Film and television have historically been positioned as forms of popular entertainment, often dismissed as vehicles for escapism or superficial storytelling. This perception persists in many societies, including South Africa and Lesotho, where screen media has frequently been separated from formal modes of education and knowledge production. However, such a distinction overlooks the long-standing relationship between storytelling and learning within African societies, as well as the pedagogical function of narrative media.
This article argues that film and television operate as informal educational tools that facilitate social learning, ethical reflection, and cultural transmission. By situating contemporary screen media within Southern African storytelling traditions, the educational value of film becomes both culturally legible and socially significant.
Storytelling and Knowledge Transmission in Southern Africa
In both South Africa and Lesotho, oral storytelling has historically functioned as a primary mode of education. Among Basotho communities in particular, elders would gather children around the fire in the evenings to recount folk tales involving animals, ancestors, and mythical figures. These narratives were structured to impart moral instruction, social norms, and communal values such as respect, accountability, courage, and collective responsibility.
The pedagogical intent of these stories was implicit rather than didactic. Lessons emerged through observation, repetition, and consequence rather than direct instruction. Contemporary film and television replicate this structure. While the medium has shifted from oral narration to visual storytelling, the underlying educational function remains consistent.
Film and Television as Informal Pedagogy
Modern television series and films function as sites of informal pedagogy, offering audiences access to social systems, professions, and ethical dilemmas that may otherwise remain inaccessible. Medical dramas such as The Resident and House M.D. provide insight into healthcare systems, professional hierarchies, and ethical decision-making under pressure. Within the South African and Lesotho contexts—where healthcare access and institutional accountability remain pressing concerns—these narratives enable viewers to critically engage with real-world systems through mediated representation.
Similarly, legal and corporate dramas such as Suits and Law, Love and Betrayal introduce audiences to legal reasoning, power relations, and professional ethics. These narratives foreground themes of ambition, loyalty, and moral compromise, encouraging critical reflection on leadership and institutional responsibility. The educational value lies not in technical accuracy alone, but in the exploration of consequence and agency.
Local Screen Narratives and Cultural Context
South African film and television have long demonstrated the capacity of local narratives to function as educational and cultural texts. Productions such as Yizo Yizo, Isibaya, The Queen, and Shaka iLembe have interrogated issues of identity, power, tradition, youth culture, and historical memory. These works extend beyond entertainment by generating public discourse and shaping national conversations.
In Lesotho, although the film and television sector remains emergent, local productions play a crucial role in representing Basotho identity, language, and lived experience. Screen narratives serve as archives of cultural memory and as tools for social reflection, particularly in contexts where formal documentation of cultural knowledge is limited.
Narrative, Consequence, and Social Learning
A defining characteristic of both traditional folk tales and contemporary screen media is the emphasis on consequence. Narrative structures allow audiences to observe the outcomes of decisions without direct participation. This form of vicarious learning is central to the educational function of storytelling.
In societies marked by socio-economic inequality and historical fragmentation, such as South Africa and Lesotho, film and television provide a means of bridging experiential divides. Viewers are exposed to perspectives beyond their immediate social environments, fostering empathy and critical awareness.
Rethinking Entertainment and Education
The binary distinction between entertainment and education is increasingly untenable. Film and television demonstrate that affective engagement and cognitive learning are not mutually exclusive. On the contrary, emotional investment often enhances comprehension and retention of social lessons.
Within Southern African contexts, screen media should be understood as a continuation of indigenous knowledge systems rather than a departure from them. Film and television inherit the pedagogical logic of oral storytelling while adapting it to contemporary technological and cultural conditions.
Conclusion
Film and television in South Africa and Lesotho should not be reduced to mere entertainment. They function as informal educational platforms that transmit cultural knowledge, interrogate social systems, and facilitate ethical reflection. From Basotho folk tales told around the fire to globally distributed streaming content, storytelling remains a central mechanism through which societies teach, learn, and remember.
Recognising film as a pedagogical medium allows for a more nuanced understanding of its role in developing cultural identity, social consciousness, and emerging film industries within the region.
