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This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986.
The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American literature. The nine original essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women’s studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction.
El creixement dels moviments sociopolítics entre els anys seixanta i noranta als Estats Units i a Sud-àfrica va establir els ferms fonaments sobre els quals, amb una força i ímpetu sense precedents, es va forjar el teatre negre d?aquests anys. Forma i contingut van sorgir a l?una del compromís polític i artístic adoptat per aquests artistes contra l?imperialisme, el colonialisme i el racisme occidentals. Per primera vegada en la història, el teatre negre dels Estats Units i de Sud-àfrica analitzava i valorava les arrels negres per a poder il·luminar la recerca d?un futur de llibertat. No obstant això, el context sociopolític i les circumstàncies específiques de cada país han generat igualment els trets distintius del teatre afronord-americà i negre sud-africà (incloses les diferències de gènere) manifestos en ramificacions artístiques totalment heterogènies i úniques.
Decolonization of knowledge has become a major issue in African Studies in recent years, brought to the fore by social movements such as #RhodesMustFall and #BlackLivesMatter. This timely book explores the politics and disputed character of knowledge production in colonial and postcolonial Uganda, where efforts to generate forms of knowledge and solidarity that transcend colonial epistemologies draw on long histories of resistance and refusal. Bringing together scholars from Africa, Europe and North America, the contributors in this volume analyse how knowledge has been created, mobilized, and contested across a wide range of Ugandan contexts. In so doing, they reveal how Ugandans have built, disputed, and reimagined institutions of authority and knowledge production in ways that disrupt the colonial frames that continue to shape scholarly analyses and state structures. From the politics of language and gender in Bakiga naming practices to ways of knowing among the Acholi, the hampering of critical scholarship by militarism and authoritarianism, and debates over the names of streets, lakes, mountains, and other public spaces, this book shows how scholars and a wide range of Ugandan activists are reimagining the politics of knowledge in Ugandan public life.p by militarism and authoritarianism, and debates over the names of streets, lakes, mountains, and other public spaces, this book shows how scholars and a wide range of Ugandan activists are reimagining the politics of knowledge in Ugandan public life.p by militarism and authoritarianism, and debates over the names of streets, lakes, mountains, and other public spaces, this book shows how scholars and a wide range of Ugandan activists are reimagining the politics of knowledge in Ugandan public life.p by militarism and authoritarianism, and debates over the names of streets, lakes, mountains, and other public spaces, this book shows how scholars and a wide range of Ugandan activists are reimagining the politics of knowledge in Ugandan public life.
Translation—as a concept—has become central to postcolonial theory in recent decades, offering useful insights and metaphors for the processes explored within the framework of postcolonial studies. But translation itself is still an underexplored activity within this discipline. Intimate Enemies rights this wrong, weaving together reflections on translation by translators, authors, and academics working in regions of Africa, the Caribbean, and nations in the Indian Ocean. Moving beyond the traditional view of translation as betraying, at some level, original texts, the contributors instead highlight the potential for translation to counter the destructive effects of globalization, promote linguistic diversity, and reveal the dynamic political and economic contexts in which books are written, sold, and read.
How decolonization and the cold war influenced literature from Africa, Asia, and the Caribbean How did superpower competition and the cold war affect writers in the decolonizing world? In The Aesthetic Cold War, Peter Kalliney explores the various ways that rival states used cultural diplomacy and the political police to influence writers. In response, many writers from Africa, Asia, and the Caribbean—such as Chinua Achebe, Mulk Raj Anand, Eileen Chang, C.L.R. James, Alex La Guma, Doris Lessing, Ngũgĩ wa Thiong'o, and Wole Soyinka—carved out a vibrant conceptual space of aesthetic nonalignment, imagining a different and freer future for their work. Kalliney looks at how the United States and the Soviet Union, in an effort to court writers, funded international conferences, arts centers, book and magazine publishing, literary prizes, and radio programming. International spy networks, however, subjected these same writers to surveillance and intimidation by tracking their movements, tapping their phones, reading their mail, and censoring or banning their work. Writers from the global south also suffered travel restrictions, deportations, imprisonment, and even death at the hands of government agents. Although conventional wisdom suggests that cold war pressures stunted the development of postcolonial literature, Kalliney's extensive archival research shows that evenly balanced superpower competition allowed savvy writers to accept patronage without pledging loyalty to specific political blocs. Likewise, writers exploited rivalries and the emerging discourse of human rights to contest the attentions of the political police. A revisionist account of superpower involvement in literature, The Aesthetic Cold War considers how politics shaped literary production in the twentieth century.
The negative legacy of the British empire is often thought of in terms of war and economic exploitation, while the positive contribution is associated with the establishment of good governance and effective, modern institutions. In this new analysis of the end of empire in Uganda, Spencer Mawby challenges these preconceptions by explaining the many difficulties which arose when the British attempted to impose western institutional models on Ugandan society. Ranging from international institutions, including the Commonwealth, to state organisations, like the parliament and army, and to civic institutions such as trade unions, the press and the Anglican church, Mawby uncovers a wealth of new material about the way in which the British sought to consolidate their influence in the years prior to independence. The book also investigates how Ugandans responded to institutional reform and innovation both before and after independence, and in doing so sheds new light on the emergence of the notorious military dictatorship of Idi Amin. By unpicking historical orthodoxies about 20th-century imperial history, this institutional history of the end of empire and the early years of independence offers an opportunity to think afresh about the nature of the colonial impact on Africa and the development of authoritarian rule on the continent.
The essays in this collection were written in celebration of the centenaries, in 2019, of Peter Abrahams, Noni Jabavu, Sibusiso Cyril Lincoln Nyembezi and Es'kia Mphahlele, all of whom were born in 1919. All four centenarians lived rich and diverse lives across several continents. In the years following the Second World War they produced more than half a century of foundational creative writing and literary criticism, and made stellar contributions to the founding and enhancement of institutions and repertoires of African and black arts and letters in South Africa and internationally. As a result, their lifeworlds and oeuvres present sharp and multifaceted engagements with and generative insights into a wide range of issues, including precolonial existence, colonialism, empire, race, culture, identity, class, the language question, tradition, modernity, exile, Pan-Africanism, and decolonisation.
In the 1990s, a new wave of globalization changed the field of cultural production in many African countries and paved the way for major new cultural events. In particular, during the last two decades, an ever growing series of art and cultural centers were and still are being established - often against the background of broader national (art) histories and the historic prominence of the state as the primary patron of the arts. In considering the historical genealogy of these 'new spaces, ' this book examines: the infrastructures and public spaces they create, the theoretical discourses they tap into and explore, the aesthetic and (cultural) political debates they stir, the role they play in the field of cultural institutions and cultural activism, and their relations with state and municipal institutions. (Series: African Art and Visual Cultures - Vol. 2) [Subject: African Studies, Cultural Studies, Art