Over the course of this semester many of the literary works that have been read contained some source of message designed to both teach and improve either the reader or society. Amongst this collection of enlightening literary works, there have been a particular few that have illustrated this idea as well as highlighted particular historical facts about a specific civilization. One distinct book that has met both of these general objectives is Sundiata: An Epic of Old Mali. Throughout this story the author discusses the life of a young king, and illustrates unique facts about the ancient Mali society.
In the process of reading this epic tale, it became clear that many of the characters and defining situations in the story greatly parallel the famous Disney movie The Lion King. Following this realization, an inquiring question arose. Is The Lion King just a reproduction of Sundiata? In focusing on this topic of discussion and comparing both the epic Sundiata and the Hollywood production, The Lion King, the areas where both works coincide with one another will be discovered, highlighted, and later utilized to conclude the origination of the movie.
By the end of this analysis Sundiata will be revealed to be the basis of Disney’s The Lion King, evidently conveying the unique characteristics and customs of the ancient Mali civilization and, with the modifications of Disney, modestly raising questions about race and African stereotypes. Sundiata is an epic tale that highlights the life of Mali’s first emperor, Sundiata Keita. Son to North African Malinke ruler Nare Fa Maghan, the young prince faces debilitation, ridicule, and exile throughout the course of his life.
Prophesized to be a great king of power and influence, Sundiata conquers his physical, mental, and emotional challenges, prevailing as defender of the Mali citizens when ambushed by neighboring community Sosso. His victorious triumph leads the Malinke nation into a 300-year reign of power and prosperity, establishing the great empire of Mali. Primarily categorized as a legend of both facts and mythological conceptions, Sundiata’s tale presents a number of abstract characteristics about not only his life, but the Mali civilization as well.
A great deal of his legend is told from magical perceptions, highlighting a key element of African oral tradition. With much of the African community’s history passed along through the griots, historical storytellers, the mystic nature of Sundiata’s folk tale incorporates animism and mythology that overall accentuates the relation of animated film, The Lion King, to the epic Sundiata. Disney’s The Lion King is a caricature film production about a young cub’s exploration into adulthood and acceptance of his royal destiny (Blaise).
Young Simba, born to the great king Mufasa and mother Saraba, starts his amicable life as the young prince of the Pride Lands, but life takes an unfortunate turn when his vicious uncle, Scar, kills Mufasa and forces Simba into exile. During his era of departure, Simba evolves into adulthood and encounters the spirit of his belated father. He is urged to return to his homeland, defeat the evil tyranny of Scar, and retrieve the purity and hope of the kingdom.
Portraying much of classic mythology and ancient African folk tales, The Lion King, is a common evolutionary “coming of age” epic (Blaise). Originally the movie is stated to be based upon Shakespeare’s Hamlet and biblical tales of Joseph and Moses, but after engaging in Sundiata, it became very apparent that the resemblance in characters, situations, and even traditions of the story was in greater agreement with the film than the previous stated resources.
The initial distinguishing characteristic that raises questions about The Lion King and Sundiata’s relation is the titling of the fourth section in the epic called “ The Lion Child. ” With the movie of course containing a title that in fact shares this common theme, the topic of discussion is raised whether or not this mild characteristic in fact symbolizes any subtle but obvious resources of the film. To further support this theory, this section discusses both the birth and presentation of Sundiata to the commoners of Mali.
Following the birth of Sundiata, Maghan’s griot Ghankouman Doua says, “I salute you father, I salute you, king Nare Maghan…The child is born whom the world awaited…The lion child, the buffalo child is born, and to announce him the Almighty… ” (Niane 14). Proceeding Sundiata’s birth a grand celebration is held. If we compare this scene to this exact event in the movie, Simba receives a similar amount of praise and recognition when he is born. The other animals throughout the land find such respect in his existence that all bow to Simba when he is presented.
Both prince characters are exalted in some way, symbolizing the valuable significance their lives are to their African societies. Both Sundiata and Disney’s The Lion King not only parallel one another in title and scenes, but subsequently share a very distinct resemblance of characters as well. Starting with the emperors themselves, both characters Nare Fa Maghan, from Sundiata and Mufasa from The Lion King, are both considered to be great kings of their civilizations. The two rulers experience fatal deaths by murder and each fathers the creation of a powerful leader that effectively changes their nations.
A similar comparison is also shared between the antagonists Soumaoro Kante and Scar. Both corrupted characters desire the reign of supreme power, commit murderous deeds against the soaring emperors, and is defeated and overthrown by the prince warrior Sundiata or Simba. The most effective relation and similarity between the two artistic productions is the connection between Simba of The Lion King and Sundiata. Persecuted and doubted in achieving success, both rising sovereigns, deal with the woes of ridicule and doubt.
Forced into a period of exile, Sundiata and Simba encounter a right of passage into manhood where they grow into the physically and mentally strong leaders needed to reclaim and enhance their native lands. In David Wisniewski’s book “Sundiata: Lion King of Mali ” at the end of his victory, Sundiata genuinely states, “ ’Now I return as your king. Henceforth, none shall interfere with another’s destiny. You, your children, and your children’s children shall find their appointed place within this land forever. This came to pass, and Sundiata, the Lion King, ruled the Bright Country for many golden years,” (Paterno 7). The author actually identifies Sundiata as the “Lion King”, establishing his exclusive title. Since this writing was produced before Disney’s creation of The Lion King, Wisniewski in actuality solidifies a possible source Walt Disney may have accessed. The accumulation of correspondence between Sundiata and The Lion King continues to heighten when the setting and characteristics of the film are exposed.
It is dearly noted The Lion King is “praised for using African animals as story characters…African landscape as story setting, and African artwork as design motifs,” (Paterno 7). Each of these elements of the film assist in relaying the customs of a preexisting African society. As stated before Sundiata is a tale, which incorporates animism and mythology into the legend. This leads into one of the important concepts of the story being that each member of the Mali community possesses an animal spirit. For example Maghan’s totem animal is a lion, and in the film his representative haracter, Mufasa, is in fact a lion as well. The same concept is applied to Sundiata; hence the film takes a traditional custom of African society and portrays the animalistic belief into the story. In doing so the authenticity of the films portrayal is assessed. An analysis of the film’s validity written by Dominica R. Paterno discusses the historical and literal version of the Sundiata tale and later challenges the idea of whether the movie in fact highlights the cultural and factual aspect of the story. The film is said to, “…replace an African hero with an animated caricature of one….
The acute vision of the griot, who instructs in righteousness as he tells his tell is replaced in the film by the cute song lyrics advice of a pseudo sage” (Paterno 8). In a larger sense the story is believed to diminish the “…culturally rich heritage of history and story from which it derives” (Paterno 7). This of course is understandable seeing as how the film is constructed for entertainment rather than as an educational activity. Even in saying that the film in fact portrays some cultural customs of Mali, even if slightly distorted.
Paterno continues on to even suggest the film to be a tool against racial divide, because it presents African elements to where this particular culture is duly accepted by individuals normally resistant to customs outside of their own. Viewers then begin to absorb and understand a culture outside of the normal custom, starting to relate to the traditions and concepts, and gradually bridging the gap that divides society. Overall Sundiata: An Epic of Old Mali is a grand legend that defines the rise and dominion of a great leader after conquering an array of obstructions.
Disney’s The Lion King is an identical production of which captures the same legendary creed, presenting it in a more Americanized style of entertainment. Both stories contain characters and situations that not only accentuate one another but also exemplify ancient customs, orders, and beliefs of the outstanding Mali Empire. It is very clear that such customs and relations cannot be rightfully connected to Shakespeare’s Hamlet or biblical tales of Joseph and Moses, but in fact can certainly be congruent to African customs. Overall The Lion King can rightfully be concluded as a simple reproduction of Sundiata: An Epic of Old Mali.
Works Cited
Blaise, Judd. “The Lion King (1994). ” AllMovie. Rovi Corp. Web. 25 Apr. 2012. . Gabler, Jay. “Was “The Lion King” Story Based on the Mali Legend of Sundiata? ” Twin Cities Daily Planet. Twin Cities Media Alliance, 17 Jan. 2012. Web. 23 Apr. 2012. . Niane, Djibril Tamsir. Sundiata: An Epic of Old Mali. 2nd ed. [London]: Longmans, 1965. Print. Paterno, Domenica R. The True Lion King Of Africa: The Epic History Of Sundiata, King Of Old Mali. 1994. ERIC. Web. 23 Apr. 2012.
