Module 1: Oral Literature
Posted by: Cleofe G. Coquilla
Source:
http://www.talktalk.co.uk/reference/encyclopaedia/hutchinson/m0019321.html
http://www.answers.com/topic/african-literature
This module intends to let the students:
1.Understand Oral literature
2.Appreciate African literature
3.Discover Oral literature
INTRODUCTION:
What is oral literature?
Stories that are or have been transmitted in spoken form, such as public recitation, rather than through writing or printing.
Most pre-literate societies have had a tradition of oral literature, including short folk tales, legends, myths, proverbs, and riddles, as well as longer narrative works; and most of the ancient epics – such as the Greek Odyssey and the Mesopotamian Gilgamesh – seem to have been composed and added to over many centuries before they were committed to writing.
Some ancient stories from oral traditions were not written down as literary works until the 19th century, such as the Finnish Kalevala (1835–49); many fairy tales, such as those collected in Germany by the Grimm brothers, also come into this category. Much of this sort of folk literature may have been consciously embellished and altered, as happened in 19th-century Europe for nationalistic purposes.
Oral literatures have continued to influence the development of national written literatures in the 20th century, particularly in Africa, central Asia, and Australia. Russian investigations and studies of oral literature in the Balkans, originally undertaken to illuminate the oral basis of Homeric narrative, have prompted collections and scientific studies in many other parts of the world.
Historical Background
Oral literature, including stories, dramas, riddles, histories, myths, songs, proverbs, and other expressions, is frequently employed to educate and entertain children. Oral histories, myths, and proverbs additionally serve to remind whole communities of their ancestors' heroic deeds, their past, and the precedents for their customs and traditions. Essential to oral literature is a concern for presentation and oratory. Folktale tellers use call-response techniques. A griot (praise singer) will accompany a narrative with music.
Some of the first African writings to gain attention in the West were the poignant slave narratives, such as The Interesting Narrative of the Life and Adventures of Olaudah Equiano or Gustavus Vassa, the African (1789), which described vividly the horrors of slavery and the slave trade. As Africans became literate in their own languages, they often reacted against colonial repression in their writings. Others looked to their own past for subjects. Thomas Mofolo, for example, wrote Chaka (tr. 1931), about the famous Zulu military leader, in Susuto.
Since the early 19th cent. writers from western Africa have used newspapers to air their views. Several founded newspapers that served as vehicles for expressing nascent nationalist feelings. French-speaking Africans in France, led by Léopold Senghor, were active in the négritude movement from the 1930s, along with Léon Damas and Aimé Césaire, French speakers from French Guiana and Martinique. Their poetry not only denounced colonialism, it proudly asserted the validity of the cultures that the colonials had tried to crush.
After World War II, as Africans began demanding their independence, more African writers were published. Such writers as, in western Africa, Wole Soyinka, Chinua Achebe, Ousmane Sembene, Kofi Awooner, Agostinho Neto, Tchicaya u tam'si, Camera Laye, Mongo Beti, Ben Okri, and Ferdinand Oyono and, in eastern Africa, Ngugi wa Thiong'o, Okot p'Bitek, and Jacques Rabémananjara produced poetry, short stories, novels, essays, and plays. All were writing in European languages, and often they shared the same themes: the clash between indigenous and colonial cultures, condemnation of European subjugation, pride in the African past, and hope for the continent's independent future.
In South Africa, the horrors of apartheid have, until the present, dominated the literature. Es'kia Mphahlele, Nadine Gordimer, Bessie Head, Dennis Brutus, J. M. Coetzee, and Miriam Tlali all reflect in varying degrees in their writings the experience of living in a racially segregated society.
Much of contemporary African literature reveals disillusionment and dissent with current events. For example, V. Y. Mudimbe in Before the Birth of the Moon (1989) explores a doomed love affair played out within a society riddled by deceit and corruption. In Kenya Ngugi wa Thiong'o was jailed shortly after he produced a play, in Kikuyu, which was perceived as highly critical of the country's government. Apparently, what seemed most offensive about the drama was the use of songs to emphasize its messages.
The weaving of music into the Kenyan's play points out another characteristic of African literature. Many writers incorporate other arts into their work and often weave oral conventions into their writing. p'Bitek structured Song of Iowino (1966) as an Acholi poem; Achebe's characters pepper their speech with proverbs in Things Fall Apart (1958). Others, such as Senegalese novelist Ousmane Sembene, have moved into films to take their message to people who cannot read.
ASSESSMENT:
1.What is oral literature?
2.Where do African writings gain attention?
3.How do oral literature in Africa prove its existence in the world of literature?
4.Give the name of the writers who emerged in literature, during this period.
