“When the rhythmic acceleration of the dance had finally peaked in a breathless convulsion of short shivering movements, the dancers became immobile, happy, enraptured” (87). Members of various tribes in this local African region come to participate in the Ganza, the communal release of chief Batouala’s village. Together men, women, and children commemorate the integral role of sex in a community’s ongoing history.
Every part of Batouala’s community is sexual. “The goats [are] muzzling the behinds of their females” as the day breaks (15). Animals are naturally inclined to desire sex, just as humans are. They do not follow any ‘rules,’ such as practicing it solely as a reproductive act, and act promptly on instinct. This suggests that sexual desire can transcend species or function as an intuitive and necessary process for survival. Batouala’s village shares a similar sexual openness that reflects just how integral sex is in their everyday lives. For instance, his eight wives feel “no awkwardness” in washing “their sexual parts” in plain view of Yassigui’ndja, his chief wife. In their eyes “it is useless to hide the sexual charms which N’Gakoura (God) has allotted” to each of us (28). By situating sex as a divine endowment, it becomes natural to embrace it and enact it. Incorporating it into every aspect of life also becomes a means of thanksgiving for this special gift.
A sexually liberated society becomes more tangible within this scope. Polygamy’s seeming exploitation of feminine sexuality emerges as a logical, common law that complements a higher law. Since customs allowed nursing wives to take maternity leave for “twenty-four to thirty-six moons at a time,” a husband is “authorized to annex to his original household as many wives as he can feed” to release him “from the taboo imposed on the… mother” (44-45). Quite frankly, open masculine sexual exploits are justified as needs because sex is central to their society. Unfaithful partnership is similarly rationalized, especially for Yassigui’ndja. Though she is the first wife of a chief she shamelessly yearns for different men throughout the novel and blatantly pursues Batouala’s comrade Bissibi’ngui. “She had wanted to be able to taste [a white man’s] embraces so that she could compare them to those of Batouala,” despite rumors of their bad sex (48). Her lust does not demonize her, however, because it is her human nature, a necessity. Instead it leads her to pursue “the hunger she had for [Bissibi’ngui]” (36). After all he had summoned her and,
“A woman should never refuse the desire of a man, especially when that man pleases her. That is a functional principle. The only law is instinct. Cheating on one’s man is not so important, or rather it ought not to be” (36).
Batouala’s society obviously heralds sexual desires for they manipulate certain laws, principles, and practices to include it.
If “the only law is instinct,” then the pleasure principle will always trump any vows or traditions. This is why “even perversions and sins against customs are allowed during the sacred Ga’nza (85). For instance, Yassigui’ndja can wear the “painted wooden phallus” and satisfy her desire as the male figure” in the dance with a virgin girl (86). Homosexuality, a traditional taboo, is pardoned in this case because it is still sex. It is to be worshipped in this instant as an unrestrained communal act. Everyone must recognize N’Gakoura’s endowments and welcome new initiates into mystical adulthood. During this mass frenzy there are also “fights and raucous cries” suggesting struggle and discomfort. The dance aims to produces “sexual drunkenness” (87). Moral values are momentarily sidelined for a greater necessity. Differing tribes unite to release tensions in a way that best honors their most sacred and natural godly gift. Despite minor violence and uncanny lewdness, the Ga’nza reflects the people’s holistic love for themselves, their habitat, and their history.
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I just finished reading "Batouala" today. It is a mind-blowing novel with its truthfulness and free from hypocrisy. Indeed, it tells what is. Chief Batouala is swallowed to death by one of the seven capital sins-jealousy. His might in hunting, war and love was thwarted by his overweening pride (hubris) that led him to his downfall. Worse, his own javelin spawned his own death that wakened a hungry Mourou, a panther, whom he premeditatedly planned to kill Bissibingui 'a la panther style'. The great tragic reversal befell him. The hunter was hunted down by his evil plot. In the end, he was Lord no more. He wallowed in his own catastrophe. He was late to have his own anagnorisis. All deserted him except his own dog. Bissibuingi, whom he esteemed as a friend, and Yassiguindja, his favorite ninth wife, consumed by their carnal desires, betrayed him. While he lay dying, they were on the height of their blissful panting for pleasure. What a sight! a man dying, losing his virility and on the side, a virility at it's best with a wife he dearly loved. All are gone. Soon, on his sleep, Batoula would be gone. The whites whom he loathed remained lording over the land that respected him as he understood and loved fully it's customs.
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The orality of the narrator, with his songs for the planting, hunting, harvesting, burying their dead, circumcising boys, excising girls, consuming their love is rich in the novel. Indeed, the myths and legends of the sun and the moon, the stars, the villages, the fables of the panther and the lion, the chicken and the elephant proved the narrator and the author to be truly fresh and original.
Maran's incisive social commentary on the ways of the whites, on their ignorance on the culture of Batoula and his ancestors, on their abuses against the Africans are resonating a man's oppressed and suppressed experience in the hands of the whites. One only becomes a witness to the microcosmic tragedy of Batouala, if not an advocate of change, so that Batouala's rest to Ngakoura will be in peace!