as the Matlama shawl,
as well as fringes. The Matlama shawl, manufactured in South
Africa after the 1920s, was machine made and therefore had
the traditional motifs on only two sides of the borders. It
is a colourful and prestigious shawl for women. The fringes
appeal to women. The name Matlama, which was given to it at
a later stage, means to fasten/tighten very much’. According
to Walton (1958) this refers to the way the tassle was tied
to the fringe although other meanings are not ruled out.
This is the only traditional blanket/shawl especially for
women and it is widespread in its use, expressing different
symbolism in several different rituals. For example, the Matlama
shawl is presented by some people as a wedding gift. All other
blankets on the market are worn by men and women alike. Men
have been seen wearing the Matlama shawl, some with the fringes
trimmed, but they usually only wear the brown or the fawn,
not the grey which is the most prestigious.
(Back to the Top)
The meaning of the name of this blanket is obscure. According
to informants it is an old saying which a person after traveling
a long journey on foot or on horseback says: "Moholobela
woa di thota" (I am from the desert), implying ‘after
this journey I am not sure which direction I am going’. This
blanket is very traditional as it was used from its inception
for the Lebollo, which is the initiation ceremony for Basotho
boys. Apparently there was no special blanket for the initiation
of girls, although a blanket was also required. This blanket
is very thick. There is a red and a blue blanket on the market,
of which the red blanket is the more popular. The Moholobela
blanket has the crocodile on its label, but not in its motifs.
The crocodile is the totem of the royal kwena tribe, and also
a national emblem of Lesotho.
After the 1950s this blanket was manufactured in the Pitso
blanket quality which still has an above 80 per cent wool content.
In the 1960s, when wool became more expensive, it was manufactured
in the Pitseng blanket quality, with a 25 percent wool content,
and was more reasonably priced. This blanket has no other social
significance or special status. Although temporarily off the
market, it will most probably be marketed again, because of
the important part it plays in the social life of the people.
(Back to the Top)
This blanket resembles in use and looks like the traditional
leopard skin kaross, which symbolised royalty, strength, courage
(bravery), victory and wisdom. Like the kaross, this blanket
was, by and large, reserved for those of royal descent. The
Victoria England brand name under which this blanket is manufactured
has always been prestigious since the first Victoria blanket
came on the market in 1897. The brand name has become a tradition
in itself, but also draws a certain emotional reaction from
the Basotho. Customers still ask for the ‘Victoria’ with great
enthusiasm. One the other hand, the use of the leopard kaross
is one of the oldest traditions known to the Basotho. Therefore
this blanket has a double portion of tradition and prestige.
Apparently the connotations of the leopard markings have
lately both widened and deepened and the blanket appears to
have lost some of the exclusiveness traditionally attached
to it. It seems that the Basotho perhaps attach more meanings
to the leopard markings and design than before, since it is
extremely popular with all Basotho. Furthermore, it seems to
convey a special meaning at ceremonies of transition, as it
is apparently equally popular at, for instance, the initiation
of a new herbalist or the inauguration of the successor to
the throne, or of people to other important positions. Young
Basotho ask for ‘Tiger’ nowadays, which creates the impression
that initiation ceremonies may be calling for this design.
Basotho warriors were fond of the leopard skin, because of
its obvious connotations of courage and victory.
The affinity the Basotho feel with the animal kingdom on
the whole, could also have added to the popularity of this
design. There is one interesting exception to the popularity
of the leopard marking; the people living in the mountains
do not wear the leopard markings motif. The reason could be
that they fear to be mistaken for an animal by other animals.
One of the latest brands on the market is the Sesecha, meaning
‘brand new’.
(Back to the Top)
The original blanket was black with thin white stripes.
It was traditionally worn at funerals and was called Thapa
ea Seeiso meaning the ‘armband of the chiefs’/ Seeiso is actually
the surname of the royal family. This blanket implies customary
respect, not only for the bereaved and the dead, but also intertwined
with the surname of royalty. This concept may be only understandable
to the Basotho themselves. It could have something to do with
the fact that deceased royalty are perceived as the spiritual
forefathers of the whole nation.
(Back to the Top)
The Crest motif on blankets appeared after the visit of
the Prince of Wales to Lesotho in 1925, which made a profound
impression on the people. Customers refer to this blanket as
lesiba, meaning ‘ feathers’, when buying it.
Any blanket with the label name ‘Victoria England’ is ‘traditional’
because of the obvious association with Queen Victoria of England
who ‘spread her blanket over the Basotho during a time of turbulence
and danger of was between the Basotho and the Orange Free State.
This resulted in the Lesotho becoming a British sovereignty
in 1868. The Victoria England was eventually manufactured in
seven different designs.
(Back to the Top)
This type of blanket originally came out in the names Magician,
Triumph and Magnet. Manufactured in England and of a high quality,
it had a very soft finish. This did not escape the attention
of the Basotho. They refer to this finish as Serope, meaning
‘as soft as a pregnant woman’s thigh. This type of blanket
is traditionally given by a husband to his wife on the birth
of their first child. The name Magnet, changed on the Basotho
tongue to the word ‘Monkeynut’.
(Back to the Top)
The word Setsoto means ‘to marvel at’, but is apparently
an ancient word as most informants found it difficult to comprehend
the meaning. Because of its finish, it was a popular blanket
for a husband to give to his wife on the birth of their first
child. The design is referred to in the trade as the ‘scorpion’.
It is an extraordinary thick, soft and warm blanket. The Basotho,
giving their own impressions according to their physical experience
of this blanket, make this remark: "Seeia ho butswe,"
implying ‘ the door is open’. In actual fact they mean ‘in
spite of an open door, you will not feel the cold!’
(Back to the Top)
The solid strip at both edges of Basotho blankets was apparently
a mistake of a factory worker in the earlier days, after which
the Basotho preferred a blanket with this stripe and the manufacturers
had to toe the line.
"Bochaba ba Mosotho ke kobo" meaning that the
blanket if the binding force of the Basotho (literally: ‘The
nationality of the Mosotho is the blanket’)
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