Back and Next - Back and NextHERITAGE: Where are the stories?
Thursday, December 18, 2008
My name is Akiel Chinelo and I am a writer/performer from Manchester England. I have been in The Gambia for several months exploring the art of story telling and theatre from a West African perspective.
I am interested in the Griot tradition and have used Griot influences in my shows, ‘Afrika Wings’ and ‘Coconut Tree’. During 2008 I have been an artist in resident at Contact theatre in Manchester. Coconut Tree, the show I produced was a dark comedy set between Manchester and The Gambia.
Back in June I met story teller Cornelius Gomez. Cornelius (known as Connie) heads the Creative and Performing Arts division at the National Centre for Arts and Culture. Before meeting Connie, I imagined that his story telling art must have been passed from generation to generation. As a black man coming from the West, I was keen to tap into my African roots.
However, my enthusiasm faded when Connie explained, “Story telling is a dieing tradition in The Gambia. Parents do not engage children with stories because of modern day living.”
Connie has written a volume of books called ‘Gambian Folk Tales and Stories’ Most are taken from the Wolof language. He said, “It was very difficult to produce these books because ninety percent of the elders had forgotten the stories and the art of telling them”. Fortunately, he comes from a vital generation that remembers the stories they were told.
The art of story telling has been traditionally used in every culture to entertain and to teach both adults and children. Stories help people to remember their past and to mark their heritage. Importantly, they help people to collectively self identify. In other words they provide national identity.
It’s good to see classic Nigerian novels like ‘Things fall apart’ and ‘Joys of motherhood’ included in the school syllabus for grades 7-9. However, it saddens me to discover that traditional Gambian stories are not widespread in the National Curriculum. Teacher Lamin Sanyang of Ibo town said, “at grades 1,2,3 children are sometimes taught traditional stories and are encouraged to narrate them in their local languages.
These story telling sessions are not part of the syllabus, but are used to fill in gaps and to keep children occupied. The stories focus on morals and virtues and assist children in their ability to reason and to express right from wrong. At grade 4 onwards we are forced to follow what the syllabus requires and to meet certain targets which don’t include traditional story telling”
When asking Lamin if he felt that traditional stories should be included he said “the curriculum is designed and based around European experiences. For example, texts explaining snow and ice can present difficulties for children to gain understanding. Ideally, the curriculum should derive passages that reflect the African environment and where possible the local experience.
Traditional stories have a role to help in this” Surely it would be beneficial for young minds to enjoy stories handed from their ancestors. Tribes that include Serahulay, Mandinca and Wolof traditionally use animal characters like ‘hare and hyena’ to depict human characteristics. These stories contain parables and lessons that nourish young minds and shape positive behavior.
It’s interesting to note that Gambian schools teach English and French but none of the native languages like Fulla, Mandinca, Jola and Wolof. This is why most Gambians can not read and write in their own languages. In comparison, children in England are taught traditional and modern stories that reflect Western identity as well as the multicultural myriad that exist there.
Unfortunately, The Gambia appears to be obsessed with anything that is not Gambian, at the detriment of losing its own culture. I don’t see anything wrong with broadening ones cultural horizons by adopting from other groups, so long as it does not devalue ones own. Kunta Kinteh left large foot prints for enslaved Africans abroad to find their way home, as well as welcoming people of all colour to ‘The smiling Coast’. Is it not there fore the social responsibility for Gambians to preserve and shine light on those steps and not to erase them with sand from another mans land?
Edward Baldeh aged 24yrs from Banjul, still remembers some of the stories told by his great grandmother before she passed away in 1999. Aged 120yrs ‘Ma ma Edme’ was one of the oldest women in Banjul, yet despite ailments such as hearing problems, she still managed to whisper stories to all who would listen.
Edward shared that, “In those day’s television was rare and only one compound owned a TV. Some of the stories were funny but some frightened us. Many were educational. She told us about the large boat that sunk while going to Bara and how certain tribes like the Fullas and Serrehs used spiritual powers to survive”.
When I asked Edward if stories were still told in his compound he said, “No times have changed. My younger brother who has 13yrs doesn’t share that experience, he only knows TV and TV does not show any Gambian stories”. Perhaps my expectation of coming across the odd night fire and social circle was a far fetched illusion. I would like to think that some where in the provinces, such fires still burn and stories are told uninterrupted by TV that shows mostly Western films.
Ironically many tourists who come to The Gambia look forward to experiencing ‘real’ Gambian culture and not ‘Gambians wanna be like the West’. In my opinion, the more Gambians reflect on their own heritage, the more attractive they become.
I am not suggesting that all Gambians should live in mud huts, wear traditional clothes and play only traditional music. After all, culture is not stagnant, it evolves. My name is Akiel Chinelo and I am a writer/performer from Manchester England.
Feed back is welcomed at akielchinelo@hotmail.co.uk
I am interested in the Griot tradition and have used Griot influences in my shows, ‘Afrika Wings’ and ‘Coconut Tree’. During 2008 I have been an artist in resident at Contact theatre in Manchester. Coconut Tree, the show I produced was a dark comedy set between Manchester and The Gambia.
Back in June I met story teller Cornelius Gomez. Cornelius (known as Connie) heads the Creative and Performing Arts division at the National Centre for Arts and Culture. Before meeting Connie, I imagined that his story telling art must have been passed from generation to generation. As a black man coming from the West, I was keen to tap into my African roots.
However, my enthusiasm faded when Connie explained, “Story telling is a dieing tradition in The Gambia. Parents do not engage children with stories because of modern day living.”
Connie has written a volume of books called ‘Gambian Folk Tales and Stories’ Most are taken from the Wolof language. He said, “It was very difficult to produce these books because ninety percent of the elders had forgotten the stories and the art of telling them”. Fortunately, he comes from a vital generation that remembers the stories they were told.
The art of story telling has been traditionally used in every culture to entertain and to teach both adults and children. Stories help people to remember their past and to mark their heritage. Importantly, they help people to collectively self identify. In other words they provide national identity.
It’s good to see classic Nigerian novels like ‘Things fall apart’ and ‘Joys of motherhood’ included in the school syllabus for grades 7-9. However, it saddens me to discover that traditional Gambian stories are not widespread in the National Curriculum. Teacher Lamin Sanyang of Ibo town said, “at grades 1,2,3 children are sometimes taught traditional stories and are encouraged to narrate them in their local languages.
These story telling sessions are not part of the syllabus, but are used to fill in gaps and to keep children occupied. The stories focus on morals and virtues and assist children in their ability to reason and to express right from wrong. At grade 4 onwards we are forced to follow what the syllabus requires and to meet certain targets which don’t include traditional story telling”
When asking Lamin if he felt that traditional stories should be included he said “the curriculum is designed and based around European experiences. For example, texts explaining snow and ice can present difficulties for children to gain understanding. Ideally, the curriculum should derive passages that reflect the African environment and where possible the local experience.
Traditional stories have a role to help in this” Surely it would be beneficial for young minds to enjoy stories handed from their ancestors. Tribes that include Serahulay, Mandinca and Wolof traditionally use animal characters like ‘hare and hyena’ to depict human characteristics. These stories contain parables and lessons that nourish young minds and shape positive behavior.
It’s interesting to note that Gambian schools teach English and French but none of the native languages like Fulla, Mandinca, Jola and Wolof. This is why most Gambians can not read and write in their own languages. In comparison, children in England are taught traditional and modern stories that reflect Western identity as well as the multicultural myriad that exist there.
Unfortunately, The Gambia appears to be obsessed with anything that is not Gambian, at the detriment of losing its own culture. I don’t see anything wrong with broadening ones cultural horizons by adopting from other groups, so long as it does not devalue ones own. Kunta Kinteh left large foot prints for enslaved Africans abroad to find their way home, as well as welcoming people of all colour to ‘The smiling Coast’. Is it not there fore the social responsibility for Gambians to preserve and shine light on those steps and not to erase them with sand from another mans land?
Edward Baldeh aged 24yrs from Banjul, still remembers some of the stories told by his great grandmother before she passed away in 1999. Aged 120yrs ‘Ma ma Edme’ was one of the oldest women in Banjul, yet despite ailments such as hearing problems, she still managed to whisper stories to all who would listen.
Edward shared that, “In those day’s television was rare and only one compound owned a TV. Some of the stories were funny but some frightened us. Many were educational. She told us about the large boat that sunk while going to Bara and how certain tribes like the Fullas and Serrehs used spiritual powers to survive”.
When I asked Edward if stories were still told in his compound he said, “No times have changed. My younger brother who has 13yrs doesn’t share that experience, he only knows TV and TV does not show any Gambian stories”. Perhaps my expectation of coming across the odd night fire and social circle was a far fetched illusion. I would like to think that some where in the provinces, such fires still burn and stories are told uninterrupted by TV that shows mostly Western films.
Ironically many tourists who come to The Gambia look forward to experiencing ‘real’ Gambian culture and not ‘Gambians wanna be like the West’. In my opinion, the more Gambians reflect on their own heritage, the more attractive they become.
I am not suggesting that all Gambians should live in mud huts, wear traditional clothes and play only traditional music. After all, culture is not stagnant, it evolves. My name is Akiel Chinelo and I am a writer/performer from Manchester England.
Feed back is welcomed at akielchinelo@hotmail.co.uk
Author: By Akiel Chinelo
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