Journal articles: 'African Poets'

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Afolayan, Kayode, and INYANG Utitofon Ebong. "Of Divination Tray and the Search for Utopia: A Postcolonial Reading of Okinba Launko’s Selected Poems." KENTE - Cape Coast Journal of Literature and the Arts 3, no. 1 (May 28, 2022): 59–74. http://dx.doi.org/10.47963/jla.v3i1.222.

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Primordial oral literary forms have always been very central to the evolution of modern African literature. Arguably, these forms have impacted on modern African poetry, not only on account of their recurrence in the works of poets, but also as important indices in current poetry studies and criticism. Contemporary African poets have since stretched the limits and aesthetics of these forms to emphasize their relevance in the postcolonial space, following after the Negritude poets who set the antecedent in the use of Africa’s primordial forms,. This paper, using selected poems from Okinba Launko’s Dream-Seeker on Divining Chain (1993), Commemorations (2007) Seven Stations Up the Trays Way (2013), discusses the different tropes and manifestations of oral forms in modern African poetry. The writers isolate the poet’s use of Ifa, the Yoruba divinity muse, to comment on the dilemmas of the postcolonial space. The paper concludes that the dialectic prism of Okinba Launko’s poetry exteriorizes a neo-negritude template that sustains the relevance of primordial forms in African poetry.

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Traoré, Moussa. "An Ecocritical Reading of Selected African Poems." KENTE - Cape Coast Journal of Literature and the Arts 1, no. 1 (December 19, 2019): 74–89. http://dx.doi.org/10.47963/jla.v1i1.87.

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This paper discusses some ecocritical ideas in selected poems by Kofi Awoonor, Kofi Anyidoho and the Negritude poets David Diop and Birago Diop. Drawing on postcolonial ecocriticism theory the paper focuses on ecocritical symbolisms and their ramifications in order to show how African poets attend to the environment, community and modernity’s many flaws. The consideration of the Negritude poems in this study stems from the fact that Negritude Literature in general and the selected poems in particular have been examined mainly within the context of Black African identity and the antiracist effort in general. The paper demonstrates that ecological motifs or symbols are deployed by some African poets to express life, survival, and nostalgia.

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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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Bwana, Edith. "Has Feminism Changed Women’s Realities in Africa? An Interrogation of the Poems of Ogundipe and Shire." Journal of Humanities and Social Sciences 11, no. 2 (December 12, 2022): 18–28. http://dx.doi.org/10.56279/jhss.v11i2.2.

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African feminist movements of the 1960’s marked the starting point of debates from the origin of feminism in Africa to its impact on women and the society at large. Literature has from the go been used as a vehicle to reflect the life and its vicissitude on African women. African women writers have used literature as a platform to challenge and re-imagine gender relations within their societies and the continent as a whole. Yet, the question arises: despite half a century’s worth of literary production, has the reality of women, as reflected in literature, changed? This paper thematically interrogates the collection of poems by Molara Ogundipe-Leslie, Sew the Old Days and Other Poems published in 1985, in comparison to Warsan Shire’s Teaching My Mother How to Give Birth of 2011. Both poets are renowned for depicting current issues faced by women and their struggles in patriarchal systems. A thematic analysis allows for the inference of change: do these poets address the same struggles, or has almost thirty-year difference brought about discernible changes?

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Mashiah, Rachel. "Names of Accents and Diacritical Punctuation Signs in Poems by North African Jewish Poets." Sefarad 62, no. 2 (December 30, 2002): 349–68. http://dx.doi.org/10.3989/sefarad.2002.v62.i2.562.

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Dawes, Kwame, and Adam Schwartzman. "Ten South African Poets." World Literature Today 75, no. 3/4 (2001): 125. http://dx.doi.org/10.2307/40156793.

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Byrne, Deirdre. "NEW MYTHS, NEW SCRIPTS: REVISIONIST MYTHOPOESIS IN CONTEMPORARY SOUTH AFRICAN WOMEN’S POETRY." Gender Questions 2, no. 1 (September 21, 2016): 52–66. http://dx.doi.org/10.25159/2412-8457/1564.

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Considerable theoretical and critical work has been done on the way British and American women poets re-vision (Rich 1976) male-centred myth. Some South African women poets have also used similar strategies. My article identifies a gap in the academy’s reading of a significant, but somewhat neglected, body of poetry and begins to address this lack of scholarship. I argue that South African women poets use their art to re-vision some of the central constructs of patriarchal mythology, including the association of women with the body and the irrational, and men with the mind and logic. These poems function on two levels: They demonstrate that the constructs they subvert are artificial; and they create new and empowering narratives for women in order to contribute to the reimagining of gender relations.

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Odueme, Edoama Frances. "Orality, Memory and the New African Diaspora Poetry: Examining Tanure Ojaide’s Poetics." Afrika Focus 32, no. 1 (February 27, 2019): 149–58. http://dx.doi.org/10.1163/2031356x-03201010.

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The influence of traditional oral poetic forms on modern African poetry has been significant. Fascinated by oral forms which their respective communities relied on (to inform, teach, and correct erring members) before the advent of literacy, modern African writers borrow from these oral traditions and blend them with the features of the written Western literary forms. This appropriation of the oral poetic techniques by modern African poets continues today, as is clearly evident in the writings of many contemporary African poets, whose scripted works are seen to have drawn much in terms of content and form from the African oral poetic tradition. Following in this trend, the new African diaspora poets have also maintained the practice of skillfully blending the rich African verbal art and the modern (written) poetic forms to articulate the experiences of their African homeland as well as those of the diaspora, in order to construct and project their identities and visions of a new life in their lived world. In order to explore how through recourse to memory, “new African diasporas” (African-descended people who migrated out of Africa, during the postcolonial era and who live and practice their art outside the African homeland) utilize African oral art techniques in their writings, this essay analyses the poetry of Tanure Ojaide.

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Sanyal, Sovon. "Trailing the Growth from Nativism to Africanity in Lusophone African Poetry." Lingua Cultura 4, no. 2 (November 30, 2010): 117. http://dx.doi.org/10.21512/lc.v4i2.357.

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Article explored the development of African poetry, that is from nativism to be Africanity, in Lusophone African poetries. The study used library research by analysing the impact of printing press, public education, and freedom of expression emergences toward literary activities in Portuguese colonies in Africa. In this regard ethnological and historical studies on the colonies had an important role to play for the later development of nationalism among the colonised African peoples. Article’s discussion concerned with describing proper literary activities in Portuguese began in the Lusophone countries of Africa, poetry characterization by the “black” and “white” presentations, added by some example of poetries. It can be concluded the problematic of colour is present in African poems in Portuguese right from its inception, The common purpose of the nineteenth century Lusophone African poets was to discover the regional cultural history and identity, which was denied to them for centuries by the foreign rulers.

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Osbey, Brenda Marie. "New-Generation African Poets: Tano." World Literature Today 92, no. 6 (2018): 82–88. http://dx.doi.org/10.1353/wlt.2018.0142.

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D’Abdon, R. "RESISTANCE POETRY IN POST-APARTHEID SOUTH AFRICA: AN ANALYSIS OF THE POETIC WORKS AND CULTURAL ACTIVISM OF VANONI BILA." Southern African Journal for Folklore Studies 24, no. 1 (September 30, 2016): 98–121. http://dx.doi.org/10.25159/1016-8427/1675.

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The article explores selected works of Vonani Bila, one of the most influential wordsmiths of post-apartheid South Africa. It outlines the difference between “protest poetry” and “resistance poetry”, and contextualises the contemporary expression(s) of the latter within today’s South Africa’s poetry scene. Focusing on Bila’s “politically engaged” poems and cultural activism, this article maintains that resistance poetry has re-invented itself in the post-94 cultural scenario, and still represents a valid tool in the hands of poets to creatively expose and criticize the enduring contradictions of South African society

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John Taylor. "Poetry Today: Discovering New African Poets." Antioch Review 73, no. 2 (2015): 372. http://dx.doi.org/10.7723/antiochreview.73.2.0372.

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Shenoda, Matthew. "Verse Africa: The Malleable Poetics of Some Contemporary African Poets." World Literature Today 91, no. 5 (2017): 40–46. http://dx.doi.org/10.1353/wlt.2017.0032.

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Matthew Shenoda. "Verse Africa: The Malleable Poetics of Some Contemporary African Poets." World Literature Today 91, no. 5 (2017): 40. http://dx.doi.org/10.7588/worllitetoda.91.5.0040.

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Egya, Sule E. "The Minstrel as Social Critic: A Reading of Ezenwa–Ohaeto's." Matatu 33, no. 1 (June 1, 2006): 179–92. http://dx.doi.org/10.1163/18757421-033001028.

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Ezenwa–Ohaeto is one of the modern Nigerian poets who, in their creative endeavours, have continued to tap the rich sources of orature in their culture, in what is now known as 'the minstrelsy tradition'. The maturity of his explorations of the minstrelsy tradition comes through in the last volume of poetry he published before his death, (2003). In a close reading of some selected poems from this volume, this contribution not only looks at the minstrelsy tradition so central to Ezenwa–Ohaeto's poetry, but, more broadly, explores the social vision of Ezenwa–Ohaeto as an African poet. Unlike his earlier volumes of poetry, takes a critical swipe at the inadequacies of advanced countries in Europe and America in what we may call the poet's transnational imagination. In his chants across the world (the volume is an outcome of his many travels), Ezenwa–Ohaeto examines the issues of racism, equity in international relationships and, as is characteristic of his oeuvre, the moral and ethical failures of leaders in Africa.

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Rogacz, Dawid, Donald Mark C. Ude, and Tshepo Mvulane Moloi. "Book Reviews." Theoria 69, no. 170 (March 1, 2022): 114–23. http://dx.doi.org/10.3167/th.2022.6917005.

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Douglas L. Berger, Indian and Intercultural Philosophy: Personhood, Consciousness and Causality. London: Bloomsbury Academic, 2021, 240 pp.Joseph C. A. Agbakoba, Development and Modernity in Africa: An Intercultural Philosophical Perspective, Cologne: Rüdiger Köppe Verlag, 2019, 405 pp.Adekeye Adebajo (ed.), The Pan-African Pantheon: Prophets, Poets and Philosophers, Auckland Park, South Africa: Jacana Media, 2020. 655 pp.

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Furaih, Ameer Chasib. "‘Let no one say the past is dead’: History wars and the poetry of Oodgeroo Noonuccal and Sonia Sanchez." Queensland Review 25, no. 1 (June 2018): 163–76. http://dx.doi.org/10.1017/qre.2018.14.

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AbstractThe histories of Australian Aboriginal and African American peoples have been disregarded for more than two centuries. In the 1960s, Aboriginal and African American civil rights activists addressed this neglect. Each endeavoured to write a critical version of history that included their people(s). This article highlights the role of Aboriginal Australian poet Oodgeroo Noonuccal (formerly Kath Walker) (1920–93) and African American poet Sonia Sanchez (born 1934) in reviving their peoples’ history. Using Deleuze and Guattari's concept of ‘minor literature’, the essay shows how these poets deterritorialise the English language and English poetry and exploit their own poetries as counter-histories to record milestone events in the history of their peoples. It will also highlight the importance of these accounts in this ‘history war’. It examines selected poems from Oodgeroo's My People: A Kath Walker Collection and Sanchez's Home Coming and We A BaddDDD People to demonstrate that similarities in their poetic themes are the result of a common awareness of a global movement of black resistance. This shared awareness is significant despite the fact that the poets have different ethnicities and little direct literary impact upon each other.

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Frolova, N. S. "Anglophone Poetry in Kenya at the Turn of the Century: Past Experience and Artistic Transformation." Nauchnyi dialog, no. 2 (March 3, 2021): 259–75. http://dx.doi.org/10.24224/2227-1295-2021-2-259-275.

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The main trends in the development of the English-language poetry of Kenya at the turn of the XX—XXI centuries are considered. The main material is a collection of poems by Kenyan poets, first published in the early 2000s. Particular attention is paid to the ideological and artistic transformation in the work of the young generation of Kenyan poets of the key directions in the development of Kenyan English-language poetry, which developed in the first half of the XX century. The novelty of the research lies in the conclusion about the continuity of the experience of the older generation poets by the English-speaking Kenyan poets, which is expressed in the development of two key directions of the development of Kenyan English-language poetry: socio-political and philosophical-lyric. At the same time, a fundamental change in the artistic method and style transformation is noted in the work of the new generation of Kenyan authors: unlike their predecessors, young Kenyan poets are increasingly gravitating towards the use of rhyme, expressed allegory and imagery, and also adopting previously untested techniques, for example, the use of elements of youth subculture. New material has been brought in, many names are first introduced into the everyday life of domestic and world African studies.

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Dungy, Camille T. "On Black Nature: African American Poets Reflect." Callaloo 34, no. 3 (2011): 760–62. http://dx.doi.org/10.1353/cal.2011.0138.

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Bakić-Mirić, Nataša. "British Romantic Poets and the African Plight." European Legacy 13, no. 7 (December 2008): 825–36. http://dx.doi.org/10.1080/10848770802503840.

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Rizano, Gindho. "Analisis terhadap Dua Puisi Penyair Amerika Claude McKay: Penelusuran SelukBeluk Kekuasaan Ras." Journal Polingua : Scientific Journal of Linguistics, Literature and Education 3, no. 1 (March 28, 2018): 25–29. http://dx.doi.org/10.30630/polingua.v3i1.11.

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This article discusses two representative poems by a famous African-American writer, Claude Mckay. It seeks to interpretthe poems, “If We Must Die” and “Enslaved”, which both explore the issues racism and mental slavery, in the light of politicalapproaches such as Marxist criticism and postcolonialism. The main findings of this article are: 1) that racism and violence that itentails are rooted in class conflict and 2) that McKay’s poems can be seen as a counter-hegemony of the ethnocentricity of whiteculture. Generally, it is hoped that this writing can promote historical and political readings of minority poets like Claude McKay.

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CHRISMAN, LAURA. "Talking with African Writers. Interviews with African poets, playwrights and novelists." African Affairs 92, no. 366 (January 1993): 141–42. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098589.

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Lam, Joshua. "A Poetics of Thingification: Dawn Lundy Martin and the Black Took Collective." boundary 2 49, no. 4 (November 1, 2022): 67–110. http://dx.doi.org/10.1215/01903659-10045160.

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Abstract In the last two decades, African American poets working in innovative and avant-garde forms have produced poetry focused upon the theme of racial objectification. Individual and collaborative projects by Dawn Lundy Martin, Duriel E. Harris, and Ronaldo V. Wilson, who write and perform together as the Black Took Collective, practice what this article calls a poetics of thingification: a poetry that draws attention to language's capacity for reification in general and for racial objectification in particular. Drawing upon thing theory and recent scholarship on race and avant-garde poetry, this article focuses on Dawn Lundy Martin's poetics in order to demonstrate how poets combine innovative techniques with racial stereotypes to scrutinize hegemonic expectations at the level of poetic form, especially within the tradition of African American poetry. Rather than adopting the humanizing rhetoric and lyrical modes of conventional African American poetry, these poets use the trope of the objectified Black body to deconstruct linguistic processes of racial reification from within.

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Alága, Ìyábọ̀dé Baliquis, and Luqman Abísọ́lá Kíaríbẹ̀ẹ́. "Thematic Preoccupations of D. A. Ọbasá and Ṣóbọ̀ Aróbíodù on Religion and Colonialism." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–23. http://dx.doi.org/10.32473/ysr.v5i1.130065.

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The works of D.A. Ọbasá and Ṣóbọ̀ Aróbíodù, the two intelligensias of Yorùbá poetry, have been the focus of earlier scholarly works in Yorùbá, with little attention given to the comparative study of their poetry. Therefore, this essay is a comparative analysis of the two poets’ poems with particular reference to issues relating to religion and colonialism. Our findings reveal that Ṣóbọ̀ Aróbíodù usually comments on issues in a direct manner while Ọbasá comments both directly and indirectly on religious and colonial issues. Also, Ṣóbọ̀ Aróbíodù’s comments on religion are basically to commend Christianity as introduced in Nigeria by the European missionaries, while Ọbasá’s poetry usually satirizes or lampoons Islamic and traditional religions. Generally, Ọbasá’s view is mainly on Yorùbá ideology while religion and colonialism are the primary foci of Ṣóbọ Aróbíodù’s poetry. ̀ Therefore, there is no gainsaying that both poets advocate against religious autocracy. They both believe that colonialism is actually good, but they also argue that it also has a lot of disadvantages, which destroyed Yorùbá cultural heritage. Besides, both poets see colonialism as a movement that brings to the fore African modernization. The essay concludes that Ṣóbọ̀ and Ọbasá are both social poets in the areas of religion and colonialism.

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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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Sesanti, Simphiwe. "The Pan-African Pantheon: Prophets, Poets, and Philosophers." International Journal of African Renaissance Studies - Multi-, Inter- and Transdisciplinarity 15, no. 2 (July 2, 2020): 137–39. http://dx.doi.org/10.1080/18186874.2021.1873509.

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Powell, Richard J. "Linguists, Poets, and "Others" on African American Art." American Art 17, no. 1 (April 2003): 16–19. http://dx.doi.org/10.1086/444678.

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Asst. Prof. Dr. Jinan Abdulla Shafiq. "Nikki Giovanni: The Poet Literature of the Black Community." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 61, no. 4 (December 15, 2022): 386–95. http://dx.doi.org/10.36473/ujhss.v61i4.1922.

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Black women have a long history and practise of activism that can be traced to pre-colonial Africa. Women writers of African descents have challenged the status quo of the cultural, political, and spiritual realms of their communities by using their skills to present women who challenge traditional roles and resist attacks of oppression. The paper deals with the suffering of women in general and black women specifically. The aim of the study is to give a voice to black women through Nikki Giovanni’s poetry, whom is considered the poets’ laureate. Her poems are like weapons against the oppressors. Using a cross-cultural analysis, will give voice to women who had long been silenced and devalued; women who, according to Zora Neale Hurston, "have the status of a mule".

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de Bruijn, Mirjam, and Loes Oudenhuijsen. "Female slam poets of francophone Africa: spirited words for social change." Africa 91, no. 5 (November 2021): 742–67. http://dx.doi.org/10.1017/s0001972021000565.

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AbstractSlam poets in Africa are part of an emerging social movement. In this article, the focus is on women in this upcoming slam movement in francophone Africa. For these women, slam has meant a change in their lives as they have found words to describe difficult experiences that were previously shrouded in silence. Their words, performances and engaged actions are developing into a body of popular knowledge that questions the status quo and relates to the ‘emerging consciousness’ in many African urban societies of unequal, often gendered, power relations. The women who engage in slam have thus become a voice for the emancipation of women in general.

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Maina, Newton Kahumbi. "The Shirazi Civilisation and its Impact on the East African Coast." Utafiti 14, no. 2 (March 4, 2020): 242–56. http://dx.doi.org/10.1163/26836408-14010014.

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Abstract The relations between Iran and East Africa are captured well by depicting the impact of the Shirazi (Persian) civilisation on the East African coast. But some influential scholars claim that historians tend to dismiss or trivialise the role played by the Shirazis in East Africa. The demonstrable impact of Shirazi civilisation in East Africa is evident in the expansion of trade between the East African coast and the Persian Gulf region with the expansion of Islam. The Persian language has bequeathed to the Kiswahili language many lexicons that are presently still accessible in the region. Persian poets influenced Kiswahili literature through their classic works. The influence of Persian architecture is seen in Shirazi building styles throughout cities including Zanzibar, Kilwa and Manda. Thus Shirazis brought Persian traditions and customs to East Africa, and some Shirazis intermarried with the Arabs and local communities. As compiled here from other sources, there is enough enduring historical evidence to demonstrate incontrovertibly the impact of the Shirazis in social, economic and political aspects of East African life. This legacy arguably justifies greater contemporary cooperation between East African nation states and the Islamic Republic of Iran.

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Adelokun, Adetunji. "The Politics of Protest in the Post-Apartheid Poetry of Seitlhamo Motsapi and Mxolisi Nyezwa." International Journal of English and Comparative Literary Studies 3, no. 2 (March 31, 2022): 16–27. http://dx.doi.org/10.47631/ijecls.v3i2.414.

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This paper critically examines the manifestation of protest agitations in post-apartheid South African poetry. The paper considered the insightful reflections of two South African poets on the influence of the apartheid administration and other forms of racial profiling and segregation. It is pertinent to note that the paper does not only record the outburst of these writers against apartheid; the crux of the paper is channeled towards the exposition of the perspectives of the selected poets about the traumatic experience of apartheid and the obnoxious nature of the post-apartheid experience. One collection of poetry from Seitlhamo Motsapi and Mxolisi Nyezwa was selected for critical and literary analysis. The paper considers the expression of disaffection by writers in their portrayal of the struggles for socio-political sanity and socioeconomic equanimity after the dehumanizing apartheid regime. The paper posits that writers should continually engage the thesis of post-apartheid and evoke the consciousness of the masses to the nefarious realities of their circumstances. The paper concludes that Africans need to realize their distinctions and peculiarities by looking inwards and reflecting on new ways to chart a new course for future generations.

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Quesada, Sarah M. "Latinx Internationalism and the French Atlantic: Sandra María Esteves in Art contre/against apartheid and Miguel Algarín in “Tangiers”." Cambridge Journal of Postcolonial Literary Inquiry 9, no. 3 (September 2022): 353–80. http://dx.doi.org/10.1017/pli.2022.17.

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AbstractThis article interrogates the South-South internationalism of two renowned US Latinx poets: Miguel Algarín’s abjection in Morocco in his poem “Tangiers” and Sandra María Esteves’s anti-apartheid poetry for the French Art contre/against apartheid project, which included the controversial participation of Jacques Derrida. Although these poems focus on different contexts of African liberation, both react to French coloniality. For Algarín, his Orientalist evocations of underage child prostitution operate under a French hegemony, coming into crisis when a third world alliance fails. In Esteves’s work, her poetic solidarity draws on Frantz Fanon’s experience of French colonization in Algeria but also comes into crisis when Derrida’s foreword for Art contre/against apartheid is challenged as Eurocentric. Although both engagements with African self-determination exhibit residues of a French hegemony undergirding and undercutting what I term is a poetic Latin-African solidarity, their South-South approach enriches postcolonial studies, in which Latin American, and by extension, Latinx identities have been sidelined.

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Abdulrahman, Salih Abdullah. "The Cultural confrontation in Sonia Sanchez’s Rap Poetry." Journal of Tikrit University for Humanities 29, no. 3, 1 (March 25, 2022): 1–15. http://dx.doi.org/10.25130/jtuh.29.3.1.2022.22.

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This paper studies the rap poetry of Sonia Sanchez as an example of the literature of protest which prevailed throughout the 1960s and „70s of the twentieth century, especially the poetry of the Black Arts Movement. During the 1960s a group of Black poets started to compose poems that can best be described as anti-white poems which aimed at rejecting the hegemonic white culture and its oppressions over the Blacks. They rejected the American culture in favour of a Black one that would formulate a Black consciousness which would be the touchstone of the cultural resistance and would, the poets wished, initiate a revolution against the white Americans‟ violence and unfair practices towards the African-Americans.Sonia Sanchez was an active member of the Black Arts Movement which was established in the 1960s and called for a violent revolution against the white Americans, especially after the assassination of Malcolm X and Martin Luther King. This movement called for Black aesthetic which highlighted a literature that reflects and explores the Black culture and traditions and speaks to the Blacks‟ issues and concerns. Therefore, their poems were politically oriented as they addressed the lives and ambitions of the Black people and started using the Black speech in their poetry. Their poetry, then, is given a Black identity which is considered as the essence of the Black Aesthetic Movement

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Ruby Jindal. "Reconstructing Identities: Black American Poets of Harlem Renaissance." Research Ambition an International Multidisciplinary e-Journal 7, no. III (November 30, 2022): 01–04. http://dx.doi.org/10.53724/ambition/v7n3.02.

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American literature’s 400-year history has been shaped by the rise of black writers who have often written rich and vibrant literary forms to complement American literature and culture. The goal of this paper is to present how African American literature attempted to rebuild their identities, during the Harlem Renaissance, primarily to end the negative stereotypes of black people. This was an era of unparalleled artistic achievement focused on the Harlem section of New York City by black American writers, musicians, and artists. Poets such as Langston Hughes, Claude Mc Kay, and Countee Cullen have been the most influential poets of the Harlem Renaissance period and their poetry has tried to articulate authentically the African American experience. The key purpose is to discuss how these new groups of black writers have taken a step forward to shift the deeply prejudicial image of blacks that has touched every heart.

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King, Bruce, and Jane Wilkinson. "Talking with African Writers: Interviews by Jane Wilkinson with African Poets, Playwrights & Novelists." World Literature Today 66, no. 4 (1992): 758. http://dx.doi.org/10.2307/40148776.

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Nwakanma, Obi. "Okigbo Agonistes: Postcolonial Subjectivity in "Limits" and "Distances"." Matatu 33, no. 1 (June 1, 2006): 327–38. http://dx.doi.org/10.1163/18757421-033001037.

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Among Africa's leading twentieth-century poets, Christopher Okigbo occupies a most interesting space. Born to Igbo Roman Catholic parents in Eastern Nigeria, Okigbo studied the Classics and began to write poetry as a means of re-identification with his primal world. Yet both his life and his poetry staked a claim to a universalist impulse, and, as a colonial subject interpreting the postcolonial moment, Okigbo rejected a narrow, essentialist categorization of either himself or his poetry. He rejected the Africa Prize in 1966, claiming that "there is no such thing as African poetry, there is only good poetry or bad poetry." Okigbo appropriated signs and tropes from a vast range of sources, emphasizing the cosmopolitan, hybrid, transborder nature of signs and language in the postcolonial text. Yet Okigbo's poetry exhibits the recursive fantasy, displacement, and disorientation of a problematic imaginative cosmos. I argue in this essay that Okigbo, especially in the poems "Limits" and "Distances," was expressing his attempt to engage in an agonistic search, a quest for some stable identity. In interpreting the chaotic space of postcolonial experience, the poet Okigbo reflects what Homi Bhabha describes as a "mixed and split text of hybridity" – the double-toned voice of postcolonial anxiety.

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Stanford, Ann Folwell, William Boyd, Nagueyalti Warren, and George Elliott Clarke. ""Firewater, that Lovers Pour for Prophets": Three African American Poets." African American Review 28, no. 4 (1994): 675. http://dx.doi.org/10.2307/3042234.

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Fish, George. "Reflections: An Anthology of New Work by African Women Poets." Socialism and Democracy 28, no. 1 (January 2, 2014): 201–3. http://dx.doi.org/10.1080/08854300.2013.874697.

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Rosenblatt, Eli. "A Sphinx upon the Dnieper: Black Modernism and the Yiddish Translation of Race." Slavic Review 80, no. 2 (2021): 280–89. http://dx.doi.org/10.1017/slr.2021.79.

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This article examines the context and content of the 1936 Soviet Yiddish publication of Neger-Dikhtung in Amerike, which remains to this day the most extensive anthology of African-Diasporic poetry in Yiddish translation. The collection included a critical introduction and translations of nearly one hundred individual poems by twenty-nine poets, both men and women, from across the United States and the Caribbean. This article examines the anthology's position amongst different notions of “the folk” in Soviet Yiddish folkloristics and the relationship of these ideas to Yiddish-language discourse about race and racism, the writings of James Weldon Johnson and W.E.B. Du Bois, with whom Magidoff corresponded, and the Yiddish modernist poetry of Shmuel Halkin, who edited the book series in which the anthology appears. When placed alongside Du Bois's and others’ visits to the Soviet Union in the 1930s, the appearance of African-American and Caribbean poetry in Yiddish translation shows how a transatlantic Jewish avant-garde interpreted and embedded itself within Soviet-African-American cultural exchange in the interwar years. Magidoff served as a Soviet correspondent for NBC and the Associated Press from 1935. He was accused of espionage and expelled from the USSR in 1948.

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Mustafa, Hameed Abdullah, and Sherzad Shafi'h Barzani. "The African-American Poets' Struggle for the Rights of People: A Study in Claude McKay's Selected Poems." Twejer 3, no. 3 (December 2020): 821–66. http://dx.doi.org/10.31918/twejer.2033.22.

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This study scrutinizes selected protest poems written by the prominent black poet of the Harlem Renaissance Claude McKay (1889-1948). McKay is considered as a key literary figure of the Negro movement who played a significant role in struggling for and awakening his own people to demand their rights. His major aspiration was to end all forms of prejudice and oppression against blacks portrayed in his poems during the most effective movement in African American literary history comprising the times between 1920 to almost the mid-1930s. McKay established himself as a powerful literary voice for social justice during the Harlem Renaissance constantly struggling for people's identity and rights against the widespread prejudice, segregation, and racism against blacks in America and worldwide along with his pride in his black race and culture. These central issues had different impacts on the Harlem Renaissance and on the lives and works of those who participated in that movement; depicting how both race and racism could deﬁne the African American experience in the early twentieth century, as well. McKay, skillfully combined traditional forms and political protest in many of his sonnets. He took the old poetic genre and made it new and relevant to his own project by examining within its bounds unconventional and contemporary subjects. Along with his poetic diction and imagery, he juxtaposes contrasting images to show the hypocritic nature of America, showing his inevitable faith in the country. McKay's enthusiasm for and belief in the authority of intellectuals was strengthened by his understanding of America's deep-rooted racism. He closes many of his sonnets with gloomy observations of blacks' sufferings. The clear conclusion of his struggle was the fact that negro writers succeeded in showcasing the sufferings of people, incited blacks to demand their legal rights, and proved they are capable of everything and as genius as whites. Keywords: McKay, Struggles, Racism, identity, prejudice, rights.

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Kočan Šalamon, Kristina. "Translating Culture: Contemporary African American Poetry." ELOPE: English Language Overseas Perspectives and Enquiries 12, no. 2 (December 29, 2015): 211–24. http://dx.doi.org/10.4312/elope.12.2.211-224.

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The paper interrogates cultural specifics of contemporary African American poetry and exhibits translation problems when translating this poetic work. African American writers have always included much of their cultural heritage in their writing and this is immediately noticed by a translator. The cultural elements, such as African American cuisine, attire and style in general, as well as spiritual and religious practices, often play a significant role for African American poets who are proclaiming their identity. Moreover, the paper presents the translation problems that emerge when attempting to transfer such a specific, even exotic, source culture into a target culture, like Slovene. The goal is to show to what extent contemporary African American poetry can successfully be translated into the Slovene language and to highlight the parts that inevitably remain lost in the translation process.

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Kurtz, J. Roger, and Robert Berold. "South African Poets on Poetry: Interviews from New Coin, 1992-2001." World Literature Today 79, no. 1 (2005): 85. http://dx.doi.org/10.2307/40158803.

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Kemp, Melissa Prunty. "African American Women Poets, the Harlem Renaissance, and Modernism: An Apology." Callaloo 36, no. 3 (2013): 789–801. http://dx.doi.org/10.1353/cal.2013.0172.

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Davies, Catherine. "Writing the African subject: The work of two Cuban women poets." Women: A Cultural Review 4, no. 1 (March 1993): 32–48. http://dx.doi.org/10.1080/09574049308578144.

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Voss, Tony. "Thomas Pringle: “the beginning of a future that has not arrived”." English in Africa 49, no. 2 (November 4, 2022): 91–112. http://dx.doi.org/10.4314/eia.v49i2.5.

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In his recent (2020) book, Matthew Shum offers an important rereading of the life, work and contemporary significance of Thomas Pringle, the Scottish South African poet and activist. The book’s challenge stems from three interrelated lines of energy. First is the author’s tracking of Pringle through the three locations of his activity: Scotland, the Cape, London. Second is the argument that Pringle was not from birth or early conviction the liberal champion he is remembered as in South Africa. Third, Shum warns against seeking in Pringle a model for the settler presence in post-colonial South Africa today. A comparison with two near-contemporary Scottish poets, fellow “Borderers”, who both also had colonial experience, leads this essay to a conclusion that acknowledges Shum’s account of the challenge our reading of Pringle offers to South Africa today.

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Kuzina, Daria D. "The Depths of My Africa: Travelogues on the Land of Ancestors by Claude McKay and Langston Hughes." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 227–36. http://dx.doi.org/10.22363/2312-9220-2021-26-2-227-236.

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The article is devoted to the image of Africa in the travelogues by poets Claude McKay (A Long Way From Home, 1937) and Langston Hughes (The Big Sea, 1940), the significant figures of Harlem Renaissance; and also compares this image with Africa in the poems of both writers. The image of Africa as the land of ancestors and the foremother of the Negro people was popular among the artists and philosophers of the Harlem Renaissance, but at the same time, it was often idealized. That is why meeting a real Africa becomes, to some extent, a moment of truth for an African-American artist, the reason to take a new look at himself and his values. Biographies of Hughes and McKay reveal why equally motivated, at first glance, writers united by a common dream of a black peoples home, when faced with the real Africa, react to it in exactly the opposite way. The article shows that young cosmopolitan poet Langston Hughes did not find respond to his poetic ideals in real Africa and after that forever divided Africa into real and poetic, while Claude McKay, who kept up the reunification of the Negro people and had traveled around the whole Europe, only in Africa for the first time in his life went native. At the same time, Hughes is significantly influenced by his mixed origins and McKay - by his colonial background. The article contains materials of correspondence, fragments of the travelogues never been translated into Russian before.

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Werbanowska, Marta. "Ecojustice Poetry in The BreakBeat Poets Anthologies." Ecozon@: European Journal of Literature, Culture and Environment 13, no. 1 (April 28, 2022): 89–105. http://dx.doi.org/10.37536/ecozona.2022.13.1.4421.

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Ecological modes of thinking and an awareness of environmental (in)justice are becoming increasingly pronounced in the ethics and aesthetics of hip hop. One area in which the culture’s growing interest in ecology as practice and metaphor is particularly visible is hip hop poetry’s turn to ecojustice, or an intersectional concern with social and environmental justice, liberation, diversity, and sustainability. This article examines selected works from the first two volumes of anthologies published by Haymarket Books as part of their BreakBeat Poets series, focusing on three ecojustice-oriented poems that address animal rights, (un)natural disasters, and gentrification. Their authors–all Black women– draw from African American history and culture to illuminate the intertwined ideological, political, and economic dimensions of some of the most pressing humanitarian and environmental crises of today. Samantha Thornhill’s “Ode to a Killer Whale” takes the form of a poetic monologue by the fictional character of Kunta Kinte, revealing similarities between human and animal subjugation and inscribing animal liberation in the Black revolutionary tradition. Candace G. Wiley’s “Parcel Map for the County Assessor” re-members and re-creates a culture of place that permeated the speaker’s countryside childhood to present the larger-than-human cost of rural gentrification. Finally, Mariahadessa Ekere Tallie’s “Global Warming Blues” juxtaposes the personal and the elemental dimensions of climate change in a blues remix that advocates for ecojustice for the disenfranchised.

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Church, L. Teresa, Lenard D. Moore, and Evie Shockley. "Incident in the Lives of Three African American Poets, Written by Themselves." African American Review 38, no. 2 (2004): 281. http://dx.doi.org/10.2307/1512290.

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Olaoluwa, Senayon S. "From Simplicity to Performance: The Place of Second Generation Anglophone African Poets." English Studies 89, no. 4 (August 2008): 461–81. http://dx.doi.org/10.1080/00138380802011891.

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MacArthur, Marit J. "Monotony, the Churches of Poetry Reading, and Sound Studies." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 38–63. http://dx.doi.org/10.1632/pmla.2016.131.1.38.

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Engaging with and amending the terms of debates about poetry performance, I locate the origins of the default, neutral style of contemporary academic poetry readings in secular performance and religious ritual, exploring the influence of the beat poets, the black arts movement, and the African American church. Line graphs of intonation patterns demonstrate what I call monotonous incantation, a version of the neutral style that is characterized by three qualities: (1) the repetition of a falling cadence within a narrow range of pitch; (2) a flattened affect that suppresses idiosyncratic expression of subject matter in favor of a restrained, earnest tone; and (3) the subordination of conventional intonation patterns dictated by syntax, and of the poetic effects of line length and line breaks, to the prevailing cadence and slow, steady pace. This style is popularly known as “poet voice.” Recordings of four contemporary poets—Natasha Trethewey, Louise Glück, Michael Ryan, and Juliana Spahr—demonstrate this style, which contrasts with more expressive, idiosyncratic readings by poets as distinct as Frank Bidart and Kenneth Goldsmith.

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Journal articles on the topic 'African Poets'

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