Relevant bibliographies by topics / African drama (English)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'African drama (English)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "African drama (English)"

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Hair, P. E. H. "Attitudes to Africans in English Primary Sources on Guinea up to 1650." History in Africa 26 (January 1999): 43–68. http://dx.doi.org/10.2307/3172137.

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This essay investigates the attitudes to Black Africans, specifically those of Guinea, as evidenced in the pre-1650 primary sources on Anglo-African relations. Two 1980s studies by scholars working within the field of English literature have investigated English attitudes of the period to Africans in general and have expounded what are apparently popular as well as academically-received conclusions, as follows. Contact with Africans and with the existing Atlantic slave trade, building on older ideas of the meaning of “blackness” and the inferiority of non-Christians, led the pre-1650 English to create a stereotype of barbarous and bestial Blacks which served to justify the enslavement of Africans and English slave-trading. Both studies are based in the main on an analysis of English drama of the period, with passing reference, for instance, to the Othello controversy. Historians are bound to have reservations about the extent to which imaginative literature can inform on historical process and collective attitudes, perhaps not least in respect of the category of theatrical drama, especially when the drama is presented, as in this period, to a tiny segment of a national society. As it happens, these particular studies, while exemplary in their fashion, can be criticized for too limited a critical investigation of the primary non-imaginative sources, resulting in minor errors of fact and, more important, general statements about Anglo-African contacts less than wholly valid. They also treat their subject too narrowly, tearing out what they see as a “racist” stereotype from the context of English cultural relationships in the period, which, in the time-honored and universal way of cultural self-protection, inevitably tended to discriminate against all non-English ways and manners, overtly or covertly.
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Drwal, Malgorzata. "The Garment Workers’ Union’s Pageant of Unity (1940) as manifestation of transnational working-class culture." Tydskrif vir Letterkunde 59, no. 1 (April 8, 2022): 75–87. http://dx.doi.org/10.17159/tl.v59i1.8842.

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In this article, I examine the Garment Workers’ Union’s theatre as a manifestation of transnational working-class culture in the 1940s. Analysing Pageant of Unity (1940), a play in which Afrikaans and English alternate to express the equality of Afrikaans- and English-speaking workers in the face of exploitation, I offer an attempt to escape the confines of a national literature as linked to a single language. I demonstrate how the political pageant—a genre typical of socialist propaganda and international trade unionism—was adapted to a South African context. This drama is, therefore, viewed as a product of cultural mobility between Europe, the United States, and South Africa. Assuming the ‘follow the actor’ approach of Bruno Latour’s Actor-Network Theory, I identify a network of interconnections between the nodes formed by human (drama practitioners and theoreticians, socialist organisers) and nonhuman actors (texts representing socialist drama conventions, in particular agitprop techniques). Tracing the inspirations and adaptations of conventions, I argue that Pageant of Unity most evidently realises the prescriptions outlined by the Russian drama theoretician Vsevolod Meyerhold whose approach influenced Guy Routh, one of the pageant’s creators. Thus, I focus on how this propaganda production utilises certain features of the Soviet avant-garde theatre, which testifies to the transnational character of South African working-class culture.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.

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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Elliott, Erin. "The Season for Speech: A Review of Critical Perspectives on Canadian Theatre in English, Vols. 1, 2, and 3." Canadian Theatre Review 128 (September 2006): 138–41. http://dx.doi.org/10.3138/ctr.128.024.

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Aboriginal Drama and Theatre, African-Canadian Theatre and Judith Thompson are the first three books in the Critical Perspectives on Canadian Theatre in English series from Playwrights Canada Press. Under general editor Ric Knowles, these three collections serve to “facilitate the teaching of Canadian drama and theatre in schools, colleges, and universities across the country for years to come” (iii).
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Oneil Thomas, Dorell. "Beyond Disciplinary Drama: Federal Dollars, ESL Instruction for African Americans, and Public Memory." College Composition & Communication 73, no. 1 (September 1, 2021): 52–79. http://dx.doi.org/10.58680/ccc202131587.

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A 1969 English 101 class at the University of Wisconsin, where linguists used ESL pedagogy to teach Black American students, has dense connections to the Dartmouth Conference. This work recovers a matrix of related linguists who did not disclose their interest in defining who qualifies as a native English speaker.
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Breitinger, Eckhard. "Popular Urban Theatre in Uganda: between Self-Help and Self-Enrichment." New Theatre Quarterly 8, no. 31 (August 1992): 270–90. http://dx.doi.org/10.1017/s0266464x00006904.

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In this article Eckhard Breitinger traces the sources of present-day popular theatre in Uganda back to the situation shortly before and after independence, when Europeans, Indians, Goans, and Ugandans each had their own separate cultural and theatrical traditions. Theatrical activity came to a virtual standstill under the repressive regimes of Obote and Amin, when many prominent theatre people were killed or exiled, but quickly began to flourish again after 1986: in downtown Kampala semi-professional groups thus produce commercial comedies, while in the suburbs amateur companies use theatre to supplement their meagre incomes. Meanwhile, government and aid organizations involve themselves mainly in theatre for education, particularly health education, and the campaign against Aids has generated new needs – met by a new style of ‘morality play’, here illustrated and analyzed in detail. Eckhard Breitinger teaches American, African, and Caribbean literature at the University of Bayreuth, and has also taught in Jamaica, Ghana, Nigeria, Uganda, and France. He is a translator of radio plays, author of monographs on the gothic novel and American radio drama, and editor of several books on African and new English literature. Presently he is editor of Bayreuth African Studies, and directing a research project on cultural communication in Africa.
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Che, Suh Joseph. "Hibridization, Linguistic and Stylistic Innovation in Cameroonian Literature and Implications for Translation." Studies in Linguistics and Literature 3, no. 2 (May 17, 2019): p165. http://dx.doi.org/10.22158/sll.v3n2p165.

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Drawing from Cameroonian drama written in French and translated into English, this paper demonstrates how Cameroonian literature written in European languages and translated into other European languages is characterized by linguistic and stylistic innovation. It examines the reasons and motivations underlying this phenomenon, first from the perspective of the ambivalent situation of the Cameroonian and African writer writing not in his native language but rather in a European language, and secondly in the light of the prevailing literary creative trend and attitude of Cameroonian and, indeed, African writers in general. In this context, it is argued and posited that Cameroonian literary works are heavily tinted with linguistic and stylistic innovations such that the source texts actually intervene and exert considerable influence on the mode of their translation into the target language, particularly if the translator is to preserve the Cameroonian/African aesthetic which informs them and constitutes their driving force.
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Levine, Susan. "Opening the wound: Receptions and readings of Inxeba in South Africa." Journal of African Cinemas 12, no. 2-3 (December 1, 2020): 177–89. http://dx.doi.org/10.1386/jac_00035_1.

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This reading of Inxeba (2017) foregrounds the relationship between the #RhodesMustFall and #FeesMustFall movements in South Africa with the theme of wounding as an enduring social affliction in a country caught up in the midst of redefining itself after apartheid. Overtly narrated in the telling of Inxeba (2017) is the striking, amplified distinction between tradition and modernity among isiXhosa. Indeed, the polarized reception of the film among South African audiences shone a light on the slow burn of this most enduring trope. At universities across the country, Black students called for an end to the symbols of imperialist and colonialist White domination, as well as the desire to decolonize higher education by redressing Eurocentric canons of knowledge production. On the heels of the #Fallist movements, a White director makes a film about Xhosa initiation, and folds into this story a tale of homoerotic love. Notwithstanding the film’s official entry for best foreign language film at the Oscars, multiple forms of wounding came quick and heated upon the showcasing of the film’s trailer on social media. Film: Inxeba (English: The Wound): 2017 South African drama Director: John Trengove Language: Xhosa Cast: Niza Jay Ncoyini as Kwanda Nakhane Touré as Xolani Bongile Mantsai as Vija
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Plastow, Jane. "Theatre of Conflict in the Eritrean Independence Struggle." New Theatre Quarterly 13, no. 50 (May 1997): 144–54. http://dx.doi.org/10.1017/s0266464x00011003.

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Eritrea is a newly independent country whose performing arts history, based on the music and dance of her nine ethnic groups, is only just beginning to be systematically researched. Western-influenced drama was introduced to the country by the Italians in the early twentieth century, but Eritreans only began to use this form of theatre in the 1940s. The three-part series here inaugurated is the first attempt to piece together the history of Eritrean drama, beginning below with an outline of its history from the 1940s to national independence in 1991. The author explores the highly political role drama played from the outset in Eritrea's struggle towards independence and the effort to mould this alien performance form into a public voice at least for urban Eritreans. Later articles will look at the cultural troupes of the Eritrean liberation forces and at post-independence work on developing community-based theatre. The research took place as part of the continuing Eritrea Community Based Theatre Project, which is involved with practical theatre development as well as theatre research. Although this opening article is written by Jane Plastow, she wishes to stress that it is the upshot of a collaborative research exercise, for which Elias Lucas and Jonathan Stephanus were research trainees. Most of the information used here is the result of interviews they conducted and of translations of articles in Tigrinya or Amharic which they located. Training in interview techniques and collaboration over translation of material into English was conducted by the project research assistant, Paul Warwick. Jane Plastow is the director of the Eritrea Community Based Theatre Project and a lecturer at Leeds University. She initiated the project at the invitation of the Eritrean government, after working in theatre for some years in a number of African countries, notably Ethiopia. She supervised the research for this project, and used her experience of African theatre and of the politics and history of the region to draw the available material into its present state as a preliminary history of Eritrean drama.
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Ezenwanebe, Osita. "Negotiating gendered space in modern African drama: The case of Ola Rotimi’s Our Husband has Gone Mad Again." Humanities Directory 2, no. 2 (August 20, 2014): 33–46. http://dx.doi.org/10.7563/hd_02_02_02.

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Dissertations / Theses on the topic "African drama (English)"

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Mazimhaka, Jolly Rwanyonga. "The discourse of difference, the representation of black African characters in english Renaissance drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq23965.pdf.

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Krueger, Anton. "Experiments in freedom : representations of identity in new South African drama ; an investigation into identity formations in some post-apartheid play-texts published in English by South African writers, from 1994-2007." Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-10282008-141823.

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Hjul, Lauren Martha. "The family in Shakespeare's plays: a study of South African revisions." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001832.

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This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies of appropriations of Shakespeare – and discusses the ways in which these two strands may be combined through a detailed discussion of the presence of power dynamics in the relationship between parent and child in all of the texts considered. The three chapters each contextualise the South African text and provide detailed discussions of the family dynamics within the relevant texts, with particular reference to questions of authority and autonomy. The focus in each chapter is determined by the nature of the intertextual relationship between the South African novel and the Shakespearean text being discussed. Thus, the first chapter, “The Dissolution of Familial Structures in Hill of Fools” considers power dynamics in the family as an inherent part of the Romeo and Juliet genre, of which William Shakespeare’s Romeo and Juliet is but a part. Similarly, the impact of a socio-political identity, and the secrecy it necessitates, is the focus of the second chapter, “Fathers, Sons and Legacy in My Son’s Story” as is the role of Shakespeare and literature within South Africa. These concerns are connected to the novel’s use of Shakespeare’s Sonnets, King Lear, and Hamlet. In the third chapter, “Reclaiming Agency through the Daughter in Disgrace and The Tempest”, I expand on Laurence Wright’s argument that Disgrace is an engagement with The Tempest and consider ways in which the altered power dynamic between father and daughter results in the reconciliation of the father figure with society. The thesis thus addresses the tension between parental bonds and parental bondage
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Gibbs, Jenna Marie. "Performing the temple of liberty slavery, rights, and revolution in transatlantic theatricality (1760s-1830s) /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1554940031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Haxton, Robert Peter. "Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015671.

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This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.
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Powell, Catherine. "Meditations on culture, land, and memory in the drama of the new South Africa." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/10593.

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Includes bibliographical references (leaves 101-107).
This work deals with the current state of the South African theatre; it focuses primarily on 'white' theatre: scripted plays with a single author produced for mainstream South African and international theatres. This study examines the historical, political, and social forces that have brought about a period of pronounced turmoil in the post-apartheid South African theatre; it then explores how particular playwrights have engaged with key crisis points in their society. This dissertation focuses on four plays, one from the late 1980s - Pieter-Dirk Uys' Just Like Home' and three from the first decade of the 21st century: Lara Foot's Reach, Craig Higginson's Dream of the Dog, and John Kani's Nothing But the Truth. Other plays are drawn on briefly for comparison. The theme of the study is 'places' of whiteness, as it explores how, in the new South Africa, identities are shaped by different ideas of place: temporal, cultural, and physical. Key questions arise from each of these places. Debates about land, public versus private identities, the right to belong, guilt and forgiveness, and reconciliation across cultural boundaries are addressed, if not fully resolved, in all of the plays under discussion. The study is divided into four chapters. The first chapter provides historical background for the works under discussion, highlighting the debates currently taking place about the state of South African arts and culture. It then lays out theoretical frameworks that will be useful for analyzing these plays, in particular Peter Brook's discussion of the deadly theatre, Bertolt Brecht's aesthetic models, and Raymond Williams' analysis of subjunctive dramaturgy. The second chapter compares Uys' play, which displays the exhaustion of struggle theatre aesthetics, with Foot's work, which seeks to find a new, post-apartheid 'aesthetic of the ordinary.' By doing so, Foot's work posits a model of reconciliation through care that, although flawed, is nonetheless worthy of analysis. The third chapter turns to Higginson's and Kani's plays. Drawing parallels with the work of the Truth and Reconciliation Commission, this chapter explores questions of guilt, memory, and forgiveness; this provides a foundation for a further exploration of the redefining of identities in the new South Africa. The final chapter highlights the strengths and weaknesses of all four plays, each of which is only partially successful as a dramatic work. While emphasizing the contributions of all four plays to the task of building the new South Africa, this chapter also outlines the work that remains to be done in the South African theatre and suggests possible ways forward for later generations of theatre artists.
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Cornell, Carohn. "Script-writing for English second language classes in Cape Town : a contribution to liberatory education." Thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/23676.

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Panday, Sunitha. "Singing for the fatherland : four South African protest plays." Thesis, 2004. http://hdl.handle.net/10413/8988.

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Thela, Bongani Clearance. "Examining morality and corruption in South African post apartheid contemporary drama : a case of three dramas." Thesis, 2018. http://hdl.handle.net/10386/2408.

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Thesis (M.A. (English Studies)) --University of Limpopo, 2018
The purpose of this study was to examine South Africa’s Post-Apartheid contemporary drama. Three dramas were used in order to examine three primary themes namely morality, corruption and class - the selected plays were John Kani’s Nothing but the Truth, Zakes Mda’s Our Lady of Benoni and Mike van Graan’s Some Mother’s Sons. The ideology carried out in this study was that there is a possible reinvention of Apartheid issues in Post-Apartheid South African drama, exchanging themes of protest and race for morality and corruption, while reflecting real events in the works of playwrights. Also, the study aimed at finding out whether there are connections between class issues and morality as presented in the selected plays. The study found that there is indeed a reinvention of Apartheid issues in Post-Apartheid South Africa, and that there are connections between class issues and morality, including corruption. Lastly, the study concluded that the current South Africa requires a serious intervention regarding moral regeneration as reflected in the selected plays.
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Shapiro, Lauren. "This night is different : a drama in two acts with a self-reflective essay." Thesis, 2006. http://hdl.handle.net/10413/1638.

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Books on the topic "African drama (English)"

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Affiah, Uwem. Essays in African drama. [Nigeria?]: [Publisher not identified], 2018.

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Eziechine, Austin Obiajulu. Introduction to African drama. Agbor, Delta State [Nigeria]: Krisbec Publications, 2005.

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Agoro, S. N. A. Topics in modern African drama. Ibadan, Nigeria: Caltop Publications (Nigeria), 2001.

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Wolfram, Frommlet, and Deutsche Welle Training Centre, eds. African radio narrations and plays. Baden-Baden: Nomos, 1992.

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Orkin, Martin. Drama and the South African state. Manchester, UK: Manchester University Press, 1991.

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Alston, J. B. Yoruba drama in English: Interpretation and production. Lewiston, NY: E. Mellen Press, 1989.

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Uwabor, Iwebunor. Radio drama: Growth and contributions to national development. Surulere, Lagos: Vitanor Communications, 1995.

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Zakes, Mda, ed. Four South African plays. Trenton, NJ: Afria World Press, 1999.

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Govender, Ronnie. Interplay: A collection of South African plays. Pretoria: MANX, 2007.

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Ìbítókun, Benedict M. African drama and the Yorùbá world-view. Ibadan, Nigeria: Ibadan University Press, 1995.

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Book chapters on the topic "African drama (English)"

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Fuchs, Anne. "The New South African Theatre: Beyond Fugard." In Post-Colonial English Drama, 165–80. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22436-4_11.

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"11. Drama." In The Columbia Guide to Central African Literature in English Since 1945, 58–62. Columbia University Press, 2007. http://dx.doi.org/10.7312/rosc13042-013.

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McPherson, Lionel K. "Slavery Subcaste Drama." In The Afterlife of Race, 135–36. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197626849.003.0022.

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Abstract As descendants of American slavery, Black Americans typically have substantial mixed African and European ancestry. The English legal doctrine partus sequitur ventrem (“that which is born follows the womb”) determined the “Free” versus “Slaves” status of American children and eventually morphed into a “race” rule. This case study of “mixed race” is about a slavery society that later invested in race ideology-rhetoric to mystify and distract from gross injustice. The foundational color-conscious division in America was between Europe-identified “Free White” persons and Africa-identified “Slaves.” After the Civil War, the “Slaves” caste was relabeled by “color” on the US census, with a “race” category alone not appearing until 1950. Except for the period 1930 to 1990, the United States always officially recognized persons of Afro-Anglo descent: “black” or “mulatto” was the standard description.
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"‘The Battle of Alcazar’, Othello’s Countrymen: The African in English Renaissance Drama, London: Oxford University Press, pp. 40–19; 136–8." In George Peele, 349–60. Routledge, 2017. http://dx.doi.org/10.4324/9781315254395-26.

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Balme, Christopher. "J.B. Alston: Yoruba Drama in English: Interpretation and Production. [Studies in African Literature; 1]. (Lewiston KY: Edwin Mellen, 1989). 192 pages. US$ 59.95." In Caribbean Writers / Les auteurs Caribéens, 231–32. BRILL, 1994. http://dx.doi.org/10.1163/9789004656017_038.

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Riis, Thomas L. "New York Roots: Black Broadway, James Reese Europe, Early Pianists." In The Oxford Companion To Jazz, 53–63. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0006.

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Abstract New York’s significance for jazz history lies in its open embrace of all things theatrical and seemingly all life forms with a dramatic or dramatizable element. Because the city possesses a long history of hospitality to the marginalized of the world-not merely twentieth-century immigrants arriving at Ellis Island, but Dutch sailors in the seventeenth century, English loyalists during the American Revolution, Atlantic pirates in search of safe haven, and all manner of scoundrels, scalawags, traders, and freebooters over the last several hundred years-its openness to unusual custom, indeed its flamboyant penchant for self-promotion, has conduced to the process of creating characters in costume, storytellers, and other citizens who work at being visible, striking, and larger than life. Of course there was black music and drama in New York long before jazz. Musical interpolations were part and parcel of the African Grove Theatre productions in Five Points dating as far back as 1821. In the same decade free blacks “danced for eels” in Catherine Market. At the nearby Chatham Theatre such dance customs were immortalized in the landmark play New York as It Is twenty years later.
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Smethurst, James. "The Adventures of a Social Poet:Langston Hughes from the Popular Front to Black Power." In A Historical Guide to Langston Hughes, 141–68. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195144338.003.0006.

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Abstract One of the peculiar things about critical assessments of Langston Hughes’s career is the still pronounced tendency to think of Hughes as primarily a Harlem Renaissance writer. In recent years there have been critical efforts to rethink Hughes’s post–Harlem Renaissance work, particularly that of his “revolutionary” period in the 1930s and his work during the civil rights and Black Power eras. However, critics still quite commonly regard the “red” poetry as second-rate didactic efforts lacking the lyricism and nuance of voice found in other periods of Hughes’s work and dismiss the early Black Power–period poems as weak and opportunistic efforts to repackage Hughes’s work in order to find a niche in changing times (Ford; Sundquist; Vendler). What is peculiar about these assessments is that the later Hughes resonates with popular African American audiences so strongly, the fame of such early poems as “The Negro Speaks of Rivers” and “Mother to Son” notwithstanding. It is largely the later poetry, drama, fiction, and sketches, the “Simple” stories, such poems as “Harlem,” “Theme for English B,” and “Let America Be America,” such plays as Black Nativity and Simply Heavenly, that have made Hughes among the most beloved writers for a general black readership—and for many post–World War II black artists and intellectuals.
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MacKenzie, Craig. "Gray, Stephen (1941–)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem1972-1.

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Novelist, poet, dramatist, and critic Stephen Gray was born in Cape Town and educated at the universities of Cape Town, Cambridge, and Iowa, where he was a member of the Iowa Writers Workshop. He edited Granta while at Cambridge and taught in France for some years before taking up a position at the Rand Afrikaans University (now the University of Johannesburg) in 1969, where he taught for some 20 years and became Professor of English. He took early retirement in 1991 and has since then worked as a freelance writer. The author of several works of poetry, drama, and fiction, Gray is also South Africa’s foremost anthologist and literary historiographer. Stephen Gray’s early novels are the satirical Local Colour (1975) and Invisible People (1977), and the historical Caltrop’s Desire (1980). His fascination with history is also reflected in John Ross: The True Story (1987), a fictionalized treatment of the life of Charles Maclean (‘John Ross’), a ship’s boy who survived a shipwreck off the Natal coast in 1825 and spent several years at the court of King Shaka. Later novels include Time of Our Darkness (1988), Born of Man (1989), and the semi-autobiographical War Child (1991). His autobiography, Accident of Birth, appeared in 1993.
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Conference papers on the topic "African drama (English)"

1

Mangwegape, Bridget. "EXPLORING SELECTED SETSWANA DRAMA TEXTS AS THE PRINCIPLE OF UBUNTU/BOTHO IN EDUCATIONAL CONTEXT." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end004.

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Talking about the importance of Ubuntu/Botho in any educational system “Authentic humanism consists in permitting the emergence of the awareness of full humanity, as a condition and as an obligation, as a situation and as a project”. To inculcate a sense of values at schools, is intended to help young people achieve higher levels of moral judgement. This belief is that education does not exist simply to serve the market, but to serve society, and that means instilling in students a broad sense of values that can emerge only from a balanced exposure to the humanities as well as the sciences. Enriching the individual in this way is, by extension, enriching the society. This carries the involvement within the teaching and assessment of Setswana drama texts with third year (BEd) students. Ubuntu is a Nguni term while Botho is a Setswana term from the Southern African region that means a belief in a universal relationship of sharing that connects all humanity. The researcher takes note of the key element of Ubuntu/Botho, understood as “motho ke motho ka batho” (in Setswana). The English translation of this expression is “a human being is a human being because of other human beings”. The participants in this study were 24 BEd students from the language department. The comprehensive analysis includes data gathered from students: peer observation and interviews. Text analysis was used to analyse and interpret qualitative data obtained through interviews and observations with the aim of investigating the principle of Ubuntu/Botho in the characters of the two drama texts and how could students apply Ubuntu/Botho in their teaching to illustrate each theme.
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