Relevant bibliographies by topics / African poetry

Contents

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

Academic literature on the topic 'African poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "African poetry"

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Gohar, Saddik M. "The dialectics of homeland and identity: Reconstructing Africa in the poetry of Langston Hughes and Mohamed Al-Fayturi." Tydskrif vir Letterkunde 45, no. 1 (February 15, 2018): 42–74. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4460.

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The article investigates the dialectics between homeland and identity in the poetry of the Sudanese poet, Mohamed Al-Fayturi and his literary master, Langston Hughes in order to underline their attitudes toward crucial issues integral to the African and African-American experience such as identity, racism, enslavement and colonisation. The article argues that – in Hughes’s early poetry –Africa is depicted as the land of ancient civilisations in order to strengthen African-American feelings of ethnic pride during the Harlem Renaissance. This idealistic image of a pre-slavery, a pre-colonial Africa, argues the paper, disappears from the poetry of Hughes, after the Harlem Renaissance, to be replaced with a more realistic image of Africa under colonisation. The article also demonstrates that unlike Hughes, who attempts to romanticize Africa, Al-Fayturi rejects a romantic confrontation with the roots. Interrogating western colonial narratives about Africa, Al-Fayturi reconstructs pre-colonial African history in order to reveal the tragic consequences of colonisation and slavery upon the psyche of the African people. The article also points out that in their attempts to confront the oppressive powers which aim to erase the identity of their peoples, Hughes and Al-Fayturi explore areas of overlap drama between the turbulent experience of African-Americans and the catastrophic history of black Africans dismantling colonial narratives and erecting their own cultural mythology.
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Awuzie, Solomon. "Mirroring the society, mirroring its hospitals: Hyginus Ekwazi's poetry and the challenge of nation-building." English Studies at NBU 5, no. 1 (June 1, 2019): 77–91. http://dx.doi.org/10.33919/esnbu.19.1.4.

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Anglophone African poetry has become a significant medium through which African society from the year 2000 to date is mirrored. The younger Anglophone African poets, widely referred to as the poets of the third-generation, have always used their poetry as means to respond to both historical and current socio-political circumstances that tend to distinguish Africa from the rest of the world. Their poetry now constitutes counter-hegemonic discourse against bad leadership in Africa and against corrupt African social and medical institutions. Using Hyginus Ekwuazi’s The Monkey’s Eyes as a representative poetry of the younger Anglophone African poets, emphasis is made on how the poet depicts the African society and its hospitals. The paper analyzes the collection as a sequel to all other collections of poetry produced by the younger poets at this period. It reveals the condition in which the poetry is produced and how it has responded to the decay in African society and its hospitals. The paper points out that though the older generation of the Anglophone African poets responded to similar socio-political situation, the younger generation of the Anglophone African poets has become the prominent voice in this period and that their poetry provides a clear picture of what is happening in Africa within this time space. Being a new set of voices on the terrain of the Anglophone African poetry, a study of this poetry opens up a new platform upon which this so-called “aesthetic of rage” is appreciated. Note: An earlier version of this paper was presented at Birkbeck University of London in an International Conference captioned “Mirror, Mirror: Perceptions, Deceptions, Reflections in Time” organized by London Centre for Interdisciplinary Research (LCIR) on 10th March, 2018 in London, UK.
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Dawes, Kwame, and Tanure Ojaide. "Poetic Imagination in Black Africa: Essays on African Poetry." World Literature Today 71, no. 3 (1997): 633. http://dx.doi.org/10.2307/40152975.

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BOOTH, JAMES. "West African Poetry." African Affairs 87, no. 347 (April 1988): 293. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098029.

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Kanaganayakam, Chelva. "African Poetry Reconsidered." World Literature Written in English 31, no. 2 (March 1991): 131–32. http://dx.doi.org/10.1080/17449859108589171.

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Obiora, Anichebe, Ibuot Emmanuel, and Nwankwo Nnamdi. "Imagination, reason and traditional African poetry." IKENGA International Journal of Institute of African Studies 23, no. 1 (July 9, 2022): 1–30. http://dx.doi.org/10.53836/ijia/2022/23/1/008.

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One phantasm of the colonial experience in Africa is the spirited search for an African identity, which Eurocentrism tried to blot out through different ways, ranging from the denial of its existence to an outright replacement of it with accounts that revert to the occidental for validation. As a contribution to this identity-crisis management project, Afrocentric scholarship, from ethnophilosophy to present-day decolonial discourses, has tried to challenge that dominant narrative based on suppressed facts and logical reasoning. Studies of these kinds generally swing between oppositional scholarship and equalization schemes, without investigating Africa per se from a non-oppositional stance. Thus, this study, which is qualitatively descriptive and logically analytical, in addition to being deductive and synthetical in design, investigates the imaginative in a typical African poem. Aided by Derridean deconstructive strategy, the study reconstitutes an image of the African as more than rational, thereby implicating the imaginative functioning as a possible condition for cultural re-engineering and engagement of reality beyond reason.
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Ogunnaike, Oludamini. "The Presence of Poetry, the Poetry of Presence." Journal of Sufi Studies 5, no. 1 (May 23, 2016): 58–97. http://dx.doi.org/10.1163/22105956-12341283.

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The composition and performance of Arabic Sufi poetry is the most characteristic artistic tradition of West African Sufi communities, and yet this tradition has yet to receive the scholarly attention it deserves. In this article, I sketch an outline of a theory of Sufi poetics, and then apply this theory to interpret a performance of a popular Arabic poem of the Senegalese Shaykh Ibrahim Niasse (d. 1975), founder of the most popular branch of the Tijāniyya in West Africa.
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Frolova, Natal'ya S. "Devices of comic in the work of the 20th century English-speaking Ugandan poets." Vestnik of Kostroma State University, no. 4 (2019): 140–44. http://dx.doi.org/10.34216/1998-0817-2019-25-4-140-144.

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Poetry of the Ugandans are analysed in an article in the context of the use of devices of comic in the East African English-language poetry. The critical-realistic and enlightener tendencies that were eagerly apprehended by most East African authors in the 1960s have not allowed them going beyond the direct criticism of damning poetry to this day as well, although point-by-point attempts to use humour and satire when contemplating socio-political issues, do occur throughout the sixty-year existence of East Africa English-language poetry. The dilogy by Okot p’Bitek, Timothy Wangusa and Taban Lo Liyong are clear examples of such attempts made in Uganda literature. At the same time, the three authors use fundamentally different techniques of comic, when portraying modern reality, both purely African and universal human.
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Kharitonova, Elena. "Value-Semantic Blocks in Images of African Poetry (in the Context of Historical and Social Changes)." Uchenie zapiski Instituta Afriki RAN 66, no. 1 (March 20, 2024): 127–44. http://dx.doi.org/10.31132/2412-5717-2024-66-1-127-144.

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The article presents an interdisciplinary study at the intersection of culturology and African studies. The author suggests that the formation and transformation of values and meanings in Africa were influenced by specific facts of the history of sub-Saharan Africa. On the one hand, a colossal cultural layer is associated with the colonial past of African countries, with the influence of Western culture and Western values. Colonization of the continent, the struggle for freedom and independence, racial problems have determined the identity of Africans, the specifics of their identification, the need to restore their dignity. On the other hand, there exists a powerful foundation of traditional culture. The paper analyzes specific African value-semantic blocks associated with the facts of African history. It raises the question about the mission of Africa and the “Black man”, expressed in the value-semantic block “the black man is the savior of faith, the guardian of spirituality and honor” and the question of the unique “cosmogonic” system of representations of the African man, embodied in the value of connection with ancestors, with nature, with the earth and with heaven. Examples of the reflection of a number of value-semantic blocks in the images of African poetry are given.
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épouse Coulibaly, Cissoko Saran, and Aboubakar Goynougo. "Syntaxe et signifiance de la parole conative dans la poésie Africaine Francophone." Traduction et Langues 22, no. 2 (December 31, 2023): 186–205. http://dx.doi.org/10.52919/translang.v22i2.957.

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Syntax and Meaning of Conative Speech in Francophone African Poetry For those with an interest in African poetry, particularly Francophone poetry, several distinctive features underlie its originality and authenticity. These encompass rhythm, symbolism, and poetic imagery, serving as fundamental markers of the dominant poetic function within poetic discourse. These elements are inevitable considerations in any analysis, be it poetic or stylistic, of literary texts. Poetry in Africa, and conceivably beyond, undoubtedly serves a pragmatic, or more precisely, pragma-enunciative function, often obscured and overshadowed by the omnipotent poetic function—the quintessential literary function. In practical terms, the pragma-enunciative function of a poetic text is revealed through its conative nature. Essentially, poetry is a form of discourse inherently directed towards otherness, intended for an audience. Even when masquerading as an introspective work originating from the soul, ostensibly focused inward to express emotions in a context of heightened lyricism, poetry is fundamentally a conative expression. This characteristic is intrinsic to African poetry, with conative speech representing an indispensable aspect that may even be considered the ultimate purpose of the unavoidable poetic function of language. It is undeniable that elements such as rhythm, symbol, and poetic imagery, along with other aesthetic devices in verbal creation, serve as means of captivating and elevating the discourse, enabling the poet to construct a message aimed at captivating and stirring the reader. Nearly every aspect of the poem contributes to transforming it into a communication from self to other, essentially constituting second-person poetry. Conative speech, in the context of poetry, also assumes an incantatory function, a concept championed by Roman Jakobson, involving the conversion of an absent or inanimate "third person" into the recipient of a conative message. In the realm of French-speaking African poetry, conative speech holds literary, pragmatic, communicative, psychological, and cultural significance, among other dimensions. It is an indispensable component of African poetry, enhancing its illocutionary or even perlocutionary nature. Consequently, a nuanced examination of the syntax of this speech, especially its unconventional or unexpected elements
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Dissertations / Theses on the topic "African poetry"

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Ogunyemi, Christopher Babatunde. "Various voices in African poetry : analysis of poems of black Africa." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2767.

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Adu-Gyamfi, Yaw. "Orality in writing, its cultural and political function in Anglophone African, African-Caribbean, and African-Canadian poetry." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0027/NQ37868.pdf.

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Devereux, Stephen. "Post–exilic an old South African returns to the new South Africa." University of Western Cape, 2020. http://hdl.handle.net/11394/7934.

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Magister Artium - MA
This portfolio of poems, prose poems and short fiction pieces is quasi-autobiographical and tracks the trajectory of my life, from childhood in Cape Town (‘pre-exilic’) to emigration abroad (‘exilic’) and return to Cape Town in late middle age (‘post-exilic’). Themes explored include the deceptive nature of memory and the risk of imbuing a childhood recollected in later life with affective or narrative nostalgia; the psychologically dislocating nature of exile on personal identity and notions of home; and Cape Town as both an imaginary construct and a multi-layered reality: specifically, ‘my’ Cape Town – now as well as half a century ago – and ‘other’ Cape Towns, reflecting a diversity of highly unequal experiences within this city. The dominant mode of expression chosen to explore these largely personal themes is confessional.
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MacDonald, T. Spreelin. "Steve Biko and Black Consciousness in Post-Apartheid South African Poetry." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1273169552.

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Bokoda, Alfred Telelé. "The poetry of David Livingstone Phakamile Yali-Manisi." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/17400.

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Bibliography: pages 217-232.
Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.
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Karassellos, Michael Anthony. "Critical approaches to Soweto poetry : dilemmas in an emergent literature." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/18830.

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A review of contemporary South African and European critical approaches 'to "Soweto poetry" is undertaken to evaluate their efficacy in addressing the diverse and complex dynamics evident in the poetry. A wide selection of poetry from the 1970's and early 1980's is used to argue that none of the critical models provide an adequate methodology free from both pseudo-cultural or ideological assumptions, and "reader-grid"(imposition of external categories upon the poems).From this point of entry, three groups of critics with similar approaches are assessed in relation to Soweto poetry. The second chapter illustrates the deficiency in critical method- ology of the first group of critics, who rely on a politicizing approach. Their critique presupposes a coherent shift in the nature of Black Consciousness poetry in the 1970's, which is shown to be vague and problematic, especially when they attempt to categorize Soweto poetry into "consistently thematic" divisions. In the third chapter, it is argued that ideological approaches to Soweto poetry are impressionistic assessments that depend heavily on the subordination of aesthetic determinants to materialistic concerns. The critics in this second group draw a dubious distinction between bourgeois and "worker poetry" and ignore the inter- play between the two styles. Pluralized mergings within other epistemological spectrums are also ignored, showing an obsessive materialist bias. The fourth chapter examines the linguistic approach of the third group of critics. It is argued that they evaluate the poetry in terms of a defined critical terminology which assumes an established set of evaluative criteria exist. This is seen to be empiricist and deficient in wider social concerns. In the final chapter, it is submitted that each of the critical approaches examined foregrounds its own methodology, often ignoring the cohabitation of different systems of thought. In conclusion it is argued that a critical approach can only aspire to the formulation of a "black aesthetic" if it traces the mosaic of cultural borrowings, detours and connections that permeate Soweto poetry. Michel Serres, with his post-deconstructionist "approach", is presented as the closest aspirant. Bibliography: pages 117-123.
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Tait, Charles Norman. "Die verjaardagvers-ritueel in Breyten Breytenbach se oeuvre." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/5076.

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This study investigates the subgenre of the birthday poem within Breyten Breytenbach’s poetical oeuvre. Throughout the now half a century of his poetic production the writer has repeatedly written poems for himself on his birthday on 16 September of each new year (as well as a smaller number to his wife and close friends) The writing of birthday poems becomes a ritualist poetical act throughout the poet’s life and poetical oeuvre, one that has served many purposes over the years of Breytenbach’s increasingly nomadic existence. This study’s scope spans fifty years of poetical output, starting with the poet’s debut anthology, Die ysterkoei moet sweet (1964), including all the anthologies up to the publication of vyf-en-veertig skemeraandsange uit die eenbeendanser se werkruimte (2014). A small literary history is offered at the outset of the tradition of the birthday poem, based in classical Roman times (Argetsinger,K 1992) and following through to modern times. After describing the reasons for the sometimes challenging task of identifying birthday poems (unmarked by dates, having to rely on inference deduced from the content, and the like), the poems are analyzed with a particular focus on their nature and function within the larger context of the poet’s oeuvre. The research is organized according to the separate phases traceable in Breyten Breytenbach’s oeuvre (Van Vuuren 2011: 46–56), describing the steadily shifting themes and motifs of the subgenre throughout each of the four phases (pre-prison, prison, post-prison and late work phases). It was found that the birthday poems cohere as a subgenre within the oeuvre. Breytenbach’s birthday poems have a distinctive character and certain identifiable qualities (ritualistic characteristics such as reflection on the self within the present, reflection on time past, evaluating the situation and self on the particular birthday. Placed against the specific context in which the poet finds himself, with a poetical and autobiographical way forward implied in the given milieu and context, psychological insights are utilized where applicable, especially in the prison birthday poems and the late work birthday poems. A remarkable new insight gained through this study is the nature of he “reminiscence bump” (Janssen, Haque 2014) which older people experience, and is identified also in Breytenbach’s late work birthday poems. This adds to and refines the understanding of the nature of late work in Breytenbach’s poetical oeuvre. A final insight gained from the research is that description and comprehension of this smaller corpus of birthday poems (roughly thirty identified at present) may also be used as an entry into understanding of the nature of the poet’s large oeuvre (comprising twenty collections of poetry, containing around 1,600 poems between 1964 and 2014), as they represent each stage of development in Breyten Breytenbach’s oeuvre.
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Balanescu, Mihai S. "Metamorphoses and ritualism in Harlem Renaissance poetry." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368177.

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Nolutshungu, Simphiwe. "Sunrays in a chilly winter." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017777.

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In both my English and IsiXhosa poetry, my themes are love, politics, and the social issues of rural communities, and include my own life experiences, both good and bad. My poems are mainly short narrative accounts of township life. Although they do have a broad educational purpose, they do not preach to the reader. In IsiXhosa, my poetic forms are influenced by the works of J J R Jolobe, W N Mbovane, P T Mtuze, and my English poems by Pablo Neruda, Mafika Pascal Gwala, Garcia Lorca and others.
Intliziyo yona izimele gxebe ifihlakele Iyimfihlo, kumagumbi omphefumlo. Iyafunxa, ifukame kulo magumbi amxinwa. Iingcango, mba! Zivaliwe! Maxa wambi zide zixel’ isisila senkukhu, sona sibonwa mhla ligquthayo. Vul’ amehlo ubaz’ iindlebe uchul’ ukunyathela. Yiza ndikubambe ngesandla, sivul’ iingcango! Masivul’ iingcango zentliziyo yam, sikrobe ngaphakathi! Masithi ntla‐ntla kumagumb’ amathathu kuphela! Masithi ntla‐ntla, kwelepolitiki yakwaXhosa, Kaloku nam ndingumXhosa! Masithi ntla‐ntla kwelifukame, i.z.i.x.i.n.g.a.x.i n.o.b.u.n.c.w.a.n.e. b.o.t.h.a.n.d.o, kaloku nam ndinemithamb’ ebalek’ igaz’ eliqhumayo! Ucango lokugqibela lukungenisa kwigumbi elinezidl’ umzi, Kaloku nam ndizalwa kulo mzi wakwaXhoooooosa!
This thesis is presented in two parts: English and isiXhosa.
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Jadezweni, Mhlobo Wabantwana. "Aspects of isiXhosa poetry with special reference to poems produced about women." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006364.

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This study investigates the use of modern and izibongo (praise poetry) techniques in representing women in selected isiXhosa poems. The main interest of the study is to determine whether the same techniques to depict men are used when writing about women. It is also the interest of the study to ascertain how gender issues are dealt with in the selected poems. Seminal studies on izibongo by eminent scholars in this field show a serious lack of critique and little recognition of women in African languages’ poetry in general and in isiXhosa in particular. Pioneering studies in Nguni poetry about women have thus recommended that serious studies on poetry about women be undertaken. The analyses of selected poems by established isiXhosa poets show that modern poetry conventions are significantly used together with izibongo techniques. These techniques are used without any gender differentiation, which is another point of interest of this study. There are however instances where images specific to women are used. Such use has however not been found to be demeaning of women in any way. Poems where modern poetry forms and conventions are used tend to deal with subjects who have international or an urban area background. Even though the modern poetry conventions are used with izibongo techniques the presence of the modern literary conventions is prominent. This is the case particularly with poems about women in politics. That some female poet seems to accept some cultural practices that are viewed to be undermining the status of women does not take away the voice of protest against this oppression by some of the selected poets. These two voices, one of acceptance and the other one of protest are used as a basis for a debate around a need for a literary theory that addresses the question of African culture with special reference to isiXhosa poetry about women. The success of the selected poets with both modern and izibongo techniques is a good sign for the development of isiXhosa poetry in general and isiXhosa poetry about women. It is strongly recommended that continued research of a serious nature concerning poetry about, and produced by women, be undertaken.
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Books on the topic "African poetry"

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1953-, Morris Jane, ed. Intwasa poetry. Bulawayo: 'amaBooks, 2008.

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1953-, Morris Jane, ed. Intwasa poetry. Bulawayo: 'amaBooks, 2008.

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Harley, Avis. African acrostics. Cambridge, Mass: Candlewick Press, 2009.

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S, Joubert Brian, ed. Under African skies: An anthology of African verse. Scottburgh, KwaZulu-Natal: Poetry Institute of Africa at Unique Publications, 1999.

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Naʼallah, Abdul Rasheed. Ahmadu fulani: An african poetry. Trenton NJ: Africa World Press, 2004.

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Rasheed, Naʼallah Abdul, ed. Almajiri: A new African poetry. Trenton, NJ: Africa World Press, 2001.

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E, Senanu K., and Vincent Theo, eds. A Selection of African poetry. Harlow, Essex, England: Longman, 1988.

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D, Tillis Antonio, ed. Caribbean African upon awakening: Poetry = Caribe africano en despertar. London: Mango Pub., 2010.

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Ojaide, Tanure. Poetic imagination in Black Africa: Essays on African poetry. Durham, N.C: Carolina Academic Press, 1996.

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Egudu, Romanus N. African poetry of the living dead: Igbo masquerade poetry. Lewiston: Edwin Mellen Press, 1992.

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Book chapters on the topic "African poetry"

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Osei-Nyame, Kwadwo. "African Poetry." In A Companion to Twentieth-Century Poetry, 249–63. Malden, MA, USA: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470998670.ch20.

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Ellis, R. J. "African-American Fiction and Poetry." In A Companion to the Literature and Culture of the American South, 255–79. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756935.ch15.

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Ojaide, Tanure. "Performance, the New African Poetry, and My Poetry: A Commentary." In Indigeneity, Globalization, and African Literature, 255–65. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137560032_18.

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Gaudioso, Roberto. "Euphrase Kezilahabi's thinking poetry." In Critical Conversations in African Philosophy, 54–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003172079-3.

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Brown, Nicholas Mainey. "Swahili Poetry, Classical Tradition." In Encyclopedia of African Religions and Philosophy, 650–53. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_362.

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Adesina, Olukemi B. "Explicature and Implicature in Selected ABCDERIAN Yoruba Poetry." In African Language Media, 279–90. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003350194-26.

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Ojaide, Tanure. "Reviving Modern African Poetry: An Argument." In Indigeneity, Globalization, and African Literature, 145–58. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137560032_10.

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Okoro, Dike. "Futuristic themes in modern African poetry." In Futurism and the African Imagination, 89–100. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003179146-8.

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Wonodi, Ikwunga, and Dike Okoro. "Afrobeat poetry and the African imagination." In Futurism and the African Imagination, 206–9. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003179146-14.

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Brown, Nicholas Mainey. "Swahili Poetry, Stylistics and Metrics." In Encyclopedia of African Religions and Philosophy, 653–57. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_363.

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Conference papers on the topic "African poetry"

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Sun, Guodong. "Exploring Challenges and Solutions in Imagery Alignment Within an English-Chinese Parallel Corpus of African English Poetry." In 2024 5th International Seminar on Artificial Intelligence, Networking and Information Technology (AINIT). IEEE, 2024. http://dx.doi.org/10.1109/ainit61980.2024.10581845.

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2

Urquhart, Zachary. "From Text to Voice: Analyzing the Voice of African American Studies Curricula Through Poetic Inquiry." In AERA 2022. USA: AERA, 2022. http://dx.doi.org/10.3102/ip.22.1890976.

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3

Urquhart, Zachary. "From Text to Voice: Analyzing the Voice of African American Studies Curricula Through Poetic Inquiry." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1890976.

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4

Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

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Abstract:
Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.
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5

Mangwegape, Bridget. "TEACHING SETSWANA PROVERBS AT THE INSTITUTION OF HIGHER LEARNING IN SOUTH AFRICA." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end118.

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The paper sought to investigate how first year University student’s-teachers understand and instil appreciation of the beauty of Setswana language. Since the proverbs are carriers of cultural values, practices, rituals, and traditional poetry, they are rich in meaning, they can be used to teach moral values for the sake of teaching character building among the students and teaching Setswana at the same time. Proverbs contain values of wisdom, discipline, fairness, preparedness, destiny, happiness, and efforts. Proverbs are short sayings that contain some wisdom or observation about life and or role-play and to use a few of the proverbs to reinforce the meaning, using proverbs as a pedagogical strategy, the researcher has observed that student teachers find it difficult to learn and teach learners at school. Students-teacher’s think and feel about how they conceptualize proverbs, how they define their knowledge and use of Setswana proverbs. The lecturer observed how the nature of proverbs are linked to the culture embedded in the language. In Setswana language there is a proverb that says, “Ngwana sejo o a tlhakanelwa” (A child is a food around which we all gather) which implies that the upbringing of a child is a communal responsibility and not an individual responsibility. Put in simple terms, a child is a child to all parents or adults, since a child’s success is not a family’s success but the success of the community. In doing so, the paper will explore on how student-teachers could make use of proverbs to keep the class interested in learning Setswana proverbs. As a means of gathering qualitative data, a questionnaire was designed and administered to student-teachers and semi-structured interviews were conducted with student teachers. The findings revealed that despite those students-teachers’ positive attitudes towards proverb instruction, they did not view their knowledge of Setswana proverbs as well as the teaching of proverbs. The paper displays that proverbs constitute an important repository of valid materials that can provide student-teachers with new instructional ideas and strategies in teaching Setswana proverbs and to teach different content, which includes Ubuntu and vocabulary and good behaviour. Proverbs must be taught and used by teachers and learners in their daily communication in class and outside the classroom in order to improve their language proficiency.
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