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This book investigates how the intersection between gendered violence and human rights is depicted and engaged with in Africana literature and films. The rich and multifarious range of film and literature emanating from Africa and the diaspora provides a fascinating lens through which we can understand the complex consequences of gendered violence on the lives of women, children and minorities. Contributors to this volume examine the many ways in which gendered violence mirrors, expresses, projects and articulates the larger phenomenon of human rights violations in Africa and the African diaspora and how, in turn, the discourse of human rights informs the ways in which we articulate, interrogate, conceptualise and interpret gendered violence in literature and film. The book also shines a light on the linguistic contradictions and ambiguities in the articulation of gendered violence in private spaces and war. This book will be essential reading for scholars, critics, feminists, teachers and students seeking solid grounding in exploring gendered violence and human rights in theory and practice.
Musa runs from death but not far enough from its canny sting. His heart of stone is so cold that his suicide mission radar stringently points at a large gathering of his family and friends. Kaka Patu his grandmother and Amina his fiancee are unavoidably absent but Kaka Vero and Gladys are unlucky. Musa is apprehended and his death becomes inevitable, either subtle or hard. Yerima brings this ugly social reality to stage in Heart of Stone to unveil the depth of man's heart of darkness and the visceral vicissitudes of scripture misinterpretation and misappropriation.
Iredi War was the winner of The Nigeria Prize for Literature 2014. The playwright introduces the notion of folk script with its special stamp. The use of the oral literature genre allows for the full exploitation of the creative licence which allows for the swings from the historical to the oral, the natural to the supernatural, the real to the fantastic.
The goal of this book is to initiate theoretical discussions on the popular subject of African literary language, and the thrust of the contribution, apart from theory-building, is the introduction of the Post-indiginist concept next to the well known essentialist and hybrid concepts. The study outlines a set of criteria for each aesthetic concept, so that literary analysis based on the criteria will verify whether or not they are adequate for understanding, explaining and describing African writers' language usage. It is expected that a language aesthetic theory in the African context may help in the study of individual writers' styles and equally address a neglect of descriptive studies in African literary scholarship.
The play depicts a troubled and violent society stoked by a vicious and violent culture of intolerance and extremism. It is about restiveness, puritanism and the politics of religiosity. The play gives a glimpse of the views and frustrations of young people, the supercilious and hateful perceptions of some clerics and the brigandage of law enforcers in such a given situation. The play points to the role courageous individuals could play in speaking out for peace and standing up to violence and in defiance of fear and for preservation of freedom.
Ahmed Yerima's play celebrates the phenomenon of twins among the Yoruba people. Orisa Ibeji is also about man's fear of death and love of life; destiny and reincarnation; and the place of the gods in human affairs. Yerima employs simple and beautiful language, dynamic characters and deft skill to navigate the labyrinth that is Orisa Ibeji
Winner of the ANA Drama Prize, 2014, Maybe Tomorrow is a drama that conveys the searing anger of a new generation in Nigeria.
Death and the King’s Grey Hair and Other Plays is a collection of three plays, ‘Death and the King’s Grey Hair,’ ‘Truce with the Devil,’ and ‘Fringe Benefits,’ which are all experimental plays from the early period of the writing career of Denja Abdullahi, who is presently renowned as a poet of populist expressions. ‘Death and the King’s Grey Hair’ examines the use and misuse of absolute power based on an ancient Jukun myth of young kings and short reigns. ‘Truce with the Devil’ is a satire on the later abandonment of the creed of Marxism by its adherents, a kind of mockery of turncoat revolutionaries in the grip of practical social realities. ‘Fringe Benefits’, a radio play, is an expose of the happening in Nigeria’s ivory towers, seen from the eyes of a participant-observer.