Edo literature

Edo literature is a reflection of the cultural heritage of the Edo people, encompassing various traditional expressions such as brass-casting, wood carving, and pictorial writing, which served as means to document historical events.[1][2] Alongside these traditional forms of communication, the written word gained prominence during the colonial era with the adoption of the Roman script.[3][4]

The development of Edo literature in the Roman script was shaped by the influence of British colonialism, which was established in the late 19th century.[5][1][4]

The early period of Edo literature marked a transition towards written expression among the Edo people.[1][6] This transformation was primarily influenced by colonial factors, particularly the adoption of the Roman script, which played a central role in shaping Edo literature during this time.[3][1]

Notable during this era was the translation of Bible passages into the Edo language by J.E. Edegbe in the 1920s, published by the Foreign Bible Society, London, in 1925, 1927, and 1930.[1][6] They served as a means to introduce Christianity and were among the first instances of published Edo literature. These works laid a crucial foundation for the development of creative writing in Edo.[1][2]

The Bible translation efforts by Edegbe and others extended beyond mere linguistic conversion.[4] They represented a bridge connecting the Edo oral tradition with the written medium.[1] This process required the adaptation of Edo idioms and expressions to convey complex religious concepts, showcasing the adaptability and linguistic depth of the Edo language.[3][7]

Reverend Emmanuel Egiebor Ohuoba was another influential figure during this period, pioneering Bible translation in the Edo language in the 1910s.[8][9] His early initiatives provided the groundwork for subsequent translation work by Edegbe and others.[7][10] This phase of Bible translation played a role in standardising the Edo written language and contributed to literacy among the Edo people.[3]

In addition to religious texts, the early period of Edo literature witnessed the emergence of written literature, primarily in pamphlet and booklet forms.[2] While these publications were modest in scale compared to later works, they began addressing various topics relevant to Edo society.[1] These subjects encompassed education, history, and social commentary.[1][4]

During this period, it became evident that written literature extended beyond religious contexts. Edo writers and intellectuals recognised the potential of the written word as a tool for cultural preservation and social transformation.[1] The Edo language was increasingly employed to explore diverse aspects of life.[2][4]

The early period of Edo literature also saw the transcribing of Edo songs and hymns into written form.[10][11] While songs and hymns had been integral to Edo oral tradition for centuries, their written versions enabled broader dissemination and preservation.[1][12] These musical compositions served both religious and cultural purposes, often commemorating historical events and celebrating cultural values.[3][10]

The late period of Edo literature represents a transformation marked by authors and diverse literary forms.[13] This era, beginning in the early 1930s, witnessed developments that continue to influence Edo literature.[6][11]

One noteworthy milestone was the publication of Ekhere Vb'Itan Edo by Jacob Egharevba in 1933.[7] Egharevba, a historian and writer, contributed significantly to documenting Edo history and culture through his works.[6][7] Ekhere Vb'Itan Edo which was later known as A Short History of Benin shed light on the Edo kingdom's history, traditions, and monarchs.[2][12]

D.U. Emokpae, another Edo author of this period, wrote The Murder of Adesuwa in 1934. This work marked a departure from the historical narratives of Egharevba, delving into the realm of fiction.[14][11] The Murder of Adesuwa is a novel that explores themes of love, betrayal, and societal norms within the Edo context.[3][14]

H.O. Uwaifo, a writer and poet, also made an impact during this era with his work Edo Composition, published in 1934.[15][3][10]

The late 1930s and 1940s witnessed an exponential growth in Edo literary output.[6][12] Newspapers became vital platforms for literary expression, with publications like Obhio and Esan Times providing space for writers to share their works. These newspapers featured a wide range of content, including short stories, poetry, and essays, contributing to the literary landscape.[6][14]

Folk songs, deeply rooted in Edo's oral traditions, continued to thrive during the late period.[10][16] These songs, often accompanied by traditional instruments, played a central role in conveying cultural values and historical narratives.[14] They were performed at various occasions, including festivals, weddings, and funerals, reinforcing their significance as carriers of Edo's oral heritage.[3][4]

Esan literature, a distinct branch of Edo literature, flourished during this period. Esan authors such as Osaigbovo Iguobaro and Ekpen Edenojie made notable contributions to Esan language literature.[10][17] Their works encompassed a wide range of genres, including poetry, drama, and storytelling, reflecting the diversity of Esan culture and experiences.[2][7]

The late period witnessed a growing awareness of the importance of preserving and promoting the Edo language. Efforts were made to standardise the language and develop an Edo orthography to facilitate literary and educational pursuits.[10] This standardisation was crucial for the continued growth of Edo literature.[3][4]

Despite challenges like limited publishing opportunities and the quest for greater recognition, the late period laid the foundation for the ongoing evolution of Edo literature into the modern era.[11] Contemporary authors like Ikponmwonsa Osemwingie continue to enrich this vibrant tradition.[3][14]

Western education in Roman script developed slowly under colonial rule. The colonial administration established primary schools in the 1900s but closed some during the 1910s.[18] This limited expansion, coupled with an emphasis on religious conversion, led to the proliferation of elementary-level schools.[10] Edo College in Benin City was established in 1937, with no other secondary schools established until after independence.[4] This educational gap posed challenges to literary progress.[3][4]

The colonial administration's absence of a clear language policy created uncertainty in choosing a language for instruction.[19] Eventually, English became the medium of instruction.[4] However, the absence of standardised orthography for indigenous Edo languages presented difficulties.[20] Consequently, English became the preferred language among school pupils, influencing the language choice for publications.[4][20]

Economic changes in the late 1930s and early 1940s resulted in increased prosperity, fostering the growth of a colonial capitalist economy.[18] This, in turn, encouraged more investment in education and publishing.[10] Communities established their schools, and local entrepreneurs entered the education sector.[11] This expansion generated a demand for books, particularly literary works.[3][11]

Efforts to establish a standardised orthography began in the 1920s, driven by missionary competition.[20] By 1932, a Colonial officer, H.M. Butcher, compiled an Edo dictionary, and the Church Mission Society. published Oghe Edo I and II (Benin Reader) in 1934, marking the first Edo books in over three decades. Indigenous writers also contributed to resolving orthography challenges.[2]

Early colonial schools did not introduce students to Western literary traditions and often disregarded indigenous culture and language. Nonetheless, some individuals drew inspiration from their indigenous culture.[20][18] They collected and translated proverbs, riddles, and folktales into English, reconstructed oral history, and transcribed songs.[14] These works often carried a cultural nationalist and didactic tone, addressing moral and social concerns.[3][11]

Folk songs are a component of Edo literature, representing an integral facet of Edo cultural heritage.[16] These songs, passed down through generations, serve as repositories of historical narratives, moral teachings, and cultural expressions, reflecting the enduring creativity of the Edo people.[4][20]

Edo folk songs trace their origins back to the precolonial era when storytelling primarily thrived through oral tradition.[18] These songs encompass a wide spectrum of themes, including historical accounts, love stories, moral lessons, and the trials and victories of the Edo people.[3][21]

Numerous Edo folk songs are historical narratives that chronicle events in the history of the Edo kingdom. These songs play a role in preserving the collective memory of the Edo people.[12] For instance, The Battle of Idah, a renowned folk song, recounts the Edo kingdom's military conquest of Idah in the 15th century.[18]

Beyond entertainment, Edo folk songs convey didactic messages, imparting moral values and cultural principles.[16] They serve as a means of educating the youth and instilling virtues such as honesty, respect for elders, and community solidarity.[3][21]

Edo folk songs are accompanied by an array of traditional musical instruments, including the 'ikpen,' a type of xylophone, and the 'ughegbe,' a traditional flute.[21] These instruments contribute a distinctive and melodious essence to the songs, enhancing their cultural significance.[21]

Edo folk songs are an integral part of rituals and ceremonies, enriching festivals, weddings, and other significant life events with a sense of cultural identity and belonging.[3][22]

In recent years, concerted efforts have been made to document and preserve Edo folk songs. Organisations and cultural enthusiasts have undertaken recording projects to ensure that these invaluable cultural treasures endure the test of time. This preservation work is vital for passing down Edo cultural heritage to future generations.[4][23]

Edo folk songs exhibit regional variations within the Edo kingdom, reflecting distinct dialects and cultural subtleties across different Edo communities, thereby highlighting the diversity within Edo literature.[18]

Edo folk songs have significantly influenced contemporary Edo music.[16] Many modern Edo musicians draw inspiration from these traditional songs, incorporating elements of folk music into their compositions.[20] This fusion of traditional and contemporary styles ensures the continued relevance and vitality of this cultural tradition.[4][21]

Edo folk songs transcend mere artistic expression; they serve as a source of cultural identity and pride for the Edo people, reinforcing their sense of belonging and connection to their cultural heritage.[3][21]