Retranslating Fulani (Cameroon) Mbooku poems

ISSN: 1139-7489 RETRANSLATING FULANI (CAMEROON) MBOOKU POEMS La retraducción de los poemas mbooku de la lengua fulani de Camerún Oumarou Mal MAZOU Université de Liège INTRODUCTION “The Europeans are not good: A Fulbe Mbooku poem of protest” is a Fulani oral poem first transcribed and translated by Paul Kazuhisa Eguchi and published as a scholarly paper in 1992. The 164-line poem, recorded by Eguchi himself on 15th November 1976, was composed by the mbooku poet Siddi Yambaram. Mbooku is a form of oral poetry specific to the Fulani people, who live in the Far North of Cameroon. The poets sing in a group consisting of a few singers led a soloist with no instrumental accompaniment. The subject matter is often critical of misbehavior in society but may also praise good deeds and heroes. It is mainly characterized by the humorous use of figures of speech, parables, puns and repetition. Contrary to the griots and praise singers of most traditional African societies, Mbooku poets (or mboo’en) are members of the noble class and do not sing for money or gifts; they are proud and consider themselves entertainers. Today the genre has completely disappeared due to the lack of interest among the younger generations as well as the lack of modern means of conservation that may guarantee its survival. © Fatiso Hermēneus, TI, 17, pp. 409-414 410 OUMAROU MAL MAZOU RETRANSLATING FULANI (CAMEROON) MBOOKU POEMS RETRANSLATION Before studying the retranslation of an excerpt of Eguchi’s text, it may be worthwhile to reflect on retranslation itself. What is retranslation? A simple answer to this question would be “the act of translating a work that has previously been translated into the same language, or the result of such an act, i.e. the retranslated text itself” (Baker 2009: 233). This can be done in several ways: by “re-translat[ing] an original text which has already been translated in that foreign language, translat[ing] in a new language from a translation (as opposed to from the original text), or carry[ing] out a back-translation into the original language from a translation” (Elise 2014: n. p.). In our case, the retranslation is based on both the original text and its first translation into English. Of course, the decision to retranslate the text into a new English version gives rise to another question: Why? As Venuti (2013: 98) rightly stated, a retranslation is an added value in that it contributes to advancing both Translation Studies and Literature “through the inscription of a different interpretation”. I1 chose to retranslate this poem in order to make it more literary. This aspect was downplayed in Eguchi’s translation as his research centered on the musical, historical and anthropological aspects of the poem: “The aim of this paper is to present a Fulɓe Mbooku poem of protest against the foreign invasion and loss of Fulɓe sovereignty which occured at the beginning of this century” (Eguchi 1992: 465). My intention is neither to evaluate nor to amend Eguchi’s work. I simply deem it necessary to make the poem more ‘poetic’ by incorporating certain patterns, such as the use of stanzas and verse meter as well as images and stylistic devices into the translation. 1 Many thanks to Christine Pagnoulle for reading the poem and for her valuable comments and suggestions. © Fatiso Hermēneus, TI, 17, pp. 409-414 OUMAROU MAL MAZOU RETRANSLATING FULANI (CAMEROON) MBOOKU POEMS 411 FULANI EXCERPT AND EGUCHI’S ENGLISH TRANSLATION Fulani poem transcription English translation Ko mbi’iru-noo-mi ɓe mbooɓaayi. Ko ɓe mbanngi ɓe tefi balmi. Ko mbi’iru-noo-mi ɓe mbooɗaayi. Turooɓe yimɓe mbaɗa bamɗe, yimɓe ɓe’e mbalaa akiri. Raneeɓe baaba nya”irde, naa be,boroɗɗe, be borgooje, juulnitooɓe juulniiɓe. Nde ɓe mbanngi ɓe tefi balmi. Zamanu keeke fakataake. Famarɓe mboya, ɓe mboyni en. Ɓe ngoodi toro, ɓe torri en. Ko mbi’iru-noo-mi, ɓe mboodaayi. Fii raneeɓe jaaliiɓe, raneeɓe ɓure wullaandu. Ko mbi’iru-noo-mi ɓe jaaliiɓe. Annditee lee ɓe mbooɗaayi. Nde ɓe mbanngi, ɓe tefi balmi. Konu darnani ɓe, ɓe mbanngi. Kuma, be kumi laamiiɓe. Ɓe loslosnii ɓe nder maayo, ɓunndu Kahfu kon tagana. Bolidooɓe e seydanji, (…) What I have been saying is that they are not good. Since they came out into the world, they looked for arms. What I have been saying is that they are not good. It is they who made people bend down and made them donkeys. The people were forced to carry without payment. The white people are masters with spurs. They wore red fezzes, and carried blankets. It is they who torture the circumcised adults again. Since they came out into the world, they looked for arms. In these days no one can stop the machines. When these young people shout, they made us cry. They have money, and they troubled us. What I have been saying is that they are not good. The story of the white people, the conquerors. The white men cannot be appealed to the court. What I have been saying is that they were conquerors. You should know that they are not good. Since they, came out into the world, they looked for arms. The war made them powerful as they are. They made fools of chiefs saying: “What?” They are those who came out of a river. They were created in the Kahfu cave. They can talk with Satans. (…) Katuwal waɗi jalnaare, meemi leebura kaɓɓaaɗo, yaaɓi winnde saakiingo. Naati Caanaga konu somi, comko cifanii haɓre. Tayri duunde njaareendi. Ɓunndu Baali ko mbaali. Habaru heewti nder Marwa, kiiri yeynugo haa jenngi: “Jawmu ɓaaru fuu tookna.” Marwa tookni kurol muuɓum. Tammo ban kaɓe kooseeje. Tugga koppi ɓe ngoorna kuri. Jaka Nasaara haɓataako. ŋara galnodi labbon mum, tammo ban kaɓe fuunaange, kaɓe Hayaatu wad-noo ɗum, caamna ngorgu, nguboo sewngo. Ibba Saŋe e canngin-no. What happened in Katuwal makes me laugh. They insulted the laborer who was forced to carry things. The white men reached the market place. They went into the Chaanaga river and got tired. They were hindered by the river but thought how to fight. They crossed the sand hill. They stayed overnight at the Baali well. The news about them reached Maroua. The chief announced from the evening till late at night, saying: “Let every archer poison his arrows.” The Maroua people poisoned thgir arrows. They thought it was just like attacking the hill pagans. They knelt down and sent the arrows at the white men. Actually they were not able to fight the white men. Thenara men sharpened their spearheads. They thought it was just like attacking the people living in the east. They thought it just a fight of Hayaatu’s days. They tried to gallop on horses and throw spears. The white men camped at Ibba Sape. © Fatiso Hermēneus, TI, 17, pp. 409-414 412 OUMAROU MAL MAZOU RETRANSLATING FULANI (CAMEROON) MBOOKU POEMS Kofiingel hofi ansar’en, neeɓaay nii ɓe piyi bunndukru. Njaawi, ɓe njowi kolkolma, njoofi mayruwa dow maɓɓe. Siddi Geereme don saydi, caydinoodo e foondannde. Marwa doggiri gal Zayka. ŋara doggiri dow Makabay. Nyannde nden boo mi ɗon waali. Cemtudum wadi keeddiɗam, doggani wari meemi-mmi. O wi’i-mmi: “Ngorgi, war ndoggen. Woodi ngaska ngi’-noo-mi. Njemma tawen ka naaten ka.” “Alla wadi mi semtaayi. Miin mi naatataa ngaska. Haɓre haɓannde haa Miskin. Koo yaadu mi daara nde.” (Eguchi, vv.1-24; 125-164, pp. 470-478) The one who knelt down took position among the Sara soldiers. Soon they shot the guns. Hastily they shot the machine guns. They poured machine gun bullets over the Fulbe warriors. Siddi Geereme became a martyr on the spot, the victim of the confrontation against them. The Maroua warriors ran away toward Zayka. The ŋara warriors ran up to the Makabay hill. On this day I was sleeping. shameful thing happened to my neighbor. He came to me running, and touched me. He told me: “My friend, let us run away. I found a cave. Let us go to find it, and go into it.” “As is my character, I do not feel ashamed. I will not go into a cave. The war is taking place in Miskin. I can run away from them even on foot.” (Eguchi, vv.1-24; 125-164, pp. 471-479) SOME COMMENTS ON EGUCHI’S TRANSLATION Several aspects, such as rhythm, structure, form and content, of this first English translation of the poem beg commentary. The rhythm of the source text (ST) is ignored in the target text (TT), the English verses being longer than those of the Fulani original. Also, neither the ST nor the TT is divided into stanzas. Both are presented side by side in running form. Eguchi does include a total of 11 footnotes (for the whole poem) to explain certain details. Taking these comments into consideration, let me now propose my retranslation of this excerpt, using Eguchi’s TT as a starting point, but relying too on my understanding of the original text. Eguchi’s Translation My Retranslation What I have been saying is that they are not good. Since they came out into the world, they looked for arms. What I have been saying is that they are not good. It is they who made people bend down and made them donkeys. The people were forced to carry without payment. The white people are masters with spurs. They wore red fezzes, and carried blankets. It is they who torture the circumcised adults again. Since they came out into the world, they looked for arms. In these days no one can stop the machines. When these young people shout, they made us cry. They have money, and they troubled us. WhatIhave been saying is that they are not good. Why do I say they are not good? When they came they came fully armed. Why do I say they are not good? Those who bend people and make donkeys. People without salary. White men, masters of spurs. Not with fezzes but in their capes. Who circumcised adults another time. When they came they came fully armed In the age when machines Cannot be stopped. Children cry, we the adults do too. They have money and make us harried. © Fatiso Hermēneus, TI, 17, pp. 409-414 OUMAROU MAL MAZOU RETRANSLATING FULANI (CAMEROON) MBOOKU POEMS The story of the white people, the conquerors. The white men cannot be appealed to the court. WhatIhave been saying is that they were conquerors. You should know that they are not good. Since they, came out into the world, they looked for arms. The war made them powerful as they are. They made fools of chiefs saying: “What?” They are those who came out of a river. They were created in the Kahfu cave. They can talk with Satans. (…) What happened in Katuwal makes me laugh. They insulted the laborer who was forced to carry things. The white men reached the market place. They went into the Chaanaga river and got tired. They were hindered by the river but thought how to fight. They crossed the sand hill. They stayed overnight at the Baali well. The news about them reached Maroua. The chief announced from the evening till late at night, saying: “Let every archer poison his arrows.” The Maroua people poisoned thgir arrows. They thought it was just like attacking the hill pagans. They knelt down and sent the arrows at the white men. Actually they were not able to fight the white men. Thenara men sharpened their spearheads. They thought it was just like attacking the people living in the [east. They thought it just a fight of Hayaatu’s days. They tried to gallop on horses and throw spears. The white men camped at Ibba Sape. The one who knelt down took position among the Sara soldiers. Soon they shot the guns. Hastily they shot the machine guns. They poured machine gun bullets over the Fulbe warriors. Siddi Geereme became a martyr on the spot, the victim of the confrontation against them. The Maroua warriors ran away toward Zayka. The ŋara warriors ran up to the Makabay hill. On this day I was sleeping. shameful thing happened to my neighbor. He came to me running, and touched me. He told me: “My friend, let us run away. I found a cave. Let us go to find it, and go into it.” “As is my character, I do not feel ashamed. I will not go into a cave. The war is taking place in Miskin. I can run away from them even on foot. (Eguchi, v.1-24; 125-164, pp. 470-478) © Fatiso 413 Why do I say they are not good? The story of White men, the victorious. Those who are above the law. Why do I say they are victorious? Do recognize they are not good! When they came they came fully armed. War made them powerful and they came. How! They turned our kings into cows! Those who pulled themselves from rivers. They were made for the Kahfu Cavern. Those who talk with the devils (…) Katwal witnessed something funny. They hit a chained labourer. The Whites crossed the marketplace. They came to Tsanaga River and got tired. Though tired, they thought of how to fight. They then crossed the mountain of sand. They spent night at the Well of Sheep. The news spread in all Maroua. Till late into the night: “Anyone who gets arrows Should have them poisoned.” Maroua then poisoned its arrows. And they thought it was as easy As fighting hill pagans. They aimed and arrowed the White men, But the White man is unbeatable. Ngara people sharpened their spears. Thinking it was like the battles of the East. Battles in which Hayaatou fought. A ride on horse, a throw of spear. But the White men had Ibba Sannge besieged. Who knelt fought on the other side Very soon they shot the guns, And then quick another shot, And fired bullets on people. There became Siddi of Guereme a martyr, Attempting to fight them. Maroua escaped through Zayka. Ngara escaped on Makabay. And that day I was on my bed. A shameful thing happened to my neighbor, Who ran, came to me and touched me: “Dear friend come and let’s run. There is a hole I saw around. Hermēneus, TI, 17, pp. 409-414 414 OUMAROU MAL MAZOU RETRANSLATING FULANI (CAMEROON) MBOOKU POEMS In the night let’s find it and hide in it.” Thank God I didn’t go such ashamed. “Me I’ll not hide into a hole, For a war happening in Miskin. Even if walking, I’ll escape from it.” CONCLUSION Having translated and published five extensive poems as scholarly articles, Eguchi’s work is a very important source for the retranslation of Fulani (Cameroon) mbooku poems not only into English but also into many other languages. Two additional scholars, the German Viet Erlmann and the Cameroonian Abdoulaye Oumarou Dalil, have published two transcriptions and translations into German and French, respectively. Therefore, new retranslations will be a way of giving this endangered oral literature a second chance and will also be of great value for Translation Studies and world literature. The same may be said of other ‘minor’ literatures belonging to other oral traditions. BIBLIOGRAPHICAL REFERENCES Baker, Mona & Saldanha Gabriela, eds. Routledge Encyclopedia of Translation Studies. London/New-York: Routledge, 2009. Eguchi, K. Paul. “The Europeans are not good: a Fulɓe Mbooku Poem of Protest.” Senri Ethnological Studies 31 (1992): 465-480. Elise. “What is Re-translation?” Bookworm Translations. 25 August 2014. Available at: http://www.bookwormtranslations.com/what-is-re-translation/ [Consulted 31 August 2014]. Erlmann, Viet. Booku, Eine literarisch-musikalische Gattung der Fulbe des Diamaré (NordKamerun). Berlin: Verlag von Dietrich Reimer, 1979. Oumarou Dalil, Abdoulaye. Mbooku. Poésie peule du Diamaré (Nord-Cameroun). Paris: L’Harmattan, 1988. Venuti, Lawrence. Translation Changes Everything. New York: Routledge, 2013. © Fatiso Hermēneus, TI, 17, pp. 409-414