African Oral Tradition & Sundiata - Assignment Example

10 September African Oral Tradition and Sundiata Oral artistic traditions are deeply ingrained in African societies, evenduring and after colonization times. Africans are predominantly oral people, where oral traditions dominantly shape and reinforce their cultural norms (Mphande “African Oral Literature” or “AOL” 70). Mphande describes oral art forms as the “best examples of the African imaginative expression” (“AOL” 70). African oral traditions are in the forms of songs, folktales, myths, praise poetry, epics, and legends. One of the most famous epics in African tradition is Sundiata, an Epic of Old Mali. Oral traditions are artistic uses of language that are passed on verbally from one generation to another, and are critical to forming and strengthening traditional social structures, beliefs, and practices that bind people as a collective cultural identity; in particular, Sundiata is a fine example of an African epic because of its characters, plot, and themes that depict the struggles of an exiled mythical hero, until he returns to his kingdom to oust a corrupt and evil monarch and to restore order and happiness in his land. One of the African oral traditions of is their song, which is the most fundamental form of African cultural expressions and is embedded in their historical context and social conditions (Mphande “AOL” 72). A song is a sophisticated kind of language that is made and conveyed wholly through oral means (Mphande “AOL” 72). Performing songs include repeating lengthy lines or the entire song structure (Mphande “AOL” 72). Songs also pursue a fluid structure that makes it flexible to changes (Mphande “AOL” 72). Aside from the singers, the audience is also flexible, where they arrive to listen to songs and to leave anytime they want (Mphande “AOL” 72). Songs in African folklore often provide magical powers and abilities to their singers (Mphande “AOL” 72). Some songs enable heroes to enchant forest animals, such as snakes and lions that want to harm them, and so they are able to escape these beasts (Mphande “AOL” 72). African songs tell stories about cultural norms and historical events, in order to spread them across generations. Many African songs follow the “call-and-response technique,” which calls for a close coordination among singers, their songs, and their audiences (Mphande “AOL” 72). In this song performance, the chorus has two parts, where the singer calls out, while the audience acts as the chorus who responds (Mphande “AOL” 72). The singer’s voice interacts with the chorus in a way that results to a single and strong harmonious melody (Mphande “AOL” 72). These songs serve to evoke creative responses within communities, as they form their stories through singing (Mphande “AOL” 72). These songs also contribute to the solidification of social order, since each member contributes a note or a line (Mphande “AOL” 72). The main goal is to attain the realization that interdependence is critical to the strength and continuation of the community (Mphande “AOL” 72). Thus, African songs shape and reinforce existing social conditions, while retelling historical events and strengthening community ties. African folktales are some of the numerous stories that are not necessarily believed as true, but which contain fragments of truth about people’s histories, families, and experiences (Mphande “AOL” 70). Folktales are popular stories that have didactic or entertainment values (Mphande “AOL” 71). Women are influential figures in the transmission of folktales, which resound in various social events, such as weddings and courting (Mphande “AOL” 70). Folktales are also everyday staple for children before they go to sleep. Sometimes, these stories are made to teach good values and to show children how misdeeds are swiftly punished, either on earth, or in the afterlife. African communities have varied folktales, some examples of which describe creation and human events through parables (Mphande “AOL” 71). These parables use animals that are also the storytellers (Mphande “AOL” 70). Some of the themes of folktales are the creation, witchcraft, diseases, and relationships among people, and between people and their gods and goddesses (Mphande “AOL” 70). These folktales are popular stories that bind the community under similar beliefs and practices. Myths, epics, and legends are old narratives with historical and/or spiritual significance, as they search for the meaning of human existence (Mphande “AOL” 71). Myths and legends are conceptions about the origins of humanity, and like folktales, they have didactic or entertainment purposes (Mphande “AOL” 71). Some examples are legends about creation and the origins of particular racial or ethnic groups. Epics are lengthy narratives that illustrate heroic deeds and events and emphasize the importance of a nation or culture (Mphande “AOL” 71). Some of the famous epics are Sunjata in West Africa, Shaka in South Africa, and Liongo in East Africa (Mphande “AOL” 73). These are stories that seek to find the meaning of life, as they aim to explain natural phenomena, human behaviors, and historical events (Mphande “AOL” 71). Praise stories pertain to poetic expressions that name and describe famous, infamous, or ordinary individuals, and use strong imagery and carefully chosen language (Mphande “Heroic and Praise” or “HAP” 71). Professional bards often compose these praise stories to signify important allusions to historical events, significant achievements, or connections within families (Mphande “HAP” 71). African communities view praise poetry as the highest form of creative expression (Mphande “AOL” 73). Unlike other oral traditions, praise stories deal with contemporary individuals and events, thereby documenting the past more faithfully than myths and folktales (Mphande “AOL” 73). Praise stories also commemorate both the strengths and weaknesses of individuals, which make it a useful social criticism of political leaders (Mphande “HAP” 72). An example of praise poetry is “Praises of Nzibe, Son of Senzangakhona.” Praise poetry uses highly stylistic language with layered meanings to express, not only the identity of the individual, but also his/her role in his/her family and community. Sundiata is an excellent example of an African epic because of its characters and plot that revolve around a mythical hero with a bizarre birth and childhood and the plot that starts with his struggles and continues to his exile, until he attains his heroic destiny. Sundiata has a strange birth and childhood. When he was born, the skies darkened: “Thunder began to rumble and swift lighting rent the clouds…” (Niane 13). The heavens greeted his birth with a flash of lightning. Moreover, Sundiata had a peculiar childhood because instead of starting out as a strong child, at the age of seven, he still could not walk. Sassouma, the envious first wife of Nard Maghan, ridiculed him for being a “stiff-legged king” (Niane 18). When the right time came, however, Sundiata showed his remarkable strength. At the age of seven years old, he picked up a heavy iron bar and tore a baobab tree and transferred it near his weeping mother’s hut. From then on, he showed remarkable physical abilities, kindness, and sagacity. Sundiata is also an epic because of the existence of sibling rivalry. Initially, Dankaran Touman feared his younger half-brother Sundiata, but soon, he learned to be selfish with his power (Niane 28). His usurpation of the lawful throne that was designated for Sundiata is a facet of African epics. Sogolon decided to leave Mali, nevertheless, because of the threat that Sassouma posed to her children, Manding Bory and Djamarou. She explained to Sundiata that “They are not yet initiated into the secrets of night, they are not sorcerers,” and Sassouma could easily kill them with sorcery (Niane 26). Their exile was painful and arduous to Sogolon and her children, but they bore their burdens until the right time of redemption came. The right time occurred when Soumauro Kante ruled Sosso, and soon, he conquered Mali too. He used his sorcery to maintain and expand his power (Niane 41). He ruled with wickedness and corruption, which are also elements of an epic. Fakoli Koroma represents the formation of alliances, which are elemental to African epics. Despite being less powerful than Soumauro, he rose against him when the tyrant king stole his wife (Niane 42). The rising part of the epic supports the epic trait of the return of the hero to his homeland. Several elite people of Mali looked for Sundiata and urged him to defend his kingdom from Soumauro. Sundiata swiftly claimed his destiny and prepared his troops for war against Soumauro. He used a magical arrow from Balle Fasseke to wound Soumauro. His wounds caused him to lose all his powers, and upon realizing this, he fled to save himself. The ending of Sundiata resembles the conclusion of every African epic. Sundiata was crowned king, and his people called him, “the lion king of Mali” because of his strength and valor. He reigned and restored law and order in his kingdom. And for his people, he was the greatest king to rule the kingdom of Mali. Thus, the characters and plot of Sundiata followed the elements of African epics that illustrated the rise of a wise and powerful hero, who saves his kingdom from tyranny and iniquity. Sundiata is also like other African epics because of its theme of decadence and corrosion of human morals and the importance of culture to their identities. Sassouma is the typical wicked queen who has poor morals. The people of Mali remember how she represents malice and envy, in opposite to Sogolon’s humility: “… the king Dankaran Touman was so colourless, for his mother had never shown the slightest respect to her husband and never, in the presence of the late king, did she show that humility which every wife should show before her husband” (Niane 22). Sassouma is the perfect example of the anti-traditional wife and woman. Moreover, Soumauro signifies evil that corrupts people around him. He did everything that was taboo, such as flogging holy men and raping young girls without marrying them (Niane 41). His power and the fear of people for him perverted his humanity and turned him into an abominable beast (Niane 42). Sundiata, on the other hand, represents strength and purity. He respected old women, even when they stole from him. He studied history and enjoyed immersing himself in collective activities. He went back to Mali, when he was already a well-loved viceroy in Mema. His people and destiny came first than his own comforts. Hence, Sundiata celebrates the themes of morality and preservation of cultural identity that are also present in other African epics. Oral traditions are artistic uses of language that are passed on verbally from one generation to another. They are fundamental in strengthening traditional social structures, beliefs, and practices, which altogether unify the people through a collective cultural identity. Oral traditions are also important to Middle Eastern societies. They also have songs, myths, legends, and epics that proclaim heroic deeds and historical events, while exploring the meaning of a good life. Most of their stories have spiritual or religious significance, and they can be as didactic and entertaining as African oral traditions. Oral performance is important to society because it ensures the continuity of traditional norms and conduct and it imbibes collective solidarity. By nature, oral performances are alive, as long as living communities continue to share and to expand their repository. The role of the narrator is significant because he/she has the primary responsibility of conveying important oral traditions. He/she serves as the link between the past and the present and future cultural identities of his audiences. Through his/her skills, he/she engages the audience and prepares them to continue oral traditions, by integrating contemporary stories and conditions. Sundiata is a fine example of an African epic because of its characters, plot, and themes that depict the struggles of an exiled mythical hero. Sundiata has an uncanny birth and childhood and experiences exile. Nevertheless, when his time comes, he acts on his destiny. He reclaims his kingdom to oust an evil monarch and to re-establish order and happiness in his land. Moreover, Sundiata commemorates the themes of morality and protection of cultural identity that are also present in other African epics. Like other African epics, it is a story about an African hero and his central role in the preservation of his civilization and culture. Works Cited Mphande, Lupenga. “African Oral Literature.” Africana: The Encyclopedia of the African and the African American Experience. 2nd ed. Eds. Kwame Anthony Appiah and Henry Louis Gates Jr. Vol. 1. Oxford: Oxford U P, 2005. 70-75. Print. ---. “Heroic and Praise Poetry in South Africa.” The Cambridge History of African and Caribbean Literature. Eds. F. Abiola Irele and Simon Gikandi. Cambridge: Cambridge U P. 71-97. Print. Niane, D.T. Sundiata: An Epic of Old Mali. Trans. G.D. Pickett. England: Longman, 1965. Web. 6 Sept. 2012. < http://clio.missouristate.edu/jabidogun/niane1965.pdf>. Read More