Student Writing  Humanities 211 Student Writing
On this web pageauthor-title table of contents
Critical Reviews Discussion Papers Praise Poems
more student writing about Africa
http://www.cocc.edu/cagatucci/classes/hum211/stud2.htm

Critical Reviews
Chris Buhrig: "Critical Review: HIV, AIDS and Africa" Fall 1998
Chris Shepherd: "Critical Review: The Validity of Christian Missions
    in Sub-Saharan Africa" Fall 1998
Mary Uhland: [On Imperialistic Travel Writing] Fall 1998
Unsigned by Student Request: "Female Genital Mutilation:
    Is Intervention Necessary?" Fall 1998

Discussion Papers 
Dawn Hendrix: "The Past to Future Keita" Fall 1998
Heidi Klaus: "Comparison of Ancient Egyptian Wisdom Teachings
with Biblical Psalms and Proverbs"  Fall 2000
Chris Shepherd: "Things Fall Apart: The Loss
of a Tribe's Livelihood Fall 1998
Eli Smith: "The Significance of the Griot" Fall 2000
Valerie Verley: "An Effort to Be Made or Abandoned" Fall 1996
Michelle Wallace: "A Journey Through My Glasses" Fall 1998

Praise Poems
Fall 2000 Dialogue #2 Directions: Praise Poem

Andrew [first name only by student request]: "A Praise Song"
Anonymous1 [by student request]: "[Her] African Praise Song" [AKA: fancy obituary]
Anonymous2 [by student request]: "She Who Waits"
Jillian Cook: "Jillian, The Animal Medicine Woman"
Cora [first name only by student request]:  [Untitled]
Laura Dunaway: "In Praise of Laura"
Kevin Dunn: [Untitled]
Dale Elder: "Setribo, the Animalboy"
Jake [first name only by student request]:  "Praise Song"
James Maxey: "Praise James"
Amanda Pacheco: "Praise Song"
Eli Smith: "EAZ, the Spinner of Words"
Cathy Stafford: [Untitled] 
Kendall Voget: [Untitled] 

More Student Writing 
 on African Cultures & Literatures, Spring 2000:
http://www.cocc.edu/cagatucci/classes/hum211/stud2.htm  

Fall 2000 Praise Poems Fall 2000
Dialogue #2: Praise Poem (Directions)

Andrew
[first name only by student request]

A Praise Song

Interpretation

© Held by student: Published first name only with Student Permission, 2000

Anonymous 1
[unsigned by student request]

[Her] African Praise Song[s]
AKA: fancy obituary

© Held by student: Published anonymously with Student Permission, 2000

Anonymous 2
[unsigned by student request]

She Who Waits

Interpretation

© Held by student: Published anonymously with Student Permission, 2000

Jillian Cook
Jillian, Animal medicine woman

Interpretation

© Jillian Cook, 2000

Cora
[first name only by student request]

[Untitled]

Interpretation

© Held by student: Published first name only [ anonymously] with Student Permission, 2000

Laura Dunaway
In Praise of Laura

Interpretation

© Laura Dunaway, 2000

Kevin Dunn
[Untitled]

Interpretation

© Kevin Dunn, 2000

Dale Elder

Setribo, the Animalboy

Interpretation

© Dale Elder, 2000

Jake
[first name only by student request]

Praise Song 

Interpretation

© Held by student: Published first name only [ anonymously] with Student Permission, 2000

James Maxey

Praise James

Interpretation

© James Maxey, 2000

Amanda Pacheco
Praise Song

Interpretation

© Amanda Pacheco, 2000

Eli Smith
EAZ, the Spinner of Words

Interpretation

© Eli Smith, 2000

Cathy Stafford
[Untitled] 

Interpretation

© Cathy Stafford, 2000

Kendall Voget
[Untitled] 

Interpretation

© Kendall Voget, 2000

TOP of this page

Fall 1998 Discussion Papers Fall 2000

Dawn Hendrix
Fall 1998

The Past to Future Keita

[Keita: the Heritage of the Griot, ten years later] Camera focuses on Mabo Keita, a handsome young man, graduating from college with a degree in literature and film. He has a far away look in his eyes. The camera zooms into the audience to Mabo’s aging proud mother and father. The camera zooms back into the back of the crowd to the out of place Hunter of Do and Djeliba, who has not seemed to age. Mabo steps from his peers and accepts the degree. The crowd cheers. Later that night, as Mabo is returning from a party he sees a strange shadow pass his window. Then he hears a sound like the wind rustling the palm leaves. He rises from his bed and goes into the night. Djeliba is waiting.

"Greetings Mabo," says Djeliba in his native Jula language.

"Djeliba is that you? You are looking well. Why have you come so unexpected?" Mabo says in astonishment.

"The world is mysterious. It is time for you to know another truth. You are a man now," Djeliba smiles.

Mabo smiles too. Is this one of the many true stories he has been searching for all these years? Can he become a great man in whom the old traditions still stand yet are mingled with the art/technology of the modern? Can he heal within himself the rupture caused by colonization? Can he recover the Mande cultural inheritance that was seemingly lost? Can Mabo become a man of many truths?

The ideological system of colonization has been a violent destructive force on the world, as we know it. The cruel reality of colonization is its precise history of slavery, murder, violence, rape, and torture of non-European peoples by European nations¹ with the motives of sheer greed. This hostile take over was rationalized through the racist ideology that native peoples were inferior savages.   Aime Cesaire describes its damaging effects, ". . .millions of men have been skillfully injected with fear, inferiority complexes, trepidation, servility, despair, and abasement" (qtd. in Fanon 7). Can such a vile legacy ever be overcome?

The effects of colonialism did not end when African countries claimed independence from the colonizer. Two (or more in some cases) cultures clashed and were changed forever. A. Holla states, "Colonialism---which brings new values, new beliefs, foreign languages, alien traditions---cannot be shed like the skin of a snake and then tossed away and forgotten" (par.3). Something is always left behind. Holla goes on to describe the lasting effects of an imposed alien culture as "colonial residue" (par. 3). For example, this "residue" is especially obvious in young Mabo Keita’s life in the film, Keita: The Heritage of the Griot, by the fact that the official language (as sanctioned by the government) is still French all though Burkina Faso is no longer a colony.

As it is not possible to completely eradicate Colonial residue; it is also not plausible that the cultural traditions of Africa, before the colonial intrusion and subjugation of its people, can fully be regained. Entire languages have been wiped out. Villages and ethnic groups have been destroyed and with this destruction certain knowledge has disappeared. Ideas and traditions have been lost in the abyss of time. But it is indisputable that the spirits of tradition have survived. Perhaps, there are ways of accessing the past in which the West is unaware. In the film, Keita: Heritage of the Griot, Djeliba Kouyate has a proverb, "the world is full of mysteries. Not everything can be seen. But everything exists" (Agatucci 78).

Mabo Keita must recreate for himself his own unique image and being. But how will he create that image? He must grab a reality in each hand and do as his ancient ancestors did in the spirit of the blacksmith. To make an iron that is strong enough to hold the two. In Keita: Heritage of the Griot, the magic iron staff is broken in two when the lame ancestor Sundjata tries to stand for the first time. Mabo is like his ancient predecessor in that he is not whole. The long reaching effects of colonial rule have crippled him. It is a seemingly weak but flexible branch of the sun sun tree---imbued with powers of nyama---which the mythic Sundjata uses to walk like a man for the first time (Agatucci 82). Nyama is the magical creative/destructive power also termed occult powers (82). It is the raw material in which the universe is forged. When a person, namely a Griot knows how to control nyama it is creative; it has the power to change. If an inexperienced person handles the nyama force it can be destructive (57). With the concept of nyama, is it possible for Mabo forge his own identity/ story? Chinua Achebe says, "story [is] really the basis if our existence---who we are, what we think we are, what our people say we are, what other people say we are. . ."("If One" 27).

Creative arts such as film making and writing are a few of the ways that truth is being generated. Both these methods reincarnate the art of story telling. Oral story telling is way of communicating knowledge, morals, and lessons (Achebe, "If One" 25). Film and literature are essentially western art forms that have taken on fresh meaning in the context of African artistic expression. African directors and writers have taken European mediums of art and transformed them into an answer for their own needs. They have created images in their own likeness. The novel has been used to write back to the failing empire---voices were none was heard before. In his book of essays, Hopes and Impediments, Achebe warns, ". . . let no one be fooled by the fact that we may write in English, for we intend to do unheard things with it" (76).

Director, Dani Kouyate, has used his film Keita to explore problems and possibly generate solutions. He has brought the Griot into the modern age of movies. One Griot, Djeliba Kouyate, can reach a large audience of modern day Africans and perhaps teach and involve people in the stories that are their traditional heritage. It is here that Mabo becomes the many. He symbolizes the choice of a generation to take up the challenge and integrate the Griot’s stories into his modern lifestyle (Reinwald par. 24).

In conclusion, what is the place, if any, of the western based culture in exploring and looking for meaning in the art, film, and literature of Africa? Achebe suggests, "that the European critic of African literature must cultivate the habit of humility appropriate to his limited experience of the African world and purged of the superiority and arrogance which history so insidiously makes him heir to"(Hopes 73). We need to create a space in our selves where judgment is suspended for the "other" if we are truly to become whole beings. It is important to allow room for everyone if we are to truly have a multi-cultural world community.

Alternative Perspectives and Limitations

I live in a world that is economically rich. I can afford to study another people’s culture. I sit on a seat of privilege. I tried to approach this paper and the African works I encountered with an open mind and as Achebe suggests a "humility"(Hopes 73). This humility is not a weakness, but a humble tool to explore a culture rich in many ways. Why do we, as Americans, study these other cultures? Is it because we are lacking a richness of experience in our culture? Are we cultural vampires as well as material resource gluttons?

My views in this paper on African topics have ultimately been informed only by books and films I have encountered describing African cultures and literatures (And of course by my limited travel in Kenya). Though reaching out for understanding, I have to use my own cultural terms and conceptions. Is it possible to suspend our own cultural lenses while viewing the other? I don’t know if it is completely possible, but it is our duty to try.

Notes

¹ Colonization is a force that has many victims. The colonizers and their descendants also suffer damage though in a different less immediate way. The colonizer is the victim of his own heartlessness. Through his ignorance and adherence to racist policy the colonist pays tribute to his own inhumanity. In the film, Chocolat, directed by Claire Denis there is a scene in which Protee, the house "boy", is banished from the house because he won’t lower himself to be the madam’s sexual slave. The young daughter, France, has forged a precious innocent relationship with Protee. France cannot understand the violent undercurrents of colonialism that are in effect (nor can she fully know that she is being indoctrinated into the colonial master / servant model of behavior). France cannot understand why her only friend is no longer waiting on her. Protee is working in the generator room. France asks if is it hot. Protee has a blank look on his face as he grabs the hot pipe. France also grabs it and is burned badly. This is a potent visual metaphor. When one is suffering from degradation and inhuman hostility we all suffer. Every one gets burned.

Works Cited

Achebe, Chinua. Hopes and Impediments. New York: Doubleday, 1988.

---. "If One Thing Stands, Another Will Stand Beside It: An Interview with Chinua Achebe." Eds. Rob Baker and Ellen Draper. Parabola 17.3 (Fall 1992): 19-27.

Agatucci, Cora, ed."Cultures and Literature of Africa." Course Packet for HUM 211. Central Oregon Community College, fall 1998.

Chocolat. Dir. Clare Denis. Perf. Giulia Boschi, Isaach de Bankole, François Cluzet, Cecile Ducasse, Mireille Perrier. Alain Belmondo et Gerard Crosnier/Marin Karmitz, MK2, 1988. Orion Classics, 1990. [105 min, French with English subtitles].

Fanon, Frantz. Black Skin, White Masks. New York: Grove Press, 1967.

Holla, Alaka. "Post-colonial Residue." Brown University, 1997. <http://www.stg.brown.edu/projects/ …ndow/post/poldiscourse/holla4.html >.

Keita: The Heritage of the Griot. Dir. Dani Kouyate. Perf. Seydou Boro, Hamed Dicko, Abdoulaye Komboudri, Sotiguy Kouyate, Claire Sanon, Blandine Yameogo. Afix Productions, 1994. [Burkina Faso/France, 94 min., Jula/French with English subtitles].

Reinwald, Brigitte. "Film, Orality and Performance: Keita-L’Heritage Du Griot by
Dani Kouyate." Workshop: Orality and Literacy in African Societies. [Accessed: Oct. 1998.] <http://www2.rz.hu-berlin.de/inside/orient/orality/13reinwa.htm >

© Dawn Hendrix, 1998

Heidi Klaus
Fall 2000 

Comparison of Ancient Egyptian Wisdom Teachings
with Biblical Psalms and Proverbs

After living for centuries near one another and after more than four more centuries living in close contact with one another during the captivity of the Israelites in Egypt, it is no wonder that Egyptian and Hebrew poetry and literature share common attributes.  Some scholars biased toward the Egyptians insist that the Egyptians influenced the Hebrews' writing; other scholars biased toward the Hebrews say that it was the Hebrews who influenced the Egyptians.  A more logical conclusion, though, is that after hundreds of years living in such close proximity to one another, both cultures influenced each other.  The similarities between each culture's writing are interesting to study, but the differences are also worth studying.  

The most striking difference when comparing Biblical Proverbs and Amenemope's Wisdom Teachings is that the Wisdom Teachings mention many gods or forces, while the Proverbs mention only one force: Yehovah.  "The one, true Almighty God.  The self existent, Eternal God" ( The New Strong's Exhaustive Concordance of the Bible, Hebrew and Aramaic Dictionary of the Old Testament, p. 54).  Chapter Two of the Wisdom Teachings says, "Every temperate man in the temple says, 'Great is the benevolence of Re'" (Hilliard, p. 58; emphasis added).  Chapter Six says, "If he traps by deceptive attestations, [he] will be lassoed by the might of the Moon" (Hilliard, p. 58; emphasis added).  And, "Man propitiates God by the might of Lord"; "Desire, then, to make yourself proper, and take care for the Lord of All."  Chapter Seven says: "Do not set your heart upon seeking riches, for there is no one who can ignore Destiny and Fortune"; "The skiff of the truly temperate man sails on.  When he rises you shall offer to the Aten, saying, 'Grant me prosperity and health'" Hilliard, p. 58; emphasis added).

The focus in the Wisdom Teachings seems to be Me.  How can I get ahead?  How can I please these various gods and forces?  "Do not trample on the furrow of someone else, their good order will be profitable for you" (Hilliard, p. 59; emphasis added).  "Fill yourself with silence, you will find life, and your body shall flourish upon the earth" (Hilliard, p. 58; emphasis added).  There is a strong sense in the Wisdom Teachings of a karmic sort of philosophy.  Cause and effect.  Don't seek out success and it will find you.  Don't harm your neighbors and good fortune will find you.  

The Proverbs have an entirely different emphasis.  The emphasis is not on doing good so that good can bless you--the Proverbs essentially say, "Do good because God says so."  "If thou sayest, Behold we knew it not; doth not He that pondereth the heart consider it? and He that keepeth thy soul, doth not He know it?  and shall not He render to every man according to his works?" (Proverbs 24:12; King James version).  In Proverbs, riches are attained by Godly wisdom.  "Through wisdom is an house builded; and by understanding it is established: and by knowledge shall the chambers be filled with all precious and pleasant riches" (Proverbs 24:3 & 4, King James version).  The Hebrew word for riches used here is "hown" or "own," meaning mighty, strong, ready; and the word used repeatedly in Chapter 24 is "chokmah," meaning skillful, wise to the things of God (New Strong's...Dictionary, pp. 34, 43).  Wisdom here is knowledge of the things of God, and the house that is abundantly filled is the Spirit of the wise man.

Proverbs' words seem much harsher than those of the Wisdom Teachings.  This is because Proverbs deals with a much more serious subject than personal gain or earthly good.  "Withhold not correction from the child: for it thou beatest him with the rod, he shall not die.  Thou shalt beat him with the rod, and shat deliver his soul from hell" (22: 13 & 14, King James version).  Proverbs deals with righteousness and correction for the purpose of spiritual salvation and rescue from certain destruction.

Proverbs 22: 22-23 says, "Rob not the poor, because he is poor: neither oppress the afflicted in the gate: for the Lord will plead their cause and spoil the soul of those that spoiled them."  Chapter Two of the Wisdom Teachings instructs, "Beware of stealing from a miserable man and of raging against the cripple.  Proceed cautiously before an opponent, and give way to an adversary."  The wording of both passages sounds very similar.  But closer observation of the teaching reveals an important difference:  The Wisdom Teachings are missing the why of the instruction.  Why not oppress the poor or steal from the miserable man?  Who says?  What if I do rage against the cripple?  There is no solid reason given behind these Wisdom Teachings.  Later in the teachings, destiny and fate and the moon are mentioned, as are miscellaneous deities, but there is no single, unchangeable standard measure of Justice.  In Proverbs there is a very clear, repeatedly named reason for obeisance:  God.  God will "spoil the soul" of those who disobey Him.

From my Christian perspective, the Proverbs are clearly superior to the Wisdom Teachings because they satisfy the important "why" questions.  But, as the Igbo proverb goes, "Beside one thing always stands another."  God is my ultimate measuring stick, so clearly the teachings that address God as the one and only measure of righteousness strike a deeper chord with me than Amenemope, who appears to cover his bases with all the various deities and fates.  Also there is the effect of the study of all of God's Word.  "All scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness: that the man of God may be perfect, thoroughly furnished unto all good works" (II Timothy 3:16, King James version).  A person who believes this cannot find much spiritual value in a work that leaves out the ultimate why--God.

Probably a person without a Christian background would feel that the Wisdom Teachings are superior to Proverbs because they address the many deities of the earth such as the Moon and Aten or Destiny.  Perhaps something has been lost in translation of the Wisdom Teachings in Hilliard's book, as it was in her use of the NIV translation of the Bible.  But with no background in Egyptian Wisdom Teachings, I am unable to recognize the loss.  To get to the true meaning of the scripture, it was necessary to open the closest translation to the Hebrew and Greek scriptures--the King