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The African Oral Tradition Paradigm of Storytelling As a Methodological Framework: Employment Experiences for African Communities in New Zealand

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The African Oral Tradition Paradigm of Storytelling As a Methodological Framework: Employment Experiences for African Communities in New Zealand African Studies Association of Australasia and the Pacific (AFSAAP) Proceedings of the 38th AFSAAP Conference: 21st Century Tensions and Transformation in Africa, Deakin University, 28th-30th October, 2015 (Published February 2016) The African Oral Tradition Paradigm of Storytelling as a Methodological Framework: Employment Experiences for African communities in New Zealand Kudakwashe Tuwe Auckland University of Technology (AUT), New Zealand Abstract The aim of this article is to argue that the African oral traditional paradigm of storytelling is an effective and appropriate methodology to use in the investigation of employment-related experiences and challenges of New Zealand-based African communities and the impact of these experiences on their well-being. Through the utilisation of African oral storytelling, as a methodological framework, this paper attempts to critically examine the meanings, feelings and experiences of African communities in New Zealand with regards to employment experiences and challenges. Introduction Although this qualitative research is about the employment experiences and challenges faced by Africans in New Zealand, the key focus of this paper is to argue that the African oral traditional paradigm of storytelling is an effective and suitable social research methodology, especially for this topic which deals with Africans as participants. The article attempts to discuss, amongst others, the following issues, regarding the African oral traditional paradigm of storytelling: what is African storytelling?, the uniqueness of African storytelling, African storytelling as a communal participatory experience, style and structure of African storytelling, the power of African stories, moral lessons behind African stories, the pedagogical significance of African storytelling, the utilisation of cultural proverbs and parables in African storytelling, African traditional knowledge, cosmologies and epistemologies in African storytelling and lastly the indigenous paradigms and the de- colonisation of African social research methods and methodologies. Proceedings of the 38th AFSAAP Conference: 21st Century Tensions and Transformation in Africa, Deakin University, 28th-30th October, 2015 (Published February 2016) In many parts of Africa, after dinner, upon the sound of a tantalising drum, villagers would congregate around a central fire and settle down to hear and listen to stories (Achebe 1958). The storytellers told many interesting and captivating stories. Storytelling has been a ritual for the people of Africa in the evening after a hard day’s work. The psychological intent of exposing the children to storytelling justifies the reason for telling folktales in Africa (Ngugi wa Thiong'o 1964). The calm nights and sitting around the fire set the tone for storytelling. The attention and enthusiastic response of the audience made the stories interesting and captivating (Vambe. 2001). The folktales did not follow any sequential order. The stories are told subjectively once the theme of the story is decided. The narration of the stories are accompanied with singing, drumming, percussion instruments, clapping, and dancing (Achebe 1958). The proverbial songs are utilized to highlight the expression of the characters (Ngugi wa Thiong'o 1982). These stories were about the many gods and goddesses worshiped by their ancestors and some were about their heroes and heroines; leaders and kings who fought and won great wars and battles (Ngugi wa Thiong'o 1964). There was no written language. Stories kept their history alive (Ngugi wa Thiong'o 1982). In February 2012, Sam Yada Cannarozzi, one of the internationally renowned storytellers, said "…storytelling is an intimate and universal art form that is over 50,000 years old!" (Sheppard 2009). Background What is Storytelling? Storytelling is a method of recording and expressing feelings, attitudes, and responses of one’s lived experiences and environment (Gbadegesin, 1984). The function of storytelling has been identified as mediating and transmitting of knowledge and information across generations, conveying information to the younger generations about the culture, worldviews, morals and expectations, norms and values (Ngugi wa Thiong'o 1982, Asante 1987, Kouyate 1989, Alidou 2002, Chinyowa 2004). According to Ngugi wa Thiong'o (1986), storytelling is retelling a tale or narrative to one or more listeners through voice and gestures. It is not the same as reading a story aloud or reciting a piece from memory. The storyteller creates and generates a series of mental metaphors and images associated with words. This means storytelling can be packaged in forms such as songs, music, dances, plays, dramas and poetry (Ngugi wa Thiong'o 1986, Utley 2008). Stories may be sung, along with musical accompaniment on a certain instrument. Every human culture in the world seems to create stories as a way of making sense of the world (Achebe 1958, Vambe. 2001). Storytelling traditions vary all over the world, yet have Proceedings of the 38th AFSAAP Conference: 21st Century Tensions and Transformation in Africa, Deakin University, 28th-30th October, 2015 (Published February 2016) many things in common, such as oral narration, moral teachings, use of gestures and repetition. What is African Storytelling? Traditionally, African people are rooted in oral cultures and traditions and as a result they have esteemed good stories and vibrant storytellers (Ngugi wa Thiong'o 1986, Vambe. 2001, Chinyowa 2004, Vambe 2004). Ancient writing traditions do exist on the African continent, but most Africans today, as in the past, are primarily oral peoples and their art forms and stories are oral rather than in written form (Achebe 1958, Chinyowa 2001). Since olden times, storytelling within the African culture has been a way of passing on traditions, codes, values of acceptable behaviour, as well as upholding and preserving good social order. Before writing and reading was developed in ancient Africa, Africans used storytelling as the most form of preserving their history, traditional culture and ritual ceremonies (Chavunduka 1994, Vambe. 2001). The tradition of African storytelling is one of the oldest in African culture, across the continent (Vambe. 2001). African Concept of Ubuntu Traditional oral stories of African people have been woven out of the substance of human experience, struggles with the land and the elements, movement and migrations, wars between kingdoms, conflicts over pastures and waterholes, wrestling with the mysteries of existence, and life or death (Achebe 1958, Ngugi wa Thiong'o 1982). African stories reflect relations among humans, man and woman, and humans and the animal world. This is shrined in the African concept of “Ubuntu” (Mandela 1994). Ubuntu means “I am what I am because of you”. The whole concept is centred on people or humanity (Mandela 1994, Carson 1998). These stories offer explanations of natural phenomena, teach morality, provide African people with a sense of identity, and are entertaining as well as instructive. The animal trickster stories are the favourite among the folktales because they include an animal trickster with human habits, beliefs, and weaknesses. These stories instil moral values in the people of the tribe or community (Ngugi wa Thiong'o 1982, Mandela 2002). The Uniqueness of African Storytelling The uniqueness of African storytelling is enshrined in its distinctive ability to provide entertainment, to satisfy the curiosities of the African people, and to teach and impact important moral lessons about everyday life (Ngugi wa Thiong'o 1986, Utley 2008). Repetition of the language, rhythm and gesture are important characteristics of African oral storytelling (Matateyou 1997). Storytellers repeat words, phrases, gestures and verses or stanzas. The utilisation of repetition techniques makes it easy to understand and recall the stories from memory. When the audience is familiar with the stories, they actively participate as they learn important aspects of their culture (Ngugi wa Thiong'o 1986, Utley 2008). Storytelling in Africa has been demonstrated in many diverse manners and was used to serve many different purposes (Soyinka 1978, Ngugi wa Thiong'o 1998, Mandela 2002, Utley 2008). Masembe (2015) states that storytelling was central to her childhood in Uganda, where Proceedings of the 38th AFSAAP Conference: 21st Century Tensions and Transformation in Africa, Deakin University, 28th-30th October, 2015 (Published February 2016) elementary school students are required to tell stories to their classes as part of the curriculum. Characteristics of African Storytelling African storytelling: A Communal Participatory Experience Oral African storytelling is essentially a communal participatory experience and phenomena (Ngugi wa Thiong'o 1986). It is a shared communal event where people congregate together, listening, and participating in accounts and stories of past deeds, beliefs, wisdom, counsel, morals, taboos, and myths (Ngugi wa Thiong'o 1982, Utley 2008). In most case, African storytelling is set-up in an environment where the storyteller and the audience interact and both parties have rights and obligations (Soyinka 1978, Berry 1991, Vambe. 2001). This can be equated to the present-day western focus group set-up. Everyone in most traditional African societies participates in formal and informal storytelling as interactive oral performance. Such participation is an essential part of traditional African communal life, and basic training in a particular culture’s
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