Relevant bibliographies by topics / Igbo (african people) – fiction

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Igbo (african people) – fiction'

Author: Grafiati
Published: 25 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Igbo (african people) – fiction"

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Harlin, Kate. ""One foot on the other side": Towards a Periodization of West African Spiritual Surrealism." College Literature 50, no. 2-3 (March 2023): 295–322. http://dx.doi.org/10.1353/lit.2023.a902220.

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Abstract: For both writers and scholars of African and diaspora literature, genre is a fraught concept. Western institutions, especially departments of English literature, have used the tool of genre to discipline Africana literatures and the people who create them, at once reducing conventional realism to a source of anthropological information and mischaracterizing realism with an indigenous or Nonwestern worldview as fantasy or "Magical Realism." "West African spiritual surrealism," as defined in this essay, offers a generic rubric that both attends to the literalization of Igbo and Yoruba cosmology in fiction as well as the ways these cosmologies can give rise to literary devices that resist hegemonic, Anglo-American centric literary interpretation. Through close readings of Helen Oyeyemi's The Icarus Girl (2005) and Akwaeke Emezi's Freshwater (2018), this article historicizes West African spiritual surrealism as a geographically and ideologically diasporic genre that cannot be properly understood through frameworks of globalization alone. This genre and its writers require critics to read both deeply and widely in order to understand how West African spiritual surrealism places African cosmologies and people always already at the center of literary production.
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Ofoego, Obioma. "Toward the Decolonization of African Literature, « that now-classic manifesto of African cultural nationalism »." Études littéraires africaines, no. 29 (November 26, 2014): 28–34. http://dx.doi.org/10.7202/1027493ar.

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Ce texte se propose d’analyser la problématique de la construction d’un sujet collectif (noir, africain, pan-africain), qui est au centre du manifeste littéraire Toward the Decolonization of African Literature : African Fiction and Poetry and Their Critics (1980), de la troïka igbo Chinweizu, Onwuchekwa Jemie et Ihechukwu Madubuike. Il s’agira de réfléchir sur la compatibilité entre l’ambition de ce projet et les stratégies prescriptives du manifeste, dont découle une esthétique « africaine ».
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Abigail, Nzoiwu, Azuka, and Mmaduabuchi, Obinna Chekwubechukwu. "African Identity and Christian Faith in Igboland: A Critical Evaluation of EGWU IMOKA Masquerade Festival." International Journal for Research in Applied Science and Engineering Technology 11, no. 5 (May 31, 2023): 368–84. http://dx.doi.org/10.22214/ijraset.2023.51450.

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bstract: Christianity as a way of life among Africans (The Igbo people precisely) is believed to have shaped and influenced African Culture. African religion and culture according to Okoro, "stand a better chance to offer an alternative method awareness, which is imbedded in different indigenous languages, myths, folklore, cultural heritage and rites and rituals of African traditional faith" (Cultural globalization: 26-37). The identity of the African can be clearly seen in their cultural, anthropological features. The cultural, anthropological features of the Igbo people is influenced by both Christianity and African Traditional Religion. In an attempt to further understand the values behind this cultural influence as it is manifesting itself in the life and thought of the Awka people through Egwuimoka in the contemporary time, the searcher became interested in this- study. However, the influence of culture on Christianity is seen in the attitudinal disposition of the Igbo people towards the Christian faith. Now the question is does Christianity support the Igbo culture which is emerging in the modern time? Does the comparative study of Igbo traditional morality and Christianity ethical concepts clarify a bit of this confused background? if this work helps to answer these and other questions, in any small way, and further helps in clarifying the confused background of our morality today, then, it is not useless effort after all. Our culture is fluid today, because it is rapidly changing. Therefore, this work tries to point to some aspects of the Igbo peoples basis of traditional cultural patterns and beliefs, that can be applied from the values and the beliefs of the past so that the change in culture may not continue on a speed lane and, therefore becoming e confusing as to moral basis of worthwhile existence.
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Kanu, Ikechukwu Anthony. "The philosophical operative conditions of healing shrines in Igbo-African worldhood." Journal of Religion and Human Relations 14, no. 1 (November 16, 2022): 187–206. http://dx.doi.org/10.4314/jrhr.v14i1.10.

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This paper has studied the philosophical operative conditions of healing shrines in Igbo-African societies. The concept of philosophical operative condition is introduced into the study of Igbo-African healing shrines with the purpose of pointing out the philosophical principles behind the activities in these shrines. This philosophical dimension of African healing shrines is possible because of the nature of the relationship between religion and philosophy. This work, therefore, studied healing and healers in traditional African societies and the place and nature of healing shrines in Igbo societies. Though so much has been written about healing shrines and sacred places in traditional African societies, there is a seeming insufficiency of documents or literature on the Igbo-African healing shrines and the roles they played in restoring well-being to the people. More so, there is hardly a literature that focuses on the philosophical spirit behind the activities in Igbo-African healing shrines. This is the gap in literature that this present work fills. For the purpose of this study, this piece adopted the phenomenological, hermeneutic and historical approaches. This study is a qualitative research that has used both primary and secondary sources of data. It discovered that there is an inescapable element of philosophy in every dimension of African religion.
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Casimir, Komenan. "Chinua Achebe’s Things Fall Apart: A Seminal Novel in African Literature." Studies in Linguistics and Literature 4, no. 3 (June 27, 2020): p55. http://dx.doi.org/10.22158/sll.v4n3p55.

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Achebe’s Things Fall Apart is an influential novel in African literature for three reasons. First, it is a novel meant to promote African culture; second, it is a narrative about where things went wrong with Africans; and third, it is a prose text which contributed to Achebe’s worldwide recognition. It contains Achebe’s rejection of the degrading representation of Africans by European writers, and fosters Africa’s traditional values and humanism. The excesses of Igbo customs led the protagonist to flagrant misuse of power. The novel’s scriptural innovations bring fame to Achebe who is considered as the “Asiwaju” (Leader) of African literature, the “founding father of African fiction”, or again the “Eagle on Iroko”.
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Islam, Momtajul. "The Role of Native Weaknesses and Cultural Conflicts in Escalating Colonial Supremacy in the Igbo Society, as Perceived in Arrow of God by Chinua Achebe." International Linguistics Research 4, no. 2 (April 27, 2021): p19. http://dx.doi.org/10.30560/ilr.v4n2p19.

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The colonial invaders and their repressive means of governance in Africa were not the only reasons that could be solely held accountable for the fall of indigenous African society during the colonial invasion. Native weaknesses, socio-cultural conflicts and hegemony were equally responsible for the falling apart of native social setups when confronted with colonial alternatives. Native people had had their own covert religious and cultural limitations long before the colonizers entered their soil. The colonial powers cleverly used such inherent societal flaws of African people as excuses to impose European religion and traditions on them. Chinua Achebe does not blindly idealize native African traditions in his writings. He frequently narrates his doubts on flawed socio-cultural practices and moral dualities in the native society, too. This paper is an attempt to explore how innate weaknesses of native Igbo people, socio-cultural conflicts and domination in the native society have also made it easier for the colonial administration to prolong their supremacy in the Igbo land, as depicted in Arrow of God by Chinua Achebe. It also elaborates how Ezeulu, the chief priest of god Ulu, falls from dominance in his society because of his intent to execute personal desires which jeopardize his societal role in the Igbo land.
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Nnebedum, Chigozie. "Empirical Identity as Dimension of Development in Africa: With Special Reference to the Igbo Society of South-east of Nigeria." Mediterranean Journal of Social Sciences 9, no. 2 (March 1, 2018): 195–204. http://dx.doi.org/10.2478/mjss-2018-0039.

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Abstract Identity, as discussed in this paper, is seen as a phenomenon which is constantly changing under certain circumstances. From empirical point of view, the identity of man is influenced by the environment through experience and unconscious socialization; it is continually modified by the individual’s encounter with the world. The aim of this work is to analyse the intricacies involved in understanding the situation and mentality of the Igbos as far as identity is concerned and to determine how this hampers or helps in the development of the Igbo/African society. In this work ‘identity’ as a means of development with regard to the Igbo people of South-East Nigeria is treated. The work is methodically qualitative. It analyses literatures and different views on identity and tailors the discussion of development along the lines of hermeneutical approach to subjective experiences. The Igbos and Africans find themselves sometimes in the danger of a mixture of identity. This is the case with most of the Igbo people who are scattered all over the world and who are becoming more foreign in their trends and ways of life. Being unable to maintain a definite identity, one is lost in the politics of development. Those who still hang on to pure imitation of the western life are jeopardizing their autonomy and by extension, frustrating development of the African society. Rediscovering the Igbo/African Identity and putting it to the service of development in the African continent is the task of the Africans themselves.
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Nwauwa, A. O. "The Dating of the Aro Chiefdom: A Synthesis of Correlated Genealogies." History in Africa 17 (January 1990): 227–45. http://dx.doi.org/10.2307/3171814.

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Precolonial African historiography has been plagued by historical reconstructions which remain in the realm of legend because events are suspended in almost timeless relativity.Igbo history has not been adequately researched. Worse still, the little known about the people has not been dated. It might be suggested that the major reason which makes the study of the Igbo people unattractive to researchers has been the lack of a proper chronological structure. Igbo genealogies have not been collected. The often adduced reason has been that the Igbo did not evolve a centralized political system whereby authority revolved round an individual—king or chief—which would permit the collection of regnal lists. Regrettably, Nigerian historians appear to have ignored the methodology of dating kingless or chiefless societies developed and applied elsewhere such as in east Africa. In west African history generally, there has been an overdependence for dating on external sources in European languages or in Arabic, and combining these with the main regnal list of a kingdom. Even within kingdoms, genealogies of commoners and officials have rarely been collected or correlated with the regnal lists. Among the Igbo, the external sources are rare and the regnal lists few. Even the chiefdoms—Onitsha and Aboh, Oguta and Nri—were ignored for a long time after modern historiography had achieved major advances elsewhere. Arochukwu has been another neglected Igbo chiefdom. Most of these states with hereditary leadership were peripheral to the Igbo heartland. Nevertheless, they were important because of their interactions with the heartland and the possibility of dating interactive events from their genealogies.
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Majeed Kadhem, Suhaib. "Conflict between Tradition and Change in Chinua Achebe's postcolonial novel Things Fall Apart." Al-Adab Journal 1, no. 124 (September 15, 2018): 81–92. http://dx.doi.org/10.31973/aj.v1i124.115.

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In studying the history of Asian and African countries, the colonial period plays an important role in understanding their history, religion, tradition and culture. Things Fall Apart is an English novel by the Nigerian author Chinua Achebe, published in 1957, which shows the African culture, their religious and traditions through the Igbo society. This novel captures the colonial period and its effect on Igbo society. It is a response and a record of control of western colonialism on the traditional values of the African people. This paper treats the novel as a postcolonial text, by focusing on the clash between occupied and colonizers, the clash between tradition and change, and the clash between different cultures, The Europe Empire and the African natives
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van den Bersselaar, Dmitri. "Missionary Knowledge and the State in Colonial Nigeria: On How G. T. Basden became an Expert." History in Africa 33 (2006): 433–50. http://dx.doi.org/10.1353/hia.2006.0006.

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Between 1931 and 1937, the Anglican missionary G. T. Basden represented the Igbo people on the Nigerian Legislative Council. The Igbo had not elected Basden as their representative; he had been appointed by the colonial government. Basden's appointment seems remarkable. In 1923 the Legislative Council had been expanded to include seats for Unofficial Members, representing a number of Nigerian areas, with the expressed aim of increasing African representation on the Council. In selecting Basden the government went against their original intention that the representative of the Igbo area would be a Nigerian. However, the government decided that there was no “suitable” African candidate available, and that the appointment of a recognized European expert on the Igbo was an acceptable alternative. This choice throws light on a number of features of the Nigerian colonial state in 1930s, including the limitations of African representation and the definition of what would make a “suitable” African candidate.In this paper I am concerned with the question of how Basden became recognized as an expert by the colonial government and also, more generally, with the linkages between colonial administrations' knowledge requirements and missionary knowledge production. Missionary-produced knowledge occupied a central, but also somewhat awkward position in colonial society. On the one hand, colonial governments and missions shared a number of common assumptions and expectations about African peoples. On the other hand, there also existed tensions between missions and government, partly reflecting differing missionary and administrative priorities, which means that the missionary expert was not often recognized as such.
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Dissertations / Theses on the topic "Igbo (african people) – fiction"

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Chukwu, Christopher Nkemdi. "Igbo culture : implications for counseling Nigerian Igbo students in the United States /." View abstract, 1993. http://library.ctstateu.edu/ccsu%5Ftheses/1560.html.

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Thesis (M.S.) -- Central Connecticut State University, 1993.
Thesis advisor: Dr. Paul Tarasuk; Research supervisor: Dr. Rikke Wassenberg. "...in partial fulfillment of the requirements for the degree of Master of Science in Counseling Psychology." Includes bibliographical references (leaves 60-63).
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Anyanwụ, Chikwendụ P. K. "Adapting 'A man of the people' to stage : can stage adaptation successfully return Igbo literary fiction to the Igbo people?" Thesis, Middlesex University, 2010. http://eprints.mdx.ac.uk/7937/.

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With the death of the folk storytelling tradition in Igbo society, the hope of passing Igbo stories to future generations seems to lie with the novel and dramatic theatre. Unfortunately, in the past two to three decades, both the reading culture and theatre practice in Igbo land have seriously declined. The political situation, the economy, the non-practical approach to problem solving by the literary and cultural intellectuals, the ceaseless streaming of popular and trash cultures from the West through television into Igbo towns and villages, the rise of home movies with pseudo-voodoo stories, have all contributed to the demise of honest and purposeful storytelling in Igbo society. Confronted by a society on the threshold of losing its identity, I thought of a practical step I could take to address the situation through the dramatic adaptation of one Igbo novel, Chinua Achebe's A Man of the People. Adapting the novel to stage offered me two opportunities in one: to contribute not only towards the revival of literary appreciation, but also of theatre practice, which, as anthropologists like Victor Turner, have argued, belongs to popular culture. This task involved rewriting the novel into a drama script, producing it on stage in Igbo land and observing how it impacted on the audience and community. I chose to adapt A Man of the People because of its relevance to my understanding of the socio-political atmosphere in Igbo land and in Nigeria as a whole. In order to understand the context, and complete my adaptation, I examined and analysed the history of the Igbo people, culture and literature, the political atmosphere in Nigeria and the nature of African drama. Adaptations, according to Linda Hutcheon, are not simply repetitions. They rather 'affirm and reinforce basic cultural assumptions' (Hutcheon 2006: 176) while re-creating and re-interpreting an earlier story in the light of new realities. Ours is a society in need of its earlier stories for its continued existence as a people, and as a nation with shared values. My conclusion is that adaptation and dramatisation can have an important role to play in reviving and then, in maintaining the Igbo culture and improving literary appreciation among the people.
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Obiekezie, Matthew U. "The doctrine of the hypostatic union in the context of Igbo anthropology." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Ikebude, Chukwuemeka. "Identity in Igbo architecture Ekwuru, Obi, and the African Continental Bank building /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1250885407.

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Affam, Rafael Mbanefo. "Traditional healing of the sick in Igboland, Nigeria." Aachen : Shaker, 2002. http://catalog.hathitrust.org/api/volumes/oclc/52188514.html.

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Asomugha, Catherine. "Constructing an Igbo theology of the Eucharist toward a covenanted kinship /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Pruitt, Richard A. "The incultuartion of the Christian Gospel theory and theology with special reference to the Igbo of southeastern Nigeria /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5061.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on month day year) Includes bibliographical references.
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Obu-Anukam, Angela Ngozi. "The power of the silenced women, agency and conscientization in the Igbo church /." Chicago, IL : Catholic Theological Union at Chicago, 2007. http://dx.doi.org/10.2986/tren.033-0863.

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Steiner, Christina. "Translated people, translated texts : language and migration in some contemporary African fiction." Doctoral thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8100.

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Includes bibliographical references (leaves 209-215)
This thesis examines contemporary migration narratives by four African writers living in the diaspora and writing in English: Leila Aboulela and Jamal Mahjoub from the Sudan, now living in Scotland and Spain respectively and Abdulrazak Gurnah and Moyez G. Vassanji from Tanzania now residing in the UK and Canada. Focusing on how language operates in relation to both culture and identity, this study foregrounds the complexities of migration as cultural translation. Cultural translation is a concept which locates itself in postcolonial literary theory as well as translation studies. The manipulation of English in such a way as to signify translated experience is crucial in this regard. The thesis focuses on a particular angle on cultural translation for each writer under discussion: translation of Islam and the strategic use of nostalgia in Leila Aboulela's texts; translation and the production of scholarly knowledge in Jamal Mahjoub's novels; translation and storytelling in Abdulrazak Gurnah's fiction; and finally translation between the individual and old and new communities in Vassanji's work. The conclusion of the thesis brings all four writer's texts into conversation across these angles. What emerges from this discussion across the chapter boundaries is that cultural translation rests on ongoing complex processes of transformation determined by idiosyncratic factors like individual personality as well as social categories like nationality, race, class and gender. The thesis thus contributes to the understanding of migration as a common condition of the postcolonial world as well as offering a detailed look at particular travellers and their unique journeys.
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Malcolm-Woods, Rachel Matthews Donald Henry Dunbar Burton L. "Igbo talking signs in antebellum Virginia religion, ancestors, and the aesthetics of freedom /." Diss., UMK access, 2005.

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Thesis (Ph. D.)--Dept. of Art and Art History and Dept. of History. University of Missouri--Kansas City, 2005.
"A dissertation in art history and history." Advisors: Donald Matthews and Burton Dunbar. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed June 26, 2006. Includes bibliographical references (leaves 263-283). Online version of the print edition.
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Books on the topic "Igbo (african people) – fiction"

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Egboka, Boniface Chukwuka Ezeanyaoha. Ifeoma, a living legend: Fiction. Awka, Anambra State, Nigeria: FutureTech Publishers, 1996.

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Chinedum, Ugochukwu. An African king. Enugu, Nigeria: African Restorers Books, 2011.

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Añunobi, Chikodi. Nri warriors of peace. Bellevue, WA: Zenith Publishers, 2006.

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Agunwamba, J. C. I married an Osu. Enugu, Nigeria: Joen Publishers, 1997.

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Wert, William F. Van. Stool wives: A fiction of Africa. Kaneohe, HI: Plover Press, 1996.

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Nwakpa, Paul Samuel. The triumphant orphans: A book of folklore. Enugu, Nigeria: Delta Publications (Nigeria) Limited, 2007.

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Nnamani, G. C. The call of the chief priest. Uruowulu-Obosi, Nigeria: Pacific Publishers, 1999.

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Eke, Ndubuisi. Heroines and chameleons. Port Harcourt: Paragraphics, 2010.

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Chinua, Achebe. Things fall apart: An adapted classic. Upper Saddle River, N.J: Globe Fearon, 2000.

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Akankali, Justin. Folklore and traditional politics in an African society. Lagos: Malthouse Press, 2009.

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Book chapters on the topic "Igbo (african people) – fiction"

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Nnoli-Edozien, Ndidi. "Memories of Our Collective Future." In Transformation Literacy, 333–45. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93254-1_22.

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AbstractThis chapter explores the mindset humanity needs to develop in preparation for an emerging future, from an African perspective. The required human consciousness must be holistic and encompassing, bridging the gap between thought and action, linking the past to the present and the future, democratizing access to resources, eliminating waste and fostering regeneration. One opportunity in view is leveraging the power of emerging twenty-first-century technology, specifically blockchain-based decentralized financial (De-Fi) networks, because of their potential to build a global community where trust is once more a currency and where we can rely on humanity to do good for each other and for the planet. We need to design solutions and approaches that enable all persons, especially those marginalized in emerging economies, to find their voices and fulfil their aspirations. The author makes a strong case for combining past wisdom with contemporary know-how to create a new future that is more inclusive and equitable. Drawing on African traditional philosophy and practices, learning from Ubuntu and the Igbo people, she explores the balance between individual rights and communal values. The chapter also offers insights into the SevenPillars® framework that allows business interests, private and public, to thrive whilst safeguarding our natural ecosystem and upholding human dignity and equity.
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Dovey, Lindiwe, and Estrella Sendra. "Toward Decolonized Film Festival Worlds." In Rethinking Film Festivals in the Pandemic Era and After, 269–89. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_14.

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AbstractThis chapter is in part a manifesto and in part an engagement with the thinking and practice already re-shaping film festivals in this era of decolonization and Covid-19. We take as a starting point and analyze the provocative docu-fiction film titled Film Festival Film (dir. Perivi Katjavivi and Mpumelelo Mcata, 2019, South Africa) which raises myriad, difficult, and enduring questions about film festivals and contemporary film culture. Reading the provocations of this film alongside our own respective research into and work with film festivals and film curation (mostly in relation to African filmmaking), we then put ourselves into conversation with 22 film festival curators and filmmakers around the world who have shared their experiences with us, as well as with recent decolonial theorizing (by, e.g., Ndlovu-Gatsheni, Mignolo and Walsh). The chapter grapples with questions such as what does decolonization mean in relation to contemporary film culture? What would decolonized film festival worlds look like? And what have film practitioners learned from their work during the Covid-19 pandemic that might help us to collectively realize those worlds? In this way, we try to chart the significant work being done by many people to build more inclusive, sustainable, decolonized film cultures.
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Cataliotti, Robert H. "“Not Many People Ever Really Hear it”: Richard Wright, Ann Petry & James Baldwin." In The Music in African American Fiction, 118–56. Routledge, 2018. http://dx.doi.org/10.4324/9780429423864-8.

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Cataliotti, Robert H. "“There Must Be Some People Who Lived for Music”: Margaret Walker & William Melvin Kelley." In The Music in African American Fiction, 186–202. Routledge, 2018. http://dx.doi.org/10.4324/9780429423864-11.

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May, Brian. "Modernism in Chinua Achebe’s African Tetralogy." In Modernism, Postcolonialism, and Globalism, 33–54. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199980963.003.0002.

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Analyzing Chinua Achebe’s tetralogy of novels, this chapter shows how Achebe addresses one of the central issues of both modernism and postcolonialism: the organization and conceptualization of time. Things Fall Apart (1958) and No Longer at Ease (1960) present snapshot moments of arrested temporality that Achebe treats with the modernist techniques of imagism and epiphany. Taking a more pessimistic turn, Arrow of God (1964) grounds the handling of sequentiality not in Igbo ideas of cyclical change but in Spenglerian, Yeatsian, and Eliotic notions of apocalypse, in which endings do not mark new beginnings but a point of terminal cessation. Finally, Man of the People (1966) further modifies this version of time, replacing the cultural collapse of the previous novel with the more affirmative vision of community and village life found in Eliot’s “East Coker.” In sum, the chapter traces the tetralogy’s evolution of divergent and competing notions of time, especially as they relate to Igboland and more generally to postcolonialism.
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Puig, Steve. "‘Qui fait la France?’ New configurations of Frenchness in contemporary urban fiction." In Reimagining North African immigration, 17–30. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719099489.003.0002.

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This essay traces the change in focus from beur literature in the 1980s to urban literature in the 1990s onwards. Whereas beur literature showed characters torn between their original culture and their adopted culture, urban literature presents characters claiming and asserting their belonging to France and refusing to be confined to racist stereotypes. Relying on a collection of short stories entitled Chroniques d’une société annoncée published in 2005 by a group of writers named Qui Fait la France?, Puig shows how the short stories give fresh and different representations of people living in the banlieue.
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Purdon, James. "Mitchison, Decolonisation and African Modernity." In Naomi Mitchison, 135–48. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474494748.003.0010.

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From the late 1950s, Naomi Mitchison was a vocal critic of the Apartheid system in South Africa, and a consistent advocate of Black African self-government. During the 1960s, as British colonies in sub-Saharan Africa were gaining their independence, Mitchison spent much of her time in Botswana, as a guest of, and adviser to, Kgosi Linchwe II, the leader of the Kgatla people. This chapter describes Mitchison’s anti-colonial activism, her fiction set in Botswana and the wider region, and her developing understanding of decolonisation as a cultural and psychological, as well as a political, process.
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Nwokocha, Eziaku Atuama. "How Tight Is Your Wrap?" In Vodou en Vogue, 85–123. University of North Carolina PressChapel Hill, NC, 2023. http://dx.doi.org/10.5149/northcarolina/9781469674018.003.0004.

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Abstract This chapter examines the social tensions of race, gender, and sexuality in Manbo Maude’s contemporary Vodou temples. By centering the perceptions and experiences of Black people within Haitian Vodou, the chapter interrogates how for some Black folks, Vodou functions as a space of healing and community within the African Diaspora. Headwraps, dresses and sacred colored scarves function as a part of African Diasporic identity creation and evoke a vision of a common African past that participants draw on for their own sense of community. The author deploys a Black feminist ethnographic critique to consider how their Nigerian Igbo ancestry and femme identified personhood influences the performance of rituals such as headwrapping. This chapter also analyses the contentious issue of including White people in spaces that many Black practitioners view as a refuge from the anti-Black racism of the world beyond the temple. Race, gender, and sexuality have the capacity to rupture attempts at sartorial solidarity, affecting not only the cohesion of Manbo Maude's communities but also the shape of people's beliefs. These communal fissures continuously raise questions about who Vodou belongs to, who has a true connection to Black spirits, and what types of worship best serve the divine.
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9

Adams, Jade Broughton. "The ‘Chocolate Arabesques’ of Josephine Baker: Fitzgerald and Jazz Dance." In F. Scott Fitzgerald's Short Fiction, 58–84. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.003.0003.

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This chapter shows how Fitzgerald often associates modern dance with the primitive. Fitzgerald’s engagement with African American culture is complex, and though the appropriation of African American culture for profit is punished in certain stories, Fitzgerald’s engagement with black culture is elsewhere more challenging. This chapter explores how performative identity (that is to say, the deliberate, theatrical presentation of inner traits) functions at the level of both form and content in the story ‘Babylon Revisited’, using the appearance of the dancer Josephine Baker’s ‘chocolate arabesques’ as a platform from which to explore how people perform identity. Fitzgerald prizes authenticity as the key attribute of any artist, dancer, or writer. In the story, Baker is berated for an inauthentic performance, merely delivering her routine without improvisation. This chapter argues that this sense of inauthentic artistry informed Fitzgerald’s self-conception as a popular short storyist. In Baker, Fitzgerald presents an artist who has bridged the ‘high’ and popular arts: ballet and cabaret. Fitzgerald sets up jazz dance as formulaic by satirising blind adherence to rules and fashions, and this chapter offers a reading of these rules as a metaphor for the short story conventions within which Fitzgerald toiled as a commercial short storyist.
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10

Lagji, Amanda. "Projects and Promissory Notes: The Waiting Rooms of V. S. Naipaul and Nadine Gordimer." In Postcolonial Fiction and Colonial Time, 58–90. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474490207.003.0003.

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Chapter 2 continues the interrogation of waiting and colonial time regimes by pairing two novels with intertextual relationships to Heart of Darkness: V.S. Naipaul’s 1979 A Bend in the River and Nadine Gordimer’s 1981 July’s People. This chapter shows that these authors’ constructions of “waiting rooms of history” in the interior of Africa are designed to achieve very different ends. Naipaul is assessed for how he renders the eponymous bend in the river as a waiting room for Salim and other African citizens where, notwithstanding political independence, “not yet” will never become “now.” Gordimer’s novel presents a different view of July’s village as a waiting room, where the spatiotemporal experience of waiting disrupts Maureen’s relationship to time and its lived patterns. The temporal modality of waiting encourages Maureen’s reevaluation of herself in relation to others (her own family, as well as July’s); her final refusal to wait embraces the uncertainty of her position in the new dispensation to come.
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