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Sesotho poetry is a form of artistic expression using the written and spoken word practiced by the Basotho people in Southern Africa.Written poetry in the Sesotho language has existed for over 150 years however, the oral poetry has been practiced throughout Basotho history.
A large content of his poetry is allusive to hymns and various books of the Bible." [5] His "father's Biblical influence upon his son's writings" has been noted. [6] Examples of Biblical infleuences in his poetry include a paraphrasae of part of the Lord's Prayer. [7] In addition, his Christian influences include echoes of some hymns. [8]
ho ròka to sing a praise poem — ho rōka to sew. These examples also have differing tone patterns. Although the two orthographies tend to use similar written word divisions, they do differ on some points: More often than not compounds that are written as one word in South African Sesotho will be written with dashes in Lesotho Sesotho
The Syair Bidasari is a Malay poem popular across Southeast Asia. [1] [2] [3] Surviving manuscripts date to the early 19th century, and the story may be older.[4] [5] Following a beautiful maiden who falls into a deathlike sleep during the day, it has been compared to the European fairy tales of Snow White and Sleeping Beauty.
Kgotso Pieter David (K.P.D.) Maphalla (born 1955, South Africa – died 5 April 2021, South Africa) was a writer in the Sesotho language. [1] [2] An author of more than 40 books, Maphalla has received an honorary doctorate from the University of the Free State, as well as a Lifetime Achievement Award in Literature. [3]
Ditema tsa Dinoko (Sesotho for "Ditema syllabary"), also known as ditema tsa Sesotho, is a constructed writing system (specifically, a featural syllabary) for the siNtu or Southern Bantu languages (such as Sesotho, Setswana, IsiZulu, IsiXhosa, SiSwati, SiPhuthi, Xitsonga, EMakhuwa, ChiNgoni, SiLozi, ChiShona and Tshivenḓa).
While Thomas Mofolo's work has been widely examined, his life story has been largely overlooked and no complete biography has been published. [1] What is known stems from a short autobiographical sketch that appeared in 1930, the work of Daniel Kunene in the 1980s, and more recent archival research by the curator of Morija Museum and Archives.
During the 1970s he was a central figure among African-American poets, encouraging interest in Africa as well as the practice of poetry as a performance art; he was well known for his readings in New York City jazz clubs. Kgositsile was one of the first to bridge the gap between African poetry and African-American poetry in the United States.