The concepts of “African literature” and “African cinema” have been criticized by some scholars for being too broad and for obscuring the diversity of literary and cinematic production within Africa. As Abiola Irele argues, the term “African literature” is often used to refer to any literature produced by Africans, regardless of its content or style. This can lead to the lumping together of very different works, from traditional oral epics to modern novels and plays.
Daria Tunca makes a similar point about African cinema, arguing that it is often defined in terms of its geographical origin rather than its aesthetic or thematic concerns. This can lead to the exclusion of important works by African filmmakers who live and work outside of Africa.
Importance of Oral Tradition in African Literature and Cinema
Oral tradition plays a significant role in modern African literary and cinematic production. This is because oral tradition has been the primary means of transmitting culture and knowledge in Africa for centuries. Many African writers and filmmakers draw on oral traditions in their work, using them to tell stories, explore themes, and develop characters.
In his epic poem “Sunjata,” Bamba Suso retells the story of Sunjata Keïta, the founder of the Mali Empire. Suso draws on Mandingo oral tradition to tell the story of Sunjata’s rise to power and his victory over the Susu Empire. In the process, he explores themes of leadership, heroism, and nation-building.
Dani Kouyaté’s film Keïta! l’héritage du griot (Keita! The Heritage of the Griot) is a documentary about his father, Djeliba Kouyaté, a griot, or traditional storyteller. The film explores the role of griots in Malian society and the importance of oral tradition in preserving Malian culture.
Significance of Irele, Tunca, and Dovey’s Work
The critical attempts by Irele, Tunca, and Dovey to redefine the concepts of African literature and African cinema are important for a number of reasons. First, their work helps to challenge simplistic and Eurocentric notions of African culture and identity. Second, it helps to highlight the diversity of literary and cinematic production within Africa. Third, it emphasizes the importance of oral tradition in African culture and its influence on modern African literature and cinema.
Conclusion
The concepts of African literature and African cinema are complex and contested. The work of Irele, Tunca, and Dovey helps us to understand some of the problems with these concepts and the importance of redefining them in a way that is more inclusive and accurate. Their work also helps us to appreciate the significance of oral tradition in African culture and its influence on modern African literature and cinema.
