The Centre for African Studies at the University of Cape Town (UCT), under the leadership of Dr Shahid Vawda, former Mafeje Chair, and senior researcher in the Centre for African Studies, successfully hosted the Kobo Table Talks on the 20th and 21st of February. This event brought together scholars, designers, and cultural commentators to engage in a rigorous academic exploration of the Basotho Blanket’s historical and cultural significance.
 

The two-day programme was structured to blend academic discourse with artistic and cultural expressions. The opening night featured a fashion show that showcased the evolution of the Basotho Blanket from its colonial origins to its contemporary significance as a symbol of cultural identity. The following day, a series of in-depth table talks examined the social, political, and economic dimensions of the Basotho Blanket within the framework of Modern Heritage Studies.

Central to these discussions was the work of former Professor Shahid Vawda and his colleagues, who have been investigating African modern heritage through the lens of textiles and music. Their current research, titled A Tapestry of Textiles and Music Over the Indian Ocean and Beyond: The Case of the Basotho Blanket, (part of the broader Modern Heritage of Africa and the Anthropocene) provided the foundation for the academic discussions at the event. By tracing the journey of the Basotho Blanket from its introduction during colonial rule to its appropriation and reclamation by the Basotho people, the research highlights the complex intersections between heritage, identity, and resistance.

The table talks were facilitated by the esteemed cultural commentator Lesley Mofokeng, known for his deep insights into South African cultural narratives. Mofokeng’s moderation guided conversations around themes such as the symbolism of the Basotho Blanket, its appropriation in global fashion, and the broader implications of custodianship and cultural ownership. The presence of award-winning designer Thabo Makhetha added a unique dimension to these discussions, as she elaborated on her role in reinterpreting the Basotho Blanket in contemporary fashion while maintaining its cultural integrity.

One of the most pressing academic discussions of the event centered on the Basotho Blanket’s position within post-colonial heritage discourse. Scholars debated how heritage objects, once imposed through colonial economies, become deeply ingrained within indigenous cultural expressions. The case of the Basotho Blanket serves as an exemplar of how material culture can be both a remnant of colonial histories and a powerful tool for post-colonial identity assertion.

The event also highlighted the economic significance of the Basotho Blanket, particularly in relation to global fashion industries and intellectual property rights. Questions were raised about who has the authority to produce and market these cultural items, and whether current legal frameworks adequately protect indigenous knowledge systems. These debates align with broader conversations on cultural appropriation and the ethics of using traditional symbols in commercial enterprises.

Beyond the academic discussions, attendees had the opportunity to engage with Basotho-inspired crafts through the event’s pop-up boutique, which featured high-quality textiles and artisanal products. This marketplace not only celebrated the craftsmanship of Basotho designers but also emphasized the importance of sustaining local economies through heritage industries.

The Kobo Table Talks proved to be an essential space for interrogating the intersections of heritage, academia, and contemporary cultural expression. It underscored the importance of research-led cultural dialogues in understanding Africa’s modern heritage and its global implications. As UCT continues to lead critical conversations on African cultural studies, events like these serve as vital platforms for bridging historical knowledge with present-day realities.