Orality In Oral Literature

Thesis: All three authors portray the voice of many people, who, on a daily basis, are underprivileged of speaking their own language, thus, emphasizing onto the lives of linguistic minority students around the world and how they struggle to cope in school and at home.

German Egyptologist Hellmut Brunner translates the “Inscription of Antef,” which defines a philosopher as: “[He is the one] whose heart is informed about these things which would be otherwise ignored, the one who is clear-sighted when he is deep into a problem, the one who is moderate in his actions, who penetrates ancient writings, whose advice is [sought] to unravel complications, who is really wise, who instructed his own heart, who stays awake at night as he looks for the right paths, who surpasses what he accomplished yesterday, who is wiser than a sage, who brought himself to wisdom, who asks for advice and sees to it that he is asked advice. (Inscription of Antef, 12th Dynasty, 1991–1782 bc)” This displays that a philosopher is a multi-faceted human being, a jack-of-all trades. A philosopher is one who is able to give advice on topics of interest, and when he or she does not know, they are not afraid of searching through texts from civilizations older than themselves. They do this as a means to solve the various problems that they are given. Africana philosophy is a tool such that one is able to tap into past texts in order to provide support for those around them. In this essay I will further discuss Africana philosophy as well as its characteristics and how it differs from Eurocentric philosophy.

Novelist Chimamanda Adichie brings into consideration to Keim discussion, by emphasizing the connection between a “single story” and “stereotypes” regarding the subject of Africa. One of the dangers Adichie includes in her discussion are individuals being denied the opportunity to tell their story. Adichie draws similarities to Keim when discussing her own personal journey to find her authentic cultural voice, and she emphasizes the many misunderstanding that society, including herself, have made. Adichie admits to not only facing stereotypes, but addresses her own opinion regarding the topic. Adichie admits that as a child, she had initial biases regarding a servant that was employed by her family. According her explanation, she believed that the capability of someone “the servants family” coming from a certain background, made them incapable of such artistry. The same misconceptions can be seen in present day society, we often are prejudiced on who or what can be cultured.

The West African bardic tradition refers to the passing on of empirical knowledge from elders, known as griot, via a media of rapping, which occurs as a tradition where “the grandfather...bring[s] all the immediate children around him to rap.” This tradition is the expression of historical culture and lessons via a media of poetry, rhythm, and music. The role of

Poetry have been a major tool for many Haitian writers to express the triumphs that they have and are recently faced with, addressing misrepresentations that may have developed about Haiti, and to give them a sense of hope and encouragement. In most Haitian poems you see the correlation of these actions taking place in the defense of Haiti. Haiti has been a country who overcame many obstacles such as; slavery, the Haitian revolution, recently the earthquake are continuing to go through many more obstacles. Haiti as a whole have been a country for many years that have been up lifting each other in various way, and poetry have been one of many of those ways. Patrick Sylvain, Emmanuel Ejen, Devorah Major, and Rudwaan are examples of Haitian poets who paint a picture in a positive light or even to portray a message of truth. In their poems ‘Ports of Sorrow’, “We be Spirit People”, “Haiti: Statistics of loss” and “WONGOL” all are poems with similar messages in different aspects of light. The poem “Ports of Sorrow” by Patrick Sylvain is a poem about the pain that was developed from the earthquake in Haiti and morn the lives of the people that were lost and a beautiful country that was destroyed. “We be Spirit People” by Rudwaan is based on the Haitian revolutionary war, which was a war fought by enslaved Haitian who defeated Napoleons army, Spanish and English as well and as a result in 1804 Haiti became the first black independent country in the world. This poem sheds light on

Imagine you have just completed a trip through the early kingdoms and city-states of East, Central, and South Africa. Your family and friends ask you about the trip. Your task is to give them an oral history of your experience. You may choose to write your account, record it, or make a video. Remember, your family and friends will share your story and pass it on to future generations, like oral historians in Africa. Make it fascinating! No one wants to hear a boring story.

My room-mate had a single story of Africa; a single story of catastrophe”. Adichie also tells how growing up in Nigeria reading only American and English children’s books made her deaf to her authentic voice. As a child, she wrote about such things as blue-eyed white children easting apples, thinking brown skin and mangos had no place in Literature. That changed as she discovered African writers.

In a freezing class, two brilliant minds unlocked the fiery passion that is their talent one an artist the other a writer. Bringing to light a history long forgotten creating abstract thoughts arbitrary to our own. Komi Olaf the artist and Okey Ndibe the writer not only enlightening the class but also the world with each brush stroke and each word. Every creation stemming from the hands of these masters tell of issues at the heart of Africa from colonialism to existential dilemmas. Thru spoken word, hip-hop, art, music, poems and literature issues close at heart to the artists and to Africa are portrayed. This paper will focus on the art exhibit by Komi Olaf and Foreign Gods inc by Okey Ndibe as spoken by them during their discussion in the class on October 13th. Where the talks focused on the key course objectives being stereotypes, post-colonialism, youth culture, and resistance.

Mr. Mdeouze influenced Jose to write that incredible story. He told him enough stories to open up his imagination and produce a beautiful paper. Mr. M taught Jose the power of language. For extra credit for this class, I listened to an interesting lecture about African Storytelling. This is what Mr. M reminded me of. Traditional storytelling is usually told by adults and spoken to children about life, rewards, and consequences. The fables are usually metaphorical stories that have to do with lessons children will learn in their daily lives. While Jose listened to Mr. M’s

This chapter in Africans and Their History by Joseph Harris presents some of the roots of the stereotypes and myths about Africa in the past and for the most part are still held today. Harris discusses how the “greats” of history, geography, and literature starting a path of devaluation of Africans that writers after their time followed. Harris also denounced the language that these “greats” used to describe and talk about Africans. He asserts that this language inherently painted Africans as inferior and subhuman.

In Sundiata: An Epic of Mali and The Interesting Narrative of the Life of Olaudah Equiano, the importance of storytelling and recording history is prevalent throughout both stories. In Sundiata, the griot serves as the narrator of the story recounting the tale of Sundiata told to him by his father who learned it from his father and so on for countless generations. Griots travel amongst their people using oral history as a way of preserving African culture and heritage throughout generations. They treasure the superiority of oral history above written history because the written word “lacks the warmth of the human voice.” Conversely, Olaudah Equiano explores the written word as a method of spreading his story throughout the world. He writes a biography because it can be translated into countless different languages because his purpose is to educate as many people about his story in an effort to end the atrocities of the slave trade. While the function of the griot is to connect Sundiata with his ancestry via oral storytelling and music, Equiano’s written testimony distances himself from his indigenous African heritage.

“Ghana’s history is a metaphor for what occurred in the immediate aftermath of independence in Africa,” is a quote by Kofi Awoonor, Ghana’s leading literary figure and one of Africa’s most acclaimed authors. Three of his poems illustrate the hardships and trials that the Africans faced after their claim of independence from Britain. As said by Awoonor himself, “...high hopes were crushed by the greed, corruption, and lust for power…”. The author uses multiple literary devices as a way to emphasize the adversities they faced. Kofi Awoonor symbolizes the downfall of Ghana after independence through the use of theme, mood, and symbolism in his Three Poems.

Positively, it has led Africa to create the phenomena of oral literature, highlighting oral history and its narratives. Negatively, however, the quality has been in a way distorted of impression because that is what Africa mainly known for, often leaving the fact that Africa can be great at literary, just like Europe. Ong explored orality and literacy, including their twin concepts of spoken expression and written expression with their nature and consequences. He presses about the major significance of oral expression in cultures and the increasing appreciation for expressions, such as epic poetry and performances. Merolla talks about the great divide between orality and literally, including their achievements in different cultures. “orality enabled shared decision-making in collective gatherings while literacy could lead to manipulation and authoritarianism as shown by the coercive use of the press and schools in dictatorial regimes,” (Merolla) Jada points out that although Aidoo’s combination of traditional Ghanaian and western conventional format drove most Western critics to consider the play as an inferior text, it is popular in the West African community because of its intense and detailed reflection of postcolonial Ghanaian family, leading many Africans to relate to its events. The play both entangles

Imagine being able to tell stories for generations to come without ever having to write down a single word. Oral tradition is used to pass stories down from generation to generation through different forms of communication without any writing system. Oral tradition stories are told by word of mouth, riddles, storytelling, and songs. It cannot be changed although the narrator might embellish it. Oral tradition is how Africans perceived the past. The significance of oral Tradition is due to the stories holding so much information and knowledge. Oral tradition contributed to understanding pre-colonial history because the pre-colonial Africa was influenced by two major movements which are the expansion of islam and the dispersion of the bantu. Oral tradition gave us the perspective as to why the expansion and dispersion took place. Oral tradition has its strengths and weaknesses. A strength of oral tradition is that it is being told from word of mouth and more people will listen to a good storyteller than to go read a book about the history. However, a weakness of oral tradition is that many of the stories get forgotten, left out, or embellished. With each re-telling the story gets further and further away from the original. Oral tradition is a primary way of conveying culture and is a way of life in African history.

These strong, and independent African women authors use insightful and educational language, which invites the western world to be a part of their world through the power of literature. One of the