Friday, November 4, 2011

LANGUAGE QUESTION IN AFRICAN LITERATURE by Irenden Sharon Toyin

There is no doubt that the English Language is one of the most prestigious of all heritages left by the Europeans. The English language has always served as a means of inter-ethnic communication, after the imperialists made contact with the continent. It is pertinent to note that before the arrival of the colonial masters, Africans had their own indigenous languages. The coming of modernity has made alot of changes on the continent. The construction of roads, establishment of schools, and industrial revolution have not only elevated the European continent, but partly the African continent. Nigeria as a country has over 500 languages let alone Africa as a whole. It is however the case that inter-ethnic cooperation would seem difficult, due to the diverse ethnic groups. Nigeria has no national language because of the fear that giving one language dominance over the other may lead to inter-tribal war or ethnic rivalry. Writing in African languages should be the primary aim of African writers. However, this may seem difficult because a work is not written to be read by the author alone, but to reach a wider audience. Literature as a work of art, not only reflects life, but effect changes in a society. There's no way a work of literature would reach a wider audience when written in a particular language, such work would be limited or restricted. It is only the audience which share a common language with the author, can have easy access to it. In a attempt to define African literature, critics like Obiajunwa Wali and Ngugi Wa Thiong'o have called for the return of African writings in African languages. In a conference held in Makerere College, Kampala, in June 1962, Abiola Irele recognises African experiences, background and characters as some of the elements that determine the Africanness in African literature, while Ngugi states that Africans cannot be said to have been free from the shackles of colonialism, when they are still using the imperialist's languages. In contrary to the view of Wali and Ngugi is that of Achebe, who sees the English Language as a veritable means through which he expresses his experiences. He states:

I feel that the English language will be able to carry the weight of my experiences. But it will have to be a new English, still in full communion with its ancestral home but altered to suit its new African surroundings. ("African Writers" 62.)

According to Achebe, the kind of English used to write his works, for example, THINGS FALL APART, is that which has been tamed and tropicalised. Achebe discovers that this is still no less English. Ngugi Wa Thiong'o, after writing notable plays and novels in English, switches to writing in his Kenyan Gikuyu language.The language questions still a bone of contention, as it has generated alot of controversies. Though plans are being made to come up with an African language that will be taught in all African schools, and as a means of conveying that African experiences through literary works, there is no doubt that this will also generate controversies as to which language would be appropriate.

Saturday, October 29, 2011

"AND THE WEST IS LET IN": A LOOK INTO DAVID RUBADIRI'S "STANLEY MEETS MUTESA" by Samuel Obono Jr.

David Rubadiri has been one of my favourite East African poet ever since I read "An African Thunderstorm" as a High School student. Born in Malawi in 1930, he is one of the early creators of modern African literature from East Africa.
Colonialism is one of the shared thematic preoccupation of African poets across the continent even though the experience is narrated in different forms and expression.
Rubadiri's account of the arrival of the west can be viewed as a mere tip of the iceberg as the poet intentionally refuses to go into details of the aftermath of their arrival in the poem and its effect on the entire continent and people.
From the title, we are left to wonder what happens after "Stanley meets Mutesa"? "Stanley" can be seen as a representative of the west, one of the great explorers of the African interior who meet king Mutesa of Buganda. Rubadiri spends half of the poem narrating the ordeal of the westerners in Africa:
"Such a time of it that had;
The heat of the day
The chill of the night
And the mosquitoes that followed
Such was the time and
They were bound for a kingdom" (lines 1-6)
As the poem progresses, one can visualize a group of white men who are on a mission to conquer more kingdoms for the British Government. They are left to battle with the African climatic condition as they marched:
"The sun was fierce and scorching- (12)
And hot was the season just breaking" (18).
We also come to term with the positive and negative effects of the sun:
"With it rose their spirits
With its fall their hope" (13-14)
Despite the unfavourable conditions they go through, Stanley and his men still forge ahead.
"But the march trudging on
Its khaki leader in front
He the spirit that inspired
He the light of hope" (24-26)
Rubadiri gives an unbiased exposition of the ordeal of the explorers without any sympathetic undertone. The mood of the poem changes as they approach the courts of Buganda, Stanley and his men are in high spirit:
"The march leapt on chaunting
Like young gazelles to a water hole.
Hearts beat faster
loads felt lighter" (32-35)
This portrays the sense of victory the colonialist derived as they conquered from kingdom to kingdom.
One thing is significant in this poem: the response of the Bugandan people as Stanley and his men arrives.
The usual African traditional music and drummings used to welcome visitors to the land is left out due to the features that differentiated Stanley and his men from other black visitors.

"The village looks on behind banana groves
Children peer behind reed fences." (43-44)
The above lines suggests that the villagers were suspicious of the white visitors, a sense of insecurity that could not give way for association as better expressed in (line 50) below:

"For the country was not sure"
but Rubadiri sees it as
"A silence of assessment" (54)
As said earlier, Rubadiri leaves us lost in the middle of a beautiful piece. After king Mutesa welcomes the white man, we are not told what transpired afterwards but since the mission of British Colonialism is to subdue and Conquer, we are certain that the poem has been able to open us to the beginning of British domination of East Africa.

Reference:
David Rubadiri: A Selection of African Poetry. Pg (90-95). Ed. K.E Senanu & T. Vincent. Longman, Essex, U.K. (1976).