Unveiling the Significance of Oral Traditions in Africa
The 16th International Conference of the Society for Oral Literatures of Africa (ISOLA), scheduled from April 13 to 16, 2027, at the Faculty of Languages, Arts, and Humanities of Ibn Zohr University in Agadir, Morocco, will delve into the profound impact of oral traditions on African cultures. These traditions serve as vital conduits for the transmission of knowledge, history, and values, with improvisation playing a crucial role in enriching these practices. Each oral performance emerges as a unique and contextually relevant experience, which is shaped by the immediate environment and the audience's interaction.
Since the 1980s, the concept of performance has gained prominence in the study of oral literature, as articulated by scholars like Ruth Finnegan. The term encompasses various creators such as singers, actors, dancers, and musicians, who often accompany their narratives with traditional instruments like the kora, balafon, lute, tambourine, and xylophone. Consequently, oral literature is perceived not merely as static text but as a dynamic performance—an ephemeral, interactive, and contextual event where meaning is co-created by the performer and the audience.
The Role of Improvisation in Oral Performance
Improvisation stands out as one of the most defining features of performance art within these traditions. The renowned intellectual and writer, Abbé Manuel Lukuona, has described it as a "remarkable and unique phenomenon." This aspect can evoke fear among speakers during impromptu events, introducing elements of surprise, unexpected challenges, and the potential for lapses in memory or concentration. From a scientific viewpoint, improvisation can be analyzed within the framework of oral, musical, or physical production activities. Often referred to simply as "impro," it is characterized as a spontaneous artistic creation devoid of prior calculation. Experts in the field sometimes refer to the "unconscious calculation of improvisation" when exploring oral songs and performances.
The interplay between formal training and improvisation presents intriguing dimensions, as highlighted by Ruth Finnegan and Okpewho. The nature of oral composition often necessitates a compromise between established techniques and newly invented elements tailored for specific occasions. In many instances, apprentices are not trained in rigid memory usage but rather in the flexible technique of improvisation, which enhances the artistry of collective performance. In various societies rich in oral traditions, improvisational poets adeptly navigate the competitive arena, responding dynamically to the general flow of exchanges, which often adhere to a tacit ethical code.
Research into this phenomenon suggests the existence of improvisational mechanisms acquired through constant practice and mastery of a substantial poetic repertoire. This implies that experienced improvisational poets rely on pre-established frameworks, allowing them to engage in seemingly spontaneous verbal disputes while adhering to strict rules of meter, musicality, and aesthetic harmony. These rigorous standards enable performers to garner public admiration, enhance their reputations as formidable opponents, and attain celebrity status at significant festivals that attract audiences far beyond their community identities. In Morocco, these verbal artists, whether grandmothers sharing tales with family or professional storytellers performing in public squares, play a pivotal role in preserving and transmitting cultural traditions.
The conference aims to foster interdisciplinary dialogue among scholars and researchers concerning the artistic, cultural, and social dimensions of improvisation in African oral literatures and its influence on narrative creation and community interactions. Participants will engage in discussions on various thematic axes, including the cultural and political implications of improvisation, its impact on oral culture, and its role within spiritual and ritual contexts. Furthermore, the event will explore gender dynamics in oral improvisation and the evolving practices of improvisation in the age of social media.
Doctoral candidates are encouraged to submit abstracts and full papers for the Isidore Okpewho Oral Literature Prize (ISOLA). All submissions must be original research works not previously evaluated by any other academic institution. Each submission should include the author's name, the thesis director's name, and the respective university affiliation.
As reported by fabula.org.
