Institute of Mediterranean and Oriental Cultures Polish Academy of Sciences Hemispheres Studies on Cultures and Societies Vol. 30, No. 3 NIGERIA Wydawnictwo Naukowe ASKON Warszawa 2015 Editor-in-Chief Board of Advisory Editors JERZY ZDANOWSKI GRZEGORZ J. KACZYÑSKI OLA EL KHAWAGA Subject Editor MARIUSZ KRANIEWSKI ABIDA EIJAZ HARRY T. NORRIS English Text Consultant STANIS£AW PI£ASZEWICZ STEPHEN WALLIS EVARISTE N. PODA Secretary MARIA SK£ADANKOWA SABINA BRAKONIECKA MICHA£ TYMOWSKI This edition is prepared, set and published by Wydawnictwo Naukowe ASKON Sp. z o.o. ul. Stawki 3/1, 00193 Warszawa tel./fax: (48) 22 635 99 37 www.askon.waw.pl [email protected] © Copyright by Institute of Mediterranean and Oriental Cultures, Polish Academy of Sciences, Warsaw 2015 PL ISSN 02398818 ISBN 9788374520874 HEMISPHERES is published quarterly and is indexed in ERIH PLUS, The Central European Journal of Social Sciences and Humanities, ProQuest Database and Index Copernicus Contents Nkem O k o h, Translation as Validation of Culture: The Example of Chinua Achebe ....................................................................................... 5 Khalid I m a m, Justice, Fairness and the Quest for an Egalitarian Society in Africa: A Reading of Bukar Usmans Select Tales in Taskar Tatsuniyoyi: Littafi na Daya Zuwa na Goma Sha Hudu [A Compendium of Hausa Tales Book One to Fourteen] ....................................................21 Ibrahim Garba Satatima, Hausa Oral Songs as a Cultural Reflexive: A Study on Some Emotional Compositions ................................................33 Anas Saidu Muhammad, Language Use Construction in Discourse: Exploring Youth Identities in Hausa Rap Music .......................................45 Nura Ibrahim, The Political Economy of Poster Production, Distribution and Consumption in Northern Nigeria .................................59 Sabina Brakoniecka, The Beginnings of the Boko Haram Rebellion from a Micro-level Perspective ..................................................................77 Emmanuel Abiodun Fayankinnu, Student Unrest in a Nigerian Tertiary Institution: Exploring a Gender-Specific Action .......................................93 Book Reviews Maciej J. Bartkowski (ed.) Recovering Nonviolent History: Civil Resistance in Liberation Struggles rev. Percyslage Chigora ................. 107 Editorial Principles .......................................................................................... 111 Translation as Validation of Culture: The Example of Chinua Achebe 5 Nkem Okoh* PL ISSN 02398818 HEMISPHERES Vol. 30, No. 3, 2015 Translation as Validation of Culture: The Example of Chinua Achebe Abstract Africas post-colonial literature has largely been in response to Western denigration of Africa. This article examines Chinua Achebes approach to the challenge of reclaiming the African past. His chief tool for such reconstruction is here termed creative translation. The major thesis is that Achebe is remarkably successful in recreating the African past, through his craft of language. This assessment is based on Achebes accomplished domestication of English, which both native Igbo speakers and L1 English speakers will easily appreciate. Introduction Since language constitutes a crucial component of culture, it is not surprising that the language question in modern African literature has been a source of intense, even perennial controversy. Two literary giants, Chinua Achebe of Nigeria and Ngugi wa Thiongo of Kenya, well encapsulate the two principal viewpoints. While the latter has resolutely turned his back on English as his creative medium, the former and several other African writers have not succumbed to the wind of nationalism sweeping through the African literary landscape. Rather, they have maintained the status quo, preferring to produce their works in non-African languages. While wa Thiongo announces with enthusiasm and valedictory finality: This [ ] is my farewell to English as a vehicle for any of my writings. From now on it is Gikuyu and Kiswahili all the way,1 Achebe himself declares as follows: I have been given this language and I intend to use it.2 For Achebe, it is imperative for Africans to know, where the rain began to beat us, in other words, African writers must first dispose of what he has called the fundamental theme. This theme, he declares, put quite simply is that African people did not hear of culture for the first time from Europeans; that their societies were not mindless but frequently had a philosophy of great depth and value and beauty, that they had poetry and, above all, they had dignity.3 This can justifiably be * Professor of English at the Department of English Studies, University of Port Harcourt, PMB 5323, Port Harcourt, Rivers State, Nigeria, e-mail: [email protected] 1 Ngugi wa Thiongo, Decolonizing the Mind, London: James Currey/Heinemann, 1989, p. xiv. 2 Chinua Achebe, Morning Yet on Creation Day, London: Heinemann Educational Books, 1975, p. 62. 3 Chinua Achebe, The Role of the Writer in a new Nation, in African Writers on African Writing, G. D. Killam (ed.), London: Heinemann, 1975, p. 8. 6 Nkem Okoh called Achebes literary-cum-artistic manifesto as he pursues his overriding objective of demonstrating the reality and authenticity of the African culture, especially before the very dawn of Western colonialism. Achebes figure unarguably looms large in African literature. Ezenwa-Ohaeto observes that Achebe is the man who invented African literature because he was able to show [ ] that the future of African writing did not lie in simple imitation of European forms but in the fusion of such forms with oral traditions.4 Nnolim adjudges Achebe, the chief inaugurator of the great tradition which is concerned with cultural assertion or cultural nationalism which stresses and promotes the innate dignity of the black man,5 while Bernth Lindfors labels Things Fall Apart, the first novel of unquestioned literary merit from English-speaking West Africa.6 A real colossus, Achebe has contributed immeasurably to the task of getting the world to comprehend the African and his continent. Regarding such an assignment, he actually considers himself a missionary: The whole purpose of African literature [ ] is to change the perception of the world as far as Africans are concerned, and for me thats being a missionary. So I have been very busy spreading that good news that Africans are people, that we are not savages and cannibals.7 The Igbo culture, it must be said, remains a relatively understudied one. In the introduction to their book,8 Andrzejewski, Pi³aszewicz and Tyloch remark as follows: We particularly regret some of the omissions; we hope that the Igbo speakers of Nigeria, for instance, or the Shona speakers of Zimbabwe, will understand our inability to provide total coverage of the continent, given the multiplicity of languages. Thus, this article is also envisaged as a contribution to the growing scholarly corpus on Achebean criticism, especially concerning his very efforts to interpret and validate African culture. By focusing on Achebes trilogy,9 this article demonstrates that his works are fundamentally a portrayal of the pristine African society, its clangy clash with Europe, and the destructive impact on the indigenous societal structures. The article thus explores how Achebe has risen to the challenge of employing a foreign language as his creative medium. It will be shown that Achebe remarkably surmounts the hurdle of crossing the source-target language divide. This is essentially by means of what is here termed as creative translation. A major thesis here, therefore, is that by his deft manipulation and fusion of the resources of both Igbo and English, Achebe achieves his artistic goals with great conviction and remarkable success. 4 Ezenwa-Ohaeto, Chinua Achebe: A Biography, Ibadan: HEB, 1999, p. 270. 5 Charles Nnolim, Approaches to the African Novel, Owerri: Ihem Davis, 1999, p. 2. 6 Bernth Lindfors, The Palm Oil with Which Achebes Words Are Eaten, African Literature Today, No 1, 1972, p. 3. 7 Ezenwa-Ohaeto, Chinua Achebe , p. 270. 8 Bogumi³ W. Andrzejewski, Stanis³aw Pi³aszewicz and Witold Tyloch (eds), Literatures in African Languages, Cambridge: Cambridge University Press, 1985, p. 19. 9 Chinua Achebe, Things Fall Apart, London: Heinemann, 1958; Chinua Achebe, No Longer at Ease, London: Heinemann, 1960; Chinua Achebe, Arrow of God, London: Heinemann, 1964. Translation as Validation of Culture: The Example of Chinua Achebe 7 Achebe boldly confronts the problem of how the writer can convincingly convey indigenous ideas, create his characters, model their speech, all in a language culturally shaped to convey a quite different world view and range of experiences. Since, there is no use of language which is not embedded in the culture10 a study such as this which focuses on the recreation of linguistic realities of Igbo society will lead to a better understanding of discourse in that culture. Of the selfsame society, Achebe himself declares: This is one of the major cultures in Africa, and its received [only] scant attention.11 Achebe and the status quo Achebes novels promptly portray him as a foremost nationalist, an accomplished craftsman clearly committed to a reconstruction (political, social, linguistic-cum- -cultural) of the African past. Indeed, he is acutely concerned with keeping the records accurate and righting, the complexes of the years of denigration and self- -abasement,12 that is, Western denigration and distortion of Africa.