Notes in Afro-Asian Literature
Learning Outcomes:
AFRICAN LITERATURE
At the end of this lesson, you will be able to:
characterize African literature;
share representative literary works by early and contemporary
writers; and
discuss the prevailing ethos, ideas and philosophies behind the
chosen literary text.
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African literature, the body of traditional oral and written literatures in Afro-Asiatic
and African languages together with works written by Africans in European
languages. Traditional written literature, which is limited to a smaller geographic area
than is oral literature, is most characteristic of those sub-Saharan cultures that have
participated in the cultures of the Mediterranean. In particular, there are written
literatures in both Hausa and Arabic, created by the scholars of what is now northern
Nigeria, and the Somali people have produced a traditional written literature. There are
also works written in Geʿez (Ethiopic) and Amharic, two of the languages of Ethiopia,
which is the one part of Africa where Christianity has been practiced long enough to be
considered traditional. Works written in European languages date primarily from the
20th century onward.
Oral and written storytelling traditions developed concurrently and affected
each other in numerous ways. The obvious and significant transitional players in the
migration from oral to literary traditions have been ancient Egyptian scribes, early
Hausa and Swahili copyists and memorizers, and modern writers of popular
novels. What happened among the Hausa and Swahili was also happening elsewhere
in Africa: among the Fulani, among the Guang in northern Ghana, among the
Tukulor and Wolo. Accra, Ghana's popular fiction; Nairobi's popular love and detective
literature; and the visualizing of story in the complex comic strips sold in
Cape Town shops. However, the link is also an important feature of more serious and
complex fiction. Chinua Achebe's and Ousmane Sembene's works cannot be properly
appreciated unless they are placed within the perspective of Africa's classical period, its
oral heritage. To be sure, the Arabic, English, French, and Portuguese literary traditions
along with Christianity and Islam and other effects of colonialism in Africa also had a
dynamic impact on African literature, but African writers adapted those alien
traditions and made them their own by placing them into these African classical frames.
1.1 Historical Background:
African literature has origins dating back thousands of years to Ancient Egypt and
hieroglyphs, or writing which uses pictures to represent words. These
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Ancient Egyptian beginnings led to Arabic poetry, which spread during the Arab
conquest of Egypt in the seventh century C.E. and through Western Africa in the ninth
century C.E. These African and Arabic cultures continued to blend with the European
culture and literature to form a unique literary form. Africa experienced several
hardships in its long history which left an impact on the themes of its literature.
One hardship which led to many others is that of colonization. Colonization
is when people leave their country and settle in another land, often one which is
already inhabited. The problem with colonization is when the incoming people
exploit the indigenous people and the resources of the inhabited land.
Colonization led to slavery. Millions of African people were enslaved
and brought to Western countries around the world from the sixteenth to nineteenth
centuries. This spreading of African people, largely against their will, is called the African
Diaspora.
Sub-Saharan Africa developed a written literature during the nineteenth and
early twentieth centuries. This development came as a result of missionaries coming
to the area. The missionaries came to Africa to build churches and language schools
in order to translate religious texts. This led to Africans writing in both
European and indigenous languages. Though African literature's history is as long as it
is rich, most of the popular works have come out since 1950, especially the noteworthy
Things Fall Apart by Chinua Achebe. Looking beyond the most recent works is
necessary to understand the complete development of this collection of literature.
1.2. Characteristics of African Literature
African literature is as diverse as the continent itself, but
several characteristics of theme prevail throughout much of the written
works emerging from Africa. There is often great emphasis on the history,
culture and customs of a group of people when telling their stories.
Afro-Asian’s literary works were handed by mouth from generation to
generation to entertain, educate and remind the people about their
past, heroic deeds of their people, ancestry and culture.
Afro-Asian literature is a sign of new and modern times. It also teaches
people and allow them to learn about different
experiences and cultures from all over the world.
1.3. Genres of African Literature
African literature spans a wide range of genres, reflecting the
continent's unique cultural traditions and historical experiences. African
literature's most popular genres include:
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1. Folktales- Folktales in Africa are traditional stories passed down orally
from generation to generation. These tales are an important part of
African cultural heritage and often reflect the beliefs, values, and
customs of different African societies. They may also serve as a means of
passing down important knowledge, such as agricultural practices,
medicinal remedies, and survival skills.
2. Novels- Novels in Africa refer to a form of literary expression that tells a
complete and extended story typically written in prose. African
novels are a diverse and rich body of literature that reflects the
cultural, social, and political experiences of African societies.
African novels have a long history, with some of the earliest works dating
back to the early 20th century. African novelists often seek to
express their own experiences and perspectives, providing a unique
insight into African cultures and experiences.
African novels can cover a wide range of themes and issues, from the
impact of colonialism and postcolonialism on African societies to
the complexities of African identity, gender, and race. They can also
offer a unique perspective on African social and cultural
experiences, often reflecting the struggles and triumphs of African
people.
3. Short Stories- Short stories in Africa are a form of literature that typically
tells a complete story in a concise and condensed format.
African short stories are often characterized by their brevity, sharpness,
and the use of oral storytelling traditions. Short stories have a long history in
Africa, with traditional tales being passed down orally from generation to
generation. In the 20th century, African writers began
to publish short stories in literary journals and anthologies,
providing a platform for African voices to be heard and shared with a wider
audience. African short stories can cover a wide range of
themes and issues, from colonialism and postcolonialism to
gender, race, and identity. They can also offer unique insights into
African cultural and social experiences, often reflecting the
complexities of life on the African continent.
4. Drama- Drama in Africa is a form of literary expression that involves the
performance of a story or narrative through a theatrical production.
African drama has a long and rich history, with many traditional forms of
theatre and storytelling being practiced throughout the continent. African
drama often draws on oral storytelling traditions, with many
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performances involving music, dance, and other forms of artistic expression.
African drama can cover a wide range of themes and issues,
from the struggles of everyday life to larger political and social
issues. In the 20th century, African drama began to be written and
performed in amore formalized manner, with playwrights such
as Wole Soyinka, Athol Fugard, and Ngugi wa Thiong'o
becoming well-known figures in African Théâtre. Many African playwrights
seek to use drama as a means of exploring the complexities
of African identity, colonialism, and postcolonialism, as well as the impact of
globalization on African societies.
5. Non-fiction: African writers have also made significant contributions to
non-fiction literature, producing works of history, biography,
political commentary, and cultural analysis. African literature then
expanded to include: Hymns-, romance, epic, fictional narrative, epistles,
diaries, philosophy, biography, and autobiography.
1.3. Forms of African Literature
African literature encompasses a wide range of literary forms and genres, each
with its unique style, themes, and cultural significance. Here are the 4 types of African
Literature.
a. Oral Literature Oral literature is the oldest form of African literature and
includes myths, legends, folktales, and oral histories. These works
are often transmitted orally from generation to generation and
are integral to many African cultures.
b. Pre-colonial African literature refers to the oral and written traditions of
various cultures and societies on the African continent prior to the
onset of European colonization. African literature is characterized by its rich
diversity, reflecting the many different languages, religions, and cultural
practices of the people who created it.
c. Colonial literature in Africa refers to literary works produced during the
period of European colonization of the African continent,
which lasted from the late 19th century to the mid-20th century.
This literature often reflects the complex and often traumatic experiences
of African societies under colonial rule, including the suppression of
local traditions and cultures, economic exploitation, and political
subjugation.
d. Postcolonial literature in Africa refers to the literary works produced by
African writers following the end of colonial rule on the continent.
This literature often explores the complex and often traumatic
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experiences of African societies during and after colonization,
addressing themes such as identity, culture, politics, and social
inequality.
Proverbs and Riddles
Proverbs are short sayings that contain lessons or advice about life. These
sayings are told uniquely, utilizing metaphor or simile to make a particular comparison
that will deliver the message in a more memorable way. For example, the following
proverb describes the importance of being humble by comparing a boastful person to a
roaring lion:
A roaring lion does not catch any prey.
(Labwor ma kok pe mako lee.)
- Acholi proverb
In this proverb from the Acholi people of Uganda, the lion is a metaphor. The
comparison is implied, but knowledge of common human behavior shows how being
boastful without proper action yields little results.
Wisdom is like a baobab tree; no one individual can embrace it.
(Nunya, adidoe, asi metunee o.)
-Akan and Ewe proverb
This proverb comes from the Akan and Ewe people of Ghana. It uses simile,
making a direct comparison between wisdom and a baobab tree. Here, wisdom is
described as boundless, much like how a baobab tree has a large and swollen trunk.
This vastness cannot be held by one person and is intended to be shared.
Originating from an ethnic group in Kenya, this proverb is often used as a riddle.
It is often stated this way:
Speaker A: I have a riddle.
Speaker B: Let it come.
A: A small house with many people.
B: Pawpaw.
Pawpaw (in the Philippines, a papaya fruit) is a small fruit with many seeds
inside. This proverb and riddle reflect the hospitality of Africans toward other people in
the community. It reminds the Duruma people of the value of sharing what one has with
others, and there is always room for everyone in need.
From these examples, it’s clear that proverbs reflect the values and beliefs of a
community. As Nigerian writer, Chinua Achebe had written in Things Fall Apart, “Among
the Igbo... Proverbs are the palm oil in which words are eaten.” Palm oil is an essential
ingredient in African food and is even given as presents on special occasions. Here,
Achebe is saying that sharing proverbs are essential to sustain life and community.
They are used and given in conversation to maintain good relationships and strengthen
AFRICAN LITERATURE 6
the values of a community. This proverb implies the importance that Africans,
particularly the Igbo community, put in good conversation.
Poetry
With the arrival of foreign powers, Africans adapted the literary styles and
traditions of their colonizers while maintaining their identity through the themes they
tackled in their writing. Among the written forms that Africans adapted is poetry. In order
to share the stories of their victories and struggles, African writers made use of the
different elements of poetry. Their use of poetic elements such as persona, form, sound
patterns, figurative language, and tone ensured that they were able to write about their
experiences with impact and imagination. The poem “On Being Brought from Africa to
America” by Phillis Wheatley is a product of the African diaspora caused by the
European slave trade. In 1761, Phillis Wheatley was abruptly taken from her home
along the West Coast of Africa. She was only seven years old when she was
transported to America to work as a slave. In her poem, she documents the violent
experience she had as a child to craft a more hopeful message.
“On Being Brought from Africa to America”
By Phillis Wheatley
'Twas mercy brought me from my Pagan land,
Taught my benighted soul to understand
That there's a God, that there's a Saviour too:
Once I redemption neither sought nor knew.
Some view our sable race with scornful eye,
"Their colour is a diabolic die."
Remember, Christians, Negros, black as Cain,
May be refin'd, and join th' angelic train.
In this poem, the persona or speaker reflects on how an enslaved person brought
from Africa may find God the way white people in America have. It references important
aspects of African history and the displaced Africans’ interactions with white slave
masters and colonizers.
The persona first relates her experience of being brought from her “Pagan land”
(Africa) to the land of America, presumably a land of believers in contrast. She states
that “mercy” allowed her “benighted (unenlightened) soul to understand that there’s a
God, that there’s a Saviour too.” Here she states that the “mercy” that brought her to
America has also led her to the Christian faith, a faith that leads to “redemption.” She
goes on to explain that this redemption was one she “neither sought nor knew,”
meaning that in her time as a pagan in Africa, the faith was utterly unknown to her, and
so it was one she never looked for.
Next, the persona explains how some of the faithful do not believe that her race
is capable of enlightenment or redemption. She says her “sable race” is looked upon
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“with scornful eye,” and even goes so far as to call them unholy because of their skin,
for “their colour is of diabolic die.” She states that their black race, with all their traits and
faults, can still be cleansed to find faith and redemption and be holy like the angels. But
the persona challenges this notion, refuting these claims by reminding these
“Christians” that these “Negros, black as Cain, May be refin’d, and join th’ angelic train.”
