The changing face of African Literature

 African literature spans centuries, yet written forms can only be traced to the late 19^th century. Much of African literary forms were preserved as oral literature. Today, African literature can boast of both oral and written forms.
To define African Literature, one question needs to be answered first, ‘should African Literature be written in African languages’? In the 1960s, much diatribe was exchanged by African literary artists within their caucus, and outside with different scholars interested in African Literature. According to the argument, African literature must be written in an African language. To this Chinua Achebe responded, “You cannot cram African literature in a small, neat definition. I do not see African literature as one unit but as associated units – in fact, the sum total of all the national and ethnic literatures of Africa”, (Mbagwu, 2011).

In defining African Literature, one therefore needs to search deeper than the surface, to find the essence of what is truly African. There is need to go beyond the impression that has been created about a continent that holds a wealth of knowledge, carefully embedded in its culture and people. African Literature should be described holistically and not in parts. Many attempts have been made at defining African Literature. The definition that stands out is that it is written or unwritten forms of valuable literature that has incorporated cultures, languages, norms and practices of people and societies that hail from Africa. It is work of the African continent. African Literature has been written in what has been referred to as colonial languages, such as English, Portuguese and French, (Mbagwu, 2011). 

African literature has undergone a lot of change since the pre-colonial era. In discussing the changes, it is important to recognise what have been the major influences. For example, what have been the major themes over the centuries? How have different writers handled the various literary forms? 

Pre-colonial literature comprised oral traditional forms for the most part. However, there were written literatures from all over Africa. In east Africa, Ethiopia to be precise, literature was written in Ge’ez as far back as the fourth century AD, the most renowned work being the Kebra Negast or the Book of kings. Folklores were also written among the Ashanti of Ghana, Yoruba of Nigeria, (Stephanie Newell, 2002). The popular hare stories can be traced back to central and southern Africa. More works came out of North Africa and from the Swahili coast. From the University of Timbuktu alone, 300,000 manuscripts tucked away in various libraries and private collections, mostly written in Arabic but some in the native languages (namely Fula and Songhai),  (Encarta., 2009).

In the 18^th century written works that marked the colonisation period and the slave trade included Olaudah Equiano’s ‘The interesting narratives of the life of Olaudah Equiano, written in 1789. Most the themes centred on the arrival of the Europeans and narratives about the slave trade. The major influence during this era, is the language, as most writers started to write in the language of the Europeans. During this period, African plays written in English began to emerge. Herbert Isaac Ernest Dhlomo of South Africa published the first English-language African play, The Girl Who Killed to Save: Nongqawuse the Liberator in 1935. In 1962, Ngũgĩ wa Thiong'o of Kenya wrote the first East African drama, The Black Hermit, a cautionary tale about "tribalism" (discrimination between African tribes). The most acclaimed novel, ‘Things Fall Apart’ is a product of the early colonial period, (Dashu, 2013). The themes bordered on the arrival of the Europeans and the conflicts that arose thereafter.

With the turn of the century, liberation struggles were strong influence on writing. Themes about independence and freedom became part of African literature. Writers faced either faced jail time or were killed because of their ideas. Among Africans in French-controlled territories) négritude. One of the leaders of the négritude movement, the poet and eventual President of Senegal, Léopold Sédar Senghor, published in 1948 the first anthology of French-language poetry written by Africans, (Mboya, 1970).

Modern African literature has significantly changed. There are a lot of literary productions in Africa, even though there are not as many readers and followers. Certain writings have appeared that have broken the academic style. There is a lot of pressure on the modern African writer. For example, the competition for readership, awards and so on.

There is a future for African literature. Africans are yet to tell their own story. For the modern writer, there is need to maintain balance between the demands of literary world in modern days and the need to maintain what is African in all literary forms.

REFERENCES

Gunner, H. S. (2018). Britannica . Retrieved from Britannica.com

Kenya LIterature Bureau . (1985). Literature for Children and Young People in Kenya . Nairobi: Kenya Literature Bureau.

Mbagwu, C. E. (2011). Promoting Access to African Research . Retrieved from African Journals online : https://www.ajol.info/index.php/ujah/article/view/71748

Mboya, T. (1970). The Challenge of Nationhood. Oxford : Heinemann Educational Books .

Scheub, E. A. (2018, December 31). Encoclopaedia Britannica . Retrieved from Britannica.com: https://www.britannica.com/art/African-literature

Sparknotes . (2018). Sparknotes. Retrieved from https://www.sparknotes.com/lit/things/themes/

Stephanie Newell. (2002). Stephanie Newell, Literary Culture in Colonial Ghana: 'How to Play the Game of Life' , BloominEthical Fiction. Indiana: Indian University Press.

Stokes, R. H. (1931, July 30). Amazon . Retrieved from www.complete-review.com/reviews/safrica/mofolot.htm

Williamson, J. (2007). The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African. Written by Himself. Vol. I. Documenting the American South, 1-3. Retrieved from https://docsouth.unc.edu/neh/equiano1/summary.html

THE DEPENDENCY SYNDROME Vs WRITING FOR OURSELVES

image curtesy of stock images

Having been a teacher of English Language and Literature for over twenty years, I cannot help but register disappointment at the number of ‘foreign books’ that are continually featured on the Zambian syllabus. Well, I would not blame anybody. I too was schooled in these great books: ‘A Wreath for Udomo’ by Peter Abrahams, was a lengthy text that I had to master back to back in addition to the regulars in the curriculum. What can one expect in a country where not many people are writing? Actually there is nothing wrong with using text books from other countries, isn’t that what Literature is about- the study of anything artistic and of value?  There is everything wrong with not having our own local products being ‘glorified’ in like manner. If the study of literature helps one to learn about other people’s cultures and traditions, then it can be safely said that high school students of literature have adequate knowledge of the Ibo culture as ably outlined in ‘Things Fall Apart’, a book that has hardly left the Zambian syllabus for years. There is need to create and develop a Zambian Genre in order to propagate our own ways of life and traditional beliefs for the future generations. Readers and learners alike will grow interest in works that they are familiar with while creating a seedbed of knowledge that they will pass on for generations to come. There is great history, rich culture and warm traditions that Zambia has to share, not just among its citizens but with the rest of the world. If we are headed ‘Toward a Zambian genre’, then we can do better than once in a while having only two or three books written by Zambians. We appreciate books like ‘Tongue of the Dumb’ by Dominic Mulaisho and ‘Quills of Desire’ by Binwell Sinyangwe. However, there is need for a crop of writers who will compete favourably for space on the literature syllabus. This way we can finally move away from learners being so well vested in the ways of other people and becoming professors of their own culture, languages and traditions. The school syllabus itself is fertile ground where the literary arts can be developed and a place where with time, a Zambian genre can be harvested. It is a good habit to read widely, for who can ever forget the hilarious ‘Government Inspector’ by Nikolai Gogol and the amazing ‘Animal Farm’ by George Orwell’? However, a nation should identify its own literary works, and learners and readers alike should pride themselves in what is truly theirs. Despite the challenges, if people are encouraged to write for the national syllabus, imagine what great strides we would make ‘Toward a Zambian Genre’.

OPPORTUNITIES FOR CREATIVE ARTS AND LITERACY

A lot of writing has been done by Zambians on a number of topics, but much of it has been non-fiction, targeting mostly the academics. For this sector, the distribution of books has been easy, largely supported by the education system. Due to this, the larger population, those who are excluded from the academic path, remain illiterate and without access to literature that can lead to their personal development and the growth of the communities. There are key factors that must be put in place for the development of the creative arts and promotion of literacy. Currently, the creative arts are without structural support and writers are all over the place, either trying to make a career or earn living. It is equally impossible to make strides in literacy if the people who are writing cannot reach their readers. Not all reading material should be found in a classroom.

There is need to take literacy development beyond the classroom walls, to reach the communities, to reach those who are outside the classroom. The country once boasted of community libraries but now there are more bars and groceries shops. The lack of infrastructure significantly impedes literacy development. With most public schools having limited reading materials, such support structures like a community library would play a key role in cementing the efforts of the education system and at the same time broadening the spectrum to include those who are outside the school system. A community or public library can lead to development. Apart from providing opportunities for reading, such a structure can be used to disseminate information about other issues affecting societies and promoting development. It is through such places that community participation can be promoted, to make all members of the public stakeholders in the literacy and literary agendas. It is from such centers that writing careers have successfully been launched and promoted for the benefit of the community. The creative arts can also be promoted by being housed under tertiary institutions where English and Literature are taught.  This works well when an institution opens its doors to the writing industry and creates opportunities for writers and at the same time linking them to community literary programmes. For example, the Centre for Creative Arts falls under the Department of Humanities at the University of KwaZulu Natal. Over the years, a number of brands have been developed to include, ‘Time of the Writer’, a sponsored programme that now reaches out to international writers, ‘Durban International Film Festival’ and so on. It is because of such efforts by a higher institution of learning that Durban is now named the UNESCO City of Literature. We cannot leave the government out in this process. As a key stakeholder they should work toward taking the development of literacy and creative arts outside the school walls. We look forward to a time when the local authorities for instance will reintroduce community literacy programmes.

If we are to head ‘Toward a Zambian genre’, these elements should begin to work together.

 

MAY THE DAY BREAK- CULTURAL VALUES AND WRITING

Photo credit: Kafula Mwila

When I was in senior secondary school, I remember how I learned about some of the cultural practices of the Ibo. My friends and I picked up a few phrases that we used often. For instance, 'may the day break', became more popular than 'good night'. No, we had not traveled to West Africa, neither had we any friends from there. Writing has an important role in the promotion of traditions and cultural values and the likes of Chinua Achebe, Ngugi Wa Thiogo and many others  today have strongly contributed to ensuring that their world became known to others. Their writings had painted a wonderful picture of a people whose world had been disturbed by the arrival of another culture. 

 Creative writing is a sure way of preserving key practices and ensuring continuity for generations to come. Zambia has a rich history, but most of it, if not all has been told by non-Zambians. Every writer has got their own priority when they are putting work together. They also have a perspective that they wish a reader to have on a particular topic. For example, when the missionaries arrived in Northern Rhodesia, their aim was to evangelise. They wrote about the religious practices that they found and called them barbaric and the people pagans. However, would an indigenous Zambian hold the same views? What made Africa a 'Dark Continent' and yet it was and still is exploding at its seams with wealth. Writing has strong influence on people's thoughts, and when it is negative,  it can lead them to resign to hopelessness. When you travel to developed countries, it is amazing that much of their cultural values have been upheld and infact they are churning revenue through tourism.
In Zambia, the main sources for its history are academic books and these are preserved for those that pursue studies in that line. Most of the systems that were used to pass on history and other important cultural values have died with modernization and rapid urbanization. The television has replaced story telling. The internet has forcefully taken the place of being the main source for entertainment and knowledge. With modernization most of the cultural values have been watered down and if left unattended, will be lost forever. If we must head ‘Toward a Zambian genre’, creative writing must take center stage of incorporating critical cultural values and symbols in all the literary forms. This means casting key elements of Zambia’s cultures in the various forms of writing. May the day break 'TOWARD A ZAMBIAN GENRE'.

Photo Credit: Kafula Mwila

 

 

 

EXORCISING THE DEMON OF ILLITERACY

Photo credit: Kafula Mwila

If you have ever attended an exorcism session you will attest to the fact that the paranormal exists and in a realm that is beyond human reach. Exorcisms vary from religion to religion; bottom line is there are some spiritual forces that live among us and in some cases in us. Superstitious? Well, here is the problem, a large percentage of Zambia’s population remains illiterate over 50 years after independence. Without spiritualising anything, you will realise that to a very large extent, illiteracy hampers development. Want the facts and figures? Google it or simply look around in your extended family and count how many are literate- get the picture? This means the current responses by government and  the private sector need to go deeper than mere distribution of books in schools; there is need to apply methods which will address the problem from multiple angles.

To exorcise is to evict a bad spirit, in this case a demon from the person or the area in the name of a higher power than that demon. In assessing the negative impact that demons have on the life of a humans, it is safe to say that illiteracy has gained itself this persona. The adverse effects of illiteracy are written all over the pages of this country; for instance, people talk about how maternal and child mortality could be reduced by fifty percent not just if services were improved but if the affected citizenry were literate. There is no telling the magnitude of the negative impact illiteracy has on our socio-economic development.

Where did this all begin, how and when did the ‘demon’ find its seat among us? Way back to the colonial era, we inherited a language that we have now made official and anyone who cannot read or write in this supreme dialect is rendered illiterate. Should English therefore be the yardstick for measuring literacy levels? Our minds have been so attuned to even look down on those who fail to converse in the ‘royal’ language. Drastic shift is required where this mindset is renewed into appreciating the mother tongue. Why is it a laughable matter for a Zambian to speak ‘broken English’ but acceptable for a French or Chinese to ‘break’ the ‘Queen’s language’?    

Recently, local languages were made compulsory as medium of communication for the first years of primary school in Zambia. So the math, the science and so on will be taught in local languages. There was a lot of hype around this development and there still is as people in the education sector frantically begin to work backwards to smoothen the implementation of a political pronouncement. Nothing wrong with the pronouncement but were we prepared to take the national syllabus in this direction? Will this move eventually contribute to raising the literacy levels? Are all schools equipped with the resources to support this change How does early childhood education link with the first years of primary education when the former is taught in English and vernacular has been introduced in the latter? All these questions need to be answered including on how the poor reading culture shall be tackled. There is need for commitment from government to make sure that they see this pronouncement through to the end.

It is a fact that if someone can afford a beer then they can equally afford to buy a book to read. Our residential areas are littered with bars and pubs and whatever it is where alcohol is sold but how many public libraries are in most of these communities? This scenario does not encourage anyone to opt to go to a library that is miles away. it is easier to rush into a tavern which is within vicinity. Can the general populous be brought on board by taking literacy activities to them, within their reach?

Lastly, but not the least- this ‘demon’ of illiteracy needs concerted efforts; public and private, individuals and groups, religious and circular to promote the growth of what has been neglected for so long and yet is key to the development of this country. If we are to head 'Toward a Zambian Genre', the literacy agenda must take centre stage.