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Plot Overview of And Palm Wine Will Flow by Bole Butake
The play "And Palm Wine Will Flow" is set in the fictional village of Ewawa, centered around the Sacred Grove of Nyombom, a site dedicated to the local deity. The narrative begins with Shey Ngong, the chief priest of Nyombom, receiving a divine warning about the Fon, the village leader, who plans to bestow the prestigious red feather on Kibanya, a man of lowly status. Shey Ngong is disdainful of this decision, viewing it as a sign of the Fon’s corrupt and unjust rule.
The play explores the tension between traditional authority, represented by the Fon, and the spiritual and moral integrity represented by Shey Ngong. The Fon's obsession with palm wine and his manipulation of power have caused a rift in the community, leading to the degradation of both the village's social structure and its sacred traditions. Shey Ngong refuses to attend the Fon's celebration, believing that it will be nothing more than a display of the Fon's indulgence in palm wine, which symbolizes the decay of the village under his rule.
As tensions rise, the Fon seizes Shey Ngong's land, transferring it to Kibanya, which leads to a direct confrontation between the spiritual and temporal powers. The earth goddess, angered by the Fon's actions, declares a drought on the land as a form of divine retribution.
The situation escalates when a Tapper, one of the village's commoners, reports that the Fon's guards have violently beaten him for trying to protect his palm bush. This act of brutality sparks further unrest, and the goddess intensifies her punishment by causing all the palm bushes to disappear, marking the beginning of the end for the Fon's reign.
In a climactic moment, the earth goddess dances, signaling an earthquake, and the Fon's death is foreshadowed. Shey Ngong sends the Tapper, disguised in the sacred Kibaranko mask, to the palace to fetch palm wine. However, instead of retrieving it, the Tapper, empowered by the mask, wreaks havoc, destroying the palace and all the palm wine stores. This act symbolizes the destruction of the old corrupt order.
The play culminates with the women of Ewawa, led by Shey Ngong's wife Kwengong, performing a ritual that leads to the Fon's death. The women reject the idea of a new Fon, deciding instead that the village should be ruled by a council of elders chosen by the people, marking a return to communal governance and the rejection of tyranny.
The play ends with the destruction of the palace, and the realization that no new Fon will ever be crowned in Ewawa, symbolizing the end of an era of oppression and the beginning of a new, more just society. The Sacred Grove of Nyombom, which had been the site of so much conflict, now stands as a symbol of the community's reclaimed spiritual and moral integrity.
Themes of And Palm Wine Will Flow
"And Palm Wine Will Flow" by Bole Butake explores a range of themes, reflecting the complex social, political, and cultural dynamics within the fictional village of Ewawa. Here is an in-depth look at these themes:
1. The Theme of Drunkenness
The Fon of Ewawa's excessive drinking is a central theme, symbolizing the corrupt and disordered state of leadership. His habitual drunkenness is not just a personal vice but a metaphor for his political instability and poor governance. The Fon's addiction to palm wine clouds his judgment, leading to irrational decisions that contribute to his downfall. His inebriation is indicative of the broader moral decay that afflicts the village’s leadership, portraying how addiction can erode one's ability to govern wisely.
2. The Theme of Assassination
Assassination is portrayed as a brutal method of maintaining power in Ewawa. The Fon and his followers resort to extreme measures, including assassination and torture, to silence dissent and eliminate opposition. The "bad bush Akpang" is a place where the Fon’s enemies are taken to be killed, highlighting the ruthlessness of his regime. This theme underscores the violent lengths to which those in power will go to maintain their dominance, demonstrating how political authority can become corrupted by fear and brutality.
3. The Danger of Mob Mentality
The play also examines the danger of mob mentality, especially through the actions of the women in Ewawa. The collective anger of the women, driven by their frustration with the Fon's tyranny, ultimately leads to his death. This theme shows how groupthink can escalate into collective violence, and how such actions can lead to irreversible consequences, like the toppling of a regime. It also reflects the power of the masses to bring about change, albeit through destructive means.
4. Lost Opportunities
The Fon’s reign is marked by missed opportunities. Despite his position of power, the Fon fails to serve his people with honesty and integrity. His focus on personal indulgence, particularly his obsession with palm wine, leads to his neglect of his duties as a leader. This theme highlights how leaders can squander their opportunities to enact positive change, resulting in their ultimate downfall. The Fon's failure is a cautionary tale about the dangers of misaligned priorities in leadership.
5. Power Tussle
The struggle for power is a recurring theme in the play. The Fon, along with his supporters, is depicted as being obsessed with maintaining control over Ewawa. This theme reflects the intense and often destructive nature of power struggles, where leaders will go to great lengths to secure and retain their authority. The power tussle in the play illustrates the instability that often accompanies such struggles, leading to a breakdown of social order and governance.
6. The Grip of Power or Administrative Bottlenecks
Closely related to the theme of power tussle is the theme of administrative bottlenecks. The Fon's government is marked by inefficiencies and corruption, with a leadership that is more concerned with maintaining its grip on power than with the welfare of the people. This theme highlights the challenges of governance in a system where power is concentrated in the hands of a few, leading to administrative paralysis and the eventual collapse of the regime.
7. Themes of Death
Death is a pervasive theme in the play, culminating in the demise of the Fon. His death symbolizes the end of an era of tyranny and the beginning of a new order in Ewawa. The play portrays death not only as a physical end but also as a symbolic act of liberation for the village. The death of the Fon is both tragic and cathartic, marking the fall of a corrupt ruler and the possibility of renewal for the community.
8. African Superstition
Superstition and traditional beliefs play a significant role in the narrative. The Sacred Grove of Nyombom, the rituals performed by Shey Ngong, and the presence of the Earth goddess and masquerades reflect the deep-rooted spiritual and cultural practices of the village. These elements underscore the influence of African superstition in guiding the actions of the characters and shaping the events of the play. The reliance on spiritual intervention highlights the villagers' belief in the power of the supernatural to affect their lives.
9. Quest for Democracy
The play ends with a call for democracy, as the villagers, led by the women, decide to abolish the Fon's rule and establish a system where leaders are elected and accountable to the people. This theme reflects the desire for self-governance and the rejection of autocratic rule. The burning of the palace symbolizes the villagers' break from the past and their determination to create a more just and democratic society. This quest for democracy represents a broader struggle for freedom and equality in the face of oppressive leadership.
10. Political Tone
The entire play is steeped in political undertones, with the Fon's rule representing a tyrannical government that is out of touch with the needs of the people. The political tone of the play is critical of regimes that prioritize power over justice and the well-being of their citizens. The Fon's efforts to suppress opposition and create a "tranquilized" government are ultimately futile, as they provoke resistance and lead to his downfall. The play serves as a political commentary on the dangers of authoritarianism and the inevitable rise of popular resistance.
Each of these themes contributes to the rich tapestry of "And Palm Wine Will Flow," making it a powerful exploration of power, resistance, and cultural identity within the context of Cameroonian society.
Characters and Characterization
1. Shey Ngong: The chief priest of Nyombom and the protagonist of the play. He represents the people's voice and leads the fight for liberation from a dictatorial ruler. Shey Ngong is depicted as a savior of the oppressed villagers, eventually becoming the leader of the village council after the Fon's demise.
2. Nsangong: A close friend of Shey Ngong, who provides crucial information and acts as a spy. He is loyal, trustworthy, and ultimately becomes a victim of the oppressive regime.
3. Messenger: A loyal servant of the Fon, characterized by his subservience and obedience. He carries out the Fon's orders without question.
4. Kwengong: One of Shey Ngong's wives, who also portrays the Earth goddess. She has a dual identity, representing a complex psychological state, possibly dissociative identity disorder, as she takes on two distinct roles.
5. Tapper/Kibaranko: The palm wine tapper for Shey Ngong, who also possesses a daring and courageous personality. Like Kwengong, he has a dual identity, playing two distinct roles in the play.
6. Gwei: A servant of the Fon and one of his enforcers. He symbolizes the lost potential of the village under a tyrannical rule.
7. Fon: The dictatorial ruler of the Fondom of Ewawa, who is egocentric and addicted to palm wine. He is the antagonist of the play and ultimately meets his downfall due to his misdeeds and excessive drinking.
8. Various Background Voices: Unseen characters whose voices fill in narrative gaps, adding depth to the story without physically appearing on stage. They provide additional context and commentary on the events unfolding in the play.
Literary Devices
In the play And Palm-Wine Will Flow by Bole Butake, the use of literary devices such as proverbs, aphorisms, and adages plays a significant role in conveying the themes of power struggle, resistance, and societal critique. These literary devices, deeply rooted in African oral tradition, serve not only as a means of communication among the characters but also as a vehicle for the playwright to express deeper social and political commentaries. Let's delve into the analysis of these devices.
Analysis of Proverbs and Aphorisms
1. "The cockroach does not call a fowl to a wrestling match."
- Meaning and Context: This proverb is used by Voice to illustrate the futility of Shey Ngong's protest against the Fon, likening Shey Ngong to a cockroach and the Fon to a fowl. In this context, the fowl, which is much stronger, would easily overpower the cockroach. It highlights the power imbalance between Shey Ngong and the Fon, emphasizing that the Fon is of a higher authority, and it would be unwise for Shey to challenge him.
- Literary Function: This proverb underscores the theme of power dynamics and the futility of resistance against an overwhelmingly powerful authority. It reflects the societal belief in respecting established hierarchies, even when they are corrupt or unjust.
2. "It is a foolish rat that argues with a cat."
- Meaning and Context: Here, the Fon’s messenger uses this proverb to reinforce the idea that Shey Ngong, represented as a rat, should not challenge the Fon, who is symbolized by the cat. The cat, being a natural predator of the rat, would naturally win in any conflict.
- Literary Function: This adage serves to convey the theme of oppression, where the oppressed are warned not to resist the oppressor, as it would only lead to their downfall. It illustrates the pervasive fear and submission that the Fon's regime instills in the people.
3. "The gorilla can do nothing to an iroko tree."
- Meaning and Context: In response to the Fon’s messenger, Shey Ngong uses this proverb to assert his stance against the Fon. While acknowledging the Fon’s power (as a gorilla), Shey compares himself to an iroko tree, a strong and resilient entity that the gorilla cannot harm.
- Literary Function: This proverb symbolizes resistance and the assertion of one’s rights despite oppressive forces. The iroko tree represents the strength and resilience of the people, standing firm against the corruption and tyranny of the Fon. It also challenges the notion of unquestionable authority, suggesting that even those in power have their limits.
4. "The cat, no matter how full his stomach is, will never spare the rat."
- Meaning and Context: Shey Ngong uses this proverb to criticize the Fon's greed and insatiable hunger for power. No matter how much the Fon gains, he will always seek to oppress and exploit others, similar to how a cat, driven by its predatory nature, will never spare a rat.
- Literary Function: This adage is a critique of the relentless greed and tyranny of those in power. It highlights the perpetual nature of oppression, where the oppressor, driven by greed, will never cease to exploit the weak.
5. "Go and give the monkey his banana or he will never give you peace."
- Meaning and Context: Nsangong advises Shey Ngong to appease the Fon (the monkey) by giving in to his demands (the banana). This advice reflects a survival strategy in a corrupt society, where compliance with authority is seen as necessary to avoid persecution.
- Literary Function: This proverb illustrates the theme of compromise and the moral dilemma faced by individuals in a corrupt society. It reflects the fear and resignation of those who, while recognizing the injustices of the regime, feel powerless to resist and instead choose to comply for the sake of peace.
6. "The pig who knows only the hunger of its own stomach."
- Meaning and Context: Shey Ngong uses this proverb to criticize the Fon’s selfishness and greed, comparing him to a pig that is concerned only with satisfying its own hunger.
- Literary Function: This aphorism serves as a sharp critique of the Fon's self-serving nature. It portrays the Fon as a leader who is disconnected from the needs of his people, focusing solely on his own gain, thus embodying the themes of greed and corruption.
7. "The louse and the jigger have no need for brains."
- Meaning and Context: Shey Ngong uses this proverb to describe the stooges and sycophants around the Fon, who, like parasites, mindlessly follow the Fon’s commands in exchange for personal gain.
- Literary Function: This proverb exposes the mindlessness and lack of integrity among those who support the corrupt regime. It critiques the opportunism and cowardice of individuals who betray their morals for personal gain, reinforcing the theme of moral decay in society.
8. "Pride drove the goat to wrestle with the leopard."
- Meaning and Context: Shey Ngong uses this proverb to highlight the folly of the Fon’s pride, which leads him to challenge forces greater than himself (represented by the leopard). The proverb suggests that the Fon’s downfall is inevitable because of his hubris.
- Literary Function: This adage underscores the theme of hubris and the inevitable downfall that comes with it. It serves as a warning against the dangers of excessive pride and the reckless pursuit of power.
9. "The rat does not play with the cat."
- Meaning and Context: This proverb, delivered as a warning to Shey Ngong, reiterates the idea that those in lower positions (like the rat) should not challenge those in power (like the cat), as it would only lead to their destruction.
- Literary Function: This aphorism reinforces the theme of tyranny, where the oppressed are constantly reminded of their inferior status and the futility of resistance. It reflects the fear and helplessness instilled by the oppressive regime.
10. "The disease that attacked the cow cannot spare the goat."
- Meaning and Context: Tapper uses this proverb to express his fear that the same fate that befell others who opposed the Fon will also befall him if he continues to resist. It reflects the pervasive fear and insecurity among the people.
- Literary Function: This adage highlights the widespread fear and the sense of inevitability in the face of oppression. It conveys the theme of shared suffering and the idea that the consequences of resistance are inescapable for everyone involved.
The use of proverbs, aphorisms, and adages in And Palm-Wine Will Flow is a powerful stylistic device that Bole Butake employs to convey complex themes of power, resistance, oppression, and societal decay. These literary devices are deeply embedded in the cultural context of the play, drawing from African oral traditions to provide wisdom, caution, and critique. They serve not only as a means of communication between the characters but also as a tool for the playwright to engage the audience in reflecting on the moral and political issues facing society. Through these proverbs, the play critiques the corrupt and tyrannical rule of the Fon, the complicity of those who support him, and the resilience of those who dare to resist.
About the Author
Bole Butake was a renowned Cameroonian playwright, professor, and cultural advocate, whose work significantly influenced the literary and theatrical landscape of Cameroon. Born in 1947 in Nkor, Noni sub-Division in the North West Province of Cameroon, Butake was educated at prestigious institutions like Sacred Heart College, Mankon, and Cameroon College of Arts, Science and Technology, Bambili. He later pursued higher education at the University of Yaoundé and the University of Leeds, England, where he earned advanced degrees in English Literature.
Butake's legacy is most notable in his contributions as a playwright and theater director, where he became a powerful voice for social justice and a champion for the oppressed. His plays, such as "Lake God," "The Survivors," and "And Palm Wine Will Flow," tackled issues of corruption, tyranny, and the struggles of the masses in Cameroon. His work was not only influential within Cameroon but also gained international recognition.
Despite facing significant challenges, including government censorship and repression, Butake remained dedicated to his craft, using theater as a tool for social change. He was also involved in Theatre for Development, taking his message to grassroots communities to raise awareness about their rights.
Butake's contributions were recognized with numerous awards, including the 2011 Lifetime Achievement Award for Trailblazers and the 2012 Eko Prize for Literature. He served as a professor and academic leader at the University of Yaoundé and was deeply involved in nurturing the next generation of Cameroonian scholars and artists.
Bole Butake passed away in 2016, leaving behind a profound legacy in Cameroonian literature and theater. His work continues to inspire and influence the arts and social justice movements in Cameroon and beyond.
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