Songs and war: the mixed messages of Biafran war songs

Abstract

In recent times, interest has been generated in the study of oral literature even though this has been a much neglected area of concern in many modern societies in Africa. As some critics have already noted, since the coming of the written tradition, what has generally been referred to as 'songs' have been despised as not being worthy of critical attention by scholars. Karin Barber, in making a case for this, stated that, 'oral literature everywhere has been or is being marginalised with the displacement and impoverishment of its bearers, the illiterate peasantry' (Barber 1984: 497-8). In Africa in particular, she ascribes the reason for this to the development of literacy and adoption of the language and culture of the metropolitan ex-colonial powers which she says, 'are means of access to the ruling class'. This is the inevitable outcome of the western formal educational system which have been planted in many parts of Africa with all its presumptions. This has resulted in the promotion of the literary tradition and the critical canons that go with it and the accompanying denigration or at best disregard of oral art forms. And yet it is clear that this often neglected form of discourse, namely the oral, has had the greatest impact on the collective consciousness of a people at certain historical moments. This was certainly the case with the Zimbabwean War songs and with the songs that flourished, conscientised and raised political consciousness during the Biafran War. We have also witnessed the impact of songs on the will to fight on and succeed in the long South African resistance against apartheid. In other words, songs can be an important vehicle of popular and national consciousness. Moreover, these may not be songs that have been newly composed; so-called 'traditional' songs are far from time-locked. They resurface from time to time, are regenerated and re-used as a strong armour of resistance. Songs therefore, are resilient, they are not trapped in a particular period resilience but tend often to reappear and constantly update themselves. They are often filled with contemporary relevance and provide commentaries on the temper of a particular time. Some reasons have been advanced for the effective power and the political clout which songs may have over and above the printed word apart from their adaptability to every situation and their spontaneity. One is that song as a general phenomenon may have a kind of strength that draws easily on 'the powerful symbols and resonances within a culture which influence present consciousness' (Gunner 1986: 31). Brown has also called attention to the fact of the importance of the oral tradition in his West Indian Poetry, and attests to