The classical form of Sotho oral poetry is called ‘dithoko’. This type of Sotho poetry was inspired by tribal wars and battles fought by the Basotho people. However, urbanisation, a changing economy, and modernism have inspired new forms of poetry to develop in the Sotho culture. The new forms of dithoko include the difela, 'mine workers' chants', and the diboko, the latter which are 'family odes', and are still performed in rural areas of Lesotho and the Free State province of South Africa. Like most other oral forms of poetry, the authors are unknown and poem are passed down from generation to generation. There is a strong link between Sotho music and Sotho poetry. A Sesotho praise poet characteristically uses assonance and alliteration. Eloquence or ‘bokheleke’ is highly valued in the sotho culture and people who possess this skill are respected. The praise poetry is not a musical form but, it is incorporated in most Sesotho songs. Praise poetry is highly developed Sotho oral literature and plays a significant role in the study and recording of history as it contains a large amount of information about past significant people and events. Every Sotho king has had a designated praise poet who praised his ancestry and deeds. In addition, the praise poets also praised tribal warriors and national heroes. A description of a Sotho praise poet by a missionary in the 1800s: ‘During the early part of our sojourn among, we often heard them recite, with very dramatic gestures, certain pieces, which were not easy of comprehension, and which appeared to be distinguished from the ordinary discourse, by the elevation of the sentiment, powerful ellipses, daring metaphors, and very accentuated rhythm. The natives called these recitations praises’
History
Christian missionaries from the 1800s played an important role in publishing Basotho oral poetry through their missionary journal called ‘’Leselinyana la Lesotho’’. Some of the first literary works published by the Sotho people included praise poems and idioms which were accompanied by explanatory notes. Famous publications made during this time included Azriel’s Sekese’s transcriptions of ‘dithoko’’ of Moshoeshoe I between 1893 and 1906 and Mangoaela’s Lithoko tsa marena a Basotho.jpg|thumb|right|A Sotho man reciting 'Difela' in the 21st century
Women and poetry
Women’s ‘difela’ performances occurred for the first time in illegal shebeens or taverns. In this setting, the women, brew and sell beer to migrants at home on leave during the diamond and gold boom. The women would entertain the miners with poetry, song, dance and sexual companionship. These ‘bar women’ are known as matekatse, translated ‘to wonder about’ or ‘odd job’. Thus the ‘shebeen songs’ of independent women are also ‘songs of affliction’ in which the women speak of their loves, trials and tribulations as women. The Basotho women poets thus resemble the African-American female blues vocalists who also had artistic talent and were considered socially deviant at the time. Basotho men still deny the existence of female poets as traditionally, women were not seen as ‘eloquent’ or poets but as singers.’ Male poets also insist that a true praise poet does not perform in taverns around inebriated people but in an area where the audience can concentrate and appreciate the rhythmic aspects of the poetry.
