What Omolo Odunowo has written about African Protest Literature is applicabe to Hungryalist Literature
Omolola Odunowo
Protest literature refers to works that address real socio-political issues and express objection against them.
Most African nations gained their independence in the 1950’s to 1960’s with liberation and an increased literacy. However, before this time, many African writers and poets suffered greatly and were compelled to cast aside their artistic vocations in order to be involved in the liberation straggles of their people.
The tradition of protest poetry in Nigeria began with Christopher Okigbo’s “Path of thunder” which marked the first significant step by any Nigerian literary poet. Christopher Okigbo was however killed in the 1960’s civil war in Nigeria.
To understand the ever evolving African poetics, there should be an awareness of the socio-political significance of the African literary expression. Mr Sam Awa from the University of Lagos’ Department of English states that African literature is protest in nature as it stems from the reaction to various forms of injustices metted down on Africans by the colonial and post-colonial masters.
African literature in the 19th and 20th century from Phillis Wheatly down to Achebe and Ngugi Wa Thiongo was an unhappy one. It was a weeping literature, a literature of lamentation following Africa’s unhappy experience with slavery and colonialism.
Africans having lost their pride through slavery and colonialism created a modern literature from the ashes of those past experiences. African literature then became a literature with a strong sense of loss – loss of the African tradition, religion, land and humanity.
Chinua Achebe in his novel Things Fall Apart (1958) wrote in protest to Africa’s past. The novel stemed from the defensive nature of our literature and our pre-occupation with re-establishing the African personality.
Things Fall Apart revealed the fictionalized tension between the missionaries and the clan. This illustration was a representation of the clash between the old and new, the traditional and the modern.
The goal of the missionaries as illustrated by the novel was to convert Nigerians to Christianity, while a portion of the missionaries who arrive intend to preach the gospel while respecting the indigenous cultures, other missionaries used righteousness as justification for oppressing and even enslaving Nigerians.
The presence of the white people in Nigeria had political, economic and religious implications. Clan rulers who were not amendable to the British were replaced with those that would cooperate. This type of corruption continued into the post-colonial era where those in power would reward their allies and oppress those who dissent.
All African writings, especially novels are considered literary pieces, a social protest and a medium of political reassertion. Achebe in his novel, delineates his characters as fictional heroes and leaders that stand to lead the struggle against colonial and neocolonial forces stubbornly obstructing the process of social regeneration.Things Fall Apart, is able to mirror the post-colonial colours that shadow the hopes and aspirations of the community of the people.
Most African nations gained their independence in the 1950’s to 1960’s with liberation and an increased literacy. However, before this time, many African writers and poets suffered greatly and were compelled to cast aside their artistic vocations in order to be involved in the liberation straggles of their people.
The tradition of protest poetry in Nigeria began with Christopher Okigbo’s “Path of thunder” which marked the first significant step by any Nigerian literary poet. Christopher Okigbo was however killed in the 1960’s civil war in Nigeria.
To understand the ever evolving African poetics, there should be an awareness of the socio-political significance of the African literary expression. Mr Sam Awa from the University of Lagos’ Department of English states that African literature is protest in nature as it stems from the reaction to various forms of injustices metted down on Africans by the colonial and post-colonial masters.
African literature in the 19th and 20th century from Phillis Wheatly down to Achebe and Ngugi Wa Thiongo was an unhappy one. It was a weeping literature, a literature of lamentation following Africa’s unhappy experience with slavery and colonialism.
Africans having lost their pride through slavery and colonialism created a modern literature from the ashes of those past experiences. African literature then became a literature with a strong sense of loss – loss of the African tradition, religion, land and humanity.
Chinua Achebe in his novel Things Fall Apart (1958) wrote in protest to Africa’s past. The novel stemed from the defensive nature of our literature and our pre-occupation with re-establishing the African personality.
Things Fall Apart revealed the fictionalized tension between the missionaries and the clan. This illustration was a representation of the clash between the old and new, the traditional and the modern.
The goal of the missionaries as illustrated by the novel was to convert Nigerians to Christianity, while a portion of the missionaries who arrive intend to preach the gospel while respecting the indigenous cultures, other missionaries used righteousness as justification for oppressing and even enslaving Nigerians.
The presence of the white people in Nigeria had political, economic and religious implications. Clan rulers who were not amendable to the British were replaced with those that would cooperate. This type of corruption continued into the post-colonial era where those in power would reward their allies and oppress those who dissent.
All African writings, especially novels are considered literary pieces, a social protest and a medium of political reassertion. Achebe in his novel, delineates his characters as fictional heroes and leaders that stand to lead the struggle against colonial and neocolonial forces stubbornly obstructing the process of social regeneration.Things Fall Apart, is able to mirror the post-colonial colours that shadow the hopes and aspirations of the community of the people.
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