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Status of English as a global language
English as the global language
English as the global language
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Ngugi’s insistence on using his mother tongue as the principal um of his writing is not simply a reaction against Anglicisation; it is more about resurrecting the African soul from centuries of slavery and colonialism that left it spiritually empty, economically disenfranchised and politically marginalised. Ngugi believes that when you erase a people’s language, you erase their memory. And people without memories are rudderless, unconnected to their own histories and culture, mimics who have placed their memories in a “psychic tomb” in the mistaken belief that if they master their coloniser’s language, they will own it. Ngugi is convinced that by adopting foreign languages lock, stock and barrel, Africans are committing a “linguicide”, which, …show more content…
This stands good for Ngugi who seems to believe in the saying that pen is mightier than the sword in the neo-colonial setup. To give expression to colonized experience, postcolonial writers sought to undercut thematically and formally the discourses which supported the myths of power, the race classifications, and the imagery of subordination in the era of colonization. Ngugi takes great pain in showing how ordinary people, particularly in Kenya, are trapped in their own complex motives and values, which pushes them to sudden acts of cowardice or courage. Ngugi’s work remains a quest for identity, emphasizing the fact that decolonization is a psychological process, advocating freedom rather than the geographical freedom. .Through, “Decolonising the mind” Ngugi argues that when African writers produce texts in English, French, German, Portuguese, or any other European language, they are writing in the languages of their oppressors. He feels that they are giving up their cultural independence and abandoning the languages used by the people of their nations. He wants these languages preserved to pass down to new generations the traditions and customs of their cultures. Ngugi is an opponent of the current global spread of English and argues that this language is a form of linguistic imperialism. He is of the view that this language expansion should be halted, especially in postcolonial countries where English was previously language of oppression. Ngugi’s basic premise is that colonialism persists today, less visibly though insidiously, as a form of cultural and linguistic invasion. He states that hegemony is achieved through education, schools, church and political system Ngugi’s exhortation on using native languages as the indispensable medium of his writings is more about resurrecting the African soul from slavery, denigration and imperialism. Ngugi argues that writing in native
Mazrui, Ali A. "The Re-Invention of Africa: Edward Said, V. Y. Mudimbe, and Beyond." Research in African Literatures 36, no. 3 (Autumn 2005): 68-82.
The Root of It: Deconstructing Creole Identity in Crossing the Mangrove. “I like to repeat that I write neither in French nor in Creole. I write in Maryse Conde,”1 (“Liaison dangereuse,” 2007) is a statement that could not be less accurate for the Guadeloupean writer. Writing in French is especially problematic for post-colonialist Francophone authors; using the language of the colonizer while attempting to dismantle cultural and linguistic hierarchy seems to be an act of futility. To be sure, Conde, the author of Crossing the Mangrove, apparently writes in the French language, but she capably deconstructs the notion that a language must be necessarily tied to the culture and history it traditionally represents.
Storytelling has a special importance in culture throughout the African continent; Anansi the spider in Ghana, is one great example of an African fable that teaches children important lessons including respect for elders, the importance of wisdom, and the importance of culture. These stories have been retained and perpetuated by oral tradition, despite the western emphasis on written records; African tribes have preserved history and culture well thorough oral historians. The translator, D.T. Niane, explains the validity of oral history well by stating that written text can contain inaccuracies as well (xv). The importance of the oral aspect of djelis method relays the information in a personal manner, as Djeli Mamoudou Kouyate states, “writing lacks the warmth of the human voice,” therefore by creating a written text of an oral story it “does violence” to it (xvi). I was raised in an African community, here in DC and was lucky enough to attend Djeli performances by family friend, Djimo Kouyate, and later his son Amadou. Although I do not speak Manding, Djeli Djimo Koyate, performed the music in such a way that I was able to relate and...
• AW’s work is deeply rooted in oral tradition; in the passing on of stories from generation to generation in the language of the people. To AW the language had a great importance. She uses the “Slave language”, which by others is seen as “not correct language”, but this is because of the effect she wants the reader to understand.
Ngugi tells of his boyhood in Kenya, of how he was taught in his native Gikuyu language at school when suddenly in 1952 the British authorities forced schools to teach in English instead. Proof that Europe forced its languages on Africa.
Hidoo, Rose. Culture in Chains: Abandonment in the Work of Selected West African Writers. Owerri, Nigeria: Black Academy, 1994.
Many times throughout history and especially in society today individuals are morphing their voice to fit into what the world desires of expects of them. In other words, the path is reversed where the assumed and stereotypical identity of society is used for individuals to fit themselves and their language into this mold. An example of this societal issue is also displayed in Louis Harm’s article. In it, he discusses the lack of traditional African language in regards to upper societal recognition due to social elites who have made other languages such as English and French more prominent and influential in hopes of morphing citizens around them to alter their voice. In contrast to the accumulative stained glass masterpiece of individual identities discussed earlier, the African situation causes the individual pieces to morph into completely different forms that can no longer come together. All the pieces attempt to demonstrate the same image alone, but in doing this the truly diverse meaning and identity is
Korang, Kwaku Larbi. “Making a Post-Eurocentric Humanity: Tragedy, Realism, and Things Fall Apart.” Research in African Literatures 42.2 (2011): 1–29. ProQuest. Web. 11 Nov. 2013.
Toyin, Falola. “The Power of African Cultures.” Woodbridge, Suffolk, United Kingdom: University of Rochester Press, 2003. Print
Diverse from other African authors of his time, Chinua Achebe, the “father of African Literature”, reconstructions the stigma surrounding traditional African tribes through his ground-breaking novel Things Fall Apart. Set in southern eastern Nigeria, the novel depicts village life through the eyes of Igbo clan members prior to colonization. This fresh take on perspective allows readers to view and examine the variety of individuals that mold Igbo life through the story of a village leader, Okonkwo. Contrasting other authors of his time, Achebe takes great measures to illustrate the varied substantial roles of not only men, but women in his novel Things Fall Apart. The contributions accompanied by pivotal roles in Igbo society are displayed
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.
They envision a time when governments will create elaborative setting for advancement of African languages in terms of policies and resources. In his infamous public lecture at a local university in Kenya, Ngugi wa Thiong’o demonstrates and comments the he still thinks that art is undervalued in African countries. He proposes the need to advance literature and art in general in developing countries as a whole. This will go a long way in advancing literature in modern Africa.
Postcolonial authors use their literature and poetry to solidify, through criticism and celebration, an emerging national identity, which they have taken on the responsibility of representing. Surely, the reevaluation of national identity is an eventual and essential result of a country gaining independence from a colonial power, or a country emerging from a fledgling settler colony. However, to claim to be representative of that entire identity is a huge undertaking for an author trying to convey a postcolonial message. Each nation, province, island, state, neighborhood and individual is its own unique amalgamation of history, culture, language and tradition. Only by understanding and embracing the idea of cultural hybridity when attempting to explore the concept of national identity can any one individual, or nation, truly hope to understand or communicate the lasting effects of the colonial process.
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.