Nanzi's Cunning and Caribbean Orature:
Subverting Colonial Narratives
This article analyzes the subversive cultural strategies embedded within the folkloric orature of Nanzi; the cunning spider known for outsmarting his foes using his wit, knowledge, and creativity. The tales of Nanzi illustrate how oral literature —or orature, as I will refer to it— has historically fostered transformative agency in Caribbean native communities, promoting healing, change, and resistance (Marshall, 2012). While orature is increasingly recognized as a valuable source in historiographical scholarship, its academic use has broader epistemological implications and opportunities that merit further exploration. Frantz Fanon astutely observed how oral storytellers contribute to the development of national consciousness by preserving and revitalizing indigenous cultural forms. It is this transformative capacity of Caribbean folkloric orature that I aim to explore further. This text will focus on its potential as a methodological tool for decolonizing dialectics and as a catalyst for transforming postcolonial aesthetics.
Forging National Consciousness from The Margins
Fanon (1961, as cited in McLeod, 2013) described the Western-educated native intellectual engaged in anti-colonial efforts as someone navigating the space between the colonizing nation and the colonized natives. He extensively discusses the complex position of the native intellectual within these efforts, given the dual pressures from both the colonial regime and their indigenous communities. With the rise of neocolonialism in the Caribbean, Fanon’s analysis of the so-called native intellectuals and their role in (post)colonial societies remains pertinent, particularly given their position in the higher strata of society among the ruling elite. This work extends Fanon’s analysis by shifting focus from the native intellectual to the colonized natives themselves, decentering the intellectual native. While Fanon emphasized the crucial role of the native intellectual in shaping national consciousness, he also warned of their potential alienation from the people’s struggle. This alienation arises due to the social, economic, and cultural privileges they enjoy, which buffer them from the harms faced by other natives. Thus, centering the perspectives of native people—whom I will refer to as vernacular intellectuals—is essential to avoid reproducing colonial discourses.
The act of engaging with postcolonialism must disrupt colonial discourse. Native intellectuals, including myself, bear the responsibility of relinquishing the authoritative power in discursive production conferred by Western education. This work highlights how storytelling through orature can challenge power relations in (neo-)colonial discourse. It responds to Fanon’s challenge for middle-class native intellectuals who may fall into neo-colonialism. The native intellectual must engage beyond the vacuum of academic discourses to engage meaningfully with vernacular intellectuals. Orature can amplify their voices, center their lived experiences, and convey ancestral stories. Nanzi embodies native people, representing their shared destinies in a postcolonial society.
The act of engaging with postcolonialism must disrupt colonial discourse. Native intellectuals, including myself, bear the responsibility of relinquishing the authoritative power in discursive production conferred by Western education. This work highlights how storytelling through orature can challenge power relations in (neo-)colonial discourse. It responds to Fanon’s challenge for middle-class native intellectuals who may fall into neo-colonialism. The native intellectual must engage beyond the vacuum of academic discourses to engage meaningfully with vernacular intellectuals. Orature can amplify their voices, center their lived experiences, and convey ancestral stories. Nanzi embodies native people, representing their shared destinies in a postcolonial society.
The Poetics and Politics of Orature
It is important to acknowledge the role that postcolonial literatures have played in decolonisation efforts. Literature offers many beneficial qualities, notably its ability to be mobilized in an immutable state. It remains a primary medium for recordkeeping for various purposes. However, the limitations of written literary works in driving cultural transformation, particularly in the Caribbean context, must also be recognized. One must question the primacy of literature in a society characterized by a rich oral tradition. Historically, literature has held a privileged position in Western academia, often regarded as superior to oral traditions due to misconceptions about the reliability and authenticity of oral cultures. This misconception obstructs the decolonization of dialectics. Oral traditions should not be judged by Western standards of authenticity, reliability, and truth, as they inherently operate differently (McRanor, 1997, pp. 63–64).
While literature and orature are part of a broader discourse, they have distinct practices and power dimensions. Oral traditions, with their unique poetics (how they are practiced) and politics (how they are invested with power), are mediated through specific cultural practices. The uncritical superiority attributed to the written tradition perpetuates colonial paradigms of idealism and essentialism, excluding other cultures from participating in the transformation of discourse and knowledge production. As David Henige’s research suggests, “[a] non-Native historical record based on the observations of a single male operating in an official capacity with a reputation” is not by default more reliable than Native accounts drawing on an intergenerational community, relying on collective memory instead (Henige, 2009, p. 141). In fact, oral histories maintain their essence through continuous performance and exhibit significant diversity in how they are presented by different groups, individuals, and even by the same person over time. The story of “How Nanzi tricked the King,” as compiled by Pinto et al. (2005), exemplifies these characteristics by metaphorically depicting colonial power dynamics and shared experiences of colonised natives. Its layered representation and re-presentation of (de)colonial narratives resonates across various intersections of identity.
While literature and orature are part of a broader discourse, they have distinct practices and power dimensions. Oral traditions, with their unique poetics (how they are practiced) and politics (how they are invested with power), are mediated through specific cultural practices. The uncritical superiority attributed to the written tradition perpetuates colonial paradigms of idealism and essentialism, excluding other cultures from participating in the transformation of discourse and knowledge production. As David Henige’s research suggests, “[a] non-Native historical record based on the observations of a single male operating in an official capacity with a reputation” is not by default more reliable than Native accounts drawing on an intergenerational community, relying on collective memory instead (Henige, 2009, p. 141). In fact, oral histories maintain their essence through continuous performance and exhibit significant diversity in how they are presented by different groups, individuals, and even by the same person over time. The story of “How Nanzi tricked the King,” as compiled by Pinto et al. (2005), exemplifies these characteristics by metaphorically depicting colonial power dynamics and shared experiences of colonised natives. Its layered representation and re-presentation of (de)colonial narratives resonates across various intersections of identity.
Dynamic Narratives: Stories are Supposed to Change
The practice of storytelling through orature as a medium is powerful because of its dynamism. As discussed earlier, orature allows for a continuous reinterpretation of narratives, enabling communities to adapt their histories and social realities in ways that resonate with their current circumstances (Henige, 2009, pp. 141–142). This flexibility contrasts with the static nature of written literature, which, while valuable, often fails to capture the evolving complexities of Caribbean societies.
As Hood (1959) aptly noted, “The notion of preservation as the primary function of an oral tradition is misleading and carries the static or negative connotation of protection and safe-keeping, a process which inhibits change and consequently obviates development” (p. 201). Oral storytelling, rather, allows both narrator and listener to redevelop their sense of self within the contemporary historical, social, and cultural context. Through orature, Caribbean people have found agency and voice, narrating Nanzi stories in their own language and interpretations. This dynamic nature of orature, as discussed previously, is what enables it to effectively challenge and subvert colonial narratives.
Nanzi orature creates a counter-narrative to colonial representations, subverting the status quo through counter-aesthetic practices. This counters the notion that written traditions are inherently superior, a point emphasized when discussing the limitations of literature in driving cultural transformation. Orature, as demonstrated by Nanzi tales, engages with power structures by offering alternative modes of knowledge production and cultural expression.
How Nanzi Tricked the King: A tale of Power
In the following analysis of "How Nanzi Tricked the King" I will delve deeper into the ways this tale reflects the dynamics of power, survival, and desire, illustrating the complex moral landscape that colonized subjects navigate. This tale is about an unfortunate encounter Nanzi has with the King, highlighting the hierarchical society in which Nanzi, part of a struggling class, must navigate.
The story starts with Nanzi entering the King’s palace on a whim[1]:
The story starts with Nanzi entering the King’s palace on a whim[1]:
One day Nanzi was walking by the King’s palace. He got an urge to enter the palace. He didn’t think too long about it, but immediately did what came to mind. […] Nanzi entered the King’s Hall. He sat down comfortably on the King’s throne. Then he put on the robe that was draped on the throne. It was hot and it didn’t take long before Nanzi started falling asleep. […] The King was shocked to see Nanzi seated on his throne wearing his robe. What lack of respect!
This excerpt depicts Nanzi sitting on the King’s throne and wearing his cloak, driven by a desire to occupy the King’s position. The King’s abundance of resources is something that the struggling Nanzi could never access. The King’s disdain at the sight of Nanzi, a poor native, on his throne is portrayed as "wrong" because it challenges the established social and symbolic order — it is "unaesthetic." This image symbolizes the impossibility of the native occupying the King’s position, as it disrupts what Fanon (1994) refers to as an "aesthetic of respect for the status quo" (p. 3). Even when Nanzi briefly experiences what it is like to be in the King’s position, he quickly learns that within the existing (neo)colonial relations, he can only experience proximity to power.
This part of the tale imparts a crucial lesson about colonized subjects' desires, self-image, and reality, illustrated by W.E.B. Du Bois’ (2015) concept of double consciousness. Du Bois explains that colonized individuals often view themselves from two perspectives: their own identity and culture, and the lens of a society that deems them inferior. The pressure to conform to a dominant culture that may not accept them, while also trying to maintain a connection to their true sense of self, is a difficult balancing act. Because the King epitomizes material abundance, it is tempting for Nanzi to imagine a better life within the existing social structures—essentially, to envision himself in the King’s position. The narrative raises a critical question: how does one reconcile the double desire to conform to normative structures while simultaneously seeking to subvert them?
This part of the tale imparts a crucial lesson about colonized subjects' desires, self-image, and reality, illustrated by W.E.B. Du Bois’ (2015) concept of double consciousness. Du Bois explains that colonized individuals often view themselves from two perspectives: their own identity and culture, and the lens of a society that deems them inferior. The pressure to conform to a dominant culture that may not accept them, while also trying to maintain a connection to their true sense of self, is a difficult balancing act. Because the King epitomizes material abundance, it is tempting for Nanzi to imagine a better life within the existing social structures—essentially, to envision himself in the King’s position. The narrative raises a critical question: how does one reconcile the double desire to conform to normative structures while simultaneously seeking to subvert them?
Nanzi’s Cunning Escape
As the story continues, Nanzi uses his wit and cunning – traditionally negative traits – to narrowly escape death, leading to the King’s demise. Nanzi must now face the consequences for sitting on the King’s throne. He is sown shut in a sack to be drowned, but quickly concocts a scheme. While left unattended for a moment by the King’s soldiers, he tricks a nearby sheep herder. The unsuspecting herder, lured by false promises, ends up trading places with him. After the herder is trapped in the sack, Nanzi places the herder’s hat on his head and goes about herding the sheep as if nothing happened. The soldiers inevitably take the herder who ends up drowning after he is thrown into the ocean.
This part of the story has multiple layers. Firstly, it shows how native intellectuals can fall into the trap of neo-colonialism which Fanon warned of, by betraying their own people. Nanzi’s survival depends on using his intellect in a way that harms fellow natives. This dilemma reflects the reality that survival sometimes involves reproducing the harm one suffers. Additionally, Nanzi weaponises the sheep herder’s desire against to trick him; the same desire that got Nanzi in trouble. This illustrates a collective human desire for better material conditions. Nanzi’s orature captures the complexity of individual and collective experiences, giving voice to various colonized narratives.
As the story continues, Nanzi uses his wit and cunning – traditionally negative traits – to narrowly escape death, leading to the King’s demise. Nanzi must now face the consequences for sitting on the King’s throne. He is sown shut in a sack to be drowned, but quickly concocts a scheme. While left unattended for a moment by the King’s soldiers, he tricks a nearby sheep herder. The unsuspecting herder, lured by false promises, ends up trading places with him. After the herder is trapped in the sack, Nanzi places the herder’s hat on his head and goes about herding the sheep as if nothing happened. The soldiers inevitably take the herder who ends up drowning after he is thrown into the ocean.
This part of the story has multiple layers. Firstly, it shows how native intellectuals can fall into the trap of neo-colonialism which Fanon warned of, by betraying their own people. Nanzi’s survival depends on using his intellect in a way that harms fellow natives. This dilemma reflects the reality that survival sometimes involves reproducing the harm one suffers. Additionally, Nanzi weaponises the sheep herder’s desire against to trick him; the same desire that got Nanzi in trouble. This illustrates a collective human desire for better material conditions. Nanzi’s orature captures the complexity of individual and collective experiences, giving voice to various colonized narratives.
Nanzi’s Final Triumph
‘But Nanzi, are you not at the bottom of the ocean?’
‘There I was, Your Majesty. But you know, King, there is so much to see there! Like this herd of sheep. Because they did not have a herder, I followed them and that is how I arrived on land after a long while. At the bottom of the ocean there are lots of beautiful things to see. […] Immediately [the King] ordered his soldiers to put him in a sack and throw him into the ocean. […] He was never found. [Nanzi] took possession of all the King’s property and lived as a king until this day.
Nanzi’s adventure concludes with a final encounter with the King, who is shocked to find Nanzi still alive:
‘But Nanzi, are you not at the bottom of the ocean?’
‘There I was, Your Majesty. But you know, King, there is so much to see there! Like this herd of sheep. Because they did not have a herder, I followed them and that is how I arrived on land after a long while. At the bottom of the ocean there are lots of beautiful things to see. […] Immediately [the King] ordered his soldiers to put him in a sack and throw him into the ocean. […] He was never found. [Nanzi] took possession of all the King’s property and lived as a king until this day.
In the end, Nanzi defeats the King, representing his antithesis, using only his wits. The story highlights the fine line between desire and greed and the lengths to which people will go to attain their desires. Whether this conclusion is viewed as a victory depends on one’s perspective. The tale offers multiple, sometimes contradictory truths, providing an authentic account of how desire influences behavior. Additionally, Nanzi’s adventure underscores the collateral damage of certain survival strategies and serves as a cautionary tale about the ease with which individuals may perpetuate the status quo based on their position within a hierarchical structure.
Living Texts: The Power of Orature
This work explores orature as an aesthetic practice within postcolonial scholarship. Specifically, it examines how orature, as a dynamic medium, influences the transformative potential of postcolonial texts in forging national consciousness while incorporating marginalized perspectives. The analysis of “How Nanzi Tricked the King” demonstrates that orature is a storytelling mode that prioritizes the storyteller’s voice and empowers vernacular intellectuals. This approach allows all natives to engage in subverting colonial discourse. While orature offers new opportunities for postcolonial engagement, it is crucial to remain vigilant to avoid reproducing colonial discourses.
Bibliography
[1] Text translated from Papiamentu to English by me. I translated the story as literal as possible.
Du Bois, W. E. B., & Marable, M. (2015). Souls of black folk. Routledge.
Fanon, F. (1994). The Wretched of the Earth, trans. Richard Philcox. Grove Press, 3.
Henige, D. (2009). Impossible To Disprove Yet Impossible To Believe: The Unforgiving Epistemology Of Deep-Time Oral Tradition. History in Africa, 36, 127–234. JSTOR.
Hood, M. (1959). The Reliability of Oral Tradition. Journal of the American Musicological Society, 12(2/3), 201–209. https://doi.org/10.2307/829541
Marshall, E. Z. (2012). Anansi’s Journey: A Story of Jamaican Cultural Resistance. University of the West Indies Press.
McLeod, J. (2013). Beginning postcolonialism: Second edition. Manchester University Press. https://books.google.nl/books?id=Q3a5DwAAQBAJ
McRanor, S. (1997). Maintaining the Reliability of Aboriginal Oral Records and Their Material Manifestations: Implications for Archival Practice. Archivaria. https://archivaria.ca/index.php/archivaria/article/view/12176
Pinto, N. M. G. J., van Duin, L., Bramlage, D., & Joubert, S. M. (2005). Kon Nanzi a nèk Shon Arei i otro kuentanan antiano di e araña sabí: Zirkoon. https://books.google.co.in/books?id=NbzaPQAACAAJ
Fanon, F. (1994). The Wretched of the Earth, trans. Richard Philcox. Grove Press, 3.
Henige, D. (2009). Impossible To Disprove Yet Impossible To Believe: The Unforgiving Epistemology Of Deep-Time Oral Tradition. History in Africa, 36, 127–234. JSTOR.
Hood, M. (1959). The Reliability of Oral Tradition. Journal of the American Musicological Society, 12(2/3), 201–209. https://doi.org/10.2307/829541
Marshall, E. Z. (2012). Anansi’s Journey: A Story of Jamaican Cultural Resistance. University of the West Indies Press.
McLeod, J. (2013). Beginning postcolonialism: Second edition. Manchester University Press. https://books.google.nl/books?id=Q3a5DwAAQBAJ
McRanor, S. (1997). Maintaining the Reliability of Aboriginal Oral Records and Their Material Manifestations: Implications for Archival Practice. Archivaria. https://archivaria.ca/index.php/archivaria/article/view/12176
Pinto, N. M. G. J., van Duin, L., Bramlage, D., & Joubert, S. M. (2005). Kon Nanzi a nèk Shon Arei i otro kuentanan antiano di e araña sabí: Zirkoon. https://books.google.co.in/books?id=NbzaPQAACAAJ
[1] Text translated from Papiamentu to English by me. I translated the story as literal as possible.