Poets, culture and orature: A reappraisal of the Malawi political public sphere, 1953–2006

Abstract

Mapanje and Mphande make a persuasive case for the significant role of literature in challenging Dr Banda's one-party hegemony. The contested terrain, as Mphande notes, was orality, the dominant medium in Malawi where literacy levels are low. It has been assumed, though, that orature did little to challenge Banda's hegemony. I argue that far from being silent, the popular musicians and dramatists (as orature) were much braver than the writers. While written poetry and prose was often presented in coded and dense texts, the musicians’ and dramatists lyrics and texts were usually much more explicit. And while writers used folk tales and appropriations from traditional culture as templates to critique Dr Banda's autocratic regime, oral practitioners went further, critiquing Dr Banda's regime using the same templates but also pointing out the socio-economic suffering of the peasantry.

Since 1994, as writers’ critiques have become muted and spasmodic in the ‘multiparty’, musicians have consistently been loud and forceful voices on behalf of the poor. From 1953 to 2006, orature has been a continuous tool of resistance whereas literature has been an intermittent response, often related to patronage, to political and socio-economic events. Further, while literature tends to be concerned predominantly with human rights and democracy issues, orature is concerned with these as well as socio-economic rights; a distinction reflective of class, the rural/urban divide and education in Malawi. The findings are generalisable to other Bantu-language-speaking countries such as Zambia, Zimbabwe, Tanzania and Mozambique. I posit that assessments of Malawi's current and future socio-economic and political cultures that exclude oral critiques miss significant and critical factors impacting on developmental changes in these spheres.

Keywords:

• poetry
• orality
• orature
• resistance
• Bantu languages

Acknowledgements

The author would like to thank Patrick O'Malley, Mike Lwanda, John McCracken and other anonymous friends.

Notes

1. See Banjos Guitars and Fifties, PAM 050.

2. All on Sizzling Sixties.