Ìgbélárugẹ Èdè: Akinwumi Isola’s Model for Promoting African Languages

The ever-popular discussion in African literary circles is critically about language choices that African writers make in their creative endeavors. This is part of this write-up’s focus plus the plight of African languages with attention to the benefit and challenges for their empowerment. We set out to achieve two goals in this essay; first contributing to the ongoing discussions on African mother tongues, their vital roles in African literatures while characterizing pointers on proficiency and performance. Second, considering the use of Yoruba language in creative works of late Akínwùmí Oròjídé Iṣọ̀lá. Expectedly, the latter goal will exemplify the importance of indigenous languages to African writers. In pursuance of these dual goals, it is critical to highlight areas in which African writers, especially those writing in their native African languages, have endured to play crucial roles in promotion of African languages. These highlighted areas go beyond now fashionable and expressed goal of focusing on literature in African languages (splendor in African languages) onto push for fairness for languages and their speakers (linguistic justice).

Women’s Issues: African Writers Fighting Portuguese Colonialism in the 1950s

This essay approaches the literary production by female intellectuals who opposed Portuguese colonialism in Africa, recognising their active role in history, as well as the cultural and political processes that influenced their writing and its repercussions. Experiencing multiple forms of subalternity – of class, race and gender – women like Alda Espírito Santo, Alda Lara, Noémia de Sousa Deolinda Rodrigues and Manuela Margarido were committed to the creation of new ways of writing and forms of conceiving the world. Playing a fundamental role in the literary, political and cultural environment of the second half of the 20th century, they circulated in spaces in which they questioned male hegemony, discussing gender issues and exercising multiple forms of resistance. This article will consider how the demands of women in the process of political decolonisation have often been reduced to the label of ‘women’s issues’, the idea of unification of struggles having been privileged instead.

Detective Stories During Apartheid: H.I.E. Dhlomo as a Precursor of Drum

This article aims to contribute to the discussion of English-language crime fiction by black South African writers before 1994 by exploring H.I.E. Dhlomo’s relatively overlooked contribution to the genre in the first decade of apartheid. In particular, I intend to close read three detective stories written between the late 1940s and the early 1950s by Dhlomo, namely “Village Blacksmith Tragicomedy”, “Flowers”, and “Aversion to Snakes”, and compare them with the more celebrated stories published by Arthur Maimane in the popular magazine Drum a few years later. Notwithstanding their different re-elaboration of the tropes of crime fiction, I argue that both Dhlomo and Maimane resorted to this productive strand of popular literature to reassert a claim to knowledge denied to Africans, saturating their texts with new local meanings and exceeding Western genre conventions.

Orisa-Shakespeare: A study of Shakespeare Adaptations Inspired by the Yoruba Tradition

<p>This thesis combines creative practice with critical analysis to intervene in the field of post-colonial Shakespeare where, for over a generation, the process of adaptation has been presented as one of the main strategies by which Shakespeare’s ambiguous legacy in successor cultures can be both confronted and manipulated. Scholars often use the term “writing back” to designate a set of adaptations which challenge the cultural capital that Shakespeare privileges. By linking Yoruba spirituality in its political and cultural terms to the wider field of the relation between Africa, African writers and theatre makers and Shakespeare, the thesis proposes a new sub-field or genre of adaptations, “Orisa-Shakespeare,” rooted in Yoruba traditions. The thesis argues that, written in Nigeria and the Yoruba global diaspora, this set of adaptations are not necessarily challenging the Shakespeare canon but addressing their own societies, thus “writing forward.” The thesis examines the cultural and political significance of this bourgeoning body of adaptations of Shakespeare through the lens of Yoruba epistemology and its aesthetic principles. The thesis is broadly divided into two parts: an exegesis of selected adaptations of Shakespeare as case studies of post-colonial works that reflect and integrate Yoruba creative and performative idioms and translate them into dramaturgy; and an original play, Emi Caesar! in which core elements of Shakespeare’s Julius Caesar are transplanted into the complex, violent world of Yoruba politics of the mid-19th century, as a parable for contemporary Nigeria politics where factionalism (specifically tribal/ethnic bigotry) works against the integrity and security of the society. In the context that the thesis proposes, the present has constant recourse to the past, especially the ancestors, and engages in rituals which create ongoing, living links between human beings and the realm of the Yoruba Gods (Orisa).The outcomes are the documentation of a uniquely Yoruba theory of literary creativity, a new play based on Julius Caesar, and an original contribution to the broad field of postcolonial (Shakespeare) adaptations scholarship.</p>

Orisa-Shakespeare: A study of Shakespeare Adaptations Inspired by the Yoruba Tradition

<p>This thesis combines creative practice with critical analysis to intervene in the field of post-colonial Shakespeare where, for over a generation, the process of adaptation has been presented as one of the main strategies by which Shakespeare’s ambiguous legacy in successor cultures can be both confronted and manipulated. Scholars often use the term “writing back” to designate a set of adaptations which challenge the cultural capital that Shakespeare privileges. By linking Yoruba spirituality in its political and cultural terms to the wider field of the relation between Africa, African writers and theatre makers and Shakespeare, the thesis proposes a new sub-field or genre of adaptations, “Orisa-Shakespeare,” rooted in Yoruba traditions. The thesis argues that, written in Nigeria and the Yoruba global diaspora, this set of adaptations are not necessarily challenging the Shakespeare canon but addressing their own societies, thus “writing forward.” The thesis examines the cultural and political significance of this bourgeoning body of adaptations of Shakespeare through the lens of Yoruba epistemology and its aesthetic principles. The thesis is broadly divided into two parts: an exegesis of selected adaptations of Shakespeare as case studies of post-colonial works that reflect and integrate Yoruba creative and performative idioms and translate them into dramaturgy; and an original play, Emi Caesar! in which core elements of Shakespeare’s Julius Caesar are transplanted into the complex, violent world of Yoruba politics of the mid-19th century, as a parable for contemporary Nigeria politics where factionalism (specifically tribal/ethnic bigotry) works against the integrity and security of the society. In the context that the thesis proposes, the present has constant recourse to the past, especially the ancestors, and engages in rituals which create ongoing, living links between human beings and the realm of the Yoruba Gods (Orisa).The outcomes are the documentation of a uniquely Yoruba theory of literary creativity, a new play based on Julius Caesar, and an original contribution to the broad field of postcolonial (Shakespeare) adaptations scholarship.</p>

García Márquez in Africa

The title of this article is multidimensional. How was García Márquez’s writing received and distributed in Africa? Beyond Africa’s colonial languages—Spanish, Portuguese, English, French, Italian, German, Dutch, and Arabic—into what continental languages was it translated (Swahili, Berber, Chichewa, Malagasy, Sotho, Amharic, Swazi, Comorian, Somali, Oromo, Manding?) and distributed, in what numbers, by what networks, and to which cities of Africa’s forty-eight sub-Saharan nations with their 750 to 3,000 languages? García Márquez published a few articles about Africa and traveled to Africa, reporting, speaking, and conferring. Thereafter the African diaspora in the Caribbean figured more prominently in his work. Finally, and most importantly, the success of One Hundred Years of Solitude inspired and validated writers in possession of rich regional folklore crossed by the stresses of modernization, postcolonialism, and language politics. African writers had already novelized their folklore (e.g., Nigeria’s Amos Tutuola and Guinea’s Camara Laye), experimented intertextually and historically (e.g., Mali’s Yambo Ouloguem), and ironized their history (e.g., Cameroon’s Mongo Beti and Nigeria’s Chinua Achebe). The term that was originally interchangeable with “magic realism,” “the marvelous American real,” had been coined to describe Haiti, that is, the African diaspora. Such writers as Sierra Leone’s Syl Cheney-Coker, Nigeria’s Ben Okri and Chika Unigwe, Ghana’s Kojo Laing, Congo’s Sony Labou Tansi, Uganda’s Jennifer Nansubuga Makumbi, and Mozambique’s Mia Couto found their realities newly believable—and readable. As the British-Ghanaian Nii Parkes observed, “One Hundred Years of Solitude taught the West how to read a reality alternative to their own.”

Magic Realism in African Literature: A Study on Selected Works of Ben Okri and Nadine Gordimer

This article examines the evolution of magical realism as a narrative style used by African writers throughout the transition period, and how it became increasingly suited to African literary sensibilities at the time. At the same time, magical realism relies heavily on African oral traditions, serving as a site of convergence for black and white writing under apartheid, as well as exemplifying the synthesis of Eurocentric Western logic and African tradition. This article discusses the possible origins of the proliferation of African texts embracing this narrative mode in the immediate aftermath of apartheid's demise, as well as the possible reasons for the gradual abandonment of magical realist narrative strategy in the post-millennial era, while discussing magic realism in relation to Ben Okri's and Nadine Gordimer's post-apartheid novels. As a consequence of the short cohabitation of the two literary forms in African literary history, African magical realism works will be located at the intersection of celebration and disillusionment literature.

The fate of African mask in the works of French-speaking writers in West and Central Africa

The article examines the attitude of contemporary African writers to the traditional zoomorphic and anthropomorphic masks. In the 1960s–70s, for the supporters of the theory of negritude, the sacred mask embodied the spirit of ancestors and an inextricable connection with tradition. In a transitional era (the 1990s – the early 21st century), the process of desacralisation of the mask has been observed and such works appear in which the idea of the death of tradition is carried out. The article consistently examines the history of the emergence and strengthening of interest in the image of the African mask as the most striking symbol of African traditions on the part of cultural, art and scientific workers and the reflection of this symbol in the works of representatives of Francophone literature in West and Central Africa in different periods of time. The article concludes about the transformation of the views of the studied writers on the future of African traditions from an enthusiastic and romantic (as, for example, in the lyrics of Léopold Sédar Senghor or Samuel-Martin Eno Belinga) attitude to the images of the African past and tradition – masks, ancestor cult – to despair and bitterness from the awareness of the desacralisation of traditional objects and images and the profanation of tradition under the pressure of the realities of the present day (drama by Koffi Kwahulé). The attitude of African writers to the image of the mask, which is directly related to the themes of preserving traditions and the search of their identity by African literary heroes, is gradually changing, demonstrating the pessimistic view of Francophone African writers on the future of African traditions.

Hybridity and the Shape of the New African Woman

Hybridity is argued as an intricate combination of attraction and repulsion that describes the relationship between the colonizers and the colonized. This combination creates a challenge to and disruption of the monolithic power exercised by the colonizers of Africa who (mis)represented the land as a Dark Continent. Such monolithic power underpins the portrayal of the colonizers’ patriarchal tradition within which women characters in creative works by Africans are commonly situated. The inclusion of women as part of the many subjects of power strengthens the discourse on hybridity in African literature. To question power is to see men and women both apart and together as ambivalence that defines the idea of hybridity in the African literary tradition. In this paper, the employment of deconstruction in the analysis of women characters in five selected stories by African writers reveals a new consciousness in African literature using the Dark Continent metaphor as a mirror of the female aesthetics. In this sense, the use of women’s bodies in the short stories does not only point to the issue of gender oppression but also to a power that is disrupting and slowly dismantling the long-entrenched patriarchal stance forcing the male characters to question their current worldview and position. Overall, this paper has established that contemporary African literature on women recognizes the hybridized identity and shape of the new woman, consequently proving that the so-called Dark Continent is nothing but a myth.