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ALS 4 7 3 21 2.Pdf DLB , Caribbean and African Writers, Vol 3 Kofi Anyi doho (25 July 1947 - A.N. Mensah University of Botswana BOOKS: Elegy :for the Revolution (New York: The Greenfield Review Press , 1978); A Harvest of Our Dreams with Ele1£l. for t he Revolution (London: I z,.. Heinemann, 1984/; LSJ ' " "'\ ... ' - '-.,,- Earth child with Brain Surgery (Accra: Woeli Publishing Services, 1985); The Pan African Ideal in Literatures of the Bl ack World (Accra: Ghana Universities Press, 1989); r Ancestrallogic and Caribbean Blues (Trenton N.J.: Africa World Press, ......,, 1993). PLAY PRODUCTION: Akpokplo, A Bi-lingual [English-Ewe] pl ay for children. The Children's Drama Development Programme, Universi ty of Ghana Drama Studio, 1977) . OTHER: ~r Soul's Harvest: An Anthology of Ghanaian Poetry , edited by Any.idoho ;:, nd Kojo Yankah (Yugoslavia: Bagdala, 1978); " Atukwe i Okai and His Poetic Territory"I /in New West African Poet ry . edited by Kolawole Ogungbesan (London: Heinemann, 1979), pp . 45- 59; r eprinted in Ghana ian Litera tures, edited by Richard K. Priebe (Ne w YorK: Greenwood Press, 1988) , pp . 135- 150; "Kofi Awoonor and the Ewe Tradition of Songs of Abuse ( Halo Y, in Toward 'r ,_... Definin£ the African Aestheti_c , edited by Lemuel Johnson et. al- (Washington DC: Three Continents Press , 1982), pp. 17- 29; reprinted in Ghanaian Literatures, edited by Richard K. Priebe ( New York: Greenwood Press, 1988), pp. 87-102; Cross Rhythms : Occasional Papers in Folklore, edited by Anyidoho et. al . (Bloomington: Trickster Press , Indiana University Folklore Institute, 1983) ; "Scholarship and Vision: An Introductior;,," in Cross-Rhythms: Occasional . _ v Papers in African Folklore , edi ted by Any idoho et/ al. (-Bl0omington: _,,.,. __.---- Trickster Press, University of Indiana Folklore Institute , 1983); --- 1 ' The Haikotu Song and Dance Club: A Communal Celebration of Individual Poetic Talent",, in Cross-Rhythms: Occasional Papers in African Folklore , edited by Anyidoho et. al ; "The Anlo Dirge Poet : His Life as Subject of His Songs"/ in ~~Peoples du Golfe du Benin (Aja- Ewe) edited by Francois de Medeiros (Paris: 1 Kartala, 19~), pp. 201- 207; Interdisciplinary Dimensions of African Literature: Annual Selected f)apers , African Literature Association, edited by Anyidoho et;- al (Washington Dc: Three Continents Press, 1985); 1 "The Present State of African Oral Literary Studief in Af'rican Lite!'_ary Studies: The Present State/Letat Present, edited by Stephen Arnold (Washington_,DC: Three Continents Press, 1985) , pp. 151-161; "Mythmaker and My thbreaker : The Oral Poet as Earwitness" in African / Literature in its Social and Political Dimensions, edited by Eileen - ,Julien etl'ai. (Washingto~ DC: Three Continents Press, 1986), pp. 1 5-14; "Literature and African Identity: The Ex ample of Ayi Kwei Arma:.t in Bayreuth African Studies Series 6 ( ;:...- .th , {i986); ----- -- -- - - --- - ) ~ 23-42 ; reprinted in Critical Perspectives on Ay i l<wei_ _Armah, edited by Derek Wright (Washington DC: ; Three Continents Press, 1992) , pp . 34- 47; 2 "Divine Drummer: Drum Poetics in Brathwaite and Okai/ in Black Culture and Black Consciousness in Literature , edit ed by Ernest N. Emenyon; (Ibadan: Heinemann, 1987), pp. l97-210; "Ayi Kwei Armah and Our Journey of the Mind)' in Lit erature and National Consciousness, edited by Ernest N. Emenyon; (Ibadan: Heinemann, 1989) , ff rof- JZ Oj The Fate of Vul tu.res: An Antholo_g,r of Entries from the 1988 BBC "Arts and Africa" Poetry Awar~, edited by Anyidoho , Peter Porter and MIA Musa~a Zimunya (Oxford: Heinemann African Writers Series, 1989) ; Music~ for ~ a Dream Dance, by Kabina Eyi Acqua h ••ritR Eili L1L1oductio1J by _Q_ -:-, 1,9 J,,,~,;,,; '"' .Ar.lyieleho (Accra: Asempa Publishers, 1989), pp. 9-17i J ~- "Kofi Awoonor I A- Bie Lite1 e:t y Essa in Ilio~nway . of- ""/ " ;J' q ~e;ph,_, \Joi l~ Twentieth-Century Caribbean and African Wr1- ters, D1cLr•• " "' c-i L,., r , o,,, fJ ic9,-c;{J.., \Jt,',· 17 edited 6y Bernth Lindfors and , Reinhard Sander (Detroit and London: Gale Re,,.9arcb---hlc., 1992), pp. 77-92; ~,,..,---- -··~--: A+r: C/J,,v, L-,tuc.hr(.r, z'2 ,., 0 2 {rfl1 ) r" 1 _,,, ____ J./ -5~· ''-:.:e~s:._e_o_r(..__ -::_::-:--=-- 3 rf r. "Poetry as Dramatic Performance: The Ghana Experienc~n US/THEM: ------ Translation, Transcription and Identity in Post- C2lonial Literary Cultures, edited by Gordon Collier (Amsterdam/Atlanta: Editions Rodopi, 1992), pp . 259-276; " IntroBlues: A Poetic Voyage Into SoulTime" in West African Association for Commonwealth Literature and Language Studies [WAACLALS) Lecture Series 1, edited by Ernest Emenyonu ( Owerri: New Generation Books, 1992), pp. 28-51. SELECTED PERIODICAL PUBLICATIONS - UNCOLLECTED: "~an4Africanism and / r·o :s,~ D, African Literatur~~ . The Legacy ~976): 5-10; I\ I (' "Henoga Domegbe and His Songs of Sorro.J•~, The Greenfield Review (Spring ( 1980): 54-64; 3 "Historical Realism and the Visionary Ideal: Ayi Kwei Armah' $ Two Thousand Season~ ,\ Ufaharnu, 11/12 (1982) : 108- 130; "Kingdom of Childhood: Senghor and t he Romantic Quest\' fJ;\ The French ;;S- -- 'l Review, !i;l::S (1982): 761-769; "Musical Patterns and Verbal Structures: Aspects of Prosody in an b, riu I African Oral Poetry~ Black Orpheus , 6-;t:I: ( 1986) 4 '2.-, - ~ 1-/; "African Creative Fiction and a Poetics of Social Change : Semb~ne , Ngugi , Armah~ Komparatistische Hefte, 13 (1986): 67- 81; ~ "Divine Drummer: Drum Poetics in Brathwaite and Okai,{-0~ Legan Journal v." 3 fl"> of the Humanitie~: •(1981, q7-/03; 3 L/ "Realism in Oral Narrative Performance~ Acta Ethnographica, ~ ....:.___ (1986- 88) : 49- 63; 1.; ''To Be Heard And To Be Seen: Translating Oral Poetryt!.t;) 'the-Ancestor- A-Speci aJ IssJJe~ Crosscurrent, ~ 2 Nos. 3 and 4 ( 1989); S fy- -!:-- 7'/· ~ I ' "Language and Developmen t Strategy in Pan African Literary Experience'.!'; c-· 1 Research in African Li te.ratu.res, 23 .' ( Sprinf!;-~992) : 45-63; "The Complex Simplicity of Children's Literature: A Reading of Ghana ,., ~ Motion and The Brassman's Secret" , Legan Journal of the Humanities .6 ,;/I ( 1992): S- I - {;. 2 . Kofi Anyidoho aroused considerable enthusiasm from reviewers with Elegy for the Revolution (1978)~ his first published volume of poems. Since then, with each subsequent published collection, he has strengthened his c laim to pre- eminence among African poets of English expression. His poetry has appeared in Journals and magazines in Africa, Europe and America , and already his work has received considerable scholarly 4 attention from critics in Europe and Africa. Although he is probably better known as a poet. his achievement as a scholar is by no means slight, He has published an impressive body of articles and book y chapters in publications from New Zealand, Germany, France, Augoslavia, u~ ,Tcd {(,,,:i .".1,.,,./ the United States, the~ and several African countries. He is on the /l editorial board of several journals in Ghana and has been guest editor of Matatu, a journal of African culture and society which is published in Amsterdam. As a poet, he belongs to that select group of verbal craftsmen and women who have successfully fashioned a distinctively African voice out of that ambivalent legacy of colonialism, the English la,nguage . His work has won many awards including the Valeo Fund Literary Award for Poetry in 1976, the BBC Poetry award for "Arts and Africa" in 1981 and the Poet of the Year in Ghana in 1984. ' Anyidoho was born on 25 July , 1947 at \1/heta, the small town on the Keta lagoon in the Volta Region of Ghana where, twelve years earlier, another famous Ghanaian poet, Kofi Awoonor, had been born . His mother, Abla Adidi Anyidoho, was herself a composer and cantor of traditional poetry, as was the uncle, Kodzovi Anyidoho, who was responsible for the poet 's early education; another uncle , Agbodzinshi Yortuvor was also a poet.· 5 There is no doubt that that corner of Ghana possesses a rich poetic tradition . The three great poet-cantors, Vinoko Akpalu. Komi Ekpe and Amega Dunyo whose work is compiled and discussed in Kofi Awoonor' s I Guardians of the Sacred Word were from nearby. Further , Henoga Domegbe , into whose elegaic poetry Anyidoho himself has conducted research, was I QC ,,. (r._ r.-..-J _ from Wheta. It is this rich traditional poetry which i-s-te beeeffie~ an important resource for Anyidoho's own work. Of his early education Anyidoho himself speaks with characteristic gentle humot' in his interview in Jane Wilkinson's Talking With African Writers: I became a bit of a truant; not basically because I didn't ,,. want to go to school , but there were some problems,·- and I stayed out of school for a year or two. Later on, my uncle , Kodzovi Anyidoho, sent for me •..• I was brought up by this uncle: he sent me to school, based on a kind of "instalmental" education - I was in for a while, out for a year or two and back i n there. He did complete primary school despite his rather precarious way of going about it, and proceeded to train as a teacher for four years. I t 6 was as a student at the Accra Teacher Training College that he began to contribute his earliest poems for publication in the Talent for Tomorrow series, anthologies or prose and poetry from students of Secondary Schools and Teacher Training Colleges. On leaving training college, Anyidoho taught for a while at Nkoranza in the Brong-Ahafo region of Ghana before entering the Advanced Teacher Training College at Winneba to study for a specialist diploma in English. Upon completing the diploma two years later , he taught at Achimota School, arguably Ghana's most ramous secondary school. In October 1974, already a teacher of some experience, he entered the University of Ghana to study for his first degree.
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