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Organized by major themes—such as creation stories, and resistance to oppression—this collection gather works of imagination, politics and history, religion, and culture from many societies and across recorded time. Asante and Abarry marshal together ancient, anonymous writers whose texts were originally written on stone and papyri and the well-known public figures of more recent times whose spoken and written words have shaped the intellectual history of the diaspora. Within this remarkably wide-ranging volume are such sources as prayers and praise songs from ancient Kemet and Ethiopia along with African American spirituals; political commentary from C.L.R. James, Malcolm X, Mary McLeod Bethune, and Joseph Nyerere; stirring calls for social justice from David Walker, Abdias Nacimento, Franzo Fanon, and Martin Luther King, Jr. Featuring newly translated texts and ocuments published for the first time, the volume also includes an African chronology, a glossary, and an extensive bibliography. With this landmark book, Asante and Abarry offer a major contribution to the ongoing debates on defining the African canon. Author note:Molefi Kete Asanteis Professor and Chair of African American Studies at Temple University and author of several books, includingThe Afrocentric Idea(Temple) andThe Historical and Cultural Atlas of African Americans.Abu S. Abarryis Assistant Chair of African American Studies at Temple University.
The African continent is home to a fascinating and strong tradition of myth, due in part to the long history of human habitation in Africa; the diversity of its geography, flora, and fauna; and the variety of its cultural beliefs. African Mythology A to Z is a readable reference to the deities, places, events, animals, beliefs, and other subjects that appear in the myths of various African peoples. For the first time, this edition features full-color photographs and illustrations.Coverage includes:
In this collection of essays written from different critical perspectives, African playwrights demonstrate through their art that they are not only witnesses, but also consciences, of their societies.
Previous studies of African poetry have tended to concentrate either on its political content or on its relationship to various European schools. This book examines West African poetry in English and French against the background of oral poetry in the vernacular. Do the roots of such poetry lie in Africa or in Europe? In committing their work to writing, do poets lose more than they gain? Can the immediacy of oral performance ever be recovered? Robert Fraser's account of two centuries of West African verse examines its subjugation to a succession of international styles: from the heroic couplet to the austerity of experimental Modernism. Successive chapters take us through the Négritude movement and the emergence of anglophone free verse in the 1950s to the rediscovery in recent years of the neglected springs of orality, which is the subject of the concluding chapter.
Originally published in 1982, this book explores concepts such as ‘traditional performance’ and African theatre’. It analyses the links between drama and ritual, and drama and music and diagnoses the confusions in our thought. The reader is reminded that drama is never merely the printed word, but that its existence as literature and in performance is necessarily different. The analysis shows that literature tends to replace performance; and drama, removed from the popular domain, becomes elitist. The book’s richness lies in the constantly stimulating analysis of ‘art’ theatre, as exemplified in protest plays, in African adaptations and transpositions of such classical subjects as the Bacchae and Everyman, in plays on African history, on colonialism and neo-colonialism. The final chapters argue that the form of African drama needs to evolve as the content does.
The Ozidi Saga is one of Africa's best known prosimetric epics, set in the Delta region of Nigeria. Blood on the Tides examines the epic -- a tale of a warrior and his sorcerer grandmother's revenge upon the assassins who killed her son -- both as an example of oral literature and as a reflection of the specific social and political concerns of the Nigerian Delta and the country as a whole. In addition the book considers various iterations of the saga, including a performance of the entire saga in 1963 in Ibadan by the folk artist Okabou Okobolo, which was subsequently transcribed, translated, and edited by the renowned Nigerian poet, playwright, and scholar John Pepper Clark-Bekederemo. The study concludes with a look at the work of contemporary Nigerian creative writers and their connection to the powerful literary and historical currents of the Ozidi story. Isidore Okpewho is Distinguished Professor of Africana Studies, English, and Comparative Literature at Binghamton University (SUNY). He is the author of The Epic in Africa, Myth in Africa, African Oral Literature, and Once upon a Kingdom. An award-winning novelist, he has published four titles: The Victims, The Last Duty, Tides, and Call Me by My Rightful Name.
A collection of essays by Femi Osofisan, the internationally respected Nigerian dramatist and poet, who is widely hailed as one of Africa's leading writers of the generation following on from Wole Soyinka and Chinua Achebe. With acerbic wit and with idealistic fervour, Osofisan speaks in these essays about the place of literature and drama, and those who consume it, in the troubled post-colonial continent that is Africa. The result is a passionate and original insight, not only into the work of his contemporaries, but also into the adventure of the Africa of the past.
". . . its pages come alive with wonderful illustrative material coupled with sensitve and insightful commentary." —Reviews in Anthropology " . . . the scope, breadth, and lucidity of this excellent study confirm that Okpewho is undoubtedly the most important authority writing on African oral literature right now . . . " —Research in African Literatures "Truly a tour de force of individual scholarship . . . " —World Literature Today " . . . excellent . . . " —African Affairs " . . . a thorough synthesis of the main issues of oral literature criticism, as well as a grounding in experienced fieldwork, a wide-ranging theoretical base, and a clarity of argument rare among academics." —Multicultural Review "This is a breathtakingly ambitious project . . . " —Harold Scheub " . . . a definitive accounting of the evidence of living oral traditions in Africa today. Professor Okpewho's authority as an expert in this important new field is unrivaled." —Gregory Nagy "Isidore Okpewho's African Oral Literature is a marvelous piece of scholarship and wide-ranging research. It presents the most comprehensive survey of the field of oral literature in Africa." —Emmanuel Obiechina " . . . a tour de force of scholarship in which Okpewho casts his net across the African continent, searching for its verbal forms through voluminous recent writings and presents African oral literature in a new voice, proclaiming the literariness of African folklore." —Dan Ben-Amos "This is an outstanding book by a scholar whose work has already influenced how African literature should be conceived. . . . Professor Okpewho is a scholar with a special talent to nurture scholarship in others. After this work, African literature will never be the same." —Mazisi Kunene Isidore Okpewho, for many years Professor of English at the University of Ibadan, is one of the handful of African scholars who has facilitated the growth of African oral literature to its status today as a literary enterprise concerned with the artistic foundations of human culture. This comprehensive critical work firmly establishes oral literature as a landmark of high artistic achievement and situates it within the broader framework of contemporary African culture.
This book essentially negotiates African literature as a veritable site of artistic and cultural production and situates it within the dynamic of postcolonial cultural politics. It critically evaluates African literature as a contour of cultural contestation with the imperial politics of knowledge production about others and as an ideological strategy for knowing them. The book’s main contribution to the critical discourse on African literature and culture inheres in the fact that politics constitutes the enduring concern of society as it re/shapes and over-determines discourses which have continued to remain crucial to societal engineering. It, however, imagines the discursive existence as necessary for the evolving of a dynamic African literary tradition with an abiding fidelity to the verities of history. The book is useful for literary scholars, historians, critics, experts and students of postcolonial/cultural studies as well as general readership interested in African studies.