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A wide and varied selection of myths from various African tribes south of the Sahara.
In A Treasury of Afro-American Folklore, esteemed novelist and folklorist Harold Courlander brings together another extensive and unique collection of tales, recollections, epics, traditions, beliefs, myths, historical chronicles, and songs, this time from the numerous black cultures of the New World. This remarkable exploration, which covers the unwritten traditions and literature of the Spanish-, French-, and English-speaking islands of the Caribbean, the areas of Central and South America inhabited by people of African descent, and the black communities of the United States, brings to light amazing tales of scoundrels, heroes, rollicking adventures, and friendship, descriptions of cult life around which many traditions and beliefs flowed, insight into the social scene in places where black and white ideas intermingled and became Afro-American, and much more. With a focus on the interconnectedness of cultural inheritances throughout the Afro-American region as well as the local divergences, A Treasury of Afro-American Folklore eloquently demonstrates the powerful cultural influence of Africa on this side of the Atlantic. Book jacket.
A compilation of more than 120 folk songs, tales, poems, and stories telling the history of America and reflecting its multicultural society. Illustrated by award-winning artists.
African Folk Tales By: Kwaku A. Adoboli The author picked up his love of folk tales from his father and his uncle, Okuma Totokpuiti Gamega. In the evening, the kids and some adults sat in a circle around the storytellers listening to the tales. The audience was alive and active, interjecting short songs, remarks, and dances as the tales progressed. Folk tales are for entertainment. That is why the songs and dances come in. The tellers themselves may sing and dance. The children are allowed to tell their tales. Folk tales also teach lessons in obedience, loyalty, forgiveness, justice, and more. Folk tales encompass oral literature, adages, grammar, and dos and don’ts of the language. The tales are meant to teach the young people the customs and norms of their society. They are different from oral history. Oral histories are more involved and cover the behaviors and experiences of the people. The author’s father told these tales with animation, joy, and happiness in three languages: IGO, EWE, and TWI. The tales are universal and can be told in any language. Interpret and propound wisdoms to children and adults in any society. The Western World is aware of the famous African drums, rhythms, and songs. Now the author brings you the unique folk tales. They are not poems to repeat word by word. They are not told the same way twice. The readers can embellish and adjust them to given situations, use them in entertainment, or in expounding moral lessons. Folk tales are for action and are full of active verbs. All the American based tales were originated by the author.
Entertaining stories handed down from generation to generation among tribal cultures include "The Magic Crocodile," "The Hare and the Crownbird," "The Boy in the Drum," 15 others. 19 illustrations.
Winner • NAACP Image Award for Outstanding Literary Work (Fiction) Winner • Anne Izard Storytellers’ Choice Award Holiday Gift Guide Selection • Indiewire, San Francisco Chronicle, and Minneapolis Star-Tribune These nearly 150 African American folktales animate our past and reclaim a lost cultural legacy to redefine American literature. Drawing from the great folklorists of the past while expanding African American lore with dozens of tales rarely seen before, The Annotated African American Folktales revolutionizes the canon like no other volume. Following in the tradition of such classics as Arthur Huff Fauset’s “Negro Folk Tales from the South” (1927), Zora Neale Hurston’s Mules and Men (1935), and Virginia Hamilton’s The People Could Fly (1985), acclaimed scholars Henry Louis Gates Jr. and Maria Tatar assemble a groundbreaking collection of folktales, myths, and legends that revitalizes a vibrant African American past to produce the most comprehensive and ambitious collection of African American folktales ever published in American literary history. Arguing for the value of these deceptively simple stories as part of a sophisticated, complex, and heterogeneous cultural heritage, Gates and Tatar show how these remarkable stories deserve a place alongside the classic works of African American literature, and American literature more broadly. Opening with two introductory essays and twenty seminal African tales as historical background, Gates and Tatar present nearly 150 African American stories, among them familiar Brer Rabbit classics, but also stories like “The Talking Skull” and “Witches Who Ride,” as well as out-of-print tales from the 1890s’ Southern Workman. Beginning with the figure of Anansi, the African trickster, master of improvisation—a spider who plots and weaves in scandalous ways—The Annotated African American Folktales then goes on to draw Caribbean and Creole tales into the orbit of the folkloric canon. It retrieves stories not seen since the Harlem Renaissance and brings back archival tales of “Negro folklore” that Booker T. Washington proclaimed had emanated from a “grapevine” that existed even before the American Revolution, stories brought over by slaves who had survived the Middle Passage. Furthermore, Gates and Tatar’s volume not only defines a new canon but reveals how these folktales were hijacked and misappropriated in previous incarnations, egregiously by Joel Chandler Harris, a Southern newspaperman, as well as by Walt Disney, who cannibalized and capitalized on Harris’s volumes by creating cartoon characters drawn from this African American lore. Presenting these tales with illuminating annotations and hundreds of revelatory illustrations, The Annotated African American Folktales reminds us that stories not only move, entertain, and instruct but, more fundamentally, inspire and keep hope alive. The Annotated African American Folktales includes: Introductory essays, nearly 150 African American stories, and 20 seminal African tales as historical background The familiar Brer Rabbit classics, as well as news-making vernacular tales from the 1890s’ Southern Workman An entire section of Caribbean and Latin American folktales that finally become incorporated into the canon Approximately 200 full-color, museum-quality images
Collection of traditional folk tales introduces a host of interesting people and unusual animals — among them "The Cricket and the Toad," "The Tortoise and His Broken Shell," and "The Boy in the Drum."
A collection of folklore, including an index of authors, titles, and first lines of songs and an index of subjects and names.
Compiled by the "Father of Black History," these fables unfold amid a magical realm of tricksters and fairies. Recounted in simple language, they will enchant readers and listeners of all ages. Over 60 illustrations.
This collection of fascinating and revealing tales captures the sprawling diversity of African mythology. Four hundred alphabetically arranged entries touch on virtually every aspect of African religious belief, from Africa's great epic themes (dualistic gods, divine tricksters, creator gods, and heroes) to descriptions of major mythic systems (the Dogon, the Asante, and the San) and beyond. Scheub covers the entire continent, from the mouth of the Nile to the shores of the Cape of Good Hope, including North African as well as sub-Saharan cultures. His retellings provide information about the respective belief system, the main characters, and related stories or variants. Perhaps most important, Scheub emphasizes the role of mythmaker as storyteller--as a performer for an audience. He studies various techniques, from the rhythmic movements of a Zulu mythmaker's hands to the way a storyteller will play on the familiar context of other myths within her cultural context. An invaluable bridge to the richly diverse oral cultures of Africa, this collection uncovers a place where story and storyteller, tradition and performance, all merge.