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Soyinka prize in illiteracy

On 13 July 2018, the 84th birthday of Olumo Wole Soyinka, the 1986 Nobel Laureate for Literature, I honour him by revisiting a debate that is raging on the Internet over what many call my misreading of his work, especially with reference to my interpretation of his play, Death and King’s Horseman

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On 13 July 2018, the 84th birthday of Olumo Wole Soyinka, the 1986 Nobel Laureate for Literature, I honour him by revisiting a debate that is raging on the Internet over what many call my misreading of his work, especially with reference to my interpretation of his play, Death and King’s Horseman. Literary experts have been marvelling about the “Author’s Note” that accompanies Death and the King’s Horseman by Wole Soyinka.

Most playwrights leave it to the directors and producers of the play to interpret it as they wish but Soyinka was worried that most experts were misreading the play. He took the unusual authoritarian step of stipulating how the play should be interpreted but the critics appear not to notice and have continued to misread the play, in my own humble opinion. Soyinka left clues that would guide readers to decode his original intention in writing the play but most literary critics miss the point and some accuse me of being the mis-reader.

The very first sentence in the author’s note may have led many critics astray by stating that the play is based on real historical “events which took place in Oyo”, which the author defined as “an ancient Yoruba city of Nigeria”. This is misleading in a number of ways that literary critics should have been able to understand. To say that the events took place in 1946 would be to localise the time and space of the dramatic events whereas in the world of theatre, events do not take place exclusively in the setting but also on every stage where the play is produced.

Soyinka expected that literary theorists would understand that the playscript is not simply an archival document or ethnographic report but the work of original creation even when based on real events.

The play was not expected to be read, as the verbatim report of a tragic case that took place once upon a time. This is true of all works of creative writing that are supposed to be inventive no matter how much resemblance there may be between fiction and reality. In fact, many writers include a disclaimer that that any resemblance to real events was unintentional. As a matter of fact, the same can be said about reality genres that are full of inventions too. Soyinka clearly stated in the first paragraph of his author’s note that he made “changes” in the narrative “in matters of detail, sequence and of course characterisation”.

He also informed the illiterate critics that he deliberately set the play back a few years “while the war was still on, for minor reasons of dramaturgy.” Here, Soyinka is guiding the would-be producer away from a simplistic historical interpretation of the play as being only relevant to the case of 1946 given that dramaturgy grants artistic license that defies the laws of historical specificity. In addition, Soyinka may have misled the interpreters of the play by saying that Oyo was an “ancient Yoruba city of Nigeria”. Here he could be challenged by historians who may point out that Oyo was an ancient Yoruba Empire and not simply a city and that by 1946, it was no longer simply a Yoruba city but a multicultural one.

Moreover, nothing “of Nigeria” can be said to be ancient because Nigeria itself is a modernist invention by colonisers. The hint about the Nigerian setting of the play should have encouraged the critics to understand that the play is not only about a Yoruba tragedy but about a Nigerian tragedy. The reference to “while the war was still on” should have massaged the memory of the critics to remind them that the play was published only five years after a tragic genocidal war in Nigeria in which Yoruba elites played a leading aggressive role along with other ethnic elites in Nigeria. This play, in my lay opinion, is better understood, as part of the soul-searching by Soyinka after he was released from solitary confinement for opposing the genocidal war against the Igbo. Why were highly educated Yoruba leaders the ones who cheered on the genocide against the Igbo in Biafra?

Also, Soyinka indicated that those who were interested only in the factual account of the case of 1946 should go and read it in the British National Archives in Kew. He also pointed out that those who wanted to read a more exact historical re-enactment of the case should consult the “fine play in Yoruba (Oba Waja) by Duro Ladipo”. In other words, Death and the King’s Horseman is not that kind of historical re-enactment nor is it the kind of “misbegotten’ German television film about the case. The play was a more urgent intervention while Soyinka was in exile following the end of the war and his release from solitary confinement for having the audacity to oppose tyranny. Unlike his other plays, he did not wait for the play to be produced before he published it. I believe that Soyinka was directly and indirectly challenging his fellow Nigerian intellectuals to account for their opportunism in supporting a genocidal war that took 3.1 million lives in 30 months.

In the third paragraph of the author’s note, Soyinka declared that the “bane of themes of this genre” is that once the text appears, “they acquire the facile tag of ‘clash of cultures’”. He rejected such a label as “prejudicial” in the sense that it is prone to “frequent misapplication” and also because the label “presupposes” a potential equality in every given situation between the cultures of the coloniser and the colonised “on the actual soil of the latter”. Soyinka went on to award “the overseas prize in illiteracy and mental conditioning” to the writer of the blurb of the American edition of his novel, Season of Anomy, for “unblushingly” stating that the novel is about the “clash between old values and new ways, between western methods and African traditions”.

Soyinka explained that it is due to “this kind of perverse mentality” that he was forced to warn future producers (and critics) of the play to avoid “a sadly familiar reductionist tendency” and instead attempt to capture the “the far more difficult and risky task of eliciting the play’s threnodic essence.” Experts on the work of Soyinka are baffled by this injunction and wonder openly what he was banging on about? What is Soyinka trying to hide? He was trying to reveal something.

I offer the original interpretation that Soyinka was referring to the genocide against the Igbo which was the theme of the novel that he referred to, Season of Anomy, in which he recounted the eye-witness account of how fellow Nigerians hunted down tens of thousands of innocent Igbo men, women and children and massacred them in a pogrom that led to the secession of the Eastern region and the intensification of the genocide. In that novel, he mocked the archaeologists for poking around in search of fossilised bones while fresh blood flowed like river in the country and they did not seem to be bothered.

He also challenged the sociologists who came with “erudite irrelevances” about marriage and divorce but refused to join him in opposing a genocidal war. The novel depicted the Marxists who were locked up in a mental asylum as phrase-mongers who failed to recognise the revolutionary situation in the country and instead rallied in support of the genocidal military dictatorship rather than turn the civil war into a liberation war. To suggest that the novel was about the clash of cultures was a strategy to condition the mentality of Nigerian intellectuals towards the acceptance of the propaganda that the Igbo who led the struggle for decolonisation were primitive tribalists perhaps because they had no chiefs while the ethnic groups that ganged up against them were more civilised because they were monarchical, according to the ideologues of colonial domination.

Walter Rodney also observed that to call the genocide against the Igbo a tribal war would be to call Shell BP a tribe (along with the United Kingdom and the Soviet Union) and Ikenna Nzimiro argued that the Marxists in Biafra were engaged in class struggles. The “threnodic essence” of the play refers to funeral songs in Greek tragedies and I believe that Soyinka was inviting the producers of the play to imagine a national mourning for the 3.1 million killed in Biafra that the country has refused to mourn. Agwuncha Arthur Nwankwo has been calling for a National Day of Igbo Mourning to be recognised by the Nigerian government as part of the atonement.

In the final paragraph of the author’s note, Soyinka observed that an alternative structuralist interpretation of the play is to see it as a cruel joke on the British colonial District Officer. He quickly dismissed such a reading as distasteful and added that he deliberately avoided writing dialogue or scenes that would support such a misinterpretation. He dictated that, “No attempt should be made in production to suggest it”. This sounds like an angry response to critics who choose to misread his works for ideological reasons while ignoring the concrete conditions that his works address.

A prominent Marxist literary theorist that I admire, Biodun Jeyifo, who is an expert on the work of Soyinka, was invited by the British Broadcasting Corporation to write about any work of literature that he saw as being representative of the global culture. He chose to write beautifully about Death and the King’s Horseman, as an anti-colonial play that tried to subvert the use of the Queen’s English by creating a “future” tradition of the Anglophone that was more figurative than the English language.

He invoked the work of Marxist cultural studies by Raymond Williams and by Stuart Hall to suggest that the other Englishes around the world serve to subvert the domination of the world by Standard English. I pointed out that his interpretation is too superficial for a Marxist because the “thredonic essence” of the play was not to show that Africans could speak English better than the English. I suggested that a cultural studies reading of the play would not have focused exclusively on the beautiful writing or language of the play but would have tried to see the challenge to monarchism and oppressive traditions in the play.

Jeyifo told me privately that I should go and read the play again because it is not against the monarchy or against ritual suicide but simply against the colonial domination of African cultures. I admitted that I could be accused of misreading the play but I called it a strategic misreading and wondered if it is possible for an expert on the work of Soyinka to misread it. Soyinka seems to think so and that is the whole point of his detailed telling off of the experts in his author’s note.

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Contrary to the claim that Death and the King’s Horseman is only an anti-colonial play, Soyinka concluded his author’s note by stating that, “The Colonial Factor is an incident, a catalytic incident merely.” To him, the central “confrontation” or conflict that he tried to resolve in the play was “metaphysical” in the sense that it played out in the world of “the Yoruba mind – the world of the living, the dead and the unborn, and the numinous passages which links all: transition”.

Soyinka was puzzling about the metaphysics of the Yoruba worldview that made it possible for the best educated characters in the play to be the ones who cheered most vociferously for Elesin to abide by the tradition that expected him to kill himself in honour of a dead king. Similarly, Soyinka was wondering why the best educated Yoruba were the cheer-leaders of the genocide against the Igbo. Soyinka advised producers to try and capture this tragedy by using music to represent the macabre dance to the “music from the abyss” by the intellectuals who danced while millions were being slaughtered in Biafra.

I am not an expert in dramaturgy but I love the work of Soyinka. I cited his essay on Neo-Tarzanism in my criticism of the film, Black Panther, which I called an example of neo-Tarzanism. Following the serialisation of the criticism, I was invited by the KPFK public radio in Los Angeles to discuss the film with an Ethiopian publisher and an African American director of the Pan African Film Festival. During the discussion, the Ethiopian said that we should not condemn the presence of monarchies in Africa because there were popular emperors such as Mansa Musa and Haile Selessie who were admired by Africans and by the African diaspora.

The director of the Pan African Film Festival questioned my reference to Soyinka because he saw Death and the King’s Horseman as an indication that Soyinka was a monarchist who supported even the tradition that the horseman should commit suicide to honour the dead king. As Killmonger asked derisively in the film, I asked, this is your king? I stated that Soyinka used that play and almost every play of his to undermine the institution of the monarchy and call for democracy, which he is on record as admiring in Igbo culture. He spared the life of the Horseman in the play and his other tragedies – Kongi’s Harvest, Madmen and Specialists, King Babu; his novels, his poetry and his memoirs all support my interpretation of his anti-monarchical orientation.

Since the experts who have studied his work have focused almost exclusively on the structuralism, I propose to offer a post-structuralist or deconstruction radicalisation of his body of work to show that the tragedy of the state violence especially against the Igbo is at the centre of the conflicts that he has been trying to resolve. Just as the genocidal war was waged without a cease fire for humanitarian interventions, the author coincidentally instructs on page 8 of Death and the King’s Horseman that “The play should run without an interval.”

I agree with critics who will charge that I am misreading Soyinka here. If so, I will admit to a strategic misreading that is necessitated by placing the text within the context of a recent history of trauma that the author did not simply witness as a bystander but one in which he actively tried to stop the genocide and earned himself solitary confinement without trial. Sociologists approach the work of writers by taking into consideration, the context of the private and the public lives of the authors whereas literary theorists may concentrate exclusively on the technical, language, or structural aspects of the script as instructed by T.S. Eliot in his foundational essay, Tradition and Individual Talent.

What I am offering is a sociology of literature interpretation of Soyinka and I am certain that the rebel in him may force him to disagree with my interpretation and award me a national illiteracy prize. I am not contending that all existing interpretations of Soyinka are wrong. I am only saying that there is something missing in the community of Soyinka interpretations and I contend that what is neglected by critics is not minor but a central aspect of his work – his self-sacrificial opposition to the Igbo genocide in particular as a foundational part of his oppositional aesthetics in the face of tyranny.

Commentator: Biko Agozino.
He is Professor of Sociology and Africana Studies, Virginia Polytechnic Institute and State University, United States of America.

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Strictly Personal

The post-budget crisis in Kenya might be good for Africa, after all, By Joachim Buwembo

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The surging crisis that is being witnessed in Kenya could end up being a good thing for Africa if the regional leaders could step back and examine the situation clinically with cool-headed interest. Maybe there is a hand of God in the whole affair. For, how do explain the flare not having started in harder-pressed countries such as Zambia, Mozambique and Ghana?

As fate would have it, it happened in East Africa, the region that is supposed to provide the next leadership of the African Union Commission, in a process that is about to start. And, what is the most serious crisis looming on Africa’s horizon? It is Debt of course.

Even the UN has warned the entire world that Africa’s debt situation is now a crisis. As at now, three or four countries are not facing debt trouble — and that is only for now.

There is one country, though, that is virtually debt-free, having just been freed from debt due to circumstances: Somalia. And it is the newest member of the East African Community. Somalia has recently had virtually all its foreign debt written off in recognition of the challenges it has been facing in nearly four decades.

Why is this important? Because debt is the choicest weapon of neocolonialists. There is no sweeter way to steal wealth than to have its owners deliver it to you, begging you, on all fours, to take it away from them, as you quietly thank the devil, who has impaired their judgement to think that you are their saviour.

So?

So, the economic integration Africa has embarked on will, over the next five or so years, go through are a make-or-break stage, and it must be led by a member that is debt-free. For, there is no surer weapon to subjugate and control a society than through debt.

A government or a country’s political leadership can talk tough and big until their creditor whispers something then the lion suddenly becomes a sheep. Positions agreed on earlier with comrades are sheepishly abandoned. Scheduled official trips get inexplicably cancelled.

Debt is that bad. In African capitals, presidents have received calls from Washington, Paris or London to cancel trips and they did, so because of debt vulnerability.

In our villages, men have lost wives to guys they hate most because of debt. At the state level, governments have lost command over their own institutions because of debt. The management of Africa’s economic transition, as may be agreed upon jointly by the continental leaders, needs to be implemented by a member without crippling foreign debt so they do not get instructions from elsewhere.

The other related threat to African states is armed conflict, often internal and not interstate. Somalia has been going through this for decades and it is to the credit of African intervention that statehood was restored to the country.

This is the biggest prize Africa has won since it defeated colonialism in (mostly) the 1960s decade. The product is the new Somalia and, to restore all other countries’ hope, the newly restored state should play a lead role in spreading stability and confidence across Africa.

One day, South Sudan, too, should qualify to play a lead role on the continent.

What has been happening in Kenya can happen in any other African country. And it can be worse. We have seen once promising countries with strong economies and armies, such as Libya, being ravaged into near-Stone Age in a very short time. Angry, youthful energy can be destructive, and opportunistic neocolonialists can make it inadvertently facilitate their intentions.

Containing prolonged or repetitive civil uprisings can be economically draining, both directly in deploying security forces and also by paralysing economic activity.

African countries also need to become one another’s economic insurance. By jointly managing trade routes with their transport infrastructure, energy sources and electricity distribution grids, and generally pursuing coordinated industrialisation strategies in observance of regional and national comparative advantages, they will sooner than later reduce insecurity, even as the borders remain porous.

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‘Slow burner’ Tanzania is at it again, but she needs to learn to make more noise, By Charles Onyango-Obbo

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Tanzania has been up to its tricks again. The Minister of Livestock and Fisheries Abdallah Ulega said Monday that the country’s meat exports have risen dramatically, jumping from 1,774.3 tonnes in 2022 to 14,701.2 tonnes in 2023.

That is a growth of a head-turning 729 per cent, the type that blows socks off. He attributed the growth, not surprisingly, to “the government’s efforts to revitalise the livestock sector,” including a substantial increase in budget allocation for the sector.

That budget allocation, he said, rose from Tsh32.1 billion ($12.2 million) in the 2021/2022 fiscal year to Tsh112 billion ($42.6 million) in the 2023/2024 fiscal year.

You can’t scoff; that is a 249.18 percent increase. It is not often that African governments increase spending at that level in productive sectors. They do so for MPs to buy cars and travel abroad, for State House so the president can feed his patronage machine, or for dubious “classified expenditure,” not livestock or beef.

Of course, the Tanzania government doesn’t own cattle in any significant number, so the beef is ultimately the product of farmers’ enterprise. These farmers have given Tanzania 36.6 million head of cattle, the second-largest cattle population in Africa, after Ethiopia.

This news will be surprising to many people outside Tanzania. Few would associate Tanzania with leadership in anything to do with cattle or beef. We never hear noises and see photographs of long-horned Ankole cattle or read claims about how Tanzanian beef is the meat of the gods. Tanzanians don’t even seem to know how to polish cattle horns, adorn them with beads, or compose cow poetry. Or so it would seem.

But they know their cattle. They just don’t make noise about it. In East Africa, this is known as the “silent Tanzanian approach,” and the country is dabbed the “slow burner”. The only Tanzanian we know in the rest of the world who brags about his wealth and gifts is the phenomenally successful musician and dancer Diamond Platnumz, easily East Africa’s most blinged artiste.

Tanzanian Mohammed Dewji is a dollar billionaire and one of the wealthiest people in Africa. He is the youngest, wealthiest person on the continent. Although he is handsome too, he does not flood the media with stories of his fortunes and expensive lifestyle. In fact, a few years ago, some goons — or even possibly shadowy state operatives — kidnapped him, and days later released him in a maize garden or something like that. Shameless lack of respect for money.

I can count on my hands the countries in this fair world where Dewji would own the president, and the army and police chiefs. And, in many places, he would be the last thing you see before you go to bed and the first thing you see when you wake up.

Tanzania recently launched East Africa’s first electric train running on a standard gauge railway. After a few mentions in the media, that the project is underway.

Elsewhere, it would have been after 10 years of daily bragging, and by the time it comes to reality, it would have been mentioned 10,000 times. The launch event would be loud; with drums, dancers, the police band, and the president would show up to cut the tape with 100 hangers-on in tow. He would declare that the train is part of the country’s unstoppable journey to be one of the world’s top 10 economies in five years.

We leave it to Tanzanians to explain to us what kind of madness this is; being shy to proclaim your small, medium, and big achievements from the top of Mountain Kilimanjaro. They are wasting the highest mountain in Africa, leaving it mostly to foreigners to climb. Kinjikitile “Bokero” Ngwale, that great man who led the Maji Maji Rebellion against colonial rule in German East Africa (present-day Tanzania) must be writhing in his grave.

We are being jocular here. More seriously, slow-burner Tanzania represents a distinct tradition in the East African narrative of development. It shines a light on how local politics and geopolitics shape how people speak about progress.

A part of it goes back to founding Father Julius Nyerere, a modest and studious man who lived an embarrassingly simple life. Nyerere would today be too unglamorous to be a State House gardener in a couple of African presidential palaces. His ways, though, rubbed off strongly on political culture. Some years ago in London, I went to an event where President Ben Mkapa was speaking.

He mingled with the rest of us hoi polloi during the coffee break. I went over to where a couple of people were talking to him, his security standing off in the distance. There he was standing, talking away, with what must have been his favourite beaten briefcase, clasped between his legs.

It would seem that the slow-burner thing is also what happens when a long-ruling party like CCM derives its legitimacy not primarily from providing bread and butter, but more philosophical and intangible goods like “unity,” creating a “tribeless society” and being an African liberation vanguard.

Geopolitics also influences whether one will proclaim from the rooftop or not. Countries which exist in a hostile international environment, where foreign forces assail the state’s or government’s legitimacy and record on the global stage, need a megaphone to shout back their defence, and to display their record on a high billboard.

Tanzania hardly has enemies these days. It doesn’t have to make noise.

Many African countries could use such good fortune.

Charles Onyango-Obbo is a journalist, writer, and curator of the “Wall of Great Africans”. Twitter@cobbo3

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