The Interplay of Folklore and Oral Traditions in Petals of Blood and A Grain of Wheat: A Comparative Study of Storytelling as a Tool of Historical and Political Consciousness
The Interplay of Folklore and Oral Traditions in "Petals of Blood" and "A Grain of Wheat": A Comparative Study of Storytelling as a Tool of Historical and Political Consciousness
Introduction :-
Two classic pieces of postcolonial African literature, Petals of Blood (1977) and A Grain of Wheat (1967), by Ngũgĩ wa Thiong’o, provide a critical analysis of Kenya’s socio-political environment. Both books examine the moral complexities that come with national liberty, the hardships of independence, and the long-term effects of colonial control. Petals of Blood offers a more comprehensive and harsh critique of post-independence Kenya, emphasising the betrayal of revolutionary ideals, whilst A Grain of Wheat explores the individual and societal repercussions of the Mau Mau rebellion. Both novels function as historical and political commentary, using storytelling as a means of fostering consciousness through their complex narrative frameworks and incorporation of oral traditions (Gikandi 105).
Narrative Style and Representation of Themes :-
Although both books use non-linear storytelling approaches, their methods are different. A Grain of Wheat reveals the complexity of both individual and collective experiences during the fight for independence by weaving together the past and present and switching between the views of several individuals (Killam 87). The reader is able to observe the moral quandaries of characters such as Mugo, whose treachery serves as a metaphor for the greater ethical inconsistencies of the revolution, thanks to this fractured narrative style.
Petals of Blood, on the other hand, uses a frame narrative, starting with a murder inquiry that reveals the lives of four main characters, Wanja, Abdulla, Karega, and Munira, each of whom represents a distinct aspect of Kenya's sociopolitical change (Amoko 56). Deeply rooted in oral storytelling traditions, this narrative technique exposes the shortcomings of independence, corruption, and working-class exploitation. The idea that history is formed by many, frequently opposing voices rather than a single voice is further supported by the shifting perspectives throughout both novels.
Betrayal, whether it be on a national, political, or personal level, is one of the main themes in both books. The disclosure of Mugo's betrayal in A Grain of Wheat represents the difficulties of sacrifice and devotion in the nationalist conflict (Gugelberger 134). The betrayal of independence principles is also criticised in Petals of Blood, which demonstrates how the new Kenyan elite upholds social and economic inequities rather than tearing down colonial hierarchies. The function of narrative as historical memory is another important theme. Both books use allegory, oral traditions, and folklore to challenge colonial-imposed historical narratives. Oral storytelling is employed as a means of resistance in Petals of Blood, as characters recount earlier battles to confront the postcolonial state's unfulfilled promises (Bodunde 129). In contrast, A Grain of Wheat reinforces the concepts of sacrifice, redemption, and the weight of history through the use of metaphor and biblical allusions.
Understanding Folklore and Oral Traditions in African Literature :-
The importance of oral traditions in African literary discourse is thoroughly examined in Charles H. Long's article Oral Literature and Folklore in Africa. It emphasises how African oral literature is a major tool for conserving history, culture, and social values—a fact that is sometimes disregarded in Western literary traditions. The article charts the development of folklore research, emphasising its close ties to religion studies and anthropology.
The significance of oral literature as a separate genre as opposed to just an unofficial forerunner of written literature is one of the main points made. Oral traditions are a complex type of literary expression that necessitates its own methodological framework for research, as scholars like Ruth Finnegan have highlighted. According to the article, Finnegan divides oral literature into a number of categories, including prose, poetry, and unique forms like stylised speech and drum language. However, because storytelling is fluid and frequently combines characteristics of several genres, classifying oral traditions is difficult.
The function of performance in oral literature is another important topic covered. Oral traditions, in contrast to written literature, mostly depend on audience participation, context, and the performative elements of narration, such as gestures, music, and symbolic expressions. Because of this, the storytelling process is no longer a solo act of reading but rather a dynamic, group activity. The article focusses on Harold Scheub's research on Xhosa storytelling, which emphasises the importance of songs, chants, and proverbs in creating meaning through oral performances.
The study challenges Western prejudices in the analysis of African folklore, especially the propensity to classify oral traditions using antiquated evolutionary models. Traditional British anthropology frequently disregarded folklore as "primitive," ignoring its versatility and complexity. The paper makes the case for a more multidisciplinary and contextual approach that takes folklore into account within its historical and cultural context. African oral traditions serve as historical documents, moral teachings, and instruments of resistance against colonial narratives in addition to being stories. In order to fully appreciate oral storytelling as a literary art form that is always changing in both oral and written contexts, the study of folklore in African literature must transcend crude classifications. (Long)
Folklore and Oral Traditions in 'Petals of Blood' :-
'Petals of Blood' by Ngũgĩ wa Thiong'o uses oral traditions and folklore to question prevailing historical accounts and offer a critical analysis of Kenya after independence. According to Sackey's analysis, Ngũgĩ uses oral storytelling techniques as a political tactic to elevate the voices of the marginalised as well as an aesthetic device. The utilisation of collective storytelling, a defining characteristic of African oral traditions, is a significant component in Petals of Blood's folklore. Throughout the book, there are several narrators whose memories resemble oral testimony: Munira, Karega, Wanja, and Abdulla. By doing this, Ngũgĩ adopts a collective storytelling approach that is reminiscent of indigenous African traditions, rejecting the linearity of Western narrative forms. This is consistent with Sackey's observation of oral poetics, in which African novelists transform the novel form into something that captures the African experience through the use of oral traditions.
The novel's framework also incorporates songs, proverbs, and folktales. By doing so, historical memory is preserved and neocolonial narratives are resisted. Sackey highlights that African oral literature serves as a tool of historical consciousness in addition to being a source of amusement. Using oral traditions to reveal the corruption of revolutionary aspirations, the protagonists in Petals of Blood frequently invoke folktales to attack the shortcomings of independence. Social opposition is further highlighted by Ngũgĩ's use of oral tradition. Many African authors use oral traditions to challenge colonial literary traditions and promote an African-centered worldview, as Sackey points out. Characters like Karega, whose revolutionary consciousness is influenced by oral histories passed down by the oppressed, are examples of this in Petals of Blood. (Sackey)
Folklore and Oral Traditions in 'A Grain of Wheat' :-
A Grain of Wheat by Ngũgĩ wa Thiong’o skilfully incorporates oral traditions and folklore into its story, utilising them as means of strengthening communal identity and conserving historical memory. The book challenges colonial historical narratives and emphasises the hardships of the freedom movement by drawing on Kenya's oral storytelling traditions. In order to create a politically charged narrative that speaks to African oral traditions, Ngũgĩ reclaims indigenous storytelling, as demonstrated.
The novel's collective narrative, which resembles African storytelling sessions, is among the most remarkable features of oral tradition. A Grain of Wheat uses a variety of viewpoints rather than a single, linear plot, much like oral histories are passed down and rewritten by several voices. The idea that history is a group experience rather than an individual account is reinforced by the narrator's frequent switching between first-person plural and third-person omniscient viewpoints. This method is similar to the oral tradition of collective memory, in which stories, proverbs, and allegorical tales are used to preserve history rather than written documents.
The novel's use of songs, proverbs, and allegorical language is another important aspect of oral tradition. In order to reflect social norms and traditional wisdom, Ngũgĩ commonly uses Gikuyu idioms and proverbs. The authenticity of African storytelling and its significance in forming cultural identity are highlighted by these language decisions. According to Caminero-Santangelo, oral tradition is positioned as a potent form of resistance when indigenous rhetorical patterns are incorporated, challenging the supremacy of colonial literary forms.
A Grain of Wheat is a prime example of the literary and political power of oral traditions and folklore. By taking back oral storytelling, Ngũgĩ acknowledges the significance of indigenous knowledge systems in forming Kenya's postcolonial identity while simultaneously challenging Western historical narratives. The novel highlights the ongoing significance of oral traditions in African writing through group storytelling, myth-making, and linguistic components.
Comparative Analysis: Storytelling as a Tool of Historical and Political Consciousness :-
Both A Grain of Wheat and Petals of Blood by Ngũgĩ wa Thiong’o use storytelling to sculpt political and historical consciousness. According to Bardolphe's study, Ngũgĩ makes use of narrative frameworks that are influenced by Western literary models as well as African oral traditions, especially Joseph Conrad's writings. He offers a potent critique of treachery, neocolonialism, and the shortcomings of nationalist organisations by using narrative to rebuild Kenya's colonial past and post-independence disenchantment (Bardolphe).
The fractured, multi-perspective tale that Ngũgĩ delivers in A Grain of Wheat is reminiscent of oral storytelling traditions. The framework of the book, which is based on collective memory, illustrates how history is a collection of voices and lived experiences rather than a single, authoritative account. At first hailed as a hero, Mugo represents the conflict between personal guilt and societal historical narratives. The idea that history is formed by those who recount it is further supported by his eventual confession, which acts as a moment of truth. Bardolphe emphasises how Ngũgĩ's storytelling style here is similar to Conrad's Under Western Eyes, where the protagonist's moral struggle and betrayal fuel the story's introspective quality (Bardolphe).
On the other hand, Petals of Blood expands on this narrative intricacy to reveal Kenya's post-independence exploitation and corruption. Storytelling serves as a political resistance strategy in this context. As oral historians, Munira, Karega, Wanja, and Abdulla describe their battles against colonialism and the betrayals of the upper class. According to Bardolphe, the novel's alternating points of view and dependence on oral testimony are reminiscent of African folklore, in which history is transmitted by shared narratives and lived experiences rather than written records. Symbolic storytelling is also used in both books to further their critique of power. A Grain of Wheat is based on biblical allegory, namely the metaphor of the "grain of wheat" as a representation of rebirth and sacrifice. However, in order to depict the hardships of the working class, Petals of Blood uses allegory and traditional oral poetry. According to Bardolphe, these strategies support Ngũgĩ's contention that storytelling is a way to recover historical agency from colonial and capitalist narratives, in addition to being a literary instrument.
In A Grain of Wheat and Petals of Blood, storytelling functions as a political act as much as a literary device. Ngũgĩ recovers Kenya's past from colonial and neocolonial distortions by means of allegorical references, oral traditions, and fragmented storytelling. According to Bardolphe's research, Ngũgĩ's storytelling goes beyond simple narrative experimentation and turns into a kind of historical resistance that makes sure the voices of the oppressed are heard (Bardolphe).
A Neocolonial Study :-
The paper by Most. Umme Atia Khatun offers a thorough analysis of how neocolonialism was portrayed in Ngũgĩ wa Thiong'o's A Grain of Wheat and Petals of Blood in post-independence Kenya. It contends that colonial structures were maintained under a new class of indigenous elites that upheld social inequality, economic reliance, and oppression as a result of independence rather than actual liberation. Neocolonialism and Independence Betrayal, the article emphasises how the rise of local elites in Kenya following independence is similar to that of the former colonial rulers. It makes reference to the writings of Kwame Nkrumah and Frantz Fanon, who define neocolonialism as a system in which political power seems autonomous but is nevertheless subject to outside economic pressures (Khatun 143). According to the report, the indigenous elite upholds capitalist and classist systems that take advantage of the lower classes by copying colonial structures.
In A Grain of Wheat, Karanja stands in for the collaborationist elite who sides with British authorities and betrays his people for their own benefit. In a similar vein, the member of parliament represents the neocolonial elite, which puts individual wealth ahead of the advancement of the country. According to the article, Ngũgĩ portrays these people as representations of the ongoing colonial exploitation under the new overlords (Khatun). Characters like Mzigo, Chui, and Kimeria in Petals of Blood represent the dishonest post-independence government that oppresses dissent and takes advantage of workers. The conversion of Ilmorog from a village to a capitalist hub represents the devastation of social life in service of business interests (Khatun).
The article highlights how neocolonialism is still characterised by economic reliance on former colonisers. According to Fanon's theory, true autonomy is constrained in Kenya since the country's economy is still dominated by Western organisations (Khatun 145). Furthermore, even after independence, Christianity and Western education are criticised for continuing to maintain ideological control over the populace and upholding colonial norms. Fanon's warning about the collapse of African independence due to elite collaboration in neocolonial governance is reflected in Ngũgĩ's writings, the study concludes. It makes the case that Ngũgĩ exposes the treachery of nationalist principles, showing how the fight for real freedom is still going on. In the end, the article emphasises Ngũgĩ's Marxist perspective, which depicts the post-independence state as a continuation of colonial tyranny.
Conclusion :-
In Petals of Blood and A Grain of Wheat, the interaction of oral traditions and folklore highlights the potency of storytelling as a vehicle for political and historical awareness. In order to refute colonial history, recover African identity, and highlight the shortcomings of post-independence leadership, Ngũgĩ wa Thiong’o uses oral narratives, collective storytelling, and indigenous folklore. In addition to preserving African oral traditions, Ngũgĩ turns them into tools of struggle against colonial and neocolonial oppression by incorporating ancient storytelling practices into contemporary literary forms.
Likewise, oral traditions and folklore are used as a vehicle for political criticism in Petals of Blood. In order to emphasise the misery of the working class and the ruling class's betrayal of independence aspirations, the novel incorporates proverbs, ballads, and allegorical tales. The oral testimony-based memories of the characters subvert the prevailing postcolonial narratives that aim to forget the hardships of the past. In both works, Ngũgĩ restores indigenous means of resistance and knowledge through the use of oral traditions, which functions as a form of decolonisation as well as a literary device. By incorporating folklore into his stories, he guarantees that the people of Kenya, not its oppressors, will tell the country's history, establishing storytelling as a strategy for regaining political agency and national consciousness.
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References :-
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Sackey, Edward. “ORAL TRADITION AND THE AFRICAN NOVEL.” Modern Fiction Studies, vol. 37, no. 3, 1991, pp. 389–407. JSTOR, http://www.jstor.org/stable/26283152. Accessed 18 Mar. 2025.
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