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Anansi

African folktale character, totem of wisdom and stories

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Anansi or Ananse (/əˈnɑːnsi/ ə-NAHN-see; literally translates to spider) is a character in Akan religion and folklore associated with stories, wisdom, knowledge, wit, mischievousness, cunning, and trickery, most commonly depicted as a spider. Anansi is a character who reflects the culture that he originates from. The Akan people are a close-knit people from present-day southern Ghana who rely on social order, which translates through the stories that come out of their culture. In many ways, Anansi is a paradoxical character whose actions defy this social order, but in incorporating rebellion and doubt into faith, his folkloric presence strengthens it.

Taking the role of a trickster, he is also one of the most important characters of West African, African-American and Caribbean folklore. These spider tales were spread to the Americas via the Atlantic slave trade.

Anansi is best known for his ability to outsmart and triumph over more powerful opponents through his use of cunning, creativity and wit. Despite taking on a trickster role, Anansi often takes centre stage in stories and is commonly portrayed as both the protagonist and antagonist.

01Origin

Spider tales are found extensively throughout West Africa, but the Anansi tales from Ghana are seen to be the origin of these stories and are among the best-known, as Anansi's name comes from the word in the Akan language for "spider". They later spread to the West Indies, Suriname, Sierra Leone (where they were introduced by Jamaican Maroons) and the Netherlands Antilles; also Curaçao, Aruba, and Bonaire.

Anansi is depicted in many different ways and with different names, from "Ananse", "Kwaku Ananse", and "Anancy", to his New World iterations, such as "Ba Anansi", "Kompa Nanzi" and/or "Nanzi", "Nancy", "Aunt Nancy", and "Sis' Nancy", even though he is always depicted as a male in his stories. While often depicted as an animal, Anansi has many representations, which include an anthropomorphic spider with a human face, or conversely, a human with spider-like features, such as eight legs. Anansi also has a family in several folktales involving him, consisting of his long-suffering wife Okonore Yaa, known in other regions as Aso, Crooky, or Shi Maria; Ntikuma, his firstborn son; Tikelenkelen, his big-headed son; Nankonhwea, his son with a spindly neck and spindly legs; finally, Afudohwedohwe, his pot-bellied son. Anansi also has a beautiful daughter named Anansewa in other tales, like those introduced in the work of Efua Sutherland: in Efua's tale, he embarks on a mission to ensure that Anansewa can have an appropriate suitor.

It is said that Odomankoma (¿) is also known as Ananse Kokuroko (meaning Great Spider), who might be Ananse. But this could actually be chalked up to the two being relatives. It is said in some Akan myths that Ananse becomes the creator, so it could be either roles changing similar to Bobowissi becoming the God of Lightning after Tano Akora's role is changed from the God of Lightning to the God of War after fighting with Owuo, or Odomankoma's sunsum being reincarnated inside of Ananse after Owuo kills him, supported by how sunsum works (via the father).

Gold covered staff held by Akan linguist court official
Gold covered staff held by Akan linguist court official

02Social relevance

Oral Tradition

Anansi stories were part of an exclusively oral tradition, and Anansi himself was seen as synonymous with skill and wisdom in speech. “The wisdom of the spider is greater than that of all the world together”. Stories of Anansi became such a prominent and familiar part of Ashanti oral culture that they eventually encompassed many kinds of fables, evidenced by the work of R.S. Rattray, who recorded many of these tales in both the English and Twi languages, as well as the work of scholar Peggy Appiah: "So well known is he that he has given his name to the whole rich tradition of tales on which so many Ghanaian children are brought up, anansesem, or spider tales." In similar fashion, oral tradition is what introduced Anansi tales to the rest of the world, especially the Caribbean, via the people that were enslaved during the Atlantic slave trade. As a result, the importance of Anansi socially did not diminish when slaves were brought to the New World.

Resistance

Anansi was often celebrated as a symbol of slave resistance and survival, because Anansi is able to turn the tables on his powerful oppressors by using his cunning and trickery, a model of behaviour used by slaves to gain the upper hand within the confines of the plantation power structure. Anansi is also believed to have played a multifunctional role in the slaves' lives; as well as inspiring strategies of resistance, the tales enabled enslaved Africans to establish a sense of continuity with their African past and offered them the means to transform and assert their identity within the boundaries of captivity. As historian Lawrence W. Levine argues in Black Culture and Consciousness, enslaved Africans in the New World devoted "the structure and message of their tales to the compulsions and needs of their present situation" (1977, 90).

Teaching Narratives

The Jamaican versions of these stories are some of the best-preserved because Jamaica had the largest concentration of enslaved Ashanti in the Americas. Akin to their Ashanti origins, each of these stories carries its own proverb at the end. At the end of the story "Anansi and Brah Dead", there is a proverb that suggests that even in times of slavery, Anansi was referred to by his Akan original name: "Kwaku Anansi" or simply as "Kwaku" interchangeably with Anansi. The proverb is: "If yuh cyaan ketch Kwaku, yuh ketch him shut", which refers to when Brah Dead (brother death or drybones), a personification of Death, was chasing Anansi to kill him; its meaning: The target of revenge and destruction, even killing, will be anyone very close to the intended, such as loved ones and family members.

However, like Anansi's penchant for ingenuity, Anansi's quintessential presence in the Diaspora saw the trickster figure reinvented through a multi-ethnic exchange that transcended its Akan-Ashanti origins, typified in the diversity of names attributed to these Anansi stories, from the "Anansi-tori" to the "Kuenta di Nanzi". Even the character "Ti Bouki", the buffoon constantly harassed by "Ti Malice" or "Uncle Mischief", a Haitian trickster associated with Anansi, references this exchange: "Bouki" itself is a word descending from the Wolof language that also references a particular folk animal (the hyena) indigenous to them. The same applies to Anansi's role in the lives of Africans beyond the era of slavery; New World Anansi tales entertain just as much as they instruct, highlight his avarice and other flaws alongside his cleverness, and feature the mundane just as much as they do the subversive. Anansi becomes both an ideal to be aspired toward, and a cautionary tale against the selfish desires that can cause our undoing. Anansi has effectively evolved beyond a mere trickster figure; the wealth of narratives and social influences have thus led to him being considered a classical hero.

04Relationship between Anansi and Br'er Rabbit

Anansi shares similarities with the trickster figure of Br'er Rabbit, who originated from the folklore of the Bantu-speaking peoples of south and central Africa. Enslaved Africans brought the Br'er Rabbit tales to the New World, which, like the Anansi stories, depict a physically small and vulnerable creature using his cunning intelligence to prevail over larger animals. However, although Br'er Rabbit stories are told in the Caribbean, especially in the French-speaking islands (where he is named "Compair Lapin"), he is predominantly an African-American folk hero. The rabbit as a trickster is also in Akan versions as well and a Bantu origin does not have to be the main source, at least for the Caribbean where the Akan people are more dominant than in the U.S. His tales entered the mainstream through the work of the American journalist Joel Chandler Harris, who wrote several collections of Uncle Remus stories between 1870 and 1906

One of the times Anansi himself was tricked was when he tried to fight a tar baby after trying to steal food, but became stuck to it instead. It is a tale well known from a version involving Br'er Rabbit, found in the Uncle Remus stories and adapted and used in the 1946 live-action/animated Walt Disney movie Song of the South. These were derived from African-American folktales in the Southern United States, that had part of their origin in African folktales preserved in oral storytelling by African Americans. Elements of the African Anansi tale were combined by African-American storytellers with elements from Native American tales, such as the Cherokee story of the "Tar Wolf", which had a similar theme, but often had a trickster rabbit as a protagonist. The Native American trickster rabbit appears to have resonated with African-American story-tellers and was adopted as a cognate of the Anansi character with which they were familiar. Other authorities state the widespread existence of similar stories of a rabbit and tar baby throughout indigenous Meso-American and South American cultures. Thus, the tale of Br'er Rabbit and the Tar Baby represents a coming together of two separate folk traditions, American and African, which coincidentally shared a common theme. Most of the other Br'er Rabbit stories originated with Cherokee or Algonquian myths. In the USA today, the stories of Br'er Rabbit exist alongside other stories of Aunt Nancy, and of Anansi himself, coming from both the times of slavery and also from the Caribbean and directly from Africa.

05Anansi as a spiritual and mythological figure

Anansi is often depicted in popular tales interacting with the Supreme Being and other deities who frequently bestow him with temporary supernatural powers, such as the ability to bring rain or to have other duties performed for him. Some folkloric traditions portray Anansi as the son of the Earth Mother Asase Yaa. In others, Anansi is sometimes also considered an Abosom (lesser deity) in Akan spirituality, despite being commonly recognized as a trickster. Thus, Kwaku Anansi is similar to Legba, who is also both a trickster and a deity in West African Vodun. However, Akan spirituality writ-large does not generally consider Anansi as an Abosom to the same extent that other established African trickster deities are worshiped in their respective religions; his connection to the sacred is ultimately believed to be folkloric in regards to his importance in Akan society. In essence among the Akan, Anansi and his stories are folkloric creations used to convey moral truths and give anecdotal explanations for natural phenomena and occurrences.This is supported by his limited use outside of storytelling, including his absence as a totem animal. Nevertheless, those who do recognize Anansi in a religious context in Akan spirituality acknowledge him as the Obosom of wisdom; he is even said to have created the first inanimate human body, according to the scholar Anthony Ephirim-Donkor. In the New World on the other hand, alternative religious views of Anansi have greater prominence in addition to his role as a folkloric character; followers of Haitian Vodou, for example, honor him as a Guede lwa, responsible for maintaining the connections between the living and the dead. The Gede (also Ghede or Guede) family of lwa are associated with the realm of the dead.

Illustration used by Puerto Rican storyteller Tere Marichal.
Illustration used by Puerto Rican storyteller Tere Marichal.

07The Anansy Festival

The Anancy Festival was created by Xavier Murphy, the founder of Jamaicans.com, educator Cathy Kleinhans, and Dr. Andrea Shaw-Nevins, the Dean of Farquhar Honors College at Nova Southeastern University, to connect children of Caribbean descent with the traditions of their ancestors through stories, song, dance, arts and crafts, book and poetry readings, and other art forms. The first Anancy Festival was held in Pembroke Pines, Florida, on June 30, 2007. Children's author Kellie Magnus joined the founders in 2011 to coordinate the Anancy Festival in Kingston, Jamaica. Since 2007, the Anancy Festival has been staged in Pembroke Pines, Florida; Orlando, Florida; Ft. Lauderdale, Florida; Plantation, Florida; Jamaica, Queens, New York; Boston, Massachusetts; Washington, DC; Kingston, Jamaica; Nairobi, Kenya; and Accra, Ghana.

08Other names

Watch videos about AnansiExplainers and documentaries on YouTube (opens in a new tab)

Sources and credits

This article is adapted from the Wikipedia article Anansi, written by its contributors and licensed under CC BY-SA 4.0. Fathomly has changed the layout, removed citation markers, navigation and maintenance notices, and adjusted punctuation. This adapted version is shared under the same license. For references, see the original article.

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