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This volume brings together fifteen scholars from Africa, Europe and the United States to explore how Africa is represented in and through the performing arts and cinema. Essays include discussions of Lorraine Hansberry’s A Raisin in the Sun, American influences on Nollywood, Nigerian video films, the representation of women in cinema, African dance in the diaspora, children’s music, and media portrayals of savagery from pop cinema through news reports of Ferguson, Missouri. Using a variety of methodologies and approaches, the contributors consider how African societies and cultures have been represented to themselves, to the continent at large, and in the diaspora. The volume represents an extended dialogue between African scholars and artists about the challenges of representing themselves and their respective societies within and without Africa. Many of the contributors are scholar-practitioners, offering practical guides on how to approach these performance and media forms as artists. As such, this book will serve as both model and building block for the next generation of representors, students, and audiences.
This volume brings together fifteen scholars from Africa, Europe and the United States to explore how Africa is represented in and through the performing arts and cinema. Essays include discussions of Lorraine Hansberrys A Raisin in the Sun, American influences on Nollywood, Nigerian video films, the representation of women in cinema, African dance in the diaspora, childrens music, and media portrayals of savagery from pop cinema through news reports of Ferguson, Missouri. Using a variety of methodologies and approaches, the contributors consider how African societies and cultures have been represented to themselves, to the continent at large, and in the diaspora. The volume represents an extended dialogue between African scholars and artists about the challenges of representing themselves and their respective societies within and without Africa. Many of the contributors are scholar-practitioners, offering practical guides on how to approach these performance and media forms as artists. As such, this book will serve as both model and building block for the next generation of representors, students, and audiences.
Hip Hop Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of contributors look carefully at youth culture and the explosion of hip hop in Africa, the embrace of other contemporary genres, including reggae, ragga, and gospel music, and the continued vitality of drumming. Covering Senegal, Mali, Côte d'Ivoire, Ghana, Nigeria, Kenya, Tanzania, Malawi, and South Africa, this volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture.
With forty accessible essays on the key intellectual contributions to Pan-Africanism, this volume offers readers a fascinating insight into the intellectual thinking and contributions to Pan-Africanism. The book explores the history of Pan-Africanism and quest for reparations, early pioneers of Pan-Africanism as well as key activists and politicians, and Pan-African philosophy and literati. Diverse and key figures of Pan-Africanism from Africa, the Caribbean, and America are covered by these chapters, including: Edward Blyden, W.E.B. Du Bois, Marcus Garvey, Amy Ashwood Garvey, George Padmore, Kwame Nkrumah, Franz Fanon, Amilcar Cabral, Arthur Lewis, Maya Angelou, C.L.R. James, Ruth First, Ali Mazrui, Wangari Maathai, Thabo Mbeki, Wole Soyinka, Derek Walcott, and Chimamanda Adichie. While acknowledging the contributions of these figures to Pan-Africanism, these essays are not just celebratory, offering valuable criticism in areas where their subjects may have fallen short of their ideals.
This Very Short Introduction offers an overview of the Harlem Renaissance, a cultural awakening among African Americans between the two world wars. Cheryl A. Wall brings readers to the Harlem of 1920s to identify the cultural themes and issues that engaged writers, musicians, and visual artists alike.
"This book offers an unprecedented taxonomy of 45 diaspora-engaging institutions found in 30 developing countries, exploring their activities and objectives; it also provides important perspectives from country case studies by senior practitioners from Mali, Mexico, and the Philippines."--BOOK JACKET.
Rewriting The Return to Africa: Voices of Francophone Caribbean Women Writers examines the ways Guadeloupean women writers Maryse Condé, Simone Schwarz-Bart and Myriam Warner-Vieyra demystify the theme of the return to Africa as opposed to the its masculinist version by Négritude male writers from the 1930s to 1960s. Négritude, a cultural and literary movement, drew much of its strength from the idea of a mythical or cultural reconnection with the African past allegorized as a mother figure. In contrast these women writers, of the post-colonial era who are to large extent heirs of Négritude, differ sharply from their male counterparts in their representation of Africa. In their novels, the continent is not represented as a propitious mother figure but a disappointing father figure. This study argues that these women writers' subversion of the metaphorical figure of Africa and its transformation is tied to their gender. The women novelists are indeed critical of a female allegorization of the land that is reminiscent of a colonial or nationalist project and a simplistic representation of motherhood that does not reflect the complexities of the Diaspora's relation to origins and identity. Unlike the primary male writers of the Négritude movement, theycarefully "gendered" the notion of return by choosing female protagonists who made their way back to the Motherland in search of identity. I argue that writing is a more suitable space for the female subject seeking identity because it allows her to havea voice and become subject rather than object as that was the case with the Négritude writers. The women writers' shattering of the image of Mother Africa and subsequently that of Father Africa highlights the complex relationship between Africa and the Diaspora from a female point of view. It shifts the identity quest of the characters towards the Caribbean, which emerges as the real problematic mother: a multi-faceted, fragmented figure that reflects the constitutive clash that occurred in the archipelago between Europe, Africa, and the Americas where the issues of race, gender, class, culture, ethnicity, history, and language are very complex.
"Showing Our Colors: Afro-German Women Speak Out is an English translation of the German book Farbe bekennen edited by author May Ayim, Katharina Oguntoye, and Dagmar Schultz. It is the first published book by Afro-Germans. It is the first written use of the term Afro-German."--Amazon.com viewed Oct. 8, 2020
* How black people established their identities in the African diaspora.
Africans living in the diaspora have a unique position as potential agents of change in helping to address Africa’s political and socioeconomic challenges. In addition to sending financial remittances, their multiple, hybrid identities in and out of geographical and psychocultural spaces allow them to play a role as cultural and political ambassadors to foster social change and sustainable development back in their African homelands. However, this hybrid position is not without challenges, and this book reflects some of the conundrums faced by members of the diaspora as they negotiate their relationships with their home countries. The author uses her lived experiences and empirical research to ask: are members of the diaspora conduits of Western cultural hegemony at the cost of their traditional preservation and meaningful development in Africa? How does the Western media’s portrayal of Africa as the "Dark Continent" in the 21st century influence their decision-making process to invest back home? How could African nations’ governments manage their relationships with citizens abroad to motivate them to invest in their home countries? How do some citizen-residents in Africa and African Diaspora communities perceive each other in the context of Africa’s development? How could the African Diaspora collaborate with citizen-residents across growth sectors to impact Africa’s development? The book hopes to inspire agents of change within the diaspora and features diverse African entrepreneurs’ success stories and their experiences of tackling these challenges. The book will be of interest to aspiring entrepreneurs, researchers across African studies, and the expanding and vibrant field of diaspora research.