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"Set in an unnamed African country, Shattered Calabash is at one and the same time a drama of marital conflict and an expose of corruption in government circles." "The wife and son of a high-ranking official discover, first, that he is a serial adulterer and second, that he has been siphoning off the national wealth and depositing this in European accounts." "Conflict is inevitable. The dialogue through which that conflict is carried out is frank and often funny. Tunde Fatunda has produced a drama that has much to say about misgovernment and about the continuing exploitation of Africa by western interests."--BOOK JACKET.
The Shattered Gourd uses the lens of visual art to examine connections between the United States and the Yoruba region of western Nigeria. In Yoruba legend, the sacred Calabash of Being contained the Water of Life; when the gourd was shattered, its fragments were scattered over the ground, death invaded the world, and imperfection crept into human affairs. In more modern times, the shattered gourd has symbolized the warfare and enslavement that culminated in the black diasporas. The "re-membering" of the gourd is represented by the survival of people of African origin all over the Americas, and, in this volume, by their rediscovery of African art forms on the diaspora soil of the United States. Twentieth-century African American artists employing Yoruba images in their work have gone from protest art to the exploration and celebration of the self and the community. But because the social, economic, and political context of African art forms differs markedly from that of American culture, critical contradictions between form and meaning often appear in African American works that use African forms. In this book -- the first to treat Yoruba forms while transcending the conventional emphasis on them as folk art, focusing instead on the high art tradition -- Moyo Okediji uses nearly four dozen works to illustrate a broad thematic treatment combined with a detailed approach to individual African and African American artists. Incorporating works by such artists as Meta Warrick Fuller, Hale Woodruff, Aaron Douglas, Elizabeth Catlett, Ademola Olugebefola, Paul Keene, Jeff Donaldson, Howardena Pindell, Muneer Bahauddeen, Michelle Turner, Michael Harris, Winnie Owens-Hart, and John Biggers, the author invites the reader to envision what he describes as "the immense possibilities of the future, as the twenty-first century embraces the twentieth in a primal dance of the diasporas," a future that heralds the advent of the global as a distinct movement in art, beyond postmodernism.
In the dark room of life we hear important echo messages coming from an unknown source, so difficult to decipher, echoes of the invisible, a poetry collection of solutions, light and revelations. In the book, the poet stretched his hands wide in discussing virtually all angles of human life, emotional, social, moral, and economical aspects of life. Echoes of the invisible; the writer used himself as a point of contact to people out there. It is magical in the sense that whoever picks this book must find a poem that resolves, discusses, consoles and confirms his current situation. He calls it the healing poem or the poems of revival. The wordings in a way tried to reconcile the vices in the society; it is a book for all, as it is more than just a poetic work of art.
Nalo Hopkinson--winner of the John W. Campbell Award, the Sunburst Award, and the World Fantasy award (among others), and lauded as one of our "most inventive and brilliant writers" (New York Post)--returns with a new work exploring the relationship between two sisters in this richly textured and deeply moving novel. We'd had to be cut free of our mother's womb. She'd never have been able to push the two-headed sport that was me and Abby out the usual way. Abby and I were fused, you see. Conjoined twins. Abby's head, torso, and left arm protruded from my chest. But here's the real kicker; Abby had the magic, I didn't. Far as the Family was concerned, Abby was one of them, though cursed, as I was, with the tragic flaw of mortality. Now adults, Makeda and Abby still share their childhood home. The surgery to separate the two girls gave Abby a permanent limp, but left Makeda with what feels like an even worse deformity: no mojo. The daughters of a celestial demigod and a human woman, Makeda and Abby were raised by their magical father, the god of growing things--a highly unusual childhood that made them extremely close. Ever since Abby's magical talent began to develop, though, in the form of an unearthly singing voice, the sisters have become increasingly distant. Today, Makeda has decided it's high time to move out and make her own life among the other nonmagical, claypicken humans--after all, she's one of them. In Cheerful Rest, a run-down warehouse space, Makeda finds exactly what she's been looking for: an opportunity to live apart from Abby and begin building her own independent life. There's even a resident band, led by the charismatic (and attractive) building superintendent. But when her father goes missing, Makeda will have to discover her own talent--and reconcile with Abby--if she's to have a hope of saving him . . .
Ona is a college student and the only child of her parents. By the Nigerian folk tradition of Ogwashi-uku, Ona is an Idegbe--a "Male Daughter" and "Female Husband"--who isexpected to remain at home to bear children to continue her family line. However, if she insists on marrying out to a man as her husband, she must "marry a wife" to take her place in the family. These alternatives are unsavory to the western educated Ona, and she rebels. How the traditional society with Ona's doting father grapple with their challenged-destiny sets the drumbeats of the drama.
Showcasing African Gothic at its finest, this hypnotic novel tangles together classic texts of madness and female rebellion alongside elements of the jingoistic novels of Victorian adventurer H. Rider Haggard. The result is an extraordinary reinvention of colonial and patriarchal perspectives. The unnamed narrator spins a web back through a century of colonial possession – political, spiritual and mental – to imagine the stories of conquest and captivity, control and disruption, from the perspective of the women and men ‘half-broken’ by the stigmas attached to race and mental illness. Equally ‘half-broken’ are those dehumanised by their insane greed for dominion and treasure. With trademark compassion and complexity, Siphiwe Gloria Ndlovu balances the humanity of her characters against the cruelty of empire, making for a spellbinding and literally haunting account of love and magic.
“We're seeing people that we didn't know exist,” the director of FEMA acknowledged in the wake of Hurricane Katrina. Sacral Grooves, Limbo Gateways offers a corrective to some of America's institutionalized invisibilities by delving into the submerged networks of ritual performance, writing, intercultural history, and migration that have linked the coastal U.S. South with the Caribbean and the wider Atlantic world. This interdisciplinary study slips beneath the bar of rigid national and literary periods, embarking upon deeper—more rhythmic and embodied—signatures of time. It swings low through ecologies and symbolic orders of creolized space. And it reappraises pluralistic modes of knowledge, kinship, and authority that have sustained vital forms of agency (such as jazz) amid abysses of racialized trauma. Drawing from Haitian Vodou and New Orleanian Voudou and from Cuban and South Floridian Santería, as well as from Afro-Baptist (Caribbean, Geechee, and Bahamian) models of encounters with otherness, this book reemplaces deep-southern texts within the counterclockwise ring-stepping of a long Afro-Atlantic modernity. Turning to an orphan girl's West African initiation tale to follow a remarkably traveled body of feminine rites and writing (in works by Paule Marshall, Zora Neale Hurston, Lydia Cabrera, William Faulkner, James Weldon Johnson, and LeAnne Howe, among others), Cartwright argues that only in holistic form, emergent from gulfs of cross-cultural witness, can literary and humanistic authority find legitimacy. Without such grounding, he contends, our educational institutions blind and even poison students, bringing them to “swallow lye,” like the grandson of Phoenix Jackson in Eudora Welty's “A Worn Path.” Here, literary study may open pathways to alternative medicines—fetched by tenacious avatars like Phoenix (or an orphan Kumba or a shell-shaking Turtle)—to remedy the lies our partial histories have made us swallow.
Winner of the 2012 Melville J. Herskovits award (African Studies Association) Throughout southwestern Nigeria, Yoruba men and women create objects called aale to protect their properties�farms, gardens, market goods, firewood�from the ravages of thieves. Aale are objects of such unassuming appearance that a non-Yoruba viewer might not register their important presence in the Yoruba visual landscape: a dried seedpod tied with palm fronds to the trunk of a fruit tree, a burnt corncob suspended on a wire, an old shoe tied with a rag to a worn-out broom and broken comb, a ripe red pepper pierced with a single broom straw and set atop a pile of eggs. Consequently, aale have rarely been discussed in print, and then only as peripheral elements in studies devoted to other issues. Yet aale are in no way peripheral to Yoruba culture or aesthetics. In Vigilant Things, David T. Doris argues that aale are keys to understanding how images function in Yoruba social and cultural life. The humble, often degraded objects that comprise aale reveal as eloquently as any canonical artwork the channels of power that underlie the surfaces of the visible. Aale are warnings, intended to trigger the work of conscience. Aale objects symbolically threaten suffering as the consequence of transgression�the suffering of disease, loss, barrenness, paralysis, accident, madness, fruitless labor, or death�and as such are often the useless residues of things that were once positively valued: empty snail shells, shards of pottery, fragments of rusted iron, and the like. If these objects share �suffering� and �uselessness� as constitutive elements, it is because they already have been made to suffer and become useless. Aale offer would-be thieves an opportunity to recognize themselves in advance of their actions and to avoid the thievery that would make the "useless" people.
In this study of the Ndembu of Zambia, ritual is examined under two aspects: as a regulator of social relations over time and as a system of symbols. Social life is thereby given direction and meaning. An extended case-study of a series of ritual performances in the life of a single village community is analysed in order to estimate the effects of participation in these symbolic events on its component groups and personalities.
The 13-Episode Drama involves Bosede who learnt many wrong things through her parents' misconduct and foul language. She was forced to marry Kola when she became pregnant. Using her mother's method to handle her father, she tried to subject Kola to her control. In the course of that, she made life terrible for him. Although her mother tried to warn her of the implications of maltreating her husband but Bosede has grown out of control. Consequently, while looking for peace, Kola was pushed out of the house. He made friends with some guys who taught him the unholy ways of life and influenced him to become a menace in the house. Junior who was born at time the couple never proved to be responsible parents also learnt wrong things from them. He decided to follow his father's footsteps by taking alcohol when he was in primary school. As if that was not bad enough, he tried to teach other children in the school the madness in his home. A school teacher, however, was able to influence him and his mother by teaching them Christian morals. Even then, Junior was soon caught in the crossfire at home as his father tried to enlist him as a future member of a secret cult that posed as a social club