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Malawian Oral Literature: The Aesthetics of Indigenous Arts The first edition of Malawian Oral Literature was seminal in the study of oral literature, giving a truly indigenous theoretical framework for the study of Malawi's oral literature, which could be replicated for other Bantu language cultures. Despite the fact that the text was first published more than 30 years ago, the theory and related studies herein remain remarkably current. For example, the trickster and the dupe continue to appear in news stories, both local and international, in different forms and environments, from politics to finance, as well as literature.
First comprehensive account of the origins and early history of the Chewa as revealed by oral tradition and archaeology that allows a more accurate picture of a pre-literate society.
"Trends in Malawian Literature's departure point is a brief examination of how Malawi's post-independence politics affected Malawi literary landscape and an assessment of the early missionaries contribution to early Malawian literature in the local languages. That done, it discusses messages in the early literature. The conclusion drawn is that the early literature in Malawi, like most African countries, was a potent mouth piece for Christian doctrine and western values. Against this background, Trends in Malawian Literature assesses the concerns of later writers, who although begin to move from the good versus evil dichotomy, still emphasize that socially and culturally one is either an (sic) initially and turns to be good later or vice versa".--Back cover.
This is a book about the Tonga of Northern Malawi, sometimes called the Lakeshore Tonga to distinguish them from other ethnic groups with the same name further west in Central Africa. The Lakeshore Tonga were the first ethnic group to identify themselves with the Christian faith. The purpose of the research was to investigate the use of Tonga myths, folktales, proverbs and rituals for their role in Moral Education and assess and evaluate their contribution towards value formation for the youth. Each chapter in the book aims to discuss some ideas in the anthropology of religion and to illustrate them with specific case studies formed primarily through conversation with friends, both young and old, over some years.
A volume of poetry written by a Malawi prisoner of conscience during his ten-year imprisonment.
Ruth Finnegan's Oral Literature in Africa was first published in 1970, and since then has been widely praised as one of the most important books in its field. Based on years of fieldwork, the study traces the history of storytelling across the continent of Africa. This revised edition makes Finnegan's ground-breaking research available to the next generation of scholars. It includes a new introduction, additional images and an updated bibliography, as well as its original chapters on poetry, prose, "drum language" and drama, and an overview of the social, linguistic and historical background of oral literature in Africa. This book is the first volume in the World Oral Literature Series, an ongoing collaboration between OBP and World Oral Literature Project. A free online archive of recordings and photographs that Finnegan made during her fieldwork in the late 1960s is hosted by the World Oral Literature Project (http: //www.oralliterature.org/collections/rfinnegan001.html) and can also be accessed from publisher's website.
In the novel, the protagonist Chilungamo Nkhoma, an investigative reporter, embarks on learning how the ship was grounded. But instead, he discovers that there are peoples and institutions with vested interests in concealing the truth. They will take great pains to do so and Nkhoma, his family and friends find themselves targets for hit squads. As Nkhoma retraces the original voyage of the ship, his mission assumes ethnic, trans-national and racial dimensions. His seemingly simple assignment grows into a process which resembles a national truth commission. Events culminate in a mass rally of the major political parties on the shore of the lake.
Inspired by the events leading up to the overthrow of Dr. Hastings Kamuzu Banda's Life Presidency, this book explores the deep logic of Malawi's political culture as it emerged in the colonial and early post-colonial periods. It draws on archival sources from three continents and oral testimonies gathered over a ten-year period provided by those who lived these events. Power narrates how anti-colonial protest was made relevant to the African majority through the painstaking engagement of politicians in local grievances and struggles, which they then linked to the fight against white settler domination in the guise of the Central African Federation. She also explores how Dr. Banda (leader of independent Malawi for thirty years), the Nyasaland African Congress, and its successor, the Malawi Congress Party, functioned within this political culture, and how the MCP became a formidable political machine. Central to this process was the deployment of women and youth to cut across parochial politics and consolidate a broad base of support. No less important was the deliberate manipulation of history and the use of rumor and innuendo, symbol and pageantry, persecution and reward. It was this mix that made people both accept and reject the MCP regime, sometimes simultaneously. Joey Power is Professor of History at Ryerson University, Toronto, Ontario.
This anthology introduces the African literature of incarceration to the general reader, the scholar, the activist and the student. The visions and prison cries of the few African nationalists imprisoned by colonialists, who later became leaders of their independent dictatorships and in turn imprisoned their own writers and other radicals, are brought into sharper focus, thereby critically exposing the ironies of varied generations of the efforts of freedom fighters. Extracts of prose, poetry and plays are grouped into themes such as arrest, interrogation, torture, survival, release and truth and reconciliation. Contributors include: Kunle Ajibade, Obafemi Awolowo, Steve Biko, Breyten Breytenbach, Dennis Brutus, Nawal El Saadawi, M J Kariuki, Kenneth Kaunda, Caesarina Kona Makhoere, Nelson Mandela, Emma Mashinini, Felix Mnthali, Augustino Nato, Ngugi wa Thiong'o, Kwame Nkrumah, Abe Sachs, Ken Saro Wiwa, Wole Soyinka, and Koigi wa Wamwere. Although an often harrowing indictment of the history, culture and politics of the African continent and the societies from which this literature comes, the anthology presents excellent prose, poetry and drama, which stands up in its own right as serious literature to be cherished, read and studied.