Before the foreign influences on religion and culture, only oral tradition existed in West Africa. Only within the past century, literature and writing have been established in West Africa. English missionary presence in African territories sparked the development of West African writers. In the twentieth century, novels, poems, and drama appeared for the first time, all of which were written in the English language. As the century progressed, more sophisticated writing was released by the Africans and consequently the West African societies have been affected. Many wonder what effect has this literature had on these societies. The historical, structural, stylistic, and ideological development of writers in West Africa has led to a somewhat negative impact on West African culture.
The heart of West Africa lies in what is today known as Nigeria, but many years ago the majority of West Africa was know as Yorubaland. The primary language of Yorubaland and also modern-day West Africa is Yoruba. Before the English missionaries came into Nigeria sometime in the nineteenth century, the people of West Africa had only speech and oral tradition. No forms of writing existed to record history or even for entertainment (King 50). Between 1842-1882, a standard orthography of the Yoruba language was established by the English missionaries (50). This orthography made it possible to teach the language on paper rather than with speech, and for the first time, people in West Africa became literate (50). The establishment of the orthography is the foundation of what allows modern West African writers to produce literature. Without this stepping-stone, the Yoruba language would still be oral and no literature would exist in these territories.
Tracing the development of the novel in West Africa helps show the progression of growth in writers in these territories. The earliest known book written in Yoruba was the Bíbélì Mímó, the Holy Bible, in 1900 by Bishop Ajayi Crowther (King 50). Following that publishing, most of the books were written in English rather than the local dialects. In 1909, a series written in English called Yoruba Readers was published in order to provide reading materials for Nigerian school children.
This series contained prose literature, poetry, and narratives (51). The Yoruba Readers shows us that the English language is spreading into schools in West Africa, which meant that English would soon become common among locals. In 1927, weekly anthologies of poems were published in Yoruba News. Following this published edition, poetry anthologies became popular among West Africans (51). At this point, literature development expanded to include poetry and the writers began to learn about creativity in their literary works. Finally, in 1938, the first novel appeared. The fiction novel entitled Ogboju Ode Ninu Igbo Irunmale was written by Olorunfemi Fagunwa and is considered to be a “fantasia” novel (52). Ogboju Ode Ninu Igbo Irunmale is important, because it set the standard for future novels and also was a president for creativeness in West African writing.
Furthermore, the historical development of literature in West Africa also shows us how the literature may have had a negative impact on the societies in West Africa. The culture before foreign intervention was pure and unharmed, yet when knowledge of literature began to expand, the West Africans began to push away from their mother language Yoruba and into the foreign language English which had seemingly corrupted the pure nature of these societies. On the other hand, the introduction of literary tools to the West Africans has allowed them to record their own histories and to express themselves on a more widespread basis and to more people who can relate, which is essentially the idea behind literature. The historical development of literature in West Africa gives insight into the question, “what impact has literature had on West Africa,” and offers the conclusion that both positive and negative have occurred as a result of literary development.
Likewise, the structural progression of West African literature demonstrates the effects of development on the societies. The first aspect of structure in literature is the language the works are written. In West African literature, the majority of literary works are written in English rather than Yoruba or the local dialect (King 173). Many say that the previously mentioned Olorunfemi Fagunwa is the only writer to ever write a novel in Yoruba (174). Not coincidently, it was the first novel to be written in West Africa (52). Thereafter, all the writers wrote in English, because it guarantees a wider readership (173). The writers wanted to be acclaimed by those who essentially owned the key to major world literature, the English. The writers knew that an entire world beyond West Africa could be opened to them if they wrote in English. Whereas, works written in Yoruba can only be read by a select group. Even the Yoruba could understand the writings in English so the positive side of writing in English seems obvious. However, there are also negatives, such as writing in proper English. The English would be critical of all under-sights by the Yoruba writers, so they have to be meticulous with their grammar (174). Also, no one can accurately detail words or ideas from the Yoruba language into English, which leaves a small bit that gets lost in the translation. Sometimes, this small bit may be important, and therefore writing in English has its downside.
Moreover, each language and country has their own basic structure of writing. It is interesting to know what structure the Yoruba use. The developing West African writers traditionally follow that of the contemporary English style (King 177). The writers follow English structure rather than local folk tale structure, because the folk tales lack the essential element that makes modern literature popular: characterization. Character development inside of a plot is standard in English composition and audiences like this format, because the characterization allows them to relate to characters in the plot and form their own opinions about them and their situations. Although the West African writers developed this way, it does not mean they do not stray from this format. One of the most popular and well-known Nigerian novelists is Chinua Achebe. Achebe has perhaps developed beyond the average West African writer, because he uses “flat” characters, which means that the character lacks background and major personality traits. Achebe uses this to show the broad sense that themes apply to everyone, not just the particular character that is in the plot. Most writers use “round” characters to provide readers with a personal connection. Both methods help the reader relate to a particular theme or issue.
On the contrary, one of the negatives of writing in English is that the West African authors may have trouble truly gathering a sense of the language. Because English is a second language to the Africans, there will always be deficiencies in the English style of the writers. One method that these authors use to counteract such inadequacies is by using certain point-of-views to their advantage (King 179). For example, in Chinua Achebe’s Things Fall Apart, the point-of-view is third person omniscient. By using a third party narrator with an omniscient viewpoint, Achebe lets the reader become an observer rather than a participant. Doing this creates an environment in which the reader is allowed to take in the themes and dismiss minor deficiencies in style. This is a very important aspect that many West African writers use.
The stylistic development of the West African writers show the negative impact on the cultures of their homeland, because they are drifting away from their own roots. The oral traditions of the West Africans also had a particular structure that has seemingly been abandoned in the recent literary works of the West Africans. The movement away from local styles of storytelling shows us that writers are catering more to the foreign literary audiences. This has a negative impact on the cultures of West Africa, because when English is fully accepted and has had a long enough tenure in West Africa, the storytelling methods and fables may disappear all together. The possibility is distinct and if storytelling styles and methods were to become obsolete, then yet another purity that cannot be found anywhere else will be lost.
Furthermore, West African drama has become popular and also shows the integration of English literary aspects with local culture. There are four types of drama in West Africa: ritual drama, folk opera, West African drama in English, and traditional drama (King 36). Ritual drama encompasses ritual ceremonies and/or worship ceremonies into the playwrights (36). Folk opera is drama presented primarily with music, dance, singing, and extended plot, along with a theme of morality. Broad acting gestures and characters with a wide variety of dialects, from local to English, are often associated with this type of drama (36). Nigerian drama in English is a type of drama that is basically oral stories turned into English and performed (37). These types of drama are negative for the societies’ cultures, because it gives the idea of using dramas as false ceremonies instead of actually performing the ceremonies.
Another type of West African drama is traditional drama, which is the type most seen in today’s society. This so-called “offspring” of ritual drama, uses “masquerades,” masked actors, to perform myths, legends, and riddles (King 36, 40). The two major components are learning and entertainment. The masks the characters wear show their personality traits (40). An example of traditional drama is a performance in Nigeria modeled after the Amagba ceremony. This performance is common in West Africa, and it is usually performed around mid-November. The Amagba ceremony serves to purify the community of malevolent forces and also to bring in the new year (45). Before the drama begins, small figurines symbolizing all the bad events that happened in the village during the year are placed in a canoe (45). The performance begins with a tribal actor, wearing a white, feathered mask, dancing to the beats of drumming. The drumming becomes faster and the dancer seemingly becomes possessed and carries the canoe over his shoulder and frantically runs to the river and rows away from the village. The drama symbolizes the disappearance of malice and evil in the community (45). The traditional drama, just as other dramas, moves the culture away from performing ceremonies and instead performs weak representations of traditions and ceremonies which is detrimental to the cultures of West Africa.
Therefore, because the modern West African drama has developed into a sophisticated version of the English drama, the culture of the African communities can now be seen by other cultures. The development of drama has given the societies a better way to express themselves, another means of entertainment and learning, and another type of ceremonial presentation. As opposed to the negative effect that other types of literature have brought to the West African society, the drama seems to be a very positive force in the community. The traditional drama is comparable to a written form of the oral traditions that have been passed along from previous generations. Now, the intricacies of each story will no long be lost, and people of the community can read these dramas any time they like, rather than having to listen to a watered down story that may have lost some of the details. The West African drama has created a positive effect in the communities, and the development of the traditional drama has given storytellers more effective means of entertainment and teaching.
Likewise, as with the historical, structural, and stylistic development, the development of themes and ideologies in West African literature shows the negative impact of literature on the culture. The two primary themes in African literature are: presenting African culture through both non-fiction and fiction and educational themes (Heywood 7). Perhaps the more important of the two is the presentation of the African cultures and lifestyles in the literary works. West African writers are using literature to restore the African character to its history (Heywood 7) and accurately depict the societies of Africa. This shows the negative effect that literature has had on the culture of West Africa, because how can writers accurately depict a culture when the culture has been changed and unpurified by such foreign forces as the English and not even write in their own native language? The fault here is that while the writers discuss how they dislike the foreign influences, they embrace it at the same time by writing in English instead of using their primary language. Popular literary figure Chinua Achebe saw this when he said:
If I were God I would regard as the very worst our acceptance, for whatever reason, of racial inferiority. It is too late in the day to get worked up about it or to blame others, much as they deserve such blame and condemnation. What we need to do is look back and find out where we went wrong, where the rain began to beat us (Heywood 7).
Achebe’s comment on the direction of West African writing epitomizes the state of negativity surrounding English intervention in the development of writing in West Africa. To fix the negativity, Achebe correctly points out that it is not too late for West Africans to return to the native language and styles of speech and place that into their writing.
Also, social and political themes in West African literature are also extremely common. With much of West African life having been affected by foreign influences, the common theme of colonial injustices has emerged as the most popular topic in most novels (Mutiso 11). Critics point out that African writers should not focus primarily on the past, and instead they should focus on the past and in addition the current social and political problems in their society (11). For example, Achebes’s works Things Fall Apart and Arrow of God both spotlight the disintegration of West African societies because of colonial intervention (King 177). The other acclaimed Achebe works No Longer at Ease and A Man of the People spotlight the view of who is to blame for the corruption of African culture. Achebe’s view is that despite colonial intervention, the West Africans should accept the majority of the blame for the corruption of their society (177). Achebe points the finger of blame solely at his own people, and he is correct in doing so, because they have allowed the English into their society willingly and that decision is the basis of the negative impact on the culture.
Moreover, the European and American influences on West African literature and drama are so great that, the works of West African writers are only an extension of those foreign lands rather than localized literature. Writers such as Wole Soyinka even admit this and seemingly embrace this idea. We can see this from an interview with Soyinka:
… I wish, in the context of revolutionary ideal in the theater to relate my experiences of theater (drama) in Europe and America which I believe motivate society toward change (Morell 61).
We see his choice of words here, as he essentially ties West African drama to American and European drama as if they were one in the same. Here lies the problem. The integration of foreign presence in all aspects of life in West Africa, especially literature, is slowly eliminating the traditions, styles, and ideologies that made up the culture of West Africa in the past.
In conclusion the historical, structural, stylistic, and ideological development of literature in West Africa has had a negative impact on the culture of societies in the region. Historically, the development of the novel and drama in West Africa has shown us that the development of quality literature as corresponded with the external influences of the English and French, mostly the English. The overwhelming impact of the English has made the structure of West African literature extremely similar to that of the English. The foreign influences have been so significant that only one known novel has been written in the native language. All the rest have been written in English. Such influences are creating a push away from the traditions of their native lands, which has severely degraded the amount of unique qualities that West Africa has that no other place has. Once these unique aspects of their society and culture are gone, they cannot be replaced.
At the same time, it is important to note that I am not trying to say that literature should not exist in West Africa. Literature has also had very positive effects on the culture. For instance, the use of traditional drama as a better method of storytelling and teaching has been very positive in the communities of West Africa. Instead of being unreasonable and saying that literature should not exist in West Africa, I pose that the writers should write in their native language and do more creative writing, as opposed to the great deal of socio-political satires that have been written. Writers such as Wole Soyinka should do forget about writing about the poverish problems that face West Africa and write about the great things that the area has and can do in the future.
Moreover, the social and political works that have become popular have had the most negative impact of any aspect of the literary development in West Africa. Before literature officially became a stronghold in West Africa, modern social and political issues were not a major concern for the average family and village. Now, writers like Soyinka write mainly about political issues and in effect the public and other audiences now escape from their traditions and are now moving toward a lifestyle more similar to that of modern America and Europe. With this happening, the uniqueness of the culture is slowing dissipating. As Chinua Achebe stated, perhaps the West Africans are to blame for their own corruption of their culture, a lot of which can be seen in the development of literature. Many people have followed and supported that idea posed by Achebe and in the future the possibility of writers moving away from relying on English influences and restoring the local dialects and ideologies is very distinct. Achebe also wisely noted that to fix it, the problem must be identified. Now that he has stated and identified the problem of cultural corruption in West Africa, perhaps now the writers and literary figures will develop a new movement that eliminates or controls such a problem.
King, Bruce. Introduction to Nigerian Literature. New York: Africana Publishing, 1971. Heywood, Christopher. Perspectives on African Literature. New York: Africana Publishing, 1971. Morell, Karen L. In Person: Achebe, Awoonor, and Soyinka. Seattle: University of Washington, 1975. Mutiso, G-C. M. Socio-Politcal Thought in African Literature. United Kingdom: MacMillan Press, 1974.
