Black Orpheus & Transition Revisited
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Revisiting the Media Freedom Debate at Uganda's Independence Golden Jubilee
REVISITING THE MEDIA FREEDOM DEBATE AT UGANDA'S INDEPENDENCE GOLDEN JUBILEE Michael Kakooza REALITY CHECK Revisiting the media freedom debate at Uganda’s independence golden jubilee Written by Dr. Michael Kakooza The views expressed in this publication do not necessarily reflect the views of Konrad-Adenauer-Stiftung and Uganda Media Development Foundation but rather those of the author. REVISITING THE MEDIA FREEDOM DEBATE AT UGANDA’S INDEPENDENCE GOLDEN JUBILEE i REALITY CHECK Revisiting the media freedom debate at Uganda’s independence golden jubilee Published by: Konrad-Adenauer-Stiftung, Uganda 51. A Prince Charles Drive, Kololo P.O. Box 647, Kampala, Tel. +256 414 254611 www.kas.de ISBN: 978 9970 153 08 4 In partnership with: Uganda Media Development Foundation Plot 976 Mugerwa Road. Bukoto P.O.Box 21778 Kampala, Tel. +256 414 532083 www.umdf.co.ug © Konrad-Adenauer-Stiftung e.v. 2012 All rights reserved. No part of this publication may be reproduced, stored in retrieval system, or transmitted in any form or by any means, without the prior written permission of the Konrad-Adenauer-Stiftung. ii REVISITING THE MEDIA FREEDOM DEBATE AT UGANDA’S INDEPENDENCE GOLDEN JUBILEE Table of Contents Foreword ...................................................................................... 1 Preface ............................................................................................3 Profile of the Author ....................................................................... 6 Acknowledgements ....................................................................... -
Speaking from the Middle Ground: Contexts and Intertexts
1 Speaking from the middle ground: contexts and intertexts In 1954 a graduate, one year out of college, was recruited to the Talks Department of the Nigerian Broadcasting Service (NBS). By the age of twenty-eight, he was one of the most powerful media professionals in Nigeria. Before independence in 1960 he had established a second career as a fiction writer with the international publisher Heinemann – in due course, his first novel alone would sell an extraordinary ten million copies. Sponsored by the Rockefeller Foundation, he celebrated his thirtieth birthday by embarking on an international tour that would help to establish him as one of the most influential voices in contemporary world literature. How should Chinua Achebe’s spectacular rise to prominence be understood? In Nigeria in the 1950s, the cultural field was undergoing profound, multidimensional change, as practices, values and assumptions previously taken for granted by producers and consumers in the media and the arts were rapidly redefined. With the systematic withdrawal of the British from public institutions, opportunities presented themselves to that first cohort of Nigerian graduates that must have seemed incred- ible to their parents’ generation. In this sense, from a historical point of view Achebe arrived on the scene at precisely the right moment. In broadcasting, the process of ‘Nigerianisation’ that preceded independence had produced an urgent demand for young, well-educated, home-grown talent, in exactly the form he exemplified. At the same time, in international publishing, decolonisation posed major challenges for big companies such Morrison_Achebe.indd 1 26/05/2014 12:03 2 Chinua Achebe as Longman and Oxford University Press. -
Rereading Beier
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. g Beier Wole Ogundele The name Ullwais well-knowBeien in the rEnglish-speaking and German-speak- ing worlds from the 1950s to the 1970s. Especially in the 1950s and'60s. It was invariably linked with that of Susanne Wenger, the Austrian artist who was his first wife. So famous was this man who had been working and residing in one West African corner of the British empire that when he left Nigeria in 1966 December for Papua New Guinea, no less a magazine than the TLS announced it. Among the Yoruba of western Nigeria, his name and Susanne's have entered folklore while he himself has been transformed into a fictional character in at least two African novels in English. Indeed, so much was he on everybody's lips in Nigeria in those days that his second wife, Georgina, heard about him long before she met him. Living in the far-away northern Nigerian town in Zaria in the early 1960s, she had heard so much about him and had made it a point of duty to meet this man whose name was on everybody's lips whenever she went down south. In due course, she and her first husband took a trip to Lagos. Their car broke down in one of the obscure streets and as they were standing around notknowing what to do, two white gentlemen saw them and stopped to offer help. -
UGANDA COUNTRY READER TABLE of CONTENTS Stephen
UGANDA COUNTRY READER TABLE OF CONTENTS Stephen Low 1957-1959 Deputy Chief of Mission, Kampala Hendri k Van Oss 1960-1962 Counsel General, Kampala Mi hael Pistor 1960-1961 Publi Affairs Assistant, US,S, Kampala Herman -. Cohen 1962-1963 Labor Atta h0, Kampala Hora e G. Dawson -r. 1962-1961 Cultural Affairs Offi er, US,A, Kampala Ol ott H. Deming 1962-1966 Ambassador, Uganda Miles 3edeman 1962-1968 Head of Capital Development and 6inan e, Afri a 7ureau, USA,D, 3ashington, DC 7eauveau 7. Nalle 1963-1966 Offi er-,n-Charge of Uganda Affairs, 3ashington, DC Samuel V. Smith 1965-1966 Pea e Corps Volunteer, Mbale 7eauveau 7. Nalle 1967-1970 Politi al Offi er, Kampala Roy Sta ey 1968-1969 Uganda Desk Offi er, USA,D, 3ashington, DC Vernon C. -ohnson 1970-1973 Mission Dire tor, USA,D, Kampala Arthur S. 7erger 1971-1972 Assistant Publi Affairs Offi er, Kampala Robert V. Keeley 1971-1973 Deputy Chief of Mission, Kampala Thomas P. Melady 1972-1973 Ambassador, Uganda Hariadene -ohnson 1977-1982 Offi e Dire tor for East Afri a, USA,D, 3ashington, DC Melissa 6oels h 3ells 1979-1982 United Nations Resident Representative, Uganda Gordon R. 7eyer 1980-1983 Ambassador, Uganda Allen C. Davis 1983-1985 Ambassador, Uganda ,rvin D. Coker 1983-1986 Mission Dire tor, USA,D, Kampala Greta N. Morris 1986-1988 Publi Affairs Offi er, US,S, Kampala Stephen Eisenbraun 1986-1988 Uganda Desk Offi er, State Department, 3ashington, DC Ri hard Podol 1986-1989 Mission Dire tor, USA,D, Kampala Robert E. Gribbin 1988-1991 Deputy Chief of Mission, Kampala ,rvin D. -
Arts Council of the African Studies Association Roundtables Seeking Participants
Arts Council of the African Studies Association Roundtables Seeking Participants ACASA members, please submit papers to roundtable chairs by January 16, 2017 17th Triennial Symposium on African Art University of Ghana, Legon Campus Institute of African Studies August 8-13, 2017 www.acasaonline.org ROUNDTABLE TITLE: Women and Contemporary Nigerian Art: reception, support, and patronage Contemporary art in Nigeria is fascinating due in no small part to women. This roundtable looks at the work and the history of Nigeria’s female artists. Collette Omogbai, Clara Ugbodaga-Ngu and Afie Ekong are pioneering firsts: each influenced Nigerian modernism. Omogbai was the first woman to receive an arts education; Ugbodaga-Ngu during the 1950s was the only Nigerian faculty member at Zaria’s Nigerian College of Arts, Science and Technology (NCAST), and, Ekong wielded considerable influence on the 1960s Lagos art scene. Today, Nike Okundaye, and Peju Alatise, are perhaps two of Nigeria’s best-known advocates for gender equity. Often working without the safety net of conventionality, each with laser focus, exposes particular problems within Nigeria. Through the use of Yoruba folklore, they have shown spotlights on forced marriage, misogyny, and, tradition. Eschewing the feminist label, both have boldly chosen their own path. They are the continuum of the work of Nigeria’s first women artists. Neither ascribe to western labels, instead they rewrite the ways in which the contemporary arts of Nigeria are to be received on the global stage. Both demand that the work is accepted for what it is rather from whence it hails. This roundtable shall look at the ways in which women impact Nigeria today through their art and advocacy. -
Retailing a Forgettable Tale Akin
IVERYBODY WAS having a lunchrime drink in a bar in Kampala, Uganda one hot afternoon in November 1961. Then a 22-year-old man with a big head and lots of hah- entered, his arms saddled with copies of a new magazine he was trying to sell. As the hawker wended his way to a table, an angry Englishman bolted from the din of the afternoon, dashed in his way, snatched one of the magazines from him and ripped it in shreds. He couldn't have stopped at that. 'That's what I think of your trash!' he spat at the young man. In the Lugogo Retailing a Forgettable Akin Tale Adesokan Black Orpheus & Transition revisited Sports Club, another venue in taking his first shot at marketing, this reaction the city where the journal was was enough intimidation. ButRajatNeogy, the being peddled to members of a young man, was not an appretice hawker, not even an accomplished one. The journal he was jazz club, the manager vending, Transition was his brainchild, an threatened to eject the club for idea he had taken so seriously he staked his allowing what someone also personal convenience for it. He had returned called 'nasty left-wing to Uganda a year before, just married, with literature'. a degree in political science, with the intention For a prospective newspaper vendo of introducing his wife, a Swede, to his parents, African Quarterly on the Arts Vol.11 NO 5 take her round Kampala, then head for wanted from her was straightforward, journal and been impressed by its success. -
File Download
Fashioning the Modern African Poet Nathan Suhr-Sytsma, Emory University Book Title: Poetry, Print, and the Making of Postcolonial Literature Publisher: Cambridge University Press Publication Place: New York, NY Publication Date: 2017-07-31 Type of Work: Chapter | Final Publisher PDF Permanent URL: https://pid.emory.edu/ark:/25593/s9wnq Final published version: http://dx.doi.org/10.1017/9781316711422 Copyright information: This material has been published in Poetry, Print, and the Making of Postcolonial Literature by Nathan Suhr-Sytsma. This version is free to view and download for personal use only. Not for re-distribution, re-sale or use in derivative works. © Nathan Suhr-Sytsma 2017. Accessed September 25, 2021 6:50 PM EDT chapter 3 Fashioning the Modern African Poet DEAD: Christopher Okigbo, circa 37, member of Mbari and Black Orpheus Committees, publisher, poet ; killed in battle at Akwebe in September 1967 on the Nsukka sector of the war in Nigeria fighting on the secessionist side ...1 So began the first issue of Black Orpheus to appear after the departure of its founding editor, Ulli Beier, from Nigeria. Half a year had passed since the start of the civil war between Biafran and federal Nigerian forces, and this brief notice bears signs of the time’s polarized politics. The editors, J. P. Clark and Abiola Irele, proceed to announce “the poem opening on the opposite page”–more accurately, the sequence of poems, Path of Thunder – as “the ‘last testament’ known of this truly Nigerian character,” reclaiming Christopher Okigbo from Biafra for Nigeria at the same time as they honor his writing. -
Printmaking in Nigeria: Its Evolution and Developmental History
E-ISSN 2281-4612 Academic Journal of Vol 8 No 2 ISSN 2281-3993 July 2019 Interdisciplinary Studies . Research Article © 2019 Eyitayo Tolulope Ijisakin. This is an open access article licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License (http://creativecommons.org/licenses/by-nc-nd/3.0/). Printmaking in Nigeria: Its Evolution and Developmental History Eyitayo Tolulope Ijisakin Department of Fine and Applied Arts, Obafemi Awolowo University, Ile-Ife, Nigeria Doi: 10.2478/ajis-2019-0036 Abstract Despite the prolific and ingenious productivity of the printmakers in Nigeria, the significance of their creative endeavours has not been given adequate attention by scholars of contemporary Nigerian arts. Scholarship on the printmakers has been limited to catalogues of art exhibitions, skimpy art reviews in magazines, and a few sketches on their biographies. This study therefore probes into the evolution of printmaking in Nigeria. This is with a view to obtaining its developmental history and enabling a more nuanced and useful understanding of the ways in which printmaking contributes to contemporary art praxis in Nigeria. Relying on field investigation, data were collected through in-depth interviews of printmakers, art critics, art historians and gallery owners, using oral or interactive formats; and collection of visual media sources. This study justifies the need for a developmental history; it identifies and examines the key actors who pioneered printmaking in Nigeria. It further appraises printmaking in Nigeria through the lens of relevant literature; and examines workshops, training, and techniques of printmaking in Nigeria. Keywords: Printmaking, contemporary Nigerian art, Bruce Onobrakpeya, history of art, printmaking technique, visual culture 1. -
A Portrait J.P. Clark Was Born at His Maternal Grandmother's Home in the Urhobo Village of Erhuwaren on the 6Th of December
A Portrait J.P. Clark was born at his maternal grandmother’s home in the Urhobo village of Erhuwaren on the 6th of December 1933 into two old Izon families, Bekederemo and Adomi, of Kiagbodo, now in the Burutu Local Government Area of Delta State, Nigeria. After his early education at the Native Administration Schools, Okrika and Jeremi (Otughievwen), in the western Niger delta, he went on to Government College, Ughelli and the University College, Ibadan, both by entrance examinations, as a Government Scholar and State Scholar. The poet, playwright and scholar early showed his genius and calling in life. At Ughelli, distinguished for sports and scholarship under the legendary V.B. V. Powell, he earned himself a reputation for reading every English literature title in the school library, and so his next principal, Major Cyril Carter, kindly allowed him the use of his personal library as he received new titles from the Readers’ Union in London. But it was at Ibadan, where Clark read English, that the bud bloomed into the flower that immediately caught the eye of the public. He became editor of the Students’ Union magazine The Beacon, and then, most significantly, the first editor of The Horn, the poetry journal at the University College, Ibadan, that launched modern Nigerian poetry in English. It introduced Christopher Okigbo and Wole Soyinka, Clark being the major contributor. His poem Ivbie, on the wrong of imperial power, beginning with the slave trade, created a great stir among staff and students. Others like Abiku, Agbor Dancer, Fulani Cattle, Ibadan, Night Rain, Olokun, Streamside Exchange and The Water Maid, were recited at sight across faculties on the campus, later becoming favourites in anthologies. -
The Theme of Social Change in the Literature of Papua New Guinea, 1969-1979
THE THEME OF SOCIAL CHANGE IN THE LITERATURE OF PAPUA NEW GUINEA, 1969-1979 Gilian Gorle University of Reading The author gives an overview of the English-language literature--fiction, poetry, drama, autobiographies, and essays--written by indigenous Papua New Guineans between 1969 and 1979, a time of intense nationalistic fervor. She then provides a brief historical survey of the country’s major changes, including Western colonization and political independence in 1975, before moving into a detailed thematic discussion of the treatment of social change in texts by the country’s “first wave” writers during this decade. SOCIAL CHANGE is a central concern in the literature of the Pacific islands. This article offers a reappraisal of the first ten years of English literature written by indigenous Papua New Guineans. The period under discussion has already received substantial critical attention. Elton Brash (1973:168-169), Bernard Minol (1987a), Carroll Elizabeth Simons (1979), Subramani (1985:x), and Chris Tiffin (1978b: 1-6) have traced the dramatic emergence of the first “wave” of creative writing in the pre-independence years. Kirsty Powell has examined the work of Papua New Guinea’s first playwrights (1978), and William McGaw has discussed aspects of pre-independence poetry (1987). Nigel Krauth has written essays about specific writers (1975; 1979b) and, in broader terms, about the role of writers in Papua New Guinea (1978c; 1978d). Both Krauth (1978c) and Joseph Sukwianomb (1982) have analyzed the decline in literary output after independence and have suggested reasons for this trend. The present article revisits the 1970s and builds on these scholars’ contri- Pacific Studies, Vol. -
The Philosophy of Wole Soyinka's Art Dele Layiwola
Spring 1996 19 The Philosophy of Wole Soyinka's Art Dele Layiwola The Philosophy of Wole Soyinka's Art Soyinka's theory of drama is constructed on reformulations of the terms of previous ritual approaches to drama and is most usefully discussed in relationship to the earlier theories which it modifies. The tradition of dramatic theory linking ritual and drama extends from the origin of western dramatic theory in Aristotle's Poetics to nearly all modern dramatic criticism in English, and has manifested a unique concern with discussing dramatic import in terms of audience affect. This concern with audience affect requires that the discussion of ritual theories of drama include analysis of the concepts of audience affect which have been developed by various theorists, as well as an examination of their concepts of ritual and drama. —Ann B. Davis1 Both D. S. Izevbaye and Annemarie Heywood have written about the essence of speech and silence in Soyinka's writings. The former says of one of Soyinka's most imaginative plays, The Road, that: The Road is itself a dramatization of the limits of language. So a stylistic analysis in which we examine the relationship of characters deployed down a linguistic ladder from Professor the talkative one to Murano the mute one would tell us only part of the story, not only in the usual theatrical sense in which visual items complement dramatic speech, but because in this play that which is heard is challenged by that which is seen.2 In a similar vein, Annemarie Heywood sees Soyinka's as a dramatizing imagination and that even his lyrics appear like voiced incantations or declaimed Dr. -
Political Theologies in Late Colonial Buganda
POLITICAL THEOLOGIES IN LATE COLONIAL BUGANDA Jonathon L. Earle Selwyn College University of Cambridge This dissertation is submitted for the degree of Doctor of Philosophy 2012 Preface This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except where specifically indicated in the text. It does not exceed the limit of 80,000 words set by the Degree Committee of the Faculty of History. i Abstract This thesis is an intellectual history of political debate in colonial Buganda. It is a history of how competing actors engaged differently in polemical space informed by conflicting histories, varying religious allegiances and dissimilar texts. Methodologically, biography is used to explore three interdependent stories. First, it is employed to explore local variance within Buganda’s shifting discursive landscape throughout the longue durée. Second, it is used to investigate the ways that disparate actors and their respective communities used sacred text, theology and religious experience differently to reshape local discourse and to re-imagine Buganda on the eve of independence. Finally, by incorporating recent developments in the field of global intellectual history, biography is used to reconceptualise Buganda’s late colonial past globally. Due to its immense source base, Buganda provides an excellent case study for writing intellectual biography. From the late nineteenth century, Buganda’s increasingly literate population generated an extensive corpus of clan and kingdom histories, political treatises, religious writings and personal memoirs. As Buganda’s monarchy was renegotiated throughout decolonisation, her activists—working from different angles— engaged in heated debate and protest.