What happens when a poet refrains from matters of national interest and
delves into exploring his interests? What becomes of a writer who
overlooks his societal concerns and neglects it at its hour of need?
In his speech 'The Duty and Involvement of the African Writer', Chinua Achebe argues that ''... an African creative writer who tries to avoid the big social and political issues of contemporary Africa will end up being completely irrelevant.'' He compares him with the absurd man in the proverb who leaves his house burning to chase a rat fleeing from flames. Therefore, the society-- with its pride, inadequacies, power struggles, disasters and pestilences becomes the core reference of every genuine artist. Endevouring to capture, present and contribute to changing them as well champion for some ideals that could better the society should be his occupation. This is why Achebe supported the secession of Biafra from Nigeria. This is why Okigbo died fighting for Biafra. This is what Okot p'Bitek sings. But our civilized poets are blind to this. They choose to remain in darkness. They don't know that darkness made a cockroach pass by a chicken's beak.
In attempt to seek free expression, most of them fail in the duty aforementioned. They describe sex and orgasms, praise themselves and women; write about clouds, snows and how to seduce etc etc. They compete for breathing space with genuine artists committed to searching for constructive and educative art. Why? The trouble with them is that they don't learn. They want to break away from the norm and establish their own kind of art. They disregard the wisdom of sages. A sure indicator of a sheep lost.
Kofi Anyidoho holds that poetry is the song of our ancestors. They left it for us. And to develop it, Kofi Awoonor argues that we have to go back to where our ancestors left it, thence continue it. This echoes the call to develop our culture, record how we live and varied societal transitions in art .
We have been through good and bad times. The Post Election Violence (2007/2008), frequent terror attacks, immortal corruption, poverty, religious hypocrisy... Our wounded society is weeping. It is disillussioned, forever disillussioned. Unfortunately, artists who have grown in these conditions distance themselves from them. They write recipes; and oral narratives, as Taban puts it.
Rappers rap about sexy women and money. They praise their flow and back-bite each other. And poets capture their own fantasies, and experiences with no worthwhile impact on the society at large. They can't weep with the society. They can't wipe its tears either. They can't prevent it from weeping. So of what use are they to it.
In 'Horn of My Love', Okot p'Bitek echoes Daniel E. Ongo's argument that songs of the Acoli people are books of their ancestors. They (ancestors) recorded the wars they fought, famines that befell them, described reigns of chiefs etc etc. This makes them, poets, according to p'Bitek historians. Therefore, issues of our time will be of great relevance to the generations to come. But if emerging artists turn a blind eye to them, what shall we bequeath the next generation?
Poets should come out and speak for the society. He who sticks to personal issues is like a politician who vies to satisfy individual interests at the expense of their people. Poets are not like that. They are for the people. They are activists, educators, doctors, counsellors. Everything!
As educators, what emerging artists need to know is that their works should be informative and educative enough to effect necessary changes. As Achebe puts it, the writer should be on the forefront in education and re-education-- to right past wrongs, misrepresentation and misconceptions of his people. He cannot and should not be excused.
(c) wafula p'khisa
Lirango Lienjofu
[Thigh of an Elephant].
In his speech 'The Duty and Involvement of the African Writer', Chinua Achebe argues that ''... an African creative writer who tries to avoid the big social and political issues of contemporary Africa will end up being completely irrelevant.'' He compares him with the absurd man in the proverb who leaves his house burning to chase a rat fleeing from flames. Therefore, the society-- with its pride, inadequacies, power struggles, disasters and pestilences becomes the core reference of every genuine artist. Endevouring to capture, present and contribute to changing them as well champion for some ideals that could better the society should be his occupation. This is why Achebe supported the secession of Biafra from Nigeria. This is why Okigbo died fighting for Biafra. This is what Okot p'Bitek sings. But our civilized poets are blind to this. They choose to remain in darkness. They don't know that darkness made a cockroach pass by a chicken's beak.
In attempt to seek free expression, most of them fail in the duty aforementioned. They describe sex and orgasms, praise themselves and women; write about clouds, snows and how to seduce etc etc. They compete for breathing space with genuine artists committed to searching for constructive and educative art. Why? The trouble with them is that they don't learn. They want to break away from the norm and establish their own kind of art. They disregard the wisdom of sages. A sure indicator of a sheep lost.
Kofi Anyidoho holds that poetry is the song of our ancestors. They left it for us. And to develop it, Kofi Awoonor argues that we have to go back to where our ancestors left it, thence continue it. This echoes the call to develop our culture, record how we live and varied societal transitions in art .
We have been through good and bad times. The Post Election Violence (2007/2008), frequent terror attacks, immortal corruption, poverty, religious hypocrisy... Our wounded society is weeping. It is disillussioned, forever disillussioned. Unfortunately, artists who have grown in these conditions distance themselves from them. They write recipes; and oral narratives, as Taban puts it.
Rappers rap about sexy women and money. They praise their flow and back-bite each other. And poets capture their own fantasies, and experiences with no worthwhile impact on the society at large. They can't weep with the society. They can't wipe its tears either. They can't prevent it from weeping. So of what use are they to it.
In 'Horn of My Love', Okot p'Bitek echoes Daniel E. Ongo's argument that songs of the Acoli people are books of their ancestors. They (ancestors) recorded the wars they fought, famines that befell them, described reigns of chiefs etc etc. This makes them, poets, according to p'Bitek historians. Therefore, issues of our time will be of great relevance to the generations to come. But if emerging artists turn a blind eye to them, what shall we bequeath the next generation?
Poets should come out and speak for the society. He who sticks to personal issues is like a politician who vies to satisfy individual interests at the expense of their people. Poets are not like that. They are for the people. They are activists, educators, doctors, counsellors. Everything!
As educators, what emerging artists need to know is that their works should be informative and educative enough to effect necessary changes. As Achebe puts it, the writer should be on the forefront in education and re-education-- to right past wrongs, misrepresentation and misconceptions of his people. He cannot and should not be excused.
(c) wafula p'khisa
Lirango Lienjofu
[Thigh of an Elephant].
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