afro-asian literature

Africa by David Diop

Three Friends by Yuruba

Telephone Conversation by Wole Soyinka

Once Upon A Time by Gabriel Okara

Jumong

By David Diop

He is a revolutionary African poet born in France but with parents of West African descent. His poems highlighted problems of Africa brought about by colonialism and gave a message to Africans to bring about change and freedom. He was known for his involvement in the negritude movement in France, a movement started by Black writers and artists protesting against French colonialism and its effects of African culture and values. His views and feelings were published in "Presence Africaine" and in his book of poems "Coups de pillon" which was published in 1956. Diop died at the age of 33 in a plane crash.

David Mandessi Diop(July 9, 1927 – August 29, 1960)

Africa my AfricaAfrica of proud warriors in ancestral

savannahsAfrica of whom my grandmother sings

On the banks of the distant river

I have never known youBut your blood flows in my veins

Your beautiful black blood that irrigates the fields

The blood of your sweatThe sweat of your work

The work of your slavery

Africa, tell me AfricaIs this your back that is unbent

This back that never breaks under the weight of humiliation

This back trembling with red scarsAnd saying yes to the whip under the

midday sun

But a grave voice answers meImpetuous child that tree, young and

strongThat tree over there

Splendidly alone amidst white and faded flowers

That is your Africa springing up anewSpringing up patiently, obstinately

Whose fruit bit by bit acquiresThe bitter taste of liberty.


I

Africa my AfricaAfrica of proud warriors in ancestral

savannahsAfrica of whom my grandmother sings

On the banks of the distant river

The poem starts by Diop reminiscing about Africa, a land he has not seen but only heard about from his grandmother's songs. His choice of words like "distant" symbolize how far he is from his country, a feeling based on his real life as he lived in France throughout his childhood and only visited Africa in the 1950s. Despite this, he paints a vivid scene of Africa and the proud warriors who walk on its "ancestral savannahs" You can sense how much he misses his homeland by his stress on the word Africa, and he continues to call it "My Africa" to emphasize it is his land and his feelings of patriotism towards it.


II

I have never known youBut your blood flows in my veins

Your beautiful black blood that irrigates the fields

The blood of your sweatThe sweat of your work

The work of your slavery

He continues to say that he has never known Africa, but despite the distance he cannot deny how much it is a part of him. The "beautiful black blood" which flows in his veins describes his African descent and shows how much Africa is a part of him and his love for it and its people. The next verses are angry and accusatory as he stresses that it is the blood and sweat of his people which is irrigating the fields for the benefit of other people. By this he is pointing a finger at the colonialists who exploited Black people and used them as slaves to profit from their hard labor.


III

Africa, tell me AfricaIs this your back that is unbent

This back that never breaks under the weight of humiliation

This back trembling with red scarsAnd saying yes to the whip under the

midday sun

In these verses he urges the Black people to stand up to the pain and the humiliation that they are suffering in their own land. He reminds them of the strength and pride they have in them and to say no to the whip of the colonialist which makes them work under the hot midday sun and leaves scars on their backs. Despite this suffering he urges them to be strong and remain unbent and not let this break them despite the weight of their suffering.


IV

But a grave voice answers meImpetuous child that tree, young and

strongThat tree over there

Splendidly alone amidst white and faded flowers

That is your Africa springing up anewSpringing up patiently, obstinately

Whose fruit bit by bit acquiresThe bitter taste of liberty.

Impetuous - acting or done quickly and without thought or care

In these verses the wise voice of Africa chides him for thinking "impetuous" thoughts, and implies to us that a continent lies in wait for something to happen. It urges the Africans to be patient and not hasty like children as there is change on the horizon. The tree "young and strong" represents the young people of Africa who are patiently but "obstinately" waiting until they get the liberty they want. At the moment the tree is alone, meaning the African struggle is a lonely battle but they will achieve the freedom and liberty they want no matter how bitter the taste in getting it. It is among the "white and faded" flowers by which he means the colonialists who will fade in time while the youthful Africans grow in strength and wait for their moment of freedom.


Conclusion

“The hope of emancipation of Africans and acquiring the bitter

taste of liberty.”

The poem revealed all the injustices done to the Africans. However, because of the love of the people to their country, that nevertheless of the humiliation and sufferings they have come to experience, they will raise up patiently and full of hope..


References:

•Poem 'Africa' by David Diop. In All Poetry. Retrieved from: http://allpoetry.com/poem/8562839-Africa-by-David-Diop

•Africa by David Diop. In Reference. Retrieved from: http://www.reference.com/art-literature/poem-africa-david-diop-3708bc8c72b64e07#


Three FriendsBy: Yoruba

YorubaThe Yoruba are one of the largest African ethnic

groups south of the Sahara Desert. They are, in fact, not a single group, but rather a collection of diverse people bound together by a common language, history, and culture. Within Nigeria, the Yoruba dominate the western part of the country. Yoruba mythology holds that all Yoruba people descended from a hero called Odua or Oduduwa. Today there are over fifty individuals who claim kingship as descendants of Odua.

I had three friends,One asked me to sleep on the mat,

One asked me to sleep on the ground;One asked me to sleep on his breast

I decided to sleep on his breastI saw myself carried on a river

I saw the King of the river and the King of the sun,There in that country I saw palm trees.

So weighed down with fruit.That the trees bent under the fruit,

and the fruit killed it.

Three FriendsBy Yoruba

I had three friends,One asked me to sleep on the mat,

One asked me to sleep on the ground;

One asked me to sleep on his breastI decided to sleep on his breastI saw myself carried on a river

I saw the King of the river and the King of the sun,

There in that country I saw palm trees.

So weighed down with fruit.That the trees bent under the fruit,

and the fruit killed it.


Explanation


Conclusion


References

Three Friends. In Google Books. Retrieved from: http://books.google.com.ph/books?id=ImaY6zkAtjQC&pg=PA37&lpg=PA37&dq=three+friends+by+yoruba&source=bl&ots=F9W39j823L&sig=gicPkRAeesYChMzVVjf9P4DNajA&hl=en&sa=X&ved=0ahUKEwixxsbF7f7NAhXBOY8KHeQqCbEQ6AEIJzAC#v=onepage&q=three%20friends%20by%20yoruba&f=true

Telephone Conversation

By: Wole Soyinka

Wole Soyinka Activist, Playwright (1934–)

A Nigerian playwright, poet, author, teacher and political activist who received the Nobel Prize for Literature in 1986.

The price seemed reasonable, locationIndifferent. The landlady swore she lived

Off premises. Nothing remainedBut self-confession. "Madam" , I warned,"I hate a wasted journey - I am African."

Silence. Silenced transmission of pressurized good-breeding. Voice, when it came,

Lipstick coated, long gold-rolledCigarette-holder pipped. Caught I was, foully.

"HOW DARK?"...I had not misheard...."ARE YOU LIGHT OR VERY DARK?" Button B. Button A.

StenchOf rancid breath of public hide-and-speak.

Red booth. Red pillar-box. Red double-tieredOmnibus squelching tar.

It was real! ShamedBy ill-mannered silence, surrender

Pushed dumbfoundment to beg simplification.Considerate she was, varying the emphasis-

"ARE YOU DARK? OR VERY LIGHT"

Revelation came"You mean- like plain or milk chocolate?"

Her accent was clinical, crushing in its lightImpersonality. Rapidly, wave-length adjusted

I chose. "West African sepia"_ and as afterthought.

"Down in my passport." Silence for spectroscopicFlight of fancy, till truthfulness chaged her accent

Hard on the mouthpiece "WHAT'S THAT?" conceding "DON'T KNOW WHAT THAT IS." "Like

brunette.""THAT'S DARK, ISN'T IT?"

"Not altogether.Facially, I am brunette, but madam you should

see the rest of me. Palm of my hand, soles of my feet.

Are a peroxide blonde. Friction, caused-Foolishly madam- by sitting down, has turned

My bottom raven black- One moment madam! - sensing

Her receiver rearing on the thunderclapAbout my ears- "Madam," I pleaded, "wouldn't

you ratherSee for yourself?"

Telephone ConversationBy: Wole Soyinka

Conclusion

"Telephone Conversation," by Wole Soyinka is about racism; more specifically, it is about the way

people -- both white and black -- fail to communicate clearly about

matters of race.


References

Telephone Conversation by Wole Soyinka. In Litxpert. Retrieved from: http://litxpert.wordpress.com/2012/01/14/analysis-telephone-conversation-by-wole-soyinka/

Telephone Conversation. In All Poetry. Retrieved from: http://allpoetry.com/poem/10379451-Telephone-Conversation-by-Wole-Soyinka


Once Upon A TimeBy: Gabriel Okara

Gabriel OkaraHe was born in Nigeria, in April 1921. Okara may be described as highly original and uninfluenced by other poets. He has been extremely successful in capturing the moods, sights and sounds of Africa. His poems show great sensitivity, perceptive judgements and a tremendous energy. Okara also shows a concern regarding what happens when the ancient culture of Africa is faced with modern western culture, for example in his poem, 'Once Upon a Time'.

Once upon a time, son,they used to laugh with their

heartsand laugh with their eyes:

but now they only laugh with their teeth,

while their ice-block-cold eyessearch behind my shadow.

There was a time indeedthey used to shake hands with

their hearts:but that’s gone, son.

Now they shake hands without hearts

while their left hands searchmy empty pockets.

‘Feel at home!’ ‘Come again’:they say, and when I come

again and feelat home, once, twice,there will be no thrice-

for then I find doors shut on me.

So I have learned many things, son.

I have learned to wear many faceslike dresses – homeface,

officeface, streetface, hostface,cocktailface, with all their

conforming smileslike a fixed portrait smile.

And I have learned tooto laugh with only my teeth

and shake hands without my heart.

I have also learned to say,’Goodbye’,

when I mean ‘Good-riddance’:to say ‘Glad to meet you’,

without being glad; and to say ‘It’s been

nice talking to you’, after being bored.

But believe me, son.I want to be what I used to be

when I was like you. I wantto unlearn all these muting things.

Most of all, I want to relearnhow to laugh, for my laugh in the

mirrorshows only my teeth like a snake’s

bare fangs!

So show me, son,how to laugh; show me how

I used to laugh and smileonce upon a time when I was like

you.


IOnce upon a time, son,

they used to laugh with their heartsand laugh with their eyes:

but now they only laugh with their teeth,

while their ice-block-cold eyessearch behind my shadow.

IIThere was a time indeed

they used to shake hands with their hearts:

but that’s gone, son.Now they shake hands without hearts

while their left hands searchmy empty pockets.


IThe poem starts with the well-known

words ‘Once upon a time’, suggesting that what the speaker is going to say is a fairy tale, something so far-fetched it

might not even be believed. This makes us think that honesty in expressing emotion is so rare

nowadays that it practically is a fairy tale.

IIUse of words of ‘used to..’, ‘gone’ in contrast to ‘now’ shows the gulf of

time and the difference/division between his past and present life.

III‘Feel at home!’ ‘Come again’:

they say, and when I comeagain and feel

at home, once, twice,there will be no thrice-

for then I find doors shut on me.

IVSo I have learned many things, son.I have learned to wear many faces

like dresses – homeface,officeface, streetface, hostface,

cocktailface, with all their conforming smiles

like a fixed portrait smile.


IIIPeople in society no longer mean what they say- its all about being polite. Can never know when someone is actually

being sincere as it so rare. Also implies that true friends are very hard

to find- cannot trust anyone.

IV“I have learned to wear many faces like

dresses” - makes expressions and emotions seem like they’re disposable,

and you can choose how to feel and when to feel it. Conveys how society is

only obsessed with appearance, not really reflecting inner feelings.

VAnd I have learned too

to laugh with only my teethand shake hands without my heart.

I have also learned to say, 'Goodbye’,when I mean ‘Good-riddance’:

to say ‘Glad to meet you’,without being glad; and to say ‘It’s

beennice talking to you’, after being bored.

VIBut believe me, son.

I want to be what I used to bewhen I was like you. I want

to unlearn all these muting things.Most of all, I want to relearn

how to laugh, for my laugh in the mirror

shows only my teeth like a snake’s bare fangs!


VDespite not wanting to be like ‘them’

the speaker is saying that he has adapted to the society and now does things he does not want to and says

things he does not mean.

VI‘when I was like you’: he is looking up to his son, on his disassociation with fraudulent behavior and emphasizes on how he regrets having to repress

his individuality to adopt into society.

VIISo show me, son,

how to laugh; show me howI used to laugh and smile

once upon a time when I was like you.


VIIThe speaker is guilty of having to be

like one of ‘them’ and he wants his life to be filled with innocence and honesty

again.

Children are innocent and untouched by the world. They respond naturally

and without prejudice. The poem ends with a wish to return to this state.


Conclusion

The Only Thing That Is Constant Is Change. –Heraclitus

Change - how people change over the years and become false and untrustworthy

Influence - the influence of the white western world on African nations; countries like Nigeria were more honest before being developed by the west.

Adults can learn from innocent children - role reversal.

Adulthood can change you and how quickly people adapt to the changes.


References

Once Upon A Time. In The Brothers' Jim Jam Slam. Retrieved from: http://thehenrybrothers.wordpress.com/2011/06/04/once-upon-a-time-gabriel-okara/

Once Upon A Time By Gabriel Okara. In Litxpert. Retrieved from: http://litxpert.wordpress.com/2015/03/11/once-upon-a-time-by-gabriel-okara-2/

Jumong주몽

JumongFounder of Goguryeo Kingdom is man of legend,

history. Described as the son of the heavens, Jumong was the founding king of Goguryeo,

which eventually became the largest dynasty in Korean history. Also known as the Holy King of

the East, mythological tales of his origins mostly follow the same basic story.

Jumong, according to ancient history, is the half-historical, half-mythological founder of Goguryeo, one of the three kingdoms that occupied the Korean peninsula from around 60 BCE all the way into 7th century. (The other two are Baekje and Silla.)

Since this is such an ancient history, the circumstances of his birth are completely mythical. His father was Haemosu, the Prince of Heavens; his mother was Yuhwa, daughter of the river god Habaek. Haemosu basically hit Yuhwa and left, running back to heaven. Disgraced, Yuhwa had to leave her home, and eventually became a concubine to King Geumwa of Dongbuyeo (East Buyeo) kingdom.

Jumong

Yuwha later gave birth to a giant golden egg. Geumwa tried to destroy the egg by smashing it, but the egg would not break. Then he left the egg in the wild hoping that animals would eat it, but the animals instead protected the egg from harm. The egg was then returned to Yuhwa, who nursed it. From the egg hatched a baby boy, who was named Jumong, meaning "skilled archer”.

Jumong’s archery skill was out of this world. His first words at age 1, apparently, were “Mother, give me a bow and arrow.” With a tiny bow, he would shoot and kill the flies that bothered him. He grew up to be an archer and warrior renowned all over the kingdom, which made other princes of Geumwa jealous.

Jumong

They plotted to kill Jumong, and Jumong had to flee. As he fled on his horse, he approached a fast-running river. Jumong pled his life to his father Haemosu in heaven, and turtles and fish of the river floated over the water, forming a bridge. After he successfully fled, he was admitted to the royal court of Bukbuyeo (North Buyeo), and eventually founded Goguryeo by incorporating nearby regions into Bukbuyeo. He then made his son Yuri succeed to the throne. Jumong died five months later after the succession.

Jumong

Conclusion

Jumong represents heroism and majesty of a great culture and race of Korea. Whether he is actually real or not for them, he is the Korean’s Alexander the great.

Jumong

References

Jumong. In Ask a Korean. Retrieved from: http://askakorean.blogspot.com/2007/06/some-inaccurate-ancient-history.html

Dongmyeong of Goguryeo. In Wikipedia. Retrieved from: http://en.wikipedia.org/wiki/Dongmyeong_of_Goguryeo

Jumong

Thank you forlistening!

Prepared by:Ardiente, Bernard

Correa, JakeMalabanan, Joyce

Ramos, RonaldSumaylo, Chloe

afro-asian literature

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