62 pages 2-hour read

Song of Lawino and Song of Ocol

Nonfiction | Novel/Book in Verse | Adult | Published in 1966

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Part 2, Chapters 1-6Chapter Summaries & Analyses

Part 2: “Song of Lawino”

Part 2, Chapter 1 Summary: “My Husband’s Tongue Is Bitter”

Content Warning: This section of the guide contains discussion of racism and emotional abuse.


Lawino starts by establishing that Ocol, her husband, is rejecting her in verbally abusive ways. Ocol sees Lawino as a “primitive” emblem of Acholi culture, which he seeks to distance himself from in favor of a more European lifestyle. In addition to insulting Lawino, he insults her parents and other community members, using white supremacist language to demean them. Lawino warns Ocol that this behavior does not befit his status as the son of a chief and that he should stop.

Part 2, Chapter 2 Summary: “The Woman With Whom I Share My Husband”

Ocol has begun an affair with Clementine, a woman who has also adopted European mannerisms and customs. Lawino reflects that she used to be impressed by Ocol learning to speak English and reminisces about when they were close as a couple. She says that Clementine is trying very hard to look like a white woman but that these attempts only make her look strange; red lipstick and white powder do not suit Clementine’s complexion, making her look “sickly” to Lawino. Lawino claims that she is not trying to personally attack Clementine by making these observations but that she simply feels sorry for Clementine whenever she sees her. She thinks that Clementine is trying too hard to appear younger than she is by wearing a bra and remaining skinny. Ocol, on the other hand, accuses Lawino of being too old-fashioned.


Lawino insists that she does not mind that Ocol is seeing another woman (polygamy is a normal part of Acholi tradition) and has no hope of Ocol ever losing desire for other women. She believes that she will be able to compete for Ocol’s attention by cooking well and keeping him entertained. What she is frustrated by is his insults against her, her family, and their entire culture. Furthermore, she thinks that these insults are pointless because it will be impossible to destroy such strong ancestral traditions.

Part 2, Chapter 3 Summary: “I Do Not Know the Dances of White People”

Lawino admits that she does not understand how to dance like a white person because she grew up learning and dancing traditional Acholi dances. She enjoys the feelings of freedom and pride that Acholi dances give her. She enjoys that the dances occur in full daylight and are vigorous and that the dance costumes are revealing, such that “All parts of the body / […] Health and liveliness / Are shown in the arena!” (43).


By contrast, Lawino does not like European dancing customs. She does not like how evening ballroom dances require unmarried men and women to hold each other closely, even men and women who are related to one another. She does not like how heat, sweat, and cigar smoke accumulate in the crowded ballrooms or how the restrooms become filthy over the course of the night. Even though Ocol mocks her for not knowing European dances, Lawino refuses to learn them because they disgust her so much.

Part 2, Chapter 4 Summary: “My Name Blew Like a Horn Among the Payira”

Lawino recounts how, as a young woman, she was appointed the “chief of girls” in her community because of her upstanding demeanor (47). She is particularly proud of her breasts at that age, recalling how they garnered the attention of both Ocol and other men. She is bewildered that Ocol has now completely changed his opinion about her appearance, calling her ugly when he once thought of her as a great beauty. She compares Ocol to a “beggar” because he has desperately adopted the culture of Europeans, as if he did not already have the perfectly good Acholi culture. She believes that this rejection of Acholi culture is motivated by Ocol’s low self-esteem and by shame over not achieving the social recognition he wants through traditional Acholi means.

Part 2, Chapter 5 Summary: “The Graceful Giraffe Cannot Become a Monkey”

Ocol calls Lawino “dirty” and “backward” because she styles her hair in a traditional manner. Lawino defends herself, explaining that it is impossible to style her hair like a white woman’s because it has a fundamentally different texture, and she reminds Ocol that he used to find her hair desirable. She explains some Acholi customs surrounding women’s hair: During mourning periods, women leave their hair uncombed and unadorned out of respect for the deceased, and during dances, women cover their hair and skin in pigments that match their clothing. She exalts the beauty of Acholi women and their ability to attract men.


Yet Ocol continues to insult the way Lawino presents herself and is particularly convinced that Lawino’s hair and skin are dirty. He remains convinced that Clementine is a superior beauty, but Lawino thinks that the way Clementine straightens and curls her hair to make it look like a white woman’s does not work since it goes against her hair’s nature. Instead, she thinks that Clementine’s processed hair looks “listless and dead” (54). She also finds it strange that Clementine never washes her hair, uses perfume to cover up her body odor, and even wears wigs. She recalls how Clementine’s wig fell off one night at a dance; Clementine fell to the floor in shame. Lawino concludes that she is proud of her own hair and would never try to make her hair look like a white woman’s since that endeavor is as futile as a giraffe trying to turn into a monkey.

Part 2, Chapter 6 Summary: “The Mother Stone Has a Hollow Stomach”

Another one of Ocol’s complaints about Lawino is that she does not enjoy or cook European cuisine. Lawino retorts that she does not like European cooking tools such as the charcoal stove and is much more comfortable using traditional Acholi cooking implements, like clay pots. She admits that she is afraid of being electrocuted by the European stove and is too afraid of it to learn how to use it. Furthermore, she thinks that the stove is not designed to cook Acholi food, and she would prefer to use tools that are. She finds European food bland and particularly dislikes canned and frozen foods.


She reminisces about her mother’s kitchen and the ingredients and cookware housed in it, paying particular attention to the grinding stones that are used to break down grain, legumes, and sesame (simsim). Lawino misses using the grinding stones alongside her sister in their mother’s kitchen. She turns her attention to the different kinds of firewood stored in the kitchen, all of which have different uses. When eating at her mother’s house, Lawino does not use plates but rather gourds and other dishes that are suitable for serving Acholi food. She thinks that European plates are beautiful but ultimately finds that beauty useless since it is covered by food; moreover, the glazed ceramic causes Acholi food to lose its heat and perspire. She does not understand why Ocol calls Black foods “primitive” and insists that Lawino must begin eating raw eggs because they are good for her bones. Lawino suspects that whatever is good for her bones in the raw eggs must also exist in some of the foods she prefers, and she wonders if they cannot both just eat the foods they like without judging each other.

Part 2, Chapters 1-6 Analysis

In the first portion of Song of Lawino, Lawino is very concerned with the differences between her and Clementine, which largely correspond to the differences between a traditional versus Westernized lifestyle. This comparison is made most explicit in “The Woman With Whom I Share My Husband” and “The Graceful Giraffe Cannot Become a Monkey,” both of which focus on how each woman manages their own appearance. Clementine’s use of European cosmetics and hairstyling techniques earns her scorn from Lawino, who boasts of her own culturally appropriate beauty in contrast: “Ask me what beauty is / To the Acoli / And […] I will show it to you” (51). Indeed, visual appearance is an important source of Lawino’s self-esteem, affirming her own femininity for herself and others. She recalls, for instance, that her “breasts were erect” and that her “long neck” resembled “the flower of the Iyonno lily / Waving in a gentle breeze” (47). Ocol’s sudden distaste for her appearance is an insult to that self-image and, more broadly, to the traditional beauty standards of Acholi women.


When Lawino criticizes Clementine, therefore, it is not necessarily criticism of a personal nature but rather her commentary on what African femininity should and should not look like. Though her remarks about Clementine are sometimes defamatory, as Heron notes in his introduction, Lawino is careful to emphasize to readers that she harbors no ill-will toward her: “[T]he sight of Tina / […] provokes sympathy from my heart” (39). Indeed, Lawino speaks positively of other women throughout the poem, conveying a strong sense of feminine camaraderie to readers. For instance, in “The Graceful Giraffe Cannot Become a Monkey,” she lovingly describes women at Acholi dances:


Young girls
Whose breasts are just emerging
Smear shea butter on their bodies,
The beautiful oil from Labworomor.
The aroma is wonderful
And their white teeth sparkle
As they sing
And dance fast
Among the dancers
Like small fish
In a shallow stream (52).


Lawino perceives these younger women as having achieved a natural beauty (an idea underscored by the use of natural imagery—e.g., fish in a stream) by participating in their ancestral culture, and she feels a connection to them—an instance of her patriotism that develops the theme of Patriotism in Tribalist and Nationalist Contexts. It is only Clementine, who has betrayed her own culture by aspiring to European beauty, whom Lawino does not perceive as belonging to her sisterhood. This idea of an intrinsic, ancestral African femininity is echoed in the chapter’s titular refrain, which Lawino uses as its conclusion:


No leopard
Would change into a hyena,
And the crested crane
Would hate to be changed
Into the bold-headed,
Dung-eating vulture,
The long-necked and graceful giraffe
Cannot become a monkey (56).


Each animal in the analogy corresponds to women from different cultures around the world; as the animals are physically incapable of shapeshifting, so too Lawino believes that women should avoid rejecting the cultures of their birth. Moreover, while Lawino elsewhere stresses The Equal Value of Different Cultures, her choice of animals implicitly highlights her own preferences. The leopard, crane, and giraffe, as animals in their initial state, correspond to the traditional Acholi woman, and the language Lawino uses to describe them is substantially more positive than the language she uses to describe the animals they transform into; the giraffe is “graceful” while the vulture is “dung-eating.”


Thus, while p’Bitek uses Lawino to voice a critique of certain strands of assimilationism, she is not merely a mouthpiece but rather a complex character in her own right. Through her interactions with both Ocol and Clementine, Lawino shows herself to be reckoning with her own femininity, an attribute that is very important to her. As her husband and his mistress challenge this self-image, she resists by looking to the other women in the Acholi community, who affirm her traditional feminine ideals. In particular, the teachings of her mother are an important reference point for her, legitimizing her preferred form of femininity. At one point, she recalls, “My mother taught me / The beautiful dances of Acoli” (42); at another, she says, “My mother taught me / Cooking on the Acoli stove” (461). Gender constructions, and their transmission across generations, sit at the hearts of the cultural and domestic conflicts in Song of Lawino, a key example of how p’Bitek reframes National Conflict on a Domestic Scale. In the following chapters, Lawino will turn her attention more to Ocol, examining what consequences his abandoning of Acholi culture has had for his masculinity.

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