by Ndilai Resian
Debate on declining literary standards is one that is not about to go away any soon. A recent conversation among a group of readers raised the question of whether Kiswahili literature is headed to its grave. This is a valid question; much has also been said about the state of literature in English. It is perhaps easy to say that literature in Kiswahili is dying. It is not yet dead; there are bits and pieces of ‘new’ works. It is the quality of such works that would probably make for a good discussion and perhaps a better understanding of the sad trend.
Top on the list, if such a rant calls for listing, is that it is possible that we are looking at the new Kiswahili literary works through the prism of older writers, in this case the likes of the venerable Shaaban Robert, Ibrahim Hussein, Abdilatif Abdalla, among others. This could be a reflection of the general decline in the culture of ‘griots’ and fireplace storytelling that would have made possible the imaginings of the writers of yore. This contention needs further inquiry. However, to refuse to accept and move on from such greatness is akin to thinking that language and culture are static. We should find new great works in the prevailing cultural circumstances.
It is definitely important to study old (and timeless) texts alongside new ones. We can also argue that some old, great texts formed part of mainstream discussions and study through the same means by which the current ‘shallow’ texts find themselves on the curriculum. The process and politics of canonising texts cannot be said to be free from non-textual influences. Perhaps continuous study of texts as opposed to studying for exams can rectify the challenge of poor texts. We need to find ways of encouraging reading for pleasure, before we think about reading for critical analysis.
Is it possible that there is an ‘underground’ type of Kiswahili literature? A type that is thriving away from those who determine what should be canonical according to whichever whims? Let us find new works, not just sit and complain about a lack of serious texts. I do not know if there is a Kiswahili version of Kwani? (gangster literature) which would encourage the proliferation of canon-challenging texts. It is proper to call out mediocre works, but who determines whether a text is good or bad and what informs that decision? I think giving genre-specific examples, as Apa Mwambeo does when he refers to Chozi la Heri, furthers the discussion and shines light on new perspectives, even for other genres.
I think the problem of declining literary standards is not unique to Kiswahili literature. There has been a growing reflection of whether literature generally is ‘dying’, especially in this country, with complaints of unavailability of new literary works worthy of critical consideration. This could also be a reflection of how Kiswahili is taught especially in primary and secondary schools. Although it is a compulsory and examinable subject, it is taught as only one subject. All the other subjects are taught in English, giving the English language an upper hand. Many schools also have a policy that almost criminalises the use of Kiswahili in conversations, the way our vernacular languages are treated in the school environment. It is still not uncommon for teachers to order class prefects to write down names of students who speak in Kiswahili. Beyond the punishment meted out on such students, this act contributes to shaming and demeaning Kiswahili as a language of interaction and instruction. We must, therefore, develop innovative and interesting ways of teaching the language bearing in mind that it is not allocated enough time on the timetable. There is generally a negative attitude towards Kiswahili. Schoolchildren think Kiswahili and Mathematics are the hardest subjects. If this is the case, how do we inspire reading and writing culture in a language that at best invokes negativity in the generation we hope to contribute to the language’s robustness? And what becomes of our efforts if we keep insisting on “maneno magumu, sadfa, kukidhi nadharia, kushindilia mbinu za lugha na upuzi kama huo” as Mwambeo laments?
Finally, there is the glorification of English in our culture. If one should express himself in proper Kiswahili, people are left mesmerised as though he is speaking in a foreign language. Woe unto him if he should do that in an interview situation! For as long as we find it hilarious when people who have gone to ‘English schools’ speak broken Kiswahili (young Kenyatta, for example), we entrench the idea that Kiswahili is not to be taken seriously.
The writer is a ‘bookthief’ reader.
Write to editor@nairobibookshelf.com.
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