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Tue, 14 Nov 2023 Feature Article

Teaching children without letting them know that they are being ‘taught’

Teaching children without letting them know that they are being ‘taught’

There are some people in one’s family who always manage to carve a special niche for themselves in one’s heart.

When I was growing up, there was one woman in my extended family whom I loved as much as my natural mother. Formally, she was my “aunt”; or my mother’s cousin’.

But in Akan culture there is no word for an “aunt” who comes from the maternal side of one’s family. One’s mother’s female siblings, as well as her ‘cousins’ are all regarded as one’s “mothers”!

It is not only after the death of one’s natural mother that these other “mothers” assume their responsibilities towards oneself. Even when one’s natural mother is alive, they act as a backup to one’s “Team One” – one’s natural mother and father. If one is hungry and one goes to the home of any of the other “mothers” and there is food, one would not need an invitation to join. One would automatically be given a serving.

Somehow, we managed to feel “hungry” whenever we made these visits. Food was therefore the main commodity that kept our hearts warm for these members of our “extended families”.

However, we were kept in check and encouraged to be too greedy for food. If it was noticed that anyone had cultivated a habit of “raiding” the homes of relatives for food, he or she would be typecast as an ahwa (a creature even more contemptible than what is known as a “sponger” in English).

I was lucky, because there were three houses where I was guaranteed a share of any meal that was going, without running the risk of being labelled an ahwa. One of these was the house of my mother’s mother’s sister’s eldest daughter, Maame Afia Kyeraa.

The tragedy of her life was that she couldn’t bear any children of her own. But she contented herself with taking my mum’s many kids – of whom I was the eldest – as her own.

She was a well-travelled lady and so often served some of the delicacies that we kids hankered after – stews made with tins of sardines or pilchards, or better still, corned beef – and very nice soups she had learnt to prepare from “foreign” sources.

One day, when I was about four or five, I confided to her, as the “traveller” in the family, that I too wanted to travel.

“I want to go to – Aburokyire (England)”, I told her. Ei? She herself had only been as far as mining towns like Konongo, and maybe to Agogo or Tarkwa. But I was talking to her about England?

Bugt so loving was she that she didn’t reproach me. She gently pooh-poohed the idea, but I obsessively kept talking about being taken to England.

Well, one fine day, she dressed up nattily, called one or two of her sisters together, whispered something to them, and then said aloud: “Kwadwo says he wants me to take him to England. Come with me and let’s take him there”.

I was so excited! (As was everyone else!) Maame Kyeraa was taking us to England? Wec would become very rich there! Why? Because the money we spent was made there! I might even see “King George The Sixth”, whose head was on our coins and currency notes. And then, there were all those things we bought which were labelled “Made in England” – cloth, tinned foods, bicycles, lorries. Yieeee!!

Well, when the time arrived to go, we took the road that led from Asiakwa to Kyebi, towards Accra. We walked for about half a mile and then saw a farm full of maize loans, near the road. As soon as we passed the farm, Maame Kyeraa stopped and said, “We have arrived in England”.

“What?” I said, incredulous.

“Ah, you said you wanted to go to Aburokyire, didn’t you?”

“Yes!” I replied.

“Now what is that growing in the farm over there? Is it not aburoo (maize)?”

“Yes, it is.”

“Now, this place where we are, is it not aburokyire – a place that is towards the back of the corn-field?”

“Yes it is!”

“Well, then what are you on about? You wanted to come to aburokyire and we have brought you to aburokyire, haven’t we?”

Nobody actually laughed, but even as young as I was, I could sense that a fast one had been pulled on me. I wasn’t happy at all about such a tremendous anti-climax. Where, for instance, were all those white men who were said to live in Aburokyire?

Where was all the money?

The corned beef and the rest? However, we turned around and came home, with me pert and silent, but nobody minding me.

When I grew up and was able to analyse clearly what Maame Kyeraa had done, I was extremely impressed with her intelligence. She was a stark illiterate, but somehow she had managed to deconstruct in her mind the word “Aburokyire”, and parsed it into its etymological components, aburoo and akyire, and silenced me with the outcome. Would a person with literary education have been able to make use of words so intelligently to cure an obstreperous child of his fantasies?

We think of “illiterates” as people who cannot construct beautiful words in their heads, because we ourselves can only write such words. Now look at this passage: If you speak Twi, read it aloud and see!)

“Kurotwiamansa

Nenam seseaa ase

Ma seseaa ase

Woso biribiribiribiri!

(The Leopard [the king] treads along

the thicket, causing the thicket to shake

Biriribiribiribiri!)

I love the onomatopoeic word biribiribiri very much. Remember itv was created by a stark “illiterate”!

Another “illiterate” masterpiece is this:

Sasaboronsam mmiensa,

Yennamfonom mmiensa;

Yeyerenom mmiensa;

Yerenom nsa,

Na yeema wo nsa!

(Three Sasaboronsam ‘demons’ [are they];

Three friends are they;

And they’ve got three wives too;

They do take a drink

And they give you too –

A drink!).

See how Maame Kyeraa taught me to think about the structure of words, and the meaning(s) that those structures provide to those who want to learn to be wise?

There is so much we can’t learn from school, isn’t there?

Cameron Duodu
Cameron Duodu, © 2023

Martin Cameron Duodu is a United Kingdom-based Ghanaian novelist, journalist, editor and broadcaster. After publishing a novel, The Gab Boys, in 1967, Duodu went on to a career as a journalist and editorialist.. More Martin Cameron Duodu (born 24 May 1937) is a United Kingdom-based Ghanaian novelist, journalist, editor and broadcaster. After publishing a novel, The Gab Boys, in 1967, Duodu went on to a career as a journalist and editorialist.

Education
Duodu was born in Asiakwa in eastern Ghana and educated at Kyebi Government Senior School and the Rapid Results College, London , through which he took his O-Level and A-Level examinations by correspondence course . He began writing while still at school, the first story he ever wrote ("Tough Guy In Town") being broadcast on the radio programme The Singing Net and subsequently included in Voices of Ghana , a 1958 anthology edited by Henry Swanzy that was "the first Ghanaian literary anthology of poems, stories, plays and essays".

Early career
Duodu was a student teacher in 1954, and worked on a general magazine called New Nation in Ghana, before going on to become a radio journalist for the Ghana Broadcasting Corporation from 1956 to 1960, becoming editor of radio news <8> (moonlighting by contributing short stories and poetry to The Singing Net and plays to the programme Ghana Theatre). <9> From 1960 to 1965 he was editor of the Ghana edition of the South African magazine Drum , <10> and in 1970 edited the Daily Graphic , <3> the biggest-selling newspaper in Ghana.< citation needed >

The Gab Boys (1967) and creative writing
In 1967, Duodu's novel The Gab Boys was published in London by André Deutsch . The "gab boys" of the title – so called because of their gabardine trousers – are the sharply dressed youths who hang about the village and are considered delinquent by their elders. The novel is the story of the adventures of one of them, who runs away from village life, eventually finding a new life in the Ghana capital of Accra . According to one recent critic, "Duodu simultaneously represents two currents in West African literature of the time, on the one hand the exploration of cultural conflict and political corruption in post-colonial African society associated with novelists and playwrights such as Chinua Achebe and Ama Ata Aidoo , and on the other hand the optimistic affirmation of African cultural strengths found in poets of the time such as David Diop and Frank Kobina Parkes . These themes come together in a very compassionate discussion of the way that individual people, rich and poor, are pushed to compromise themselves as they try to navigate a near-chaotic transitional society."

In June 2010 Duodu was a participant in the symposium Empire and Me: Personal Recollections of Imperialism in Reality and Imagination, held at Cumberland Lodge , alongside other speakers who included Diran Adebayo , Jake Arnott , Margaret Busby , Meira Chand , Michelle de Kretser , Nuruddin Farah , Jack Mapanje , Susheila Nasta , Jacob Ross , Marina Warner , and others.

Duodu also writes plays and poetry. His work was included in the anthology Messages: Poems from Ghana ( Heinemann Educational Books , 1970).

Other activities and journalism
Having worked as a correspondent for various publications in the decades since the 1960s, including The Observer , The Financial Times , The Sunday Times , United Press International , Reuters , De Volkskrant ( Amsterdam ), and The Economist , Duodu has been based in Britain as a freelance journalist since the 1980s. He has had stints with the magazines South and Index on Censorship , and has written regularly for outlets such as The Independent and The Guardian .

He is the author of the blog "Under the Neem Tree" in New African magazine (London), and has also published regular columns in The Mail and Guardian ( Johannesburg ) and City Press (Johannesburg), as well as writing a weekly column for the Ghanaian Times (Accra) for many years.< citation needed >

Duodu has appeared frequently as a contributor on BBC World TV and BBC World Service radio news programmes discussing African politics, economy and culture.

He contributed to the 2014 volume Essays in Honour of Wole Soyinka at 80, edited by Ivor Agyeman-Duah and Ogochukwu Promise.
Column: Cameron Duodu

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