{"id":6443,"date":"2025-04-15T19:40:47","date_gmt":"2025-04-15T19:40:47","guid":{"rendered":"https:\/\/primolevicenter.org\/printed-matter\/?p=6443"},"modified":"2025-04-15T19:58:27","modified_gmt":"2025-04-15T19:58:27","slug":"on-bruly-bouabres-alphabet-2005","status":"publish","type":"post","link":"https:\/\/primolevicenter.org\/printed-matter\/on-bruly-bouabres-alphabet-2005\/","title":{"rendered":"On Bruly Bouabr\u00e9\u2019s Alphabet (2005)"},"content":{"rendered":"
\nCatherine Coquio<\/a>\r\n\t \t\t
Nurith Aviv: filmer la parole<\/i>. Edited by Claire Buchbinder, Marianne Dautrey, and Nathalie Georges-Lambrichs. Exils \u00c9diteur (2025). Translated from the French by Yuval Jonas and Marin Diz (revised by Emanuel Fiano) and published by permisison of the author.  <\/span><\/div>\n<\/div>\n

From One Language to the Other<\/i> was broadcast by one of Arte\u2019s evening shows dedicated to languages together with a 17-minute documentary filmed in Africa, Bruly Bouabr\u00e9\u2019s Alphabet<\/i>. This short film was dedicated to the invention of a form of African writing by Fr\u00e9d\u00e9ric Bruly Bouabr\u00e9, born Gbeuly Gboagbre in 1923, in the Ivorian village Z\u00e9pr\u00e9guh\u00e9. Now a wise, old, white-bearded man, Bruly Bouabr\u00e9 explains the grammar of his pictograms, created over the course of the 1950s by drawing hundreds of monosyllabic words of his native B\u00e9t\u00e9 language. <\/p>\n

This alphabet was in fact a syllabary of 448 signs, each one drawn and colored on a small, 15cm square of carton, torn from hair-extension packaging, decorated with geometrical forms, inspired by stones observed in a neighboring village. But his initial dream was vaster: \u201cTo find on the scene of human life a specifically African writing: such is my desire.\u201d It is this \u201cscene\u201d the movie deals with. The film poses the question of translation as a passage from the spoken to the written, and that of the hazards of intercultural exchanges, by way of a sketch. The film focuses on this linguistic discovery without mentioning the mystical inspiration of Bruly Bouabr\u00e9, who said he had received a prophetic revelation when he was clerical officer for the Administration of the Dakar-Niger Railroad Line: on March 11, 1948 the sun split itself into seven colors and opened for him the sky, revealing to him that he was a Prophet. He then chose to call himself \u201cSheikh Nadro, the Revealer,\u201d \u201che who does not forget,\u201d and, quitting his job at the railroad, he dedicated himself to saving the B\u00e9t\u00e9 culture by putting it down in writing, this passage being conceived as a gateway to the universal. He began telling the stories of the B\u00e9t\u00e9 people, to record their myths and rites but also their daily lives, alongside French current affairs, capturing glimpses of yesterday\u2019s and today\u2019s world in a universe of signs, drawing colonial and post-colonial modernity on the basis of Ivorian scenes and landscapes open to \u201cobservations of the clouds.\u201d<\/p>\n

This encyclopedic and cosmogonic mission, which led him to draw and color on thousands of cartons which became more and more finely crafted, transformed the linguist-prophet into an artist<\/i>. Bruly Bouabr\u00e9\u2019s writing was only practiced by those close to him, but his colorful cartons circulate throughout the world, like the traces of a language dream of which they would have emancipated themselves through art (thanks to the misunderstanding of the label of \u201cprimitivism\u201d brought about by the Centre Pompidou exhibition Magiciens de la terre<\/i>, where the work was revealed to the public in 1989). Through the discovery of these cartons, where the image formed writing, Nurith Aviv gathered information, investigated, visited the dreamer. <\/span><\/p>\n

The film mentions a letter from Boubr\u00e9 to Th\u00e9odore Monod, in which he explains to him that he wants to give the B\u00e9t\u00e9s an \u201ceasy method\u201d and an \u201camusing system\u201d that would allow everybody to \u201clearn in a short time.\u201d Impressed, Monod signalled the invention of a \u201cnew West African alphabet\u201d, in the Bulletin de l\u2019Institut fran\u00e7ais d\u2019Afrique noire<\/i>: it was 1958, ten years after Bouabr\u00e9\u2019s enlightenment, and it was the first step of a journey of international recognition\u2014initially ethnographic before becoming artistic\u2014which made Bruly Bouabr\u00e9 one of the greatest bridge-builders between the African and European worlds, before he became an established name in global contemporary art. Since his revelation in Les magiciens de la terre<\/i> in 1989, this oeuvre has been shown as such at the international exhibitions and biennials of Venice, Paris, S\u00e3o Paulo, Dakar, Istanbul, Moscow, and Kassel, in the great contemporary African art exhibitions (Out of Africa<\/i>, Africa Remix<\/i>) and, a year after his death, in 2014, the MAMCO of Geneva devoted a major exhibition to him under the title Connaissance du monde<\/i>, which was borrowed from him.<\/p>\n

Though absent from the film, Bouabr\u00e9\u2019s enlightenment on March 11, 1948, was nonetheless undoubtedly engraved in Nurith Aviv\u2019s memory: she herself was born in Palestine on a March 11, three years earlier to the day, and 1948 was the year of the founding of the State of Israel! Bruly Bouabr\u00e9\u2019s enlightenment recalls that of Ben-Yehuda in 1879. But for one, it was a question of writing down a spoken language in order to save it, and on the other hand to speak<\/i> a written language that had become holy in order to gain existence among nation-states. For both, language was a mode of inscription<\/i> into the world and of resistance to erasure. Four years after <\/span> Bruly Bouabr\u00e9\u2019s Alphabet<\/i>, the film Sacred Tongue, Spoken Language<\/i> [in Hebrew Leshon kodesh, sfat chol<\/i>, \u201cSacred Tongue, Profane Language\u201d] came out, wherein the Hebrew alphabet is acted out by a woman reading from the Book of Creation<\/i> [Sefer yetzirah<\/i>], the foundational book of Jewish theology of the name and kabbalistic mysticism.<\/p>\n

When, in 2009, Nurith Aviv was awarded the \u00c9douard Glissant prize for From One Language to Another<\/i>, Glissant, having also seen Bruly Bouabr\u00e9\u2019s Alphabet<\/i>, recalled that the children of Black Africa necessarily spoke several languages\u2014those of the clan, the nation and the dominant lingua franca\u2014without the conflict for this reason becoming a \u201cconfrontation.\u201d He recalled that Bouabr\u00e9\u2019s approach was that of \u201csomeone whose language is disappearing,\u201d something that happens every day in Africa. The Alphabet <\/i>showed that it was possible to act<\/i> on a language, to change<\/i> it by associating with it another symbolism, even one that was difficult to integrate. From One Language to Another<\/i> showed that a language can also \u201cmultiply itself in another,\u201d \u201crestructure itself in another,\u201d that one can \u201chelp and revive another.\u201d Enthralled by this \u201cbrilliant\u201d film, Glissant insisted on its universal dimension: just as the landscapes were those of the world and not of \u201ca place,\u201d the characters each narrating their own lives \u201call told the same story\u201d: that of the powers and problems of<\/i> languages, virtually all of them. The greatness of the film, he says, is to show that there is a \u201cpoint of absence\u201d between languages\u2014and here he takes up the formula used, in From One Language to Another<\/i>, by the woman he calls the \u201cgreat young poetess\u201d: the very special (and universal) Haviva Pedaya, whose great-grandfather had taught Kabbalah in Baghdad. (\u00c9crire l\u2019histoire<\/i>, n\u00ba 19, November 2019)<\/p>\n

 <\/p>\n

Writing an Eclipsed Language<\/i><\/h4>\n
\nTheombog\u00fc<\/a>\r\n\t \t\t
Nurith Aviv: filmer la parole<\/i>. Edited by Claire Buchbinder, Marianne Dautrey, and Nathalie Georges-Lambrichs. Exils \u00c9diteur (2025). Translated from the French by Yuval Jonas and Marin Diz (revised by Emanuel Fiano) and published by permisison of the author.  <\/span><\/p>\n<\/div>\n<\/div>\n

The 19th and 20th centuries in Africa were marked by what could be called \u201cscriptural entrepreneurship,\u201d born from Africans\u2019 desire to create graphic systems for their languages. The inventors of African scripts wanted in fact to free their native languages \u200b\u200bfrom their dependence on Arabic and Latin scripts at the time of their transcriptions. The writing of African languages \u200b\u200bby Africans has required the invention of syllabaries. The creation of alphabets has been an essential tool in these artistic and revolutionary endeavors. Fr\u00e9d\u00e9ric Bruly Bouabr\u00e9 created a syllabary for the B\u00e9t\u00e9 language, based on vignettes, that was received as an alphabet. This invention is part of the series of writing revolutions initiated by his predecessors: the Liberian neographer Momolu Duwalu Bukele, the Bamoun Sultan Njoya, the Somali writer Osman Yusuf Kenadid, the Malian linguist Woyo Couloubayi and the Guinean pedagogue Solomana Kant\u00e9, to name but a few, respectively inventors of the Vai, Sh\u00fc-mom, Osmanya, Masaba and N\u2019ko scripts. The Ivorian artist Bruly Bouabr\u00e9 wants above all to ensure the continued existence of his mother tongue, to rescue it from the eclipse into which the colonial context had plunged it. In an Ivorian linguistic environment dominated by French, Bruly\u2019s project of graphizing<\/i> B\u00e9t\u00e9 has proven to be linguistically salvific.<\/p>\n

\"\"<\/a>A Pictographic Attempt<\/strong><\/p>\n

It\u2019s almost certain that if you asked the first B\u00e9t\u00e9 you run into to transcribe into Bruly Bouabr\u00e9\u2019s \u201cwriting\u201d what you say to them in French, they won\u2019t succeed. The reason is that the artistic and linguistic creation of the Ivorian artist is not taught in C\u00f4te d\u2019Ivoire\u2019s schools, colleges, and universities. Even within his own ethnic group, it is difficult to find a woman, a man or a child who can write B\u00e9t\u00e9 using the syllabary invented by Bruly Bouabr\u00e9. To make the pictograms that make up the syllabary one\u2019s own, a prior initiation is required, which is not accessible to the general public due to a lack of popularization. If B\u00e9t\u00e9 had benefited from the privilege enjoyed by the French language on Ivorian soil, there would be thousands, if not millions, of Ivorians who could easily use the prophet-poet\u2019s writing system.<\/p>\n

The Ivorian artist\u2019s pictograms do not constitute a complex whole, as one might think at first glance. The Latin spelling used, essentially composed of capital letters, has a phonetic value. It helps the uninitiated reader to pronounce pictographic signs. These figurative drawings are not the fruit of mere individual imagination. The linguist-designer associates them with his divine and spiritual experience. On the borderline between the artistic and the prophetic, his creation crosses the verbal register, that of drawing and that of writing. His work has been described as \u201cencyclopedic.\u201d In reality, his propheticism includes a refusal to be considered \u201cerudite\u201d and a marginal relationship with the scientific world.<\/p>\n

Reading anthropologist and naturalist Th\u00e9odore Monod\u2019s text on the work of the artist-prophet one learns that he was inspired by the engravings on the \u201cmysterious\u201d stones of B\u00e9kora, a rural town in the center-west of C\u00f4te d\u2019Ivoire.<\/p>\n

Although what has been called the \u201cB\u00e9t\u00e9 alphabet\u201d emerged during the colonial period, Bruly Bouabr\u00e9 did not use it as a tool to oppose the writing of French in C\u00f4te d\u2019Ivoire. The fear of the increasing precariousness, or even the disappearance, of his native language remained his major concern, which he tried to convey to his people.<\/p>\n

The Visual Effect<\/strong><\/p>\n

Getting B\u00e9t\u00e9 speakers to recognize the need to use the pictographic syllabary invented by the prophet-linguist remains an arduous task, especially as B\u00e9t\u00e9 is neither a widely-used language nor a profitable one. Initiation into Bruly Bouabr\u00e9\u2019s schematic drawings is perceived as a thankless activity, which explains the failure of the alphabetization sought by the Ivorian artist (associated with his prophetic mission) through his writing of B\u00e9t\u00e9. This setback contrasts, however, with the international success of his graphic work, exhibited in various countries around the world. In the prophet-designer\u2019s writing, drawing is not only a purveyor of meaning; it is also adventurous, marvelous, joyful.<\/p>\n

Nurith Aviv\u2019s superb documentary Bruly Bouabr\u00e9\u2019s Alphabet<\/i>, made in the early 2000s, traces the daily life of the Ivorian artist in his Abidjan home. We see the aged body of the poet-prophet initiating a few of his relatives to writing and reading his alphabet. His writing and linguistic production were not enough to make B\u00e9t\u00e9 a language of culture on par with French. In C\u00f4te d\u2019Ivoire, B\u00e9t\u00e9 is neither an official language, nor an administrative language, nor a language of instruction. Bruly Bouabr\u00e9\u2019s invention of a writing form has failed to spread beyond his family. French remains the country\u2019s only official and teaching language. Its overwhelming influence contributes to the \u201cconfining\u201d of B\u00e9t\u00e9, comparable to that of other Ivorian ethnic languages on their own soil. This situation is common to most formerly colonized African countries, which have adopted French, English, Portuguese, or Spanish as their official languages.<\/p>\n

Bruly Bouabr\u00e9\u2019s pictography retains the punctuation marks of the French language. It has not entirely freed itself from Latin writing conventions. With the exception of Pharaonic Egyptian, Ge\u2018ez, Meroitic and Berber, all of which had independent graphic systems, the inventors of African syllabaries have borrowed from Arabic and Latin to make their own graphic inventions legible. Nurith Aviv\u2019s film shows how difficult it is for a prophet-artist to radically separate himself from the Latin alphabet, even if he does depart from its phonocentricity. This fascinating documentary has helped to make known this solar man\u2019s work.<\/p>\n

What remains of languages when there is no more language?<\/p>\n

Writing an eclipsed language like B\u00e9t\u00e9 may seem an act of desperation. The linguist who ventures into it discovers the fragility of languages, the illusion of their purity and homogeneity. He even discovers that they don\u2019t \u201cexist.\u201d Or, to be more precise, that they only exist when caught up in, or even carried away by, the history of languages. What does it mean to speak and write a language that isn\u2019t one, identical to itself once and for all? The Arabization and Romanization of the writing systems of African languages have not allowed for the translation of all the sounds and images that are specific to them. Bruly Bouabr\u00e9\u2019s pictographic writing gives the impression that the language is an immense rebus to be deciphered. The prophet-inventor, through his gesture, refuses translation to let his intimate language, the language he has invented, speak. His act of writing is akin to an educational mission with prophetic overtones. He blends there the poetic, the magical, and the playful.<\/p>\n

With Bruly Bouabr\u00e9\u2019s Alphabet<\/i>, we discover that a language can be known, or even saved from obsolescence, insofar as it is spoken and written, and that to resist the inevitable linguistic cohabitation that threatens its life and internal cohesion, it must continually reorganize itself and spread beyond its original environment.<\/p>\n","protected":false},"excerpt":{"rendered":"

From One Language to the Other was broadcast by one of Arte\u2019s evening shows dedicated to languages together with a 17-minute documentary filmed in Africa, Bruly Bouabr\u00e9\u2019s Alphabet. 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