The world of epic is picaresque for its distinctive character. Every nation or ethnical entity has such a precious legacy. African epic is peculiar for the historical, cultural, religious, and traditional features. It is demonstrated in many works by different griots. In this respect, African epics consider to be reproduced solely by male griots (Allan 195). Women were usually thought of playing the minor part in the African folklore. It is concerned mainly with female singing. A woman should keep the household and a child in safety throughout various African epics. This evaluation gives substantial grounds to suppose the significant role of a woman being helpful and helping the main heroes in their troubles. Thus, the role of a woman in African epics is outlined in the image of a sister, a mother, or a wife who helps the main hero overcome the difficulties of life.
First of all, it is vital to take notice of the West African epic of Mande people called Son-Jara (also known as Sunjata). This epic illustrates the glorious past of Mande people described on the example of the main hero - Sunjata (Conrad and Cond 2). In fact, the epic describes multiple episodes in which women appear in their traditionally significant roles. It concerns the figure of buffalo woman and the role of an old woman (or Kamara woman) in the epic. Moreover, the special account refers to a woman, as a bearer of a child. The most respectful attitude in this sacral African epic is dedicated toward a woman, as a source of wisdom and care.
Son-Jara expressed an enormous piece of respect and love to his mother when she died. There is no mention on the lower position of a woman. There are only words of praise and inner delight for a man who has entered the world owing to a woman. The epic of Son-Jara describes the way the main hero pleased the dead body of his mother
Son-Jara looked in on the Konde woman,
But the Konde woman had abandoned the world.
He washed his mothers body,
And then he dug her grave,
And wrapped her (Johnson and Sisk 85)
In fact, the epic is a long narrative orally transmitted by male bards or jesere, which is implemented in a rich and highly poetic African language (Biebuyck 5). In this respect the world of poetic word that surpasses the construct of every epic is really distinctive for everyone. On the other hand, the image of a woman is apparent in many other African epics. For instance, in the heroic epic of Jeki la Njanbe Inono the main idea goes across some mystical as well as splendidly depicted events. Thereupon, Ngrilo Epee Tungum is the central woman who gave birth to a child from above, Jeki (Johnson, Hale and Belcher 278). The magnificence of this very woman is underlined in the epic by her obedience to the Higher Powers and to her husband. Her purity and divinity are characterized through such peculiar episodes when she was forced to give birth to a child upon his (childs) strong request. Thus, there should be more points on ethnicity that matters among African peoples.
The ethnical specificity of epics recounted traditionally by men and recently by women provides a theme of marriage, as the main point to develop other significant themes on the importance of women. In this respect the topic of marriage gives birth, so to speak, to such themes as love, adultery, courtship, sterility, etc. (Emenyo2nu, Emenyonu and Imbuga 16). The male roles as well as the solely male participaption in recounting epics in Africa made African women emphasize the extra-ordinary place of female characters within the epics. The most viable evidence is the Epic of Good Brides and Young Women by Safi Hassan (Emenyo2nu, Emenyonu and Imbuga 15). In fact, the role of a woman was never reduced or underestimated in the African epic works. The life Mande and other Sub-Saharan peoples lived and the bygone glory they shared in the past are eventually related to the figure of a woman, as a bearer of life.
Thus, in the African epics a woman is described in her ongoing battle with a man and her main value, i.e. taking care of a child (Hale 231). Women in Africa were always active in everything that related to folklore. They can fairly be called domestic goddesses and those who watch the correct representation of what was primordially described by ancestors in a definite epic. In this respect the scholars provide the example of the unique and only-begotten epic text by a woman. The question is about the epic, called Sara (Allan 195). Thus, one may suppose that the participation of women (direct or indirect) was really significant in composing and recounting African epics from generation to generation.
The Mwindo Epic of the BaNyanga provides a scope of episodes where women are depicted in their supremacy over men in households and in their keeping a strict eye on children (Belcher 38). The epic points out the life of the African community and its collective tribal nature. Moreover, the main character is opened-hearted and feels free to show personal intentions toward a woman that have charmed him greatly.
All in all, the epic description of women in the African epics goes along with the traditional century-long ability of African people of keeping their culture and their style of folk representation in safety.
The figure of a woman has a preliminary significance as a goddess sent to generate the most glorious and heroic men on the African continent. Such a speculation is a result of thorough observation of the records that reflect the body of each epic verbally. Even so, the African epics cannot fail to glorify the participation of women in the world of men. It is described in the epics extrinsically. Nevertheless, Berete woman, Konde woman, Kamara women and Ngrilo Epee Tungum are identified as bearers of human happiness and hope, meaning children, first of all. On the other hand, the role of a woman in the African epics contemplates the well-being of a man.
Being that vibrant and unique in representation, the epics are reproduced and sung not solely by griots but also by griotesses (Hale 45). Such an important shift in gender relationships in African Sub-Saharan countries is a vivid manifestation of a womans better assistance in men-related affairs. It touches upon the responsibility to take care of the culture and folk tradition transmitted orally in the course of time. On the example of Son-Jara one highlights that due to womens responsibility in the family and ability to give birth to many new people the Kuyate matriarch came forward (Johnson, Hale and Belcher 14). Thus, there is no doubt that the place of a woman in the African epics is compelling. Thereupon, the line from Son-Jara that being a woman is a malady sounds quite controversially after such a deeper look at the figure of a woman in the African world of epics.
First of all, it is vital to take notice of the West African epic of Mande people called Son-Jara (also known as Sunjata). This epic illustrates the glorious past of Mande people described on the example of the main hero - Sunjata (Conrad and Cond 2). In fact, the epic describes multiple episodes in which women appear in their traditionally significant roles. It concerns the figure of buffalo woman and the role of an old woman (or Kamara woman) in the epic. Moreover, the special account refers to a woman, as a bearer of a child. The most respectful attitude in this sacral African epic is dedicated toward a woman, as a source of wisdom and care.
Son-Jara expressed an enormous piece of respect and love to his mother when she died. There is no mention on the lower position of a woman. There are only words of praise and inner delight for a man who has entered the world owing to a woman. The epic of Son-Jara describes the way the main hero pleased the dead body of his mother
Son-Jara looked in on the Konde woman,
But the Konde woman had abandoned the world.
He washed his mothers body,
And then he dug her grave,
And wrapped her (Johnson and Sisk 85)
In fact, the epic is a long narrative orally transmitted by male bards or jesere, which is implemented in a rich and highly poetic African language (Biebuyck 5). In this respect the world of poetic word that surpasses the construct of every epic is really distinctive for everyone. On the other hand, the image of a woman is apparent in many other African epics. For instance, in the heroic epic of Jeki la Njanbe Inono the main idea goes across some mystical as well as splendidly depicted events. Thereupon, Ngrilo Epee Tungum is the central woman who gave birth to a child from above, Jeki (Johnson, Hale and Belcher 278). The magnificence of this very woman is underlined in the epic by her obedience to the Higher Powers and to her husband. Her purity and divinity are characterized through such peculiar episodes when she was forced to give birth to a child upon his (childs) strong request. Thus, there should be more points on ethnicity that matters among African peoples.
The ethnical specificity of epics recounted traditionally by men and recently by women provides a theme of marriage, as the main point to develop other significant themes on the importance of women. In this respect the topic of marriage gives birth, so to speak, to such themes as love, adultery, courtship, sterility, etc. (Emenyo2nu, Emenyonu and Imbuga 16). The male roles as well as the solely male participaption in recounting epics in Africa made African women emphasize the extra-ordinary place of female characters within the epics. The most viable evidence is the Epic of Good Brides and Young Women by Safi Hassan (Emenyo2nu, Emenyonu and Imbuga 15). In fact, the role of a woman was never reduced or underestimated in the African epic works. The life Mande and other Sub-Saharan peoples lived and the bygone glory they shared in the past are eventually related to the figure of a woman, as a bearer of life.
Thus, in the African epics a woman is described in her ongoing battle with a man and her main value, i.e. taking care of a child (Hale 231). Women in Africa were always active in everything that related to folklore. They can fairly be called domestic goddesses and those who watch the correct representation of what was primordially described by ancestors in a definite epic. In this respect the scholars provide the example of the unique and only-begotten epic text by a woman. The question is about the epic, called Sara (Allan 195). Thus, one may suppose that the participation of women (direct or indirect) was really significant in composing and recounting African epics from generation to generation.
The Mwindo Epic of the BaNyanga provides a scope of episodes where women are depicted in their supremacy over men in households and in their keeping a strict eye on children (Belcher 38). The epic points out the life of the African community and its collective tribal nature. Moreover, the main character is opened-hearted and feels free to show personal intentions toward a woman that have charmed him greatly.
All in all, the epic description of women in the African epics goes along with the traditional century-long ability of African people of keeping their culture and their style of folk representation in safety.
The figure of a woman has a preliminary significance as a goddess sent to generate the most glorious and heroic men on the African continent. Such a speculation is a result of thorough observation of the records that reflect the body of each epic verbally. Even so, the African epics cannot fail to glorify the participation of women in the world of men. It is described in the epics extrinsically. Nevertheless, Berete woman, Konde woman, Kamara women and Ngrilo Epee Tungum are identified as bearers of human happiness and hope, meaning children, first of all. On the other hand, the role of a woman in the African epics contemplates the well-being of a man.
Being that vibrant and unique in representation, the epics are reproduced and sung not solely by griots but also by griotesses (Hale 45). Such an important shift in gender relationships in African Sub-Saharan countries is a vivid manifestation of a womans better assistance in men-related affairs. It touches upon the responsibility to take care of the culture and folk tradition transmitted orally in the course of time. On the example of Son-Jara one highlights that due to womens responsibility in the family and ability to give birth to many new people the Kuyate matriarch came forward (Johnson, Hale and Belcher 14). Thus, there is no doubt that the place of a woman in the African epics is compelling. Thereupon, the line from Son-Jara that being a woman is a malady sounds quite controversially after such a deeper look at the figure of a woman in the African world of epics.
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