NIGER DELTA AS A MAJOR IMPULSE IN CONTEMPORARY AFRICAN POETRY BY AYEBANOAH, TIMIBOFA 07062918048
[email protected] DEPARTMENT OF ENGLISH UNIVERSITY OF UYO
ABSTRACT This paper examines Niger Delta poetry as a major impulse in modern African poetry, with focus on issues of exploitation, marginalization, militancy, prostitution oppression, violence, cultural and social invasion, gas flaring, unemployment environmental degradation as by product of the oil boom in the Niger Delta which have become major concerns of contemporary African poets in the Niger Delta and other regions in Nigeria, using the Marxist approach. The writer brings to bare the conflict resulting from the oil boom between the government and the indigenes and concludes that the region will remain a material site for writers until the problems mentioned above are permanently addressed.
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INTRODUCTION This paper focuses on Niger Delta poetry which has become the major thrust of contemporary African poetry. It treats those key challenges that have influenced the origin and growth of the region’s literature, especially poetry which is to attack the government and regain their identity, language, and environment and culture that gradually fads and dies into extinction by virtue of some strange elements that accompanied the oil disease. Using the poetry genre, the writer brings to fore the scares left in the hearts and skins of the indigenes through the region’s poets and those who write from outside. Theoretical Frame work Marxism theory was propounded by Karl Marx Fredrick Engels. According to Kelly Griffith fully developed Marxism appeared in the early 20th century during the great depression (34). The theory is built on the following: Value is based on labour; and that the working class will eventually overthrow the capitalist middle class. However, in the main time, the middle class exploits the working class. Therefore, Marxist critics apply this idea to the critical evaluation
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of text in literature. They see the work of art as a product of economic and social realities, hence, believe that a work of art can be used to balance this gape by giving voice to the voiceless in literary works. This approach is appropriate because Niger Delta poetry is that kind of poetry where this class conflict manifest.
WHAT IS NIGER DELTA POETRY? Niger Delta poetry, as its name implies is that poetry that emanates from the region. The Niger Delta region is traditionally defined as the area drained by the tributaries of the River Niger before it enters the Atlantic Ocean. In more recent times, however, the geographical boundary of the area has been redefined politically and entreated to include all the areas where there are confirmed petroleum deposits being extracted by foreign and local oil companies. The area, made up of 7 states in the southern part of Nigeria, is covered politically by the international operation of the Niger Delta development commission (which succeeded OMPADEC-Oil Mineral Producing Area Development Commission) the region fairly well known internally for its oil wealth but it has hardly been acknowledge (Nwahunanhaya,Xv). According to OMPADEC quarterly report, the Niger Delta consist of at least seven States in Nigeria; Rivers, Bayelsa, Delta, Akwa Ibom, Cross River, Ondo and Edo (80). However, NDDC act added Abia and Imo to the political constitution of the Niger Delta. Ibaba in Nwahunanhaya observes that the dominant and primary occupation of the peoples of this region consist of fishing and farming. Quoting from SPDC annual report, He states that: Production is primarily, but not geared towards subsistence. Subsistence agriculture dominates rural land use while fishing takes place in inland water areas near shore and offshore. The Niger
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Delta is the heart of Nigeria’s oil industry with over 90% share for production (12).
The Niger Delta region was known for fishing and palm oil production before the discovery of oil. The people survived through the water and also by exporting palm oil to nearby countries, this was their main occupation. It therefore means that the people are not lazy as some persons have always argued and claimed. But the fact of their recent laziness in fishing and palm oil production is true; it is due to the destruction of their environment by oil exploration activities. Indeed, the discovery of oil has causes more harm than good, this so because, it has affected the aquatic life of the fishes especially those caged in fish ponds swampy farms. It has also lead to stunted growth of palm trees in the forest thereby depriving the indigenes from nature blessing. It has not only affected the ecosystem, but lead to the destruction of economic trees in the region. Trees that have always served as source of income in the region have been hewed down by oil companies without compensation. Also the presence of these oil companies have denied the region access to traditional medicine as these companies emit dangerous substances to the air that affects the growth certain syrups and herbs who cannot withstand attack of poisonous substances. More seriously, the presence of these oil workers have introduces certain habits that are alien to the region which has also brought about strange practices that have affected the socio- cultural existence of the area, like prostitution and cohabitation. These are serious crimes against the soil before now but with the coming of these white merchant, the girls are forced into them due to destruction of their source of live hood which is the water and land. The water is polluted by the day likewise the land hence, since they remain idol at home, they cheaply fall into the hands of these oil workers who entice them with money to have their 4
bodies. In fact, sometimes married women are also cajoled into these acts due hunger as their husbands are deprived of employment. Apart from that, the discovery of oil has rendered many homeless where there are sudden incidents of fire out break emanating from gas linkages or reckless mismanagement of oil pipelines. But its indigenes have been abandoned and deprived despite these pathetic conditions over the year by multinational companies operational in the area like NNPC SHELL, SPDC, AGIP, MOBIL and others even though it pollute her environment on a daily base. some Hence At, this point one can now define Niger Delta poetry as that branch of literature which may or not be written by Niger Deltans that concentrate itself on the ugly realities of the region like Exploitation, Marginalization, Militancy, Prostitution Oppression, Violence, Cultural and Social invasion, Gas Flaring, and Unemployment Environmental degradation, Pollution in beautiful and revolutionary language aimed at drawing the attention of the government to ameorate these situation.
The concept of Niger Delta poetry emerged in the early 19th Century with the pioneer of poets like Dennis Osadebay, Gabriel Okara and J.P Clark. It grew out the burden of these pioneer poets to respond to the burning issues of the day as observed by Achebe: ‘’literature must be concerned with the burning issues of day”. Hence, these poets struggle to respond to their environmental conditions like oil exploration, exploitation, environmental degradation, pollution, correlation etc. Nwahunanya noted further that: From those we refer to as pioneers or patriarchs of Niger Delta literature, we notice abortion a dominant concern for the plight of man and the environment in the region. The literary responses were indeed aimed at highlighting the socio-economic, political, environmental and other problems that have affected the human 5
population and the flora and fauna in the region. Writer politicians like Dennis Osadebay were at their own time reacting to the situation of neglect and marginalization which the region suffered even after independence. In their portraitures of the Delta in their poetry, poets like Gabriel Okara and J.P. clark, nostalgically presented the flora and fauna of their environment in their exquisite beauty showing a pre-inspirational world under the threat of extinction. When Clark presents the Agbor Dancer in his poem of that title, he suggests that the environment which produced that kind of maiden is gone forever. Also, the political sentiments which Osadebay expresses in some of the poems in Africa Sings, is one the consequences of his desire for a concerted effort at the separate development of the region; which is why he spearheaded the movement for creation of mid-eastern region, and that of Anioma state which has not materialized (Xiv). It is obvious from the foregoing that Niger Delta poetry is a byproduct of the incessant imagination exploitation, oppression and pollution of the region. They weaved their poetry out of anger and pain for their land which has been exploited continually without paying homage to its owners. These poets expressed bitter anger for the nation especially the upper class who works in league with the government to impoverish the region with its wealthy resources. Nwahunanya lend his again voice to its really: To start by saying that the Niger Delta is the albatross of Nigeria would be stating the obvious. The region is the symbol of the ironic contradictions of the consequences of capitalist exploitation by multinational economic interests teaming up with the local comprador bourgeois class (xiii). It is not gain saying that the Niger Delta conditions and situation have been the focus or major concern of contemporary African writers, but it is the holistic fact. As said earlier, the Niger Delta is the bread winner of the nation yet seen to be one of the wretched regions. Hence, writers of this are reacts to this ugly trend in their poetry. Poets from all over the nation who may be not be natives of the region do same in their poetry. Worthy of mention is 6
Niyi. Osundare, Armed Yerima, Tunde Fantunde, these writers in league with their native writers like Tanure Ojaide, Joe Oshie, Ibiwari Ikiriko, Ken Saro Wiwa, Isidore Okpewho, Ebinyun Ogbowei, Gabriel Okara, Christian Otobotekere, Ben Okri, Gomba Obani, Tess Onwueme, Bina Nengi Ilagha, Juleit Okoh to mention but a few, send these ugly signals to government mentioned above to draw the attention of government, thereby making the headline in contemporary African poetry. The poets of this age like their pioneers believe in the power of the pen for changing things for the better. These poets collectively paint out that; the experience of the Niger Delta is a clear evidence of neocolonialism, deliberate government neglect and marginalization of the minorities, and a manifestation of the merger of foreign bourgeois interests and local elite comprador class a situation that would help in generating protest if not permanently addressed (Nwahunanya, xviii). Tanure Ojaide is the advocate of this poetry in this age. An activist in the region often called the “poet laureate of the Niger Delta” to describe his dogged concern about his region which to him is a reflection of global and human issues and concerns. As he says, the writer is not an “air plant”, but somebody rooted; hence his connection to his region, people, heritage and destiny. (Ojaruega,495). Ojaide like his contemporaries has contributed immensely to the growth of Niger Delta literature which has earned him the persona of the “minstrel” of the Delta who sings to address issues that concern him as an individual as a singer of tales of his own people. Eseogene Ojaruega puts it clearly: The debacle caused by oil exploration and exploitation activities in Nigeria’s Niger Delta region has attracted much attention within and outside the annals of literature to such an extent that; even now it is possible to refer to the fast growing corpus of literary writings on this issues as “Niger Delta Literature”. Many writers have written and published works in all genres of literature describing in literary terms the ongoing 7
despoliation and degradation of the physical environment of this region. The extinction of crude oil from the land and water spaces as well as gas flaring activities have led to the pollution of the region’s land, water, and air (495). The literature has always made the headlines due to the seriousness and vividness of the conditions of these people who feed the nation and houses most oil exploration companies who have no regard for the indigenes plight. This which; has sometimes led to protest and militant activities by the restive youths of the area who demand from companies their rights of ownership. No doubt, the region has remained a major impulse of poets due to the issues of marginalization and exploitation by government. In his poems like “He Rode an Elephant” (36 – 40), “Smoke” (41 – 44) and “The League of Heroes” (74 – 77), Ojaide signs in salutary language the courageous efforts of these traditional and modern heroes whose dogged determination to subvert or eliminate agents of oppression brings the much needed reprieve to a marginalized people. This class of heroes tries to create a just world for their people. In recounting their heroic deeds, the poet highlights the positive qualities of bravery musical strength, resilience, impressible courage, clearing, compassion, honesty, selfishness, and nobility in them. Indirectly, he is promoting worthy character traits which future generations should remember and emulate. This is Ojaide’s advocacy in “The League of Heroes” where he describes the laudatory efforts of these heroes and further goes to state that: They walk straight in the crooked road that dominated the entire land. We have had them behind, we also have them ahead; the time of heroes now invisible that we need to be invisible. In their shadow, we sweat from fruit in ultimate salvation; in their vicinity, we run from lack of will to do right .As their relations, we look ahead with hope of recovery (Ojaruega, 503)
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Leonard Emeren, a medical doctor and poet does same in his “Desolate Rivers”: Brown faced enigmatic waters strutting carelessly, caressing steep banks of the Delta, dancing under thick oily film, racing towards the Atlantic Ocean salty waters of Delta Nun… Molested, dejected and raped… The Delta Rivers have been mocked by crude lack trenchers exploiting oil, tormenting peace, gas flaring desecrators, proudly stealing any our wealth in crude manner (30). Emeren decries the situation of the Delta which is supposed to be a paradise like other oil producing countries United Arab Emirate and Saudi Arabia. In same manner, the poetry of Ibiwari Ikiriko captures same ugly realities. In his “Oily Tears of the Delta’’ he beckons of his supposed witnesses to see how the government has abandoned the region that sustains the country’s economy: Take a look, dear reader, at the map of Nigeria and behind how the giant country sits, suppressing the Delta which serves it the functions of support and sustenance…Pipeline crises cross the seabed piping, not drinkable water for the population but siphoning oil and gas to enrich other land and lives. Up country, well away from the smoke and stench of the oil wells, oil consciousness of all sorts wake up millionaires. On a daily basis; down the Delta, in the fountain of oil and gas, the natives wake up bereft of their traditional means of livelihood…The oil boom in Nigeria has meant doom is now beginning to burst in blood…(7). Ikiriko expresses his bitter anger as he conclusively that the ‘Oil Boom in Nigeria has Doomed the Delta’, a statement which must be taken seriously into consideration. This is the exact state of thing which the poet speaks unequivocally. Many other writers have expressed their plight in like manners. Ebi Yeibo in his “kernel in Skull” and “Down Song” he lauds the worry the oil extractor in the Niger Delta is
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used to develop other states and countries while his home land is remains dejected, wretched and abandoned:…my countries burns and flinches, Trodden-ragged like bounteous Cannan dejected/ Deep in confused bout of empty statements yet the chilly Niger/ flows still… (35). Similarly, in “Down Song” he expresses his displeasure at the rate of marginalization and exploitation by the Federal Government meted on the Niger Delta region he demonstrates how the wealth of the Nigeria is carted away to enrich other countries and states: saddle with croaky serenades from restructure events/ our morning air is still laden with dust and dirt…/see the malignant boil prying on our heads…(22). Ebi Yeibo here demonstrates how the indigenes of Niger Delta have been excluded from benefits of the oil while on the other hand have benefitted abundantly from despoliation induce poverty. Ibaba in Nwahunanya also notes it that environmental impacts of the oil industry endanger their continued existence, and that the condition vitiates the hope and vision for a better. (115). Yeibo like his contemporaries uses poetry to paint the sad condition of the region. A region that provides and feeds the whole country sit wallows in poverty: Joe Ushie does same in his “The African Mosquito”. He uses the metaphor of mosquito to represent the parasite in the Niger Delta who engages themselves in the business of exploitation and oppression. Ushie in this poem express his heart felt pain from the pains caused by those upper class who know nothing but milking and feeding on its host which is the Niger Delta: Every night you drive on my land you price in my peasant’s earth and you leave with wells of my peasant’s blood/indifferent to the wails and weal’s you plant (13). As one of the region’s poets, he capture’s same exploitation, marginalization, militancy, prostitution oppression, violence, cultural and social invasion, gas flaring, and, unemployment environmental degradation and oppression in his poems. In his “Democracy
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of Fenced Walls”, Nagage highlights the walls the bourgeoisie creates for themselves. A wall of wealth; the whole countries wealth and barricade it with stringent walls demarcating the poor from being beneficiaries he puts it this way: The Democracy of fenced walls does not mend broken ethics…/The Democracy of self sitting on the luxury of millions of naira should not abide in the home… (37). In his poem “Irrepressible Ones” Christian Otobotekere hails and encourages Niger Delta freedom fighter to be resilience in their struggle. He triggers them to stand firm against any form of oppression and urges them to keep chatting their course for freedom through the gun: Pas Vobiscerm Pas Vobiscerm Irrepressible Ones Trigger Happy In and out of season… Shooting and slotting You dreadful gadgets… Repeat your route and ditch Those finger-shinning packets O patrons and sponsors Oppressor and sycophants, Leave them alone Let them reform (38). Otobotekere, in this poem he warns those sycophants to stay out of the youths struggle. This is because they chat a good cause of emancipation of the region. His position is this radical due to the upper class that stay in Abuja and in the Diaspora to indirectly supports the government against their own people due to their secret Aburi Accords. Hence, he urges
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those militants to re-strategize their means and route so they can make progress in their fight against injustice and marginalization. In the feminist voices, Sophia Obi in her “Tears in a Basket” mourns her home land Oloibiri where oil was first discovered in 1957. She pictures the demands of her people as those being paid deaf hear as they only enter the basket without responds. Obi in this poem remarks that her home land Oloibiri now became leech waiting to be crushed: ‘’We are the sacrificial leeches waiting to be squashed’’ (30). Obi in the same spirit of her contemporaries reveals that at last what the government can reward the region that houses its wealth is marginalization, oppression, unemployment, pollution, environmental degradation to mention but a few. No doubt is display of politics by government as well the multinational companies with human lives. Frances Etim puts it better: The Niger Delta problem has been politicized such that it has become an issue in the political debates and campaigns to garner cheap attention and support at rallies without concomitant seriousness at addressing the problems. It appears the region is kept in perpetual crises or as perpetual problem to score cheap political points…To worsen the situation, to effort is spared at persecuting and crucifying the indigenes like Isaac Boro, Ken Saro Wiwa of blessed memory and Asari Dokubo, Government Tompolo to mention but a few in recent times who dare rises their voices have been treated severely (mine emphases, 23). The whole scenario shows that the government has no regard for the region which has lead to restiveness and protest in the area. It therefore implies that the government also derives pleasure in the crises between the multinational companies as they have remained nonchalant over the crises in the region instead of relating settling the plights of the people.
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CONCLUSION This paper has examined the Niger Delta poetry and concentrated on its major theme which forms the impulse of modern African poetry. It argues and concludes that indeed the Niger Delta has region has faced with real situations that needs radical attention from serious as the government keeps on marginalizing the zone that is supposed to be celebrated and eulogize forming the basis of the nation’s economy.
WORKS CITED
Nwanhunanya Chinyere(ed) .From Boom to Doom: Protest and Conflict Resolution in the Niger Delta. New Owerri: Springfield Publishers, 2001. Print.
Ikiriko, Ebiwari. “Oily Tears of the Delta”.Ibadan: Kraft.1999. Print. Etim, Francis. ‘’Niger Delta Crises: A case of Conflicting Ontologies’’: Uyo Journal of Humanities, Vol. January, 2007. P.22-27. Print.
Nwanhunaya, C. “From Boom to Doom: The Niger Delta in Contemporary Nigerian Literature”: From Boom to Doom: Protest and Conflict Resolution in the Niger Delta. (ed). Nwanhunaya Chinyere. New Owerri: Springfield Publishers, 2001. Print.
Ojaruega, E. “Of Minstrelsy and the Niger Delta Condition: Wanure Ojaide as Chronicler and Activist Writer”: From Boom to Doom: Protest and Conflict Resolution in Niger Delta (ed): Nwanhunaya Chinyere New Owerri: Springfield Publisher, 2001 Print.
Shaka, F., “Binta Marks: Urnobo Verbal Arts and Ojaide’s Poetry”: From Boom to Doom: Protest and Conflict Resolution in the Niger Delta (ed). Nwanhunaya Chinyere. New Owerri: Springfield Publishers, 2001. Print.
Yeibo, E. Maiden Lines. Ibadan: Kraft Books Limited, 2004. Print.
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…The Forbidden Tongue. Ibadan: Kraft Book Limited, 2007. Print.
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