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How did Francis Bebey use African oral tradition in his novels?

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Athol Fugard sits in the center with John Kani on the left and Winston Ntshona on the right; all three are seated closely together outdoors. — African literature South African dramatist Athol Fugard sitting between actors John Kani (left) and Winston Ntshona, 1973.

Francis Bebey integrated African oral tradition into his novels by drawing upon its structures and themes to shape his literary style.12

Bebey explicitly noted that his extensive background as a radio broadcaster influenced his storytelling approach, leading him to craft narratives directed toward "hearers" rather than traditional readers. This stylistic choice reflects the performative nature of oral traditions, where the rhythm and delivery of the story are central to the experience.1

In his novels—such as Le Fils d’Agatha Moudio (Agatha Moudio’s Son), La Poupée ashanti (The Ashanti Doll), and Le Roi Albert d’Effidi (King Albert)—Bebey explored themes rooted in the tensions between traditional African societal norms and modern influences. By utilizing these oral-influenced techniques, he successfully transposed the essence of traditional storytelling into a literary mode, allowing his work to bridge the gap between ancestral heritage and contemporary fiction.123