A Shona song, sung by women to accompany the stamping or pounding of maize into flour (see also Pounding Songs).
You who are at the men’s meeting place,
The amount of sadza in the hand should be fine…
The following epic poem was transcribed by Dr Alice Werner, who was the professor of Swahili and Bantu languages at London’s School of Oriental Studies between 1917-1930. Dr Werner first encoutered the story of Miqdad and Mayasa during her visit to the village of Bomani, a village in Kenya’s Kilifi County, in 1913. During her visit Dr Werner met Sharif Hassan and his wife, Mwana Bamu, who entertained their guests by reading aloud from her treasured manuscript of the poem.
The Story of Miqdad and Mayasa opens with an encounter between the storyteller Miqdad and the Prophet Muhammad in Mecca. Taking shelter in a cave from the rain outside, Muhammad requests that Miqdad tells a story to pass the time.
There does not appear to be any versions of the story in Arabic and Dr Werner believed that the poem may have been transmitted through the oral tradition within Kenya for many years before being finally committed to writing. This may explain why from time to time the author of the text appears to forget that Miqdad is the narrator and speaks of him in the third person.
I begin with the name of the Compassionate,
and pray for the faithful one…
A modern poem in the traditional manner of a praise for one’s clan, sent to us by Adjei Agyei-Baah. Here the history of the Ashanti people is celebrated with reference to the richness of their land, their gods, and their traditional rulers.
The edenic garden on a fertile land of gold
A poem sent to us by Adjei Agyei-Baah on the theme of the Ashanti royal house. The Ashanti people live within a wealthy, gold-rich region of Ghana. Otumfuo is an honourary title bestowed upon Ashanti rulers when they ascend the throne. The Ashanti Empire was officially established in 1701 by the Ashanti King Osei Tutu and his adviser and High Priest, Okomfo Anokye.
The Golden Stool (Ashanti-Twi: Sika ‘dwa) is the royal throne of the Ashanti king, and is also believed to house the spirit of the Ashanti nation. According to the legends of the oral tradition, the Golden Stool descended from heaven and into the lap of Okomfo Anokye when the Ashanti army defeated their rivals, the Denkyira, in 1701. The entire surface of the Golden Stool is inlaid with gold and hung with bells to warn the king of dangers.
In 1863 the British army attacked the Ashanti kingdom to take control of the Gold Coast. Six hundred troops massed on the border of the Ashanti kingdom during the dry season, but left it too late to launch their invasion. When the rain season began the troops rapidly came down with malaria and dysentery and eventually abandoned their supplies and retreated without a shot being fired. This led the then Ashanti King, Asantehene Kwaku Dua, to remark “The white man brings his cannon to the bush, but the bush is stronger than the cannon”.
He who knows not the Otumfuo
Let me present him…
Khat (also spelled qat or qaat) is a flowering plant native to the Northeast African peninsula (the countries of Djibouti, Eritrea, Ethiopia, and Somalia). When chewed it produces a stimulant effect similar to amphetamines. The talkative high that emerges has made it popular for a variety of social occasions. Politicians and businessmen chew it whilst making deals, Sufis chew it to enflame themselves in prayer, and some Somali poets use it to inspire spontaneous verse.
This poem by Yuusuf Meygaag Samatar of Hargeisa (the capital of Somaliland) discusses the various benefits and drawbacks of chewing khat.
When I eat of this Qaat plant I find it to inspire
It helps me to take a seat among notable peers…
Another in our series of Modern Poetry in the Oral Manner, this one about one of the most prominent Orisha, Sango, also known as Shango (see also In Praise of Shango) or Xango in Latin. The following poem not only addresses his encounter with the Owu people, now concentrated in Abeokuta, but also portrays Sango’s personality ranging from his birth, life and wives, to his controversial end.
Jakuta, son of Aganju,
Violent ruler, grandson of Oduduwa…
These are a series of Nyembara songs from Sudan, performed to mourn the death of Chief Yokwe Kerri in the 1930’s. They were collected by A. C. Beaton, with additional help in translation from the Bari language into English by a Father Spagnola.
How came bereavement to his house?
How came forlorn-ness?
I have added this new section, provisionally called Modern Poetry in the oral manner, in response to readers visiting the site who have sent me their own written poems inspired by the material they have been reading here.
Modern African poetry draws on a multitude of traditions, including European and American. Some of the best, however, works very closely with oral styles and imagery, perpetuating what may best be called an oral aesthetic…
This is a modern poem by Aremu Adams Adebisi on the theme of the legend that surrounds the 12th century Yoruba princess, Moremi Ajasoro. Moremi was married to the Yoruba king Oranmiyan who ruled the kingdom of Ile-Ife. Ile-Ife had been at war with a neighbouring tribe for many years, who the Yoruba referred to as ‘the Forest people’ (Ìgbò in the Yoruba language, though the said tribe is believed by scholars to have had no relation to the contemporary Ìgbòs of modern Nigeria)…