Bolaji Dawodu’s 647-frame Battle of Musanga is characteristically one of Nollywood’s most popular epics on the return to the origins. It is an attempt at the historical reconstruction of life in Africa before and after the first contacts of the people of Arochukwu with the white man. The film is a conscious attempt at piecing together fragmentary episodes of the great Battle of Musanga from one generation that lived it to another that knows nothing about it. It is a grandfather’s effort to recount to his grandchildren, gathered around the fire, bits and pieces of what his memory could piece together of the battle between the colonial British army and the people’s army in the wake of the abduction of an Irish missionary who was used for ritual …show more content…
It is also an attempt to promote the values that once characterized Africa. The film’s intrigue is characterized by over-dramatization in too many wordy scenes and endless speeches, wailings and weeping etc. It is also an Africa in revolt against age-old traditions like that of throwing twins into the forest immediately they were born. What defines the film’s mnemonic thrust is the fact that it is a conscious search to piece together the past and reconstruct memory for the good of posterity. The old man, considered as a reservoir of wisdom in a prevalently oral culture, has the duty to pass on knowledge to posterity through the normal gatherings around the fire. In recounting the story of the Battle of Musanga, he makes a lot of added commentaries that mirror the director’s way of communicating his convictions to the implied audience. They are descriptive, moralizing and philosophical comments that do nothing but embroider the story, taking its toll on the time of the narrative and the cohesiveness of the entire intrigue.
The real story, after all these preambles, starts when the first white man comes with a bicycle to meet the people who take to flight. What follows that first failed contact was the missionary era, which ended in the kidnapping of the Irish priest that provoked the war. Part of that story is also another digression which draws our attention to the practice of forced marriages and the intrigues of false accusations in the villages that caused the death of innocent
The opening of the novel places the reader not in Falola's shoes as a child, but rather as an adult scholar attempting to procure information from his own family. This proves easier said than done as Falola takes us through the process of obtaining specific dates in a society that deems them irrelevant. By examining the difficulty that Falola has in this seemingly simple task, the reader begins to understand the way in which time and space are intertwined and weighed in Africa. This concept of "connections between words, space, and rituals" encompasses the way that Africans perceive the world around them - as a series of interrelated events rather than specific instances in time (Falola 224). This approach also stems from the concept that the family unit, the village, and the elders come before the individual in all instances, making a detail such as a birthday unimportant when it comes to the welfare of the whole. Introducing the reader to the complexities of African conventions, Falola expands their minds and challenges them to view the forthcoming narrative with untainted eyes.
“Segu is a garden where cunning grows. Segu is built on treachery. Speak of Segu outside Segu, but do not speak of Segu in Segu” (Conde 3). These are the symbolic opening words to the novel Segu by Maryse Conde. The kingdom of Segu in the eighteenth and nineteenth century represents the rise and fall of many kingdoms in the pre-colonial Africa. Therefore, Segu indirectly represents the enduring struggles, triumphs, and defeats of people who are of African decent in numerous countries around the world. There are three major historical concepts that are the focus of this book. One is the spread of the Islamic religion. Another is the slave trade, and the last is the new trade in the nineteenth century and the coming of new ideas from Europe (legitimate commerce). However, Segu does not simply explain these circumstances externally, but rather with a re-enactment that tells a story of the state of affairs on a personal level, along with the political one. By doing this, the book actually unfolds many deceitful explanations for the decline of West African countries in the eighteenth and nineteenth century.
In the novel Segu, Maryse Conde beautifully constructs personal and in depth images of African history through the use of four main characters that depict the struggles and importance of family in what is now present day Mali. These four characters and also brothers, by the names of Tiekoro, Siga, Naba, and Malobali are faced with a world changing around their beloved city of Bambara with new customs of the Islamic religion and the developing ideas of European commerce and slave trade. These new expansions in Africa become stepping stones for the Troare brothers to face head on and they have brought both victory and heartache for them and their family. These four characters are centralized throughout this novel because they provide the reader with an inside account of what life is like during a time where traditional Africa begins to change due to the forceful injection of conquering settlers and religions. This creates a split between family members, a mixing of cultures, and the loss of one’s traditions in the Bambara society which is a reflection of the (WHAT ARE SOME CHANGES) changes that occur in societies across the world.
The White Savior Complex is a trope where an ordinary ethnically European character meets an underprivileged non-European character. Taking pity on the other characters situation, the White Savior ‘selflessly’ volunteers themselves as their tutor, mentor, or caretaker, to help them rise above their predisposition (White Mans Burden, 2004). The White Savior, at their core is the application of colonialized ideals, which casts people of colour as incompetent, and hopeless, until the White Savior comes to rescue them (White Mans Burden, 2004). A common destructive trait of this trope involves white people conquering non-white people, and eliminating their culture under the prefix of 4helping them (White Mans Burden, 2004). The conception of this trope took place in the 18th and 19th century in adventure fictions. During the period of European exploration, the trope has since modernized and has become problematically common (Kings...
The underlying theme of Brown’s writing is the overall inappropriate and poor treatment of Native Americans during the late 1800’s, as the US government began to attempt to take over all of the land that the Native Americans were living on. The events of the book are a good representation of the historical background of the time in which the book is written. Dee Brown essentially is writing a chronology depicting the existence of Native Americans in early America. The book opens with a discussion of the early years of Native American inhabitance, and their relationship with settlers up through the mid-1800s. Early on, the relationship was peaceful, and Brown discusses the time period when the Pilgrims began to arrive, and how the Native Americans helped those Pilgrims survive on the new land and especially how to survive the winter. However, as the late 1600’s and early 1700’s came, settlers – mostly white from Europe, began to encroa...
Chinua Achebe was an influential Nigerian author during the 1900’s who was credited with his three essays which have been fused together into the book “Home and Exile”. In his stories he discusses things such as his own Igbo people, the problems with colonialization, the strength that stories can have and many more topics. A big part of his essays are on his thoughts of colonialism, the impact it has had on his home of Nigeria, and how stories written by others either helped justify colonialism or rejected it. Chinua argues that stories have their own power to fight, and while stories themselves do not have the ability to directly fight colonialism; they do, however with their power of words, stories can motivate and encourage people to stand up against colonialism. In proving this thesis to be a true statement, I will be providing evidence of the how, why and the extent to which stories can fight colonialism.
In sub-Saharan Africa, thousands of languages, cultures, and geographical regions helped influence our African society. The ways in which we produce our artwork, spiritual ideals, and ritual performances are organic and raw. From the tropical regions of Congo and Ghana, to the arid regions of Mali; I pass through the global gateway into a domain where the Western world lost its roots and artistic imagination and grandeur. Africa appeals most to me for its ability to create a realm where the living, dead, and artistic ideals come into a single unit of tranquil philosophy.
In Half of a Yellow Sun, Chimamanda Ngozi Adichie attempts to use history in order to gain leverage on the present, to subvert the single story stereotypes that dominate many contemporary discourses on Africa. Written in the genre of historical fiction, Adichie’s novel transcends beyond mere historical narration and recreates the polyphonic experiences of varying groups of people in Nigeria before and after the Civil War. She employs temporal distortion in her narrative, distorting time in order to illustrate the intertwining effects of the past and present, immersing deep into the impact of western domination that not only catalyzed the war, but continues to affect contemporary Africa. In this paper, I will analyze her portrayal of the multifaceted culture produced by colonialism – one that coalesces elements from traditional African culture with notions of western modernity to varying degrees. I will argue that Adichie uses a range of characters, including Odenigbo’s mother, Ugwu, Olanna and Kainene, to each represent a point in a spectrum between tradition and modernity. Through her juxtaposition, she undermines the stereotypes that continue to characterize Africa as backwards and traditional, proving instead that colonialism has produced a cross culture where the two are intertwined.
While Collins does a succinct job of examining the economic and political factors that heightened colonization, he fails to hone in on the mental warfare that was an essential tool in creating African division and ultimately European conquest. Not only was the systematic dehumanization tactics crippling for the African society, but also, the system of racial hierarchy created the division essential for European success. The spillover effects of colonialism imparted detrimental affects on the African psyche, ultimately causing many, like Shanu, to, “become victims to the white man’s greed.”
History has been told through various forms for decades. In the past, history was more commonly expressed through word of mouth, but more recently in the past century, through written text. While textbooks and articles give formal information with little to no bias, novels give a completely new perspective from the people who experienced it themselves. The Novels, God’s Bits of Wood, written by Sembene Ousmane, and No Longer at Ease, by Chinua Achebe give a more personal account of the effects of colonization. These two novels tackle the British and French method of colonization. God’s Bits of Wood takes place in the late 1940s and sheds light on the story of the railroad strike in colonial Senegal. The book deals with different ways that the Senegalese and Malians respond to colonialism during that time. No Longer at Ease is set in the 1950s and tells the early story of British colonialism and how the Nigerians responded to colonization. Comparing the two novels, there are obvious similarities and differences in the British and French ways of rule. African authors are able to write these novels in a way that gives a voice to the people that are most commonly silenced during colonialism. This perspective allows readers to understand the negative ways that colonization affects the colonized. Historical fiction like God’s Bits of Wood and No Longer at Ease are good educational tools to shed light on the history and effects of colonization, but they do not provide a completely reliable source for completely factual information.
The Middle Passage presents very clearly the traditional European held notion of African savagery. In essence, everything about African people such as their religious views, cultural practices, and physical make reveals their lack of civility and class in relation to the western world. Of the most notable European notions about African religi...
There has been notions and perceptions of the treatment or adaptation of African literature as a perception that Africa’s is a cultural body. It is referred by Chinua Achebe as a metaphysical landscape. This term refers to a geographical entity that has surpassed historical experiences. It is also this perception that also gave rise to Organisations of National Unity and also the African Union. Conferences such as the African Writers’ Conference that happened at the Makerere University in the year 1962 discuss the nature and argue the role played by African literature in the African context.
The widely known novel named Things Fall Apart was written by a man by the name of Chinua Achebe. Things Fall Apart represents the cultural roots of the Igbos in order to provide self-confidence, but at the same time refers them to universal principles which vitiate their destructive potential (Rhoads 61). As the reader continues through the narrative and learn more in depth about the characters a sense of pride, trust, and faith in history come into view. Seeing Achebe’s duty as a writer in a new nation as showing his people the dignity that they had lost during the colonial period, he sets out to illustrate that before the European colonial powers entered Africa, the Igbos had a philosophy of great depth and value and beauty, that they had poetry and, above all, they had dignity (Rhoads 61). Yet, with the introduction of colonialism the characters must learn to accept and get used to a new culture and set of beliefs or face termination from society. The novel focuses on the troubles of African cultures and their struggle to adjust to colonialism. As the novel progresses, one can also observe the influence of religion over time and how it has changed in many societies. Although many readers would describe the colonialism in Africa as something normal and something you can not prevent; a closer look of this novel would suggest that the needs of human nature to expand their values and beliefs upon others causes ancient cultures to evolve or fade out of existence. Things Fall Apart in part is a statement of what the future might be if Nigeria were to take advantage of the promising aspects of its past and to eliminate the unpromising ones (Rhoads 62).
The small African village located on the bank of the river Niger has a story of its own, that only the old and wise are able to des...
Having done the above analysis on my favourite text, “Anowa” by Ama Ataa Aidoo, I realise that my like for the text have heightened because the analysis of Anowa has given me a deeper understanding of Africa’s colonialism. I now know what actually led to our colonialisation (the betrayal) and how it began(the bond of 1844) through the personal lives of Anowa and Kofi.