Documente Academic
Documente Profesional
Documente Cultură
BY:
ENYIDA, DAVID.
JUNE 29 2018.
Abstract.
This paper is a study of The Search for an African Literary Convention. This paper examines
Obiajunwa Wali’s controversial paper, “The Dead End of African Literature” which he presented at
Makerere University in 1962, where he argued that unless African literature is written in African
language, it cannot be reckoned as African literature. It also examines Adrian Roscoe’s biased views
that any literary work written in English language must belong to British literature and must be
judged by British literary standards. It further analyses Frantz Fanon’s task to African literary
intellectuals to evolve a brand of literature to contend with the current European dominated literary
forms, if ever they hoped of rescuing African literature from the clutches of European cultures.
Chinweizu et al argue that it was wrong to use foreign parameters to judge African literature. Based
on the divergent views above, the paper pursues the theses that language alone does not qualify as
literature and that it is scientifically wrong to use a foreign instrument to measure domestic
phenomenon. Such exercise would amount to futility. The paper employs Cultural Studies to analyze
these discordant tones herein. In conclusion, the paper recommends Afro-aesthetics as the marker to
evaluate African literature. The paper believes that if this is adopted, it will lay to rest the lingering
controversies over an acceptable convention for African literature and also it would decolonize and
liberate African literature from European literary colonization.
Introduction
The last few decades witnessed an unmitigated scholarly debate within the premises of African
literature. The bone of contention is centred on the crux of Obiajunwa Wali’s paper titled “The Dead
End of African literature” which he presented at Makerere University 1962.
The consequence of this kind of literature is that it lacks any blood and stamina, and has no
means of self-enrichment. It is severely limited to the European-oriented, a few college
graduates in the new universities of Africa, steeped as they are, in European literature and
culture. But the ordinary local graduates, with little or no education in the conventional
European literature, and who constitute an overwhelming majority, has no chance of
participating in this kind of literature. Less than one percent of the Nigerian people have had
access to, or ability to understand Wole Soyinka‘s Dance of the Forest. Yet, this was the play
staged to celebrate their National independence, tagged onto the idiom and traditions of a
foreign culture. (282).
Obi Wali in the text above, strongly believed and advocated for African literature that should not only
be composed in African language, but should wear all the attributes of African culture, if it should
actually be reckoned as African literature. He argued that if such work is written in English, French,
Portuguese or any other foreign language, it would only reflect the culture of that particular society.
He sounds pessimistic due to the onerous task which crafting African literature in African language
would generate. He concludes that until African literature (prose, poem or play) is written in African
language it would never be truly African literature.
To further accelerate the issue of the language of Africa literature, Adrian Roscoe’s work
Mother is God (1971) further rekindled the fire of the debate as he argues, “if an African writes in
English, his work must be considered as belonging to English’s letters as a whole, and can be
scrutinized accordingly (x) in English Language, that particular work is English etc, not regarding the
other paraphernalia and the whole gamut that creates and ties such a work with its regionality.
The dividing line between Obi Wali and Roscoe is that, while Wali’s was born out of a sense
of patriotism, the latter stemmed from the arrogant spirit of selfishness-an arrogant sense of
superiority. These might have influenced the need for African literary writers to explore ways of
plying their art fully in African language; for it to be truly authentic African literary work.
In 1980s, Chinweizu et al published the trail-blazing work, Toward Decolonization of African
Literature vol.1, in which they argue that African literature is different from other foreign literatures
even though they are written in English and since they are different, it would be wrong to judge them
by using the parameters that are employed in judging English, French, or Portuguese literatures.
Based on the above positions, this paper aims at making some contributions, which it believes
would provide some useful insight in the evergreen debate. Since this discourse has regional bias, it is
important to employ Cultural Studies to assist in shaping the debate.
Cultural Theory designates a recent and rapidly growing cross-disciplinary enterprise for
analyzing the conditions that affect the production, reception, and cultural significance of all types of
institutions, practices, and products, among these, literature is accounted as one of many forms of
cultural signifying practices. The concept of cultural theory seeks to establish or promote what is
considered the lower forms of arts that appeal to a much larger body of consumers. It achieves this by
typically paying less attention to works in the established literary canon and popular fictions, best-
selling romances, etc. Furthermore, within the corridor of literature and traditional arts, a frequent
undertaking is to move to the centre of cultural study to those works that have been marginalized or
excluded by the aesthetic ideology of European intellectuals and the likes of Adrian Roscoe.
The precursors to Cultural Studies according to M H Abrams, were attributed to Roland
Barthes in his work “Mythologies” (1957) and later Raymond William in “Culture and Society
(1958), Richard Hoggart “The Uses of Literary” (1958). Scott and Marshal (2005) explain that both
Raymond William and Thompson studied the lived dimensions of culture, the active and collective
process of fashioning meaningful ways out of life. (131).
The dichotomy between European and African literary intellectuals is on the issues of the
language of African literature. While the likes of Adrian Roscoe believe that why African literature is
written in English might have been because African languages are not good enough for such literary
expressions and therefor anyone attempting to express any literary work in English, French,
Portuguese, Spanish and other foreign languages should follow the established traditions which such
language represents, because such work belongs to such culture. This is why Obi Wali and Chinweizu
et al believe that such position amounts to an attempt at sentencing African literature within the inner
cleft of literary colonialism.
This may not have been unconnected with Frantz Fanon’s advocating that indigenous
intellectuals and artists should create a new or another brand of literature, to work in the cause of
constructing a national culture. This paper seeks to make a dialectical appraisal of the issues and
opinions raised by Obi Wali, Adrian Roscoe, Frantz Fanon as well as Chinweizu et al. This paper will
pursue the thesis that African literature is unique whether expressed in African or foreign languages.
It will further pursue the belief that what makes a literary work African is not necessary the issue of
language alone but the content of the literary works speaks a volume as to the origin and regionality
of such work. Lastly, while it is necessary not to judge an African poem by western parameters,
African poems have socio-cultural yardsticks which African literary works can conveniently be
evaluated.
Recommendation: Afro-Aesthetics:
African literature (poem inclusive) is the works composed or written by Africans, about Africans and
for Africans as its primary focus. Works that portray African sensibilities: literary works that
showcase African socio-cultural life, and works that highlight African communal (norms and values
as well as geographical and environmental realities. Works, whose preoccupations are geared towards
reviving in Africans hope in the midst of hopelessness. Works punctuated with African geo-political
manifestations with the view of re-engineering and reconfiguring communal development: works that
interrogate the exclusions that the western nations slam on African; works that rekindle a sense of
humanness in Africanity-to generate a sense of pride in Africanness; and works that are capable of
creating a renewed sense of pride in blackness. These are some of the issues any true African literary
work seeks to address.
Also, African literature is those literary works that capture the essence of African oral literary
life and emphasize on the flora and fauna of African environmental landscapes. Works like these can
stand face to face with their European counterpart to stir each other eyeball to eyeball without African
literature yielding an inch or blinking a second. African literary works like these are indomitable,
unchainable, full-blooded and assertive and can stand firmly, holding his head high in committee of
literary works, can only be composed and written by Africans who feel the pain of colonialism, racial
segregation, and alienations on all fronts. Even though such works are expressed in European
languages it is still African literary work.
Therefore, to adequately judge or evaluate African poems, the critic ought to look for and
whether the poem (other literary genres inclusive) exhibit these character traits enumerated above.
This is in line with Joseph George’s observations that:
Literature can also imply an artistic use of words for the sake of art alone… traditionally;
Africans do not radically separate art from teaching. Rather than write or sing for beauty in
itself, African writers taking their cue from oral literature, use beauty to help communicate
important truths and information to society. Indeed, an object is considered beautiful because
of the truths it reveals and the communities it helps to build. (1).
This affirmed to the fact that African literary writers are teachers, performers, educators and
entertainers; communicating African cultural values and world views which are aimed at engendering
egalitarian society. This is the better aspect of beauty in poem which African writers aim at achieving.
In addition to George’s observation above is that demonstrated by Kudzai Matereke and Jacob
Mapara (2007) while commenting on the aesthetics of Shona proverbs have argued:
Traditional society emphasized beauty as holistic to include such elements as moral
uprightness and humility as the sole markers of inner beauty. While physical or outer beauty
was appreciated, looking for it as the sole desirable quality as done in the modern pageants
misses the core of the way the traditional Shona society conceptualized it. (i).
This paper agrees with this position. True African poets would not sing songs for beauty alone. But
would rather sing songs that would help mould and remould African societies. In fact, what beautifies
a poem is the advice and warning it offers; and knowledge it seeks to disseminate. These are realized
in their themes.
Finally the best way to judge whether a literary composition expressed in African or foreign
languages is African literary work, is to search for the African markers, and colorations. Any work
that exhibits enough of Africanities can then be seen as a true African literature
. This agrees with Chinweizu et al that it is wrong to judge African literature with the western
standards because by virtue of their qualifying adjectives, western literature and African literature are
not the same. How successful could one be to employ the same parameter to administer a judgment
on two different entities? Any attempt at using western ruler to measure African poems amounts to
recolonizing African poetry. Western yardsticks should be used for western poems, while African
literary Afro-aesthetics for African poems. This, no doubt, would enhance a sense and spirit of
African literary freedom.
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