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53 Pages·2011·0.53 MB·English

CATCH ME A RIVER
Diana Pitcher
a guide for teaching literature according to the Curriculum
Statement 2005
Compiled by
Michele Clift
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Acknowledgement:
The assessment standards in this book come from the policy documents of the National
Department of Education
All rights reserved
First edition in 2006 by Tafelberg
a division of NB-Publishers (PTY) Limited,
40 Heerengracht, Cape Town
Cover and typography by Mckore Graphics
Set in 10 on 12 pt Times by Mckore Graphics
Printed and bound by Paarl Print
ISBN 10: 0-624-04347-9
ISBN 13: 978-0-624-04347-8
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Contents

Chapter 1 Introduction ............................................................................................. 1
1. A defi nition of myths, legends and fables ............................................ 1
2. The concept of gods and deities in Africa ............................................ 1
3. Some additional myths about creation found in Africa ....................... 2
4. The structure of the book ..................................................................... 2
5. Characters in the book ......................................................................... 3
Chapter 2 Lord of the Rainbow................................................................................ 11
Chapter 3 Shine, Liembu ......................................................................................... 14
Chapter 4 The Guardian of the Pool ........................................................................ 17
Chapter 5 The King’s Daughter ............................................................................... 20
Chapter 6 The Water People..................................................................................... 22
Chapter 7 Elephant and Hare ................................................................................... 24
Chapter 8 The Little People ..................................................................................... 25
Chapter 9 Crocodile and Monkey ............................................................................ 27
Chapter 10 How Tortoise Got His Hard Shell ......................................................... 29
Chapter 11 The Seven Stars ..................................................................................... 32
Chapter 12 The Snake Chief .................................................................................... 35
Chapter 13 Kingfi sher .............................................................................................. 37
Chapter 14 Where No Frogs Croak .......................................................................... 39
Chapter 15 An additional myth about how the world was created .......................... 42
Chapter 16 Writing the 4th genre essay ................................................................... 44
Chapter 17 Articles for discussion or enrichment .................................................... 46
Chapter 18 References ............................................................................................. 49
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Foreword
Essentially, this study guide should be seen as more of a tool for teaching literary
techniques, and the National requirements for literature study, than a study of the literary
work itself.
The book appears to be a compilation and merging of many African myths, legends
and fables. Despite the fact that Africa is a vast continent that boasts a collection of
MANY tribes and belief systems, African Mythology is nevertheless used as a collective
term in this book. Where possible, each story is linked to country, culture and poetry.
Mostly this workbook is an exercise in creative thinking, and the development of the
understanding of fi gurative language. I have also tried to make studying this book
as enriching as possible. Many of our learners are urbanised and probably wouldn’t
know what a fi refl y or a woodborer or an Acacia tree looks like. For this reason, many
illustrations, descriptions and, where possible, additional myths and traditions are
included. It is more than just literary study.
At the end of each chapter there are contextual questions, questions on fi gures of
speech or style, worksheets for learners and/or creative response questions. The memos
to the worksheets form an integral part of the theory taught. It is essential to read the
worksheets before teaching each story to the class.
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CHAPTER 1
A defi nition of myths, legends and fables
There was a time, long, long ago, a time before the world could be explained scientifi cally,
when human reactions weren’t psychoanalysed, when people didn’t buy a tablet when
they were ill. During this period, the only way to learn about things was through the
telling of stories, and that is how myths and legends evolved. At the centre of any culture,
you will fi nd the myths that shape and defi ne it. Even though we have now learnt to read
and write, our habits and belief systems, certain foods we eat, and our everyday rituals,
are all still deeply rooted in the stories of our ancestors.
As one of the main components of oral tradition, myths served four main functions.
1. They explained natural phenomenon in a world that was not yet scientifi cally
advanced.
2. They translated the wonders of the world into digestible stories. There is a mystical
quality to life that even today modern man still can’t fully explain.
3. They taught values necessary for the given society. Each society has its own values
and traditions.
4. They were lessons in morality and behaviour.
Legends and fables form part of myths, but with a few differences.
Fables are largely about animals that display human characteristics and personality
types. Legends tell stories about people, while myths include gods or humans with
supernatural abilities. The lines between them often get blurred and defi nitions should
be seen as absolute. However, fables and legends are not necessarily bound by time. To
fully understand a myth though, we need to have some knowledge of how the religion or
the belief system of a particular culture worked.
The concept of gods and deities in traditional Africa
There is the concept of a supreme god or being in most African religions. There is,
however, no formal or organized worshipping of this supreme being in the form of
temples or shrines. The general belief is that he lives in the sky, is transcendent and that
he once lived on Earth.
There is also a belief in other nature spirits that take the shape of elements or objects
in nature. They are known as the children of god, and together with the ancestors, receive
more attention in daily worship. When making offerings to a deity or ancestor, one is
also worshipping the supreme god at the same time.
Death is not seen as ending the relationship with the family or tribe. Deceased family
members remain with the living and become intermediaries between family members
and the spirit world.
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Additional myths about how man was created
Terms like “First Man” and “First Woman”, and phrases such as “when the world was
fi rst created”, are used rather loosely in the book. Below are a few African myths about
how the world was fi rst created.
The chameleon is mocked and disregarded in many African cultures. This stems
from one of the myths about how man was created. The Shona believe that all tribes
in Africa emerged from marsh reeds, complete with their customs and traditions. The
chameleon, called Lumfana, was sent to each tribe with the message that all men would
die but would rise again. The chief also sent Galagal, a big, blue-headed lizard, with the
message that all men would die but would then rot. The lizard, being faster, overtook
the slow chameleon. The chameleon has thus never been forgiven for not delivering the
good message before the lizard’s bad news was accepted.
This myth explains why all bodies eventually rot and decompose.
The Herero believe that man and woman came from the Omumborumbonga tree.
The fi rst ancestor was called Mukuru and his female counterpart, Kamungundu and from
them came all the different tribes in Africa. Oxen, so revered in many African cultures,
also came from the Omumborumbonga tree, while sheep and goats came from under a
fl at stone. The other wild animals in Africa evolved from wild oxen.
A computer-based reconstruction of an
arsinoithere, an extinct fossil mammal from
Ethiopia that lived 27 million years ago. Height at
the shoulder is about seven feet.
Illustration courtesy Trent L. Schindler, National
Science Foundation
National Geographic News December 3, 2003
The structure of the book
The book consists of thirteen short stories that stand as entities on their own ,while also
forming a coherent whole. They are linked by character and content.
The protagonist is River, on a journey from his source to the sea. Each chapter
tells of a stop along the river bank, and describes either a geographical formation, a
traditional rite, or a fable about animals living in the African wild. One might see the
river as a metaphor for life. At fi rst, the river experiences the discovery of things, much
like a little baby does: the shiny fi sh, the spirit people living in water, and the animals
and birds. As he grows older and begins to experience life, there are lessons he must
learn: lessons about the rewards for bravery, empathy and compassion, and also about the
consequences of arrogance, selfi sh behaviour and not playing your role in society.
The book does not follow any particular belief system, and can therefore be seen as
an introduction to the idea of African mythology. The river itself has no name and is a
generic term for any river in Africa.
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Characters
The characters are divided into three groups. Firstly, there is a group of ordinary human
beings who do the usual things that people do in their daily lives at home. The only
difference here is that the gods or animal beings interact with them and change them into
animals or star formations.
The next group of characters is a group of god-like animals or ‘other beings.’ These
beings were originally human, but their shapes have been changed by circumstance or
witchcraft.
The fi nal group consists of talking and very cunning animals that either teach us
lessons about ourselves, or have had their shapes and bodies changed by their own doing.
Wild animals were carefully observed, respected and their habits interpreted as messages
from the gods, or indications of when to sow, celebrate or slaughter.
NAME DESCRIPTION AND ORIGIN (if possible) ILLUSTRATION
Animism Animism can be defi ned as either “the belief that natural objects, natural
phenomena and the universe itself possess souls, or the belief that natural
objects have souls that may exist apart from their material bodies.”
Birds Birds are often seen as the messengers of
the gods and play an integral part in the
transformation or fi nal destiny of a human
character. Visuals are included because so
few of us know the beauty of African birds. Bulbul
Egret
Bishop Bird

This necklet comes from
Nigeria, and depicts birds
of prey devouring the vitals
of manacled human fi gures.
It is an illustration of birds’
superiority to man.
Crocodile The skin and bones of a crocodile are always returned to the river after it has
been slaughtered, to appease the spirit of the crocodile.
Elephant The Shona believe that the elephant knows everything. Before an elephant
hunt began, the hunter had to make sure that he had done nothing offensive.
If he had, his hunt would be a disaster.
Fire Revered element.
If a Xhosa tells you that you are lighting a fi re in the wind, he means that you
trust somebody you do not know.
The story of how man was fi rst given fi re is told in Chapter 15.
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Greatest One Most African belief systems have a series of gods for various activities and
rites, as well as a powerful concept of ancestral worship. There is, however,
also the idea of a single most powerful being as the one responsible for the
creation of man, the earth and the giver of fi re.
Hare Witches often disguise themselves as hares, and it is considered bad luck to
encounter a hare during the day. A Shona belief.
Kingfi sher The story of why the Kingfi sher sits waiting at the edge of
water pools is told in the story bearing his name.
Leopard According to Shona lore, a leopard that roams
close to a kraal is a spirit that has come to check on
conditions in the kraal. Only a medium can talk to it.
Fish These wooden carvings of
fi sh were used to decorate the
columns of the Benin king’s
palace, Nigeria.
Lion The Shona believe that a lion that hunts and kills people, is the spirit of a
chieftain that has returned to take revenge.
Little people The “Little People” are a Zulu spirit species. They are very tiny replicas of
(abaThwa) the Zulu, tiny enough to ride on the backs of ants or hide under blades of
grass. They very often sleep in anthills.
They are said to be a very shy and withdrawn nomadic tribe who follow
hunters to eat away the spoils of the hunt. Because they are so shy, they
can be seen only by very small children. They are generally very friendly to
humans, but may become aggressive if mocked for being so small.
Mguda An ordinary human being who is taught the lesson of not taking
responsibilities seriously.
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Monkey A Xhosa proverb: You disturb monkeys on their way to drink is used to
express irritation at uncalled for interference.
Mtetwa Mtetwa and his family become the fi rst abaTwha: the diminutive race who
live with White Ants.
Nandi Nandi is a mother struggling for her own
and her daughter’s survival. In an attempt
to prevent her family from going hungry, she
almost loses her most precious belonging: her
daughter. It is Nandi’s daughter that teaches
us the lesson of always keeping our word.
A wooden relief plaque depicting fruit
gatherers, Nigeria.
Ndlebe A young boy with a physical defect goes on a long journey to fi nd happiness.
Ngosa Ngosa marries the God of Fertility, the Python, after
she bravely touches his wet skin in order to save her
mother.
Nondwe Nondwe was a young girl who forsook her life with her family in search of the
origin of the rainbow. She met Resa, fell in love, and their children are the
little rainbows we see in water bubbles.
Ntanda Not all spirit beings are friendly. A water sprite steals Ntanda’s shadow and
the Wind has to come up with a plan to save her life.
Owl An owl mask used in a hunting ritual.
Python The Venda revere the Python as the god of fertility. He lives at the bottom of
the lake and is never seen by humans.
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Rainbow The Vugusu from Kenya believe that the high god, Wele Xakaba, is the
creator and giver of all things. He created rain and put it in the clouds. He
made two rainbows to stop the rain from falling when it wasn’t needed, a
narrow male one and a wider female one. To stop rain, the male rainbow
appears fi rst, and the female rainbow afterwards. That is why there are
sometimes two rainbows in the sky.
Resa Resa is a being with special powers. He is Lord of the Rainbow and wears
long, colourful cloaks that he hangs out to dry after it has rained – hence the
rainbow.
Seven Sisters The Pleiades is an open star cluster,
also known as the Seven Sisters and
Messier 45 (M45). It is a conspicuous
object in the night sky with a prominent
place in ancient mythology.
It is a white star cluster that is roughly
500 light years from Earth. It is located
in the constellation of Taurus.
There is an ancient astronomical site in the Turkana region of Kenya, dating
Sky back to 300BC. These basalt pillars were known as “Namorantunga” and
were used to calculate the Borana calendar. There were no weeks in the
Borana calendar, only 27 days. There were, however, 12 lunar months.
The Zulus believe in the Sky Princess, called Nomkululwana. There were
four parts to her physical anatomy. She was human, river, wood and a fi eld
of grass. Nomkululwana taught man how to grow corn, bake bread and
brew beer.
Snake A Bronze sculpture of a serpent’s head
found in Nigeria.
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