DOCSLIB.ORG

Some Errors in the Article Glendora

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Some Errors in the Article Glendora 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. 'Some errors in Artist Obiora the article in Udechukwu with Ulli Glendora Nr3' Beier Nigeria and actually pres- ing in schools. I had little con- lished an Indian poet. People I H E sured me to ask him to write tact even with the staff of the thought contacts across bor- I heard of Peter this piece! University. The only expatri- der lines and cultures. And a Benson's work on the magazine is a good vehicle ate teaching in Nigeria who AsforMartinEsslin:hewasat subject was when he was helpful in this respect for that! the ti me the authority on Brecht sent me the completed was Gerald Moore. There and the Theatre of the Absurd thesis to read. He was, of course, the vast The trouble seems to be: Akin in Britain- in fact in Europe. If never interviewed me archive of Janheinz Jahn to Adesokan has obviously made Nigerian playwrights wanted and I have never met draw on. Remember that his a thorough study of Peter to be performed in Britain him. My letter may anthology of African poetry Benson's book and other sec- (and they did!) why should have been a response (in German) appeared in ondary sources. (Congratula- they resent a review by a to that thesis - but it 1 954! Otherwise most of the tions on a good piece of re- British critic? Or are you im- was obviously too late authors found me. search). But has he read the to make any impact. magazine? plying that 'only an African should review African litera- Whether he modified 4) 'Obsessive' interest in the ture1? If so-who is indulging his ideas in the subse- literatures of the black world. 5) The author complains that in the black mystique? If quent book I don't If you start a journal of Afri- most of the critics were white. people were unhappy with know, because I can literature what else are As an editor you will be these reviews, why did no- haven't read it. you expected to publish in it aware that you can only pub- body write a rejoinder8 other than African literature? lish things that people present 2) I was never a prisoner of Of course many African to you for publication, or that 6) 'Abiola Irele succeeded war. I have never carried American authors felt that they they deliver when you have anybody's uniform let alone belonged and they were anx- solicited them. At the time Beier'. Wrong! Abiola Irele anybody's gun. (I was de- ious to appear in BO. That Nigerians were more inter- was my co-editor from Nr 17 tained in a civilian camp as an was a good reason to include ested in writing than in review- - 22! During this time he wrote 'enemy alien' but that is not them, I thought. ing. As for Paul Theroux: I one major article on Chinua the same thing). always found him a highly Achebe for the magazine. As for Okigbo's remark: why overrated writer and critic. It Unfortunately no more. 3) 'His contacts among expa- didn't I publish white Ameri- was Christopher Okigbo who triates who taught in schools cans, the answer is I did! was the champion of Paul By the way: the articles by ensured that Beier gathered Dorothy Obi, for example, Theroux in Nigeria. Christo- Paul Theroux and Esslin ap- peared while Abiola Irele was material rather rapidly....' I and Peter Thomas, who was pher met Paul Theroux in didn'tJ<now expatriates teach- English and white, I even pub- Kampala. He brought him to an editor of the magazine. | African Quarterly i the A rts Vol.1/NO 4 7) Ulli Beier's preference for her first story ever in response conglomeration of talent in Nwoko's theatre (and he did the 'negritudinist sensibility'. I to our short story competition. Biafra and that amazing liter- stage more impressive pro- published what was available Have I left anybody out? Not ary activities went on even in ductions there!) but as a build- and what I considered (rightly many. the midst of war. ing it was a nouveau-riche or wrongly) as valuable. Of bourgeois monstrosity and we course there was an emphasis 8) I was not 'running' the 1 1) Finally: the gravest error both knew that one could on writers from French West DuroLadipo company, though of all. It says that Ulli Beier never give it that flair of the Africa at first - but then they I was involved with it, sup- 'disbanded the Mbari Club old place. We both left. Wole had produced a vast body of ported it where I could and - before leaving Nigeria.' I left got his own premises for the work before Nigerians even above all - loved it! The same theclubin(lthink) 1964 when Orisun Theatre, whereas I came on the scene! What is is true of the other things I was the committee decided to stayed in Osogbo where there more, French wasn't taught in supposed to have 'run'. move premises to the Central was more than enough to do. Nigeria, so Nigerian authors Hotel in Ibadan. Both Wole couldn't read them. Chris 9) The author asks why Ezekiel Soyinka and myself were at- The Mbari club went Okigbo wouldn't have been Mphahlele did leave BO in tached to the particular atmo- on successfully till it was killed able to object to Senghor, if he 1963. This is a case of an sphere of original premises by the civil war, with mem- hadn't read him in BO (He author not reading his own right in the midst of Dugbe bers ending up in different studied Classics at the univer- article, because he informs us market; the informality of the camps. sity - not French!) elsewhere that he went to Paris place, the food itoffered. Here in 1963. people wandered in freely Most Nigerian authors and from the street - passersby, Iwalewa Haus, many South Africans and West 10) I never said that 'all the curious people, even thugs. Bayreuth, Germany. Africans made their debut in talents had gone to the East1 Mbari was at the heart-beat 20th June, 1996. either BO or Mbari Publica- in 1966, though I did point of Ibadan. The Central Hotel tions. Ama Ata Aidoo wrote out that there was an intense offered space for Demas MALTHOUSE PRESS LIMITED MALTHOUSE PRESS LTD Ike &ett of ftaeMiutf in ftfftica, New Titles Awaiting Court Martial Mudhut Books Festuslyayi (1996) 350.00 (a children's books division ofMalthouse Press Ltd) To My Husband From Iowa Chukwuemeka Ike (1996) 395.00 Illustrated Rhymes for Children Batolica Peter U. Azike (1996) 100.00 FemiQlugbile(1996) 250.00 Mustapha in the Desert 100.00 New Poets of West Africa FatimaPam(1996) TijanSallah(1995) 350.00 Mustapha Rescues the Princess 100.00 The Poetry of Wole Soyinka FatimaPam(1996) TanureOjaide(1995) 260.00 Mustapha and the Magic Jug 100.00 Active Backlist FatimaPam(1996) Hassan and Husseini 100.00 Our Wife and other Stories FatimaPam(1996) Karen King-Aribisala (1990) 120.00 Waiting Laughters NiyiOsundare(1990) 120.00 Trade Enquries: The Endless Song TanureOjaide(1988) 120.00 Head, Sales & Marketing The Fate of the Vultures and other Poems Malthouse Press Ltd TanureOj aide (1990) 120.00 8, Amore Street, Off Toyin Street, Ikeja The Court of the Queens P. O. Box 500, Ikeja, Lagos, Nigeria Rotimi Johnson (1992) 120.00 Tel: 01 - 820358 The Triumvirate Telex: 21071 FINCONG. 1 *)A f\f\ Olatoun Williams (1992) izu.uu.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • International Journal of Vocational and Technical Education Research
    International Journal of Vocational and Technical Education Research Vol.2, No.2, pp.15-35, May 2016 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) IMPACT OF VOCATIONAL AND TECHNICAL EDUCATION ON LIVELIHOOD SUSTENANCE AND ECONOMIC DEVELOPMENT IN NIGERIA: THE ART WORKSHOP EXPERIENCE Dr. Ayo Elebute1 and Mashood, O. Shagaya2 1Department of Mass Communication, Igbinedion University, Okada, Edo State, Nigeria 2Department of Industrial Design, Ahmadu Bello University, Zaria, Kaduna State, Nigeria ABSTRACT: The focus of this study is basically on the impact that vocational and technical education has on livelihood sustenance and Economic development in Nigeria, using the art workshop training centres as a case study most especially the one established by the Nigerian foremost printmaker: Bruce Onobrakpeya in his home town at Agbarha-Otor, in Delta State of Nigeria. The vocational and technical education opportunities were divided into three broad categories the first is the training offered in private institutions under the entrepreneurship programmes, the second is the training established by governments through formal tertiary institutions such as: the Polytechnics and Colleges of Education and the third is the training sponsored by non-governmental organizations (NGOs), private individuals and/or religious organizations-the art workshop experiments organized in Nigeria at Oye-Ekiti, Osogbo, Ile- Ife, Lagos and Agbarah-Otor fall under the last category. It has been observed that the non- payment approach adopted by the organizers under the third category has been making vocational training programmes more effective, efficient, competitive, flexible and responsive in any community where they are being organized. The conclusion is that the organizers of vocational/art-workshop centres in Nigeria have been focusing on how to satisfy the basic physiological needs of the participants while training, mentoring and motivating them for self development and self fulfilment.
    [Show full text]
  • Book of Proceedings
    Book of Proceedings: the 6th Academic Conference of Hummingbird Publications and Research International on Paving Way for Africa Unique Opportunities for Sustainable Development in the 21st Century Vol.6 No.1 on 30th September, 2015- University of Ibadan Conference Centre,U.I, Ibadan, Oyo State, Nigeria DIRECTORIAL CONCEPTS AND TECHNIQUES ON THE NIGERIAN STAGE IN THE 21ST CENTURY OGUNGBESAN, OLUSEYI ABIODUN Department of Performing Arts, Olabisi Onabanjo University, Ago-Iwoye, Ogun State, Nigeria Abstract The Nigerian stage is an arena where human beings are presented in a cosmic totality, acting and reacting to forces around them and within them perceiving and being preceded by those interacting with them and by those in the audience who experience the enigma that is the common lot of humanity. It is not an ideal situation which is a very rare occurrence in the theatre where representations of what life should be is re-enacted. Since this ideal situations are not possible, the position of the director then becomes prerogative especially when his directorial styles and techniques are put into recognition for sustainable development on the Nigerian Stage in the 21st Century. As the Nigerian stage is inseparable from the Nigerian theatre so is there no stage without theatre. As play scripts differ, so also the concepts and techniques of each director. It is based on all these that this paper reviews the directorial concepts and techniques of directors on the Nigerian stage especially in the 21st century with the aim of comparing and analyzing their directorial skills and approaches. For the expression of the relationship between man, society and nature, the Nigerian theatre arose out of fundamental human needs in the dawn of human civilization and has continued to express those needs ever since, which is to say Nigerian theatre and drama originated with Nigerians themselves.
    [Show full text]
  • Wole Soyinka
    Distinguished Lecture Series Wole Soyinka Art, Tradition and Modernity NIGERIAN INSTITUTE OF INTERNATIONAL AFFAIRS Photo. Kelechi Amadi-Obi The Drummer 1978, bronze CO N T EN T S Biography of Prof. Wole Soyinka Opening remarks by Chief P.C. Asiodu, CON Lecture - Art, Tradition and Modernity Related Resources THE BEN ENWONWU FOUNDATION Distinguished Lecture Series Delivered on the May 2, 2006 at THE NIGERIAN INSTITUTE OF INTERNATIONALAFFAIRS, LAGOS Prof. W ole Soyinka Art, Tradition and Modernity under the distinguished chairmanship of Chief Philip Asiodu, CON Izoma Onyaa of Asaba Guests of Honour Chief (Mrs) Opral M. Benson MON , CSA Iya Oge of Lagos Chief Tayo Akpata Ogiesoba of Benin BIOGRAPHY OF W OLE SOYINKA Prof. Oluwole Akinwande Soyinka is the Elias Ghanem Professor of Creative Writing at the English Department of the University of Nevada, Las Vegas and the president's Management Institute Professor-in-Residence at Loyola Management University in Los Angeles, California. Soyinka has been a consistently courageous voice for human rights world over and a force in national politics. He is the author of over thirty titles in all genres. In 1986, he became the first black African to win the Nobel Prize in Literature. Wole Soyinka was born on July 13, 1934 and holds a B.A from the University of Leeds, UK and has held several positions in the academia. From 1969-71 was Head, Department of Theatre Arts, University of Ibadan, Professor of Dramatic Literature, University of Ife, 1972 and visiting Professor in Drama, Sheffield University, UK. In 1975, Soyinka was appointed Professor of Comparative Literature at the University of Ife, Nigeria.
    [Show full text]
  • TRANSACTING the MODERN Ulli Beier, Black Orpheus, and the Mbari International
    Chapter 4 TRANSACTING THE MODERN Ulli Beier, Black Orpheus, and the Mbari International IN SEPTEMBER 1956, the First International Congress of Black Writers and Artists opened at the Sorbonne, Paris.1 Organized by Alioune Diop (1910– 1980), the Senegalese teacher and entrepreneur and the publisher of the cul- tural journal Présence Africaine, the congress brought together some of the best-known black writers, critics, and artists from Africa, the Caribbean, the United States, and Europe. Following on the heels of the Bandung Confer- ence of 1955, where leaders of several colonized and newly independent Afri- can and Asian countries resolved to push for the end of colonialism and establish a network of nations unaligned to either the nato or Soviet power blocs, the Sorbonne congress set out to rethink the cultural implications of decolonization, as well as the role of artists and writers in the process. It was, as the organizers imagined it, the first major platform for spreading the artistic and political ideas championed by the founders of negritude. In his opening address, the Haitian writer Jean Price-M ars (1876–1969) declared that the participants were responding to the “fervent appeal of Présence Afri- Downloaded from https://read.dukeupress.edu/books/chapter-pdf/132628/9780822376309-005.pdf by UNIVERSITAT BAYREUTH user on 23 May 2018 chapter 4 — 132 caine, this glowing fire of black culture,” and that the objective of the congress was the affirmation, exaltation, and glorification of the culture of the black peoples of the world.2 The Paris conference is important to the making of artistic modernism in Nigeria precisely because it catalyzed and to a large extent shaped the ideas and critical vision of Ulli Beier (1922–2011), a Jewish German instructor of Eng lish in the extramural program at the University College, Ibadan, who (so this chapter contends) was the single most influential figure in articulat- ing this modernism.
    [Show full text]
  • Obi Okigbo Convergence
    OBI OKIGBO CONVERGENCE 4 OBI OKIGBO CONVERGENCE 5 6 November 24, 2019 - February 16, 2020 7 8 Curated by Sandra Mbanefo Obiago 9 10 Back Into the Belly of Memory Itself Obi Okigbo is a nimble world spirit. Her In Okigbo’s art we feel the wind of creativity is a visual Convergence of global memory rustle through the dense tropical mythology, literature, philosophy, and vegetation around her hometown of Ojoto. culture presented on a rich tapestry of art. We see a deep reflection of Christopher She invites us to “step back into the belly Okigbo’s poetry which beckoned her to of memory” drawing from generational return to her familial roots, searching for an stories and personal experience spanning encounter with the father she never knew, across time and space. and eventually to experience release, to embrace her own gift and follow its path: We experience the past, present and future coalesce through her delicate ink and pigment paintings on linen, canvas and silk, revealing an artist whose creative “AN OLD STAR departs, leaves us here on expression comes alive in her own unique the shore gazing heavenward for a new space. In Convergence she explores the star approaching; The new star appears, meeting point of physical and spiritual foreshadows its going before a going and 1 birth, life and death, and eventual coming that goes forever.” transcendence. Okigbo’s work is inspired by a keen Through the filter of her father’s soulful study of history which emboldened her poetry, resplendent with symbolism, fascination to cross reference symbols and lyricism, and the wide arch of metaphor, religious iconography from the European we step into the refined world of Obi Renaissance through to African tradition, Okigbo, a rich natural dreamscape of lush with Asian and Middle Eastern mysticism tropical flora and fauna, alive with forms and mythology all woven together into and beings from universal epochs.
    [Show full text]
  • Introduction,” Xxiii–Xxvi; Skinner, African Americans, 181–214; Shep- Person, “Notes on Negro American Influences,” 299–312
    NOTES i ntroduction . 1 For similar arguments, see Kapur, When Was Modernism, and Harney, In Sen- ghor’s Shadow. 2. See, e.g., Vogel, Africa Explores. 3. See Okeke, “The Quest,” 41–75, and Ottenberg, New Traditions and The Nsukka Artists. 4. See Godwin and Hopwood, Architecture of Demas Nwoko; Okoye, “Nigerian Ar- chitecture,” 29–42. 5. See Enwezor and Okeke- Agulu, Contemporary African Art. 6 See Beier, Contemporary Art in Africa; Mount, African Art; and Kennedy, New Currents. 7. See Enwezor, The Short Century. 8. See Fagg and Plass, African Sculpture, 6. 9. See Hassan, “The Modernist Experience in African Art,” 216. 10. Araeen, “Modernity, Modernism,” 278. 11. Shohat and Stam, “Narrativizing Visual Culture,” 28. 12. Bhabha, Location of Culture, 122. 13. Anderson, Imagined Communities, 114–116. 14. Nkrumah, Autobiography, 52–63. 15. Nkrumah defines consciencism as “the map in intellectual terms of the disposi- tion of forces which will enable African society to digest the Western and the Islamic and the Euro- Christian element[s] of Africa, and develop them in such a way that they fit the African personality. The African personality itself is defined by the cluster of humanist principles which underlie the traditional African so- ciety.” See Nkrumah, Consciencism, 79. 16. Taylor, “Two Theories of Modernity,” 183. 17. John S. Mbiti famously asserted the status of the individual in Africa with the Downloaded from http://read.dukeupress.edu/books/book/chapter-pdf/590847/9780822376309-009.pdf by UNIV OF WA user on 05 April 2021 notes to chapter 1 — 292 dictum, “I am because we are; and since we are, therefore I am.” See Mbiti, Afri- can Religions and Philosophy, 109.
    [Show full text]
  • MUQABALA Journal of Performing Arts and Culture
    MUQABALA Journal of Performing Arts and Culture ISSN 1596 – 8998 | Vol 4 | No. 1 | September 2019 A Publication of the Department of Theatre and Performing Arts Ahmadu Bello University Zaria-Nigeria i © Department of Theatre and Performing Arts, Faculty of Arts, Ahmadu Bello University, Zaria, Kaduna State, Nigeria. 2019 All rights Reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior permission of the editors. Permission for the use of photographs and images should be sought from individual authors. Subscription Mukabala is published twice in the academic year by the Department of Theatre and Performing Arts Ahmadu Bello University Zaria, Nigeria. The annual out-of-Nigeria subscription rate, including air-postage is $50.00 dollars for individuals and $75.00 dollars for institutions and libraries. Singles-issue rate for individual is $25.00. Claims for copies not received must be made within two months following an issue’s publication. Local subscription for individuals is N 2,500 direct purchase or N 3,000 per copy including postages. Provisions exist for generous discount for bulk purchases. Published & Printed By: Ahmadu Bello University Press Limited, Zaria, Kaduna State, Nigeria Tel: 08065949711, 069-879121 Email: [email protected] Website: www.abupress.org ii EDITORIAL TEAM Dr Rasheedah A. Liman - Editor-in-Chief Dr Emmanuel Tsadu Gana - Editor Dr O. O. Ifatimehin - Member Victor Osae IHIDERO - Member Salaudeen Habib Adebayo - Member Chidi Edeh - Business Manager Emmanuella Avong - Secretary EDITORIAL CONSULTANTS Professor Oga Steve Abah (Ahmadu Bello University) Professor M.
    [Show full text]
  • Christopher Okigbo at Work
    University of Massachusetts Boston ScholarWorks at UMass Boston Africana Studies Faculty Publication Series Africana Studies 1-1-2007 Christopher Okigbo at Work: Towards a Pilot Study and Critical Edition of His Previously Unpublished Poems, 1957-1967 Chukwuma Azuonye University of Massachusetts Boston, [email protected] Follow this and additional works at: http://scholarworks.umb.edu/africana_faculty_pubs Part of the African Languages and Societies Commons, Comparative Literature Commons, and the English Language and Literature Commons Recommended Citation Azuonye, Chukwuma, "Christopher Okigbo at Work: Towards a Pilot Study and Critical Edition of His Previously Unpublished Poems, 1957-1967" (2007). Africana Studies Faculty Publication Series. Paper 5. http://scholarworks.umb.edu/africana_faculty_pubs/5 This Article is brought to you for free and open access by the Africana Studies at ScholarWorks at UMass Boston. It has been accepted for inclusion in Africana Studies Faculty Publication Series by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. Christopher Okigbo at Work: Towards a Pilot Study and Critical Edition of His Previously Unpublished Poems, 1957-1967 Chukwuma Azuonye Sheila Biddle Ford Foundation Fellow W. E. B. DuBois Institute, Harvard University Professor of African Literature University of Massachusetts at Boston Paper presented at the W. E. B. Du Bois Institute Colloquium Thompson Hall, Harvard University 12 Quincy Avenue, Cambridge, MA 03138 Wednesday, April 4, 2007, 12 noon-2 pm Christopher Okigbo at Work: Towards a Pilot Study and Critical Edition of His Previously Unpublished Poems, 1957-1967 Chukwuma Azuonye Sheila Biddle Ford Foundation Fellow W. E. B. DuBois Institute, Harvard University Professor of African Literature University of Massachusetts at Boston “Composition, in the strictest sense of that word, was the essence of [Okigbo’s] method….We can observe some features of this method in ‘Lament of the Drums’ written in mid-1965.
    [Show full text]