Towards the Evolution of an African Language for African Literature
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The Audience: African- Language Writing, Performance, Publishing and the Audience
“Looting killed” the audience: African- language writing, performance, publishing and the audience T.J. Selepe School of Languages Potchefstroom University for CHE (Vaal Triangle Campus) VANDERBIJLPARK E-mail: [email protected] Abstract “Looting killed” the audience: African-language writing, performance, publishing and the audience This article examines the role played by African-language writing, performance and publishing, including critical practice, in the demise of the indigenous audience in African-language literary practice. Using implicit materialism the argument is premised on the developments wrought by the era of Modernism that has lead to a univocal writing of world history, and the era of Postmodernism that has ushered in the era of a multivocal writing of world history. The transition from oral literature to written literature will also be used to advance the argument about the subsequent exclusion of the indigenous African- language audience from literary practice. This exclusion is considered to have a direct bearing on the under-development of African societies. Finally, possible solutions will be sought by revisiting some of the causes that characterize the African language problem as a medium of communication and research. 1. Introduction Language is central to the life of a people, both as carrier and transmitter of the culture of any linguistic community. Essentially, language is a basic tool that particular communities develop to relate to their respective environments, to develop culture and to tell stories in order to make Literator 22(3) Nov. 2001:59-74 ISSN 0258-2279 59 “Looting killed” the audience: African-language writing, performance, publishing … sense of their world. -
Modern Poetry from Africa
Ramsey Muspratt, Cambridge Gerald Moore was born in Ulli Beier was born in London in 1 924 and read Germany in 1 922 and studied En lish t m li a Ca . a u a g bridge He ter t re in Engl nd. Since began to be interested in 1 950 he has been living in African writing during thr ee Nigeria, where he is a years he spent as an extra lecturer in the department of mu a u o in N a F om x a-mu a r l t t r igeri . r e tr r l studies at to l 1 956 1 960 he was the first University Co lege, Ibadan direct or of extra-mural He is editor of the literary a z B studies at Hong Kong m ga ine, lack Orpheus, and t University and visited China, in 1 96 1 helped o found M a a c u for a a Siam, Cambodia, and Malaya . b ri, l b Ib d n Since 1 960 he has been writers and artists, which is director of extra-mural already having an influence He studies at Makerere College on African cultural life . ‘ a m m a o o - o of Mba in Uganda. He is e ber is ls j int edit r ri ’ o Amo his of the Black Orpheus Publicati ns . ng oo are Yoruba Poetr committee and his first book, b ks y S even African Writers, Art in Nigeria I 96 O and West A rican Mud was published in 1 962 . -
Critical Commentary on Gabriel Okara╎s Postwar Ode, •Ÿthe
University of Massachusetts Boston ScholarWorks at UMass Boston Africana Studies Faculty Publication Series Africana Studies 1-1-2011 'Clearing the Forest': Critical Commentary on Gabriel Okara’s Postwar Ode, ‘The Dreamer’ 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, "'Clearing the Forest': Critical Commentary on Gabriel Okara’s Postwar Ode, ‘The Dreamer’" (2011). Africana Studies Faculty Publication Series. Paper 1. http://scholarworks.umb.edu/africana_faculty_pubs/1 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]. ‘Clearing the Forest’: Critical Commentary on Gabriel Okara’s Postwar Ode, ‘The Dreamer’ Chukwuma Azuonye Professor of African & African Diaspora Literatures University of Massachusetts Boston And now the dreamer, with machete, Word-sharpened, is clearing the forest Of its macro-stench and venality To sow the seed that would send its roots, Unshaken by wind or storm, to its expected greatness. [Gabriel Okara, “The Dreamer,” 2006) Introduction A large body of the poetry of Gabriel Okara (b. April 24, 1921) was lost in the confusion that came with the sudden end of the Biafran war of independence from Nigeria (July 6, 1967-January 12, 1970). But a slim gathering of his verse, The Fisherman’s Invocation and Other Poems (ed. -
Transnational Trills in the Africana World
Transnational Trills in the Africana World Transnational Trills in the Africana World Edited by Cheryl Sterling Transnational Trills in the Africana World Series: Studies in African Humanities Edited by Cheryl Sterling This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Cheryl Sterling and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2321-7 ISBN (13): 978-1-5275-2321-0 TABLE OF CONTENTS Acknowledgements ................................................................................. viii Contributors ............................................................................................... ix A Note from the Series Editor ................................................................. xiv Introduction ................................................................................................ 1 The Africana Matrix Ideology as Aesthetics Cheryl Sterling Section I - Music and Politics Chapter One .............................................................................................. 22 Rethinking the African Link: Nationalism, Freedom, and Culture in Jazz Signifiers Joseph -
African Literature 6
294 A F R [C A 4. Sheila S. Walker, "Women in the Harrist Movement:' in BennettaJules-Rosette;.i New Religions ofAfrica (Norwood, N.J.: Ablex Publishing Corp., 1979), pp. 5. For a compelling and detailed reading of the evolution of popular theater in Eileen Julien region of Zaire, see Johannes Fabian, Power and Performance: Ethnographic through Proverbial WIsdom and Theater in Shaba, Zaire (Madison: University Press, 1990). African Literature 6. Chris Dunton, "Slapstick in Johannesburg," West Africa, 18-24 Apri11994, 7. Eckhard Breitinger, "Agitprop for a Better World: Development Theater-A Grassroots Theatre Movement," in Raoul Granqvist, ed., Signs and Signals: PEln"I..", "Truth depends not only on who listens but on who speaks." in Africa (Stockholm: UMEA, 1990), pp. 93-120. -Birago Diop 8. For a comprehensive overview of the evolution of the cinema industry in postcolonial Africa, see Manthia Diawara's African Cinema (Bloomington: "Always something new from Africa." sity Press, ] 992). My discussion of the cinema in Africa has drawn heavily from this -Rabelais source. 9. Chris Stapleton and Chris May, African Rock: The Pop Music ofa Continent Dutton, 1990), p. 5. 10. Quoted from John Collins, West African Pop Roots (philadelphia: Temple Press, 1992), p. 91. When most Americans and Europeans use the expression 11. Paul J. Lane, "Tourism and Social Change among the Dogon," African Arts (1988): 66-69, 92. "African literature," what they mean is poetry, plays, and narrative written by Africans in English and French, and SUGGESTIONS FOR FURTHER READING perhaps Portuguese. This chapter will focus primarily on these1 texts, sometimes referred to as "Euro-African," which are particularly acces Cole, Herbert M., and Doran H. -
'The Mystic Drum': Critical Commentary on Gabriel Okara's
University of Massachusetts Boston From the SelectedWorks of Chukwuma Azuonye 2011 ‘The ysM tic Drum’: Critical Commentary on Gabriel Okara’s Love Lyrics Chukwuma Azuonye, University of Massachusetts Boston Available at: https://works.bepress.com/chukwuma_azuonye/82/ ‘The Mystic Drum’: Critical Commentary on Gabriel Okara’s Love Lyrics: By Chukwuma Azuonye, PhD Professor of African & African Diaspora Literatures University of Massachusetts Boston Introduction In the course of reading a chapter entitled “Empty and Marvelous” in Alan Watts fascinating book, The Way of Zen (1957), a serendipitous key was provided, by the following statement from the teachings of Chinese Zen master,1 Ch’ing Yuän Wei-hsin (1067-1120), to the structure and meaning of the experience dramatized in Gabriel Okara’s most famous love poem, “The Mystic Drum”: 2 Before I had studied Zen for thirty years, I saw mountains as mountains and waters as waters. When I arrived at a more intimate knowledge, I came to the point where I saw the mountains are not mountains, and waters are not waters. But now that I have got its very substance I am at rest. For it’s just now that I see mountains once again as mountains and waters once again as waters. What is so readily striking to anyone who has read “The Mystic Drum” is the near perfect dynamic equivalence between the words of Ch’ing Yuän and the phraseology of Okara’s lyric. In line with Ch’ing Yuän’s statement, the lyric falls into three clearly defined parts—an initial phase of “conventional knowledge,” when men are men and fishes are fishes (lines 1-15); a median phase of “more intimate knowledge,” when men are no longer men and fishes are no longer fishes (lines 16-26); and a final phase of “substantial knowledge,” when men are once again men and fishes are once again fishes, with the difference that at this phase, the beloved lady of the lyric is depicted as “standing behind a tree” with “her lips parted in her smile,” now “turned cavity belching darkness” (lines 27-41). -
PAN-AFRICANISM and the Struggle of the TWO IDEOLOGIES
PAN-AFRICANISM and the struggle Ivan Potekhin • of the TWO IDEOLOGIES THE AFRICAN CONTINENT has in recent years become the scene of a bitter ideological struggle. Never before bas there been such ferment in African minds as there is today. The bitterness of this struggle can be easily explained. The majority of African peoples have liberated themselves from colonial occupation and set up their own national states. The imperial ists, forced to abandon direct political rule, have tried to take ad vantage of their former colonies' economic dependence in order to maintain indirect political control and thus keep them within the capitalist orbit. But history has its own logic. Now that the African countries have attained sovereignty, they naturally wish to conduct an independent policy which differs from that of their former rulers and indeed very often cuts right across the latter's interests. To a differing extent and in various ways African Governments are trying to restrict the dominating position held by the former metro politan countries in their economic affairs. Many have firmly resolved that, with the backing and disinterested assistance of the Soviet Union and the other Socialist countries, they will put an end to their economic dependence on imperialist powers and thereby free themselves of political pressure from that quarter. The African countries are intently searching for the quickest ways of overcoming economic and cultural backwardness. Soviet experience in transforming economically and culturally backward Russia into a great, leading Socialist power has med the Africans' imagination. One African Government after another has announced its adherence to Socialist ideas. -
The Choice of Language for African Creative Writers
http://elr.sciedupress.com English Linguistics Research Vol. 7, No. 2; 2018 The Choice of Language for African Creative Writers Edadi Ilem Ukam1 1Department of English and Literary Studies, Veritas University, Abuja, (The Catholic University of Nigeria), Nigeria Correspondence: Edadi Ilem Ukam, Department of English and Literary Studies, Veritas University, Abuja, (The Catholic University of Nigeria), Nigeria Received: April 21, 2018 Accepted: June 16, 2018 Online Published: June 18, 2018 doi:10.5430/elr.v7n2p46 URL: https://doi.org/10.5430/elr.v7n2p46 Abstract Language issue has been considered as a major problem to Africa. The continent has so many distinct languages as well as distinct ethnic groups. It is the introduction of the colonial languages that enable Africans to communicate with each other intelligibly: otherwise, Africa has no one central language. Among the colonial languages are English, French, Arabic and Portuguese which today serve as lingua franca in the mix of multiple African languages. Based on that, there is a serious argument among African critics about which language(s) would be authentic in writing African literature: colonial languages which serve as lingua franca, or the native indigenous languages. While some postcolonial African creative writers like Ngugi have argued for the authenticity and a return in writing in indigenous African languages, avoiding imperialism and subjugation of the colonisers, others like Achebe are in the opinion that the issue of language should not be the main reason in defining African literature: any language can be adopted to portray the lifestyles and peculiarities of Africans. The paper is therefore, designed to address the language debate among African creative writers. -
15910724175Ed5d6a122058.Pdf
M.A.IV SEMESTER 2020 AFRICAN AND CARRIBEAN LITERATURE Paper-XIII Practice Paper Multiple choice Questions Maximum Marks-100 Each Question carries 1 mark By Dr Priyanka Maral Department of English K.N.Govt. P.G.College, Gyanpur, Bhadohi, Uttar Pradesh 1-Dennis Brutus was born in (a) 1924 (b)1736 (c)1987 (d)1964 2- What is the full name of Dennis Brutus (a )Dennis wal Brutus (b)Dennis bes Brutus (c) Dennis wan Brutus (d)Dennis Vincet Brutus 3- Who was responsible for banning South Africa from Olympics due to apartheid? (a)Dennis Brutus (b)Jane Austen (c) Thomas Hardy (d)Wole soynika 4- Dennis Brutus died on (a)September2010 (b)March 214 (c)2009 (d)2004 5- Who wrote the poem You Laughed and Laughed and Laughed? (a)Gabriel Okara (b)Dennis Brutus (c)Chinua Achebe (d)Thomas Hardy 6- In how many stanzas the poem You Laughed and Laughed and Laughed is written (a)10 (b)11 (c)12 (d)15 7- In the poem You Laughed and Laughed and Laughed the interaction between (a)A White colonialist and an African native (b)An African and American (c)An Indian and an African (d)An Indian and a White 8-what is the theme of the poem You Laughed and Laughed and Laughed (a)The belief in Indian culture (b)The belief in African culture (c)The belief in European culture (d)The belief in American culture 9-when was the poem You Laughed and Laughed and Laughed published (a)1985 (b)1986 (c)1987 (d)1989 10-In which year Gabriel Okara won the Commonwealth prize (a)1979 (b)1989 (c)1982 (d)1987 11- In which year Gabriel Okara was born (a)1931 (b)1941 (c)1921 (d)1957 12- To which -
2007-08 Media Guide.Pdf
07 // 07//08 Razorback 08 07//08 ARKANSAS Basketball ARKANSAS RAZORBACKS SCHEDULE RAZORBACKS Date Opponent TV Location Time BASKETBALL MEDIA GUIDE Friday, Oct. 26 Red-White Game Fayetteville, Ark. 7:05 p.m. Friday, Nov. 2 West Florida (exh) Fayetteville, Ark. 7:05 p.m. michael Tuesday, Nov. 6 Campbellsville (exh) Fayetteville, Ark. 7:05 p.m. washington Friday, Nov. 9 Wofford Fayetteville, Ark. 7:05 p.m. Thur-Sun, Nov. 15-18 O’Reilly ESPNU Puerto Rico Tip-Off San Juan, Puerto Rico TBA (Arkansas, College of Charleston, Houston, Marist, Miami, Providence, Temple, Virginia Commonwealth) Thursday, Nov. 15 College of Charleston ESPNU San Juan, Puerto Rico 4 p.m. Friday, Nov. 16 Providence or Temple ESPNU San Juan, Puerto Rico 4:30 or 7 p.m. Sunday, Nov. 18 TBA ESPNU/2 San Juan, Puerto Rico TBA Saturday, Nov. 24 Delaware St. Fayetteville, Ark. 2:05 p.m. Wednesday, Nov. 28 Missouri ARSN Fayetteville, Ark. 7:05 p.m. Saturday, Dec. 1 Oral Roberts Fayetteville, Ark. 2:05 p.m. Monday, Dec. 3 Missouri St. FSN Fayetteville, Ark. 7:05 p.m. Wednesday, Dec. 12 Texas-San Antonio ARSN Fayetteville, Ark. 7:05 p.m. Saturday, Dec. 15 at Oklahoma ESPN2 Norman, Okla. 2 p.m. Wednesday, Dec. 19 Northwestern St. ARSN Fayetteville, Ark. 7:05 p.m. Saturday, Dec. 22 #vs. Appalachian St. ARSN North Little Rock, Ark. 2:05 p.m. Saturday, Dec. 29 Louisiana-Monroe ARSN Fayetteville, Ark. 2:05 p.m. Saturday, Jan. 5 &vs. Baylor ARSN Dallas, Texas 7:30 p.m. Thursday, Jan. -
Ezekiel Mphahlele: an Appreciation (1919-2008) by Ntongela Masilela
Untitled Document Ezekiel Mphahlele: An Appreciation (1919-2008) by Ntongela Masilela When H. I. E. Dhlomo in late 1947 listed in Ilanga lase Natal newspaper the then recently published first book by Mphahlele, a collection of short stories Man Must Live (1947), as one of the new talented voices that was likely to carry into the future a splendid literary culture that had a noble past, he could not have known how presciently astute his observation was as it practically predicted the trajectory of the following five decades by the man who was subsequently to write The African Image (1962), one of the early classics of African literary criticism. Since one of his aims was to fortify the intellectual tradition of New African creativity, Dhlomo was constantly in search of new talent in whom to inscribe the intellectual ethos of the New African Movement. This was the reason he constantly exhorted young Africans to emulate a political and cultural legacy that was destined to bring Africa back to African people from European trespassers by inventing its own particular understanding of the national project of modernity. The intellectual practice of Mphahlele that was to unfold across many decades and in the complex geo-political space of the African world had many affinities with that of Dhlomo, in that both were uncompromising in the belief that ideas not ideologies must be taken seriously, that culture must be made to supersede politics whenever possible, that form not content in an artistic work is what endures through the ages, and so on. In this sense, their distinctive nationalism was that of the politics of intellectual excellence. -
African Writers Meet in Uganda
African Writers meet in Uganda by BERNARD FONLON The Conference of African Writers of English Expression which was held in Makerere, Kampala, Uganda, from the 8th to 18th of June, 1962, brought together makers of creative literature from the East, from the West and the South of the continent. Chinua Achebe, novelist, John Pepper Clark, poet and dramatist, Gabriel Okara, poet, and short-story writer, Christopher Okigbo, poet, Wole Soyinka, poet and dramatist, Donatus Nwoga, critic — came from Nigeria. George Awooner-Williams, poet, Elizabeth Spio-Garbrah, poet, Cameron Duodu — were Ghana's representatives. To speak for South Africa, came the exiles, Ezekiel Mphahlele, Bloke Modisane, Arthur Maimane — all short-story writers. East Africa was represented by, Grace Ogot, short-story writer, John Nagenda, poet and short-story writer, Rebecca Njau, dramatist. There were envoys from Africa across the Seas : Langston Hughes, famous American Negro poet, Saunders Redding, writer, critic and Professor of Litera- ture at Hampton Institute, Virginia, Arthur Drayton of Trinidad, critic, and Barry Reckord of Jamaica, dramatist. 39 A B B I A As observers from French speaking Africa came Amadou Samb of Senegal and Paulin Joachim of Dahomey, editor of the magazine, Bingo. I was there to represent the bilingual Republic of Cameroon. The need for African programmes in radio and television services is stimulating a good deal of writing in some African countries. To enlighten the conference on writing for these media were : Yemi Lijadu of Broadcasting House, Lagos, Frances Ademola of Broadcasting House, lbadan, Segun Olusola of Western Nigeria Television, Ibadan, Lewis Nkosi of South Africa, and Denis Duerdin of the Transcription Centre, London.