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Journal articles on the topic 'Oral Tradition – Africa'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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1

Iwuji, H. O. M. "Librarianship and oral tradition in Africa." International Library Review 21, no. 2 (1989): 201–7. http://dx.doi.org/10.1016/0020-7837(89)90008-3.

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2

Iwuji, H. O. M. "Librarianship and oral tradition in Africa." International Library Review 22, no. 1 (1990): 53–59. http://dx.doi.org/10.1016/0020-7837(90)90039-i.

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3

Huber, Loreta, and Evelina Jonaitytė. "Oral Narrative Genres as Communicative Dialogic Resources and their Correlation to African Short Fiction." Respectus Philologicus, no. 37(42) (April 20, 2020): 137–46. http://dx.doi.org/10.15388/respectus.2020.37.42.45.

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Oral and written storytelling traditions in Africa developed at the same time and influenced each other in many ways. In the twentieth century, the relation between the deeply rooted oral tradition and literary traditions intensified.We aim to reveal literary analysis tools that help to trace ways how oral narrative genres found reflection in African short fiction under analysis. A case study is based on two short stories by women writers, The Rain Came by Grace Ogot and The Lovers by Bessie Head. Images and symbols both, in oral and written traditions in Africa, as well as the way they evolve
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4

Jones, Adam. "Some Reflections on the Oral Traditions of the Galinhas Country, Sierra Leone." History in Africa 12 (1985): 151–65. http://dx.doi.org/10.2307/3171718.

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Whenever historians of Africa write: “According to tradition…”, they evade the crucial question of what kind of oral tradition they are referring to. The assumption that oral tradition is something more or less of the same nature throughout Africa, or indeed the world, still permeates many studies on African history; and even those who have themselves collected oral material seldom pause to consider how significant this material is or how it compares with that available in other areas.The majority of studies of oral tradition have been written by people who worked with fairly formal traditions
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Oyewumi, Oyeronke. "Making History, Creating Gender: Some Methodological and Interpretive Questions in the Writing of Oyo Oral Traditions." History in Africa 25 (1998): 263–305. http://dx.doi.org/10.2307/3172190.

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Of all the things that were produced in Africa during the colonial period—cash crops, states, and tribes, to name a few—history and tradition are the least acknowledged as products of the colonial situation. This does not mean that Africans did not have history before the white man came. Rather, I am making distinctions among the following: firstly, history as lived experience; secondly, history as a record of lived experience which is coded in the oral traditions; and finally, the recently constituted written history. This last category is very much tied up with European engagements with Afri
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Rahner, C. "Community theatre and indigenous performance traditions: An introduction to Chicano theatre, with reference to parallel developments in South Africa." Literator 17, no. 3 (1996): 61–76. http://dx.doi.org/10.4102/lit.v17i3.622.

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This article will focus on the theme of community and on the forms stemming from oral literature and musical tradition in Chicano theatre, while drawing comparisons with similar developments in South Africa. I will argue that the re-appropriation of traditional modes and their integration into stage performance replaced the formerly “Eurocentric definition of theatre” with a more indigenous specificity, a development that has been observed in South Africa as well (Hauptfleisch, 1988:40). We can thus speak of a certain divergence from standard contemporary Western traditions in both the Chicano
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Schellnack-Kelly, Isabel. "The Role of Storytelling in Preserving Africa’s Spirit by Conserving the Continent’s Fauna and Flora." Mousaion: South African Journal of Information Studies 35, no. 2 (2018): 17–27. http://dx.doi.org/10.25159/2520-5293/1544.

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The importance of oral tradition, indigenous stories and the knowledge and wisdom contained therein are fundamental to undertake as many initiatives as possible to protect the continent’s fauna and flora from extinction. This article is a phenomenological qualitative study. It is based on an extensive content analysis of literature, oral histories, photographs and audiovisual footage concerning narratives and folklore relating to Africa’s fauna and flora. For the purposes of this article, the content sample focuses specifically on narratives related to the African elephant, black rhinocero
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8

Cinnamon, John M. "Fieldwork, Orality, Text: Ethnographic and Historical Fields of Knowledge in Colonial and Postcolonial Gabon." History in Africa 38 (2011): 47–77. http://dx.doi.org/10.1353/hia.2011.0010.

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I can claim no direct pedigree from African Studies at Wisconsin, but one of my own graduate school mentors, Robert Harms, benefitted from David Henige's and Jan Vansina's influence; all three have profoundly marked my own approaches to the historical anthropology of equatorial Africa. In this paper I draw on David Henige's illuminating and still relevant insights into the problem of “feedback,” in light of a key methodological preoccupation in my own discipline of anthropology – “fieldwork.” In particular I want to suggest how ethnographic fields are formed over time through a layering proces
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9

Afigbo, A. E. "Oral Tradition and the History of Segmentary Societies." History in Africa 12 (1985): 1–10. http://dx.doi.org/10.2307/3171708.

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The field of the methodology of oral tradition has become increasingly specialized and technical. This much is clear from even a casual acquaintance with publications in this area. The fact is that ever since the publication in 1961 of Jan Vansina's epoch-making book, Oral Tradition, the study of the methodology of oral tradition has become a minor academic industry among historians, psychohistorians and anthropologists. Different aspects of the problems posed by the use of this family of historical evidence--dating and chronology, reliability, methods of collection and preservation, technique
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10

van Dyck, Steven. "Sola Scriptura in Africa: Missions and the Reformation Literacy Tradition." Evangelical Quarterly 90, no. 1 (2019): 61–87. http://dx.doi.org/10.1163/27725472-09001004.

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This theoretical reflection addresses issues arising in the history of world Christianity, in particular regarding mission churches in Africa since the nineteenth century. The article first evaluates the development of oral, manuscript and print communication cultures in western culture, and their influence since the first century in the Church. Modernity could only develop in a print culture, creating the cultural environment for the Reformation. Sola Scriptura theology, as in Calvin and Luther, considered the written Word of God essential for the Church’s life. The role of literacy throughou
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Le Roux, Magdel. "In Search of the Origin of the Merchants of Sena." Religion and Theology 10, no. 1 (2003): 24–50. http://dx.doi.org/10.1163/157430103x00150.

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AbstractThe oldest, recorded oral tradition ofthe Lemba of southern Africa, individually also known as mušavi (buyer/trader), nyakuwana (the man who finds the things which are bought), or mulungu ('white man' or 'the man from the North'), is that their Israelite ancestors came to Africa by boat as traders from a remote place called Sena on the 'other side' of the 'Phusela'. Some say they came through Egypt. From anthropological and archaeological evidence it has become clear that at a very early stage continuing influences between the Semitic world (Phoenician, Hebrew and Sabaean) and the east
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Zavjalova, Olga Yu. "Genres of the Oral Tradition of the Manden Peoples (West Africa)." Vestnik of Saint Petersburg University. Asian and African Studies 11, no. 4 (2019): 529–41. http://dx.doi.org/10.21638/spbu13.2019.408.

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Bala, Mustapha Ruma. "African Literature and Orality: A Reading of Ngugi wa Thiango’s Wizard of the Crow (2007)." Journal of English Language and Literature 3, no. 1 (2015): 196–204. http://dx.doi.org/10.17722/jell.v3i1.39.

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This paper explores the relationship between orality and written literature in Africa. The paper interrogates the transformation of oral narrative into written texts and vice-versa. The paper specifically focuses on how Ngugi appropriates oral-narrative techniques commonly employed in African traditional societies in shaping the narration of events in this monumental novel. In this regard, the paper focuses on how the oral tradition in Africa influences the plot structure of Wizard of the Crow. The paper also looks at how Ngugi uses multiple narrators some of whom are observers as well as part
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Eskell-Blokland, Linda Marie. "Listening to Oral Traditions in a Re-searching for Praxis in a Non-western Context." Journal of Health Management 11, no. 2 (2009): 355–73. http://dx.doi.org/10.1177/097206340901100206.

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The relevance and appropriateness of western oriented psychology in practice and research is a concern in developing and non-western contexts. It is difficult to address this problem from any alternative position other than the western academic frame if one is situated in a tertiary educational institution in South Africa. In acknowledgement, this article explores the academic context including some local voices from the field in a search for possible congruent research methodologies, which may echo knowledge systems of the traditions of the local context in South Africa and its broader contex
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Stapleton, Tim. "Kingdoms and Chiefdoms of Southeastern Africa: Oral Tradition and History, 1400‒1830." Canadian Journal of African Studies / Revue canadienne des études africaines 51, no. 1 (2017): 173–74. http://dx.doi.org/10.1080/00083968.2017.1298218.

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Khokholkova, Nadezhda E. "Voices of Africa: Podcastas a New Form of Oral History." Observatory of Culture 18, no. 1 (2021): 22–31. http://dx.doi.org/10.25281/2072-3156-2021-18-1-22-31.

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At the beginning of the 21st century, the digital revolution has become global. Digitalization has overcome the boundaries of the field of information technology and began to provoke the metamorphosis of sociocultural reality. Gradually, society itself and, as a consequence, social sciences are changing. African studies, despite the fact that digital transformations in the region have been slow, is no exception. New plots and sources started to appear; new practices and methods began to develop and apply. This article is devoted to the evolution of the oral tradition of the Africans and repres
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Doumbia, Kadidia Viviane. "Globalization and Dance in West Africa." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 86–89. http://dx.doi.org/10.1017/s2049125500000546.

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Dance in most African countries, especially in West Africa, is the responsibility of a particular class of the society. The main issue for performers or choreographers trained in modern standards is the transfer of information to dance professionals who are illiterate, approximately 75 percent of noneducated people on the continent. The majority are women. It is an oral tradition too, so diversity, globalization, and feminism mean nothing to them. The sociopolitical situation of the entire continent is a good example of the consequences of colonization that, besides being a historical big mist
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18

Hamilton, C. A. "Ideology and Oral Traditions: Listening to the Voices ‘From Below’." History in Africa 14 (1987): 67–86. http://dx.doi.org/10.2307/3171833.

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From the time of the translation into English of Jan Vansina's Oral Tradition in 1965, the use of oral traditions as historical sources has become an increasingly technical exercise. Historians of the non-literate societies of Africa in particular have been alterted to, among others, such things as “floating gaps” and “hour-glass effects” in traditions, elongated and collapsed genealogies, the peculiarities and fallibility of human memory, the overlaying of oral traditions with successive ruling group histories, and the functioning of oral traditions as cultural charters.Some scholars consider
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Turner, N. S. "The mnemonic oral tradition with special reference to the management and expression of conflict in Zulu-speaking communities." Literator 28, no. 2 (2007): 75–100. http://dx.doi.org/10.4102/lit.v28i2.160.

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The identification of features of oral studies and especially the issue of conflict and their terms of reference, have recently become a topic of increasing interest among researchers in Southern Africa. The National Research Foundation is nowadays encouraging academics to focus on the area of indigenous knowledge systems. Included in that focus area is the recommendation that research should be done on the impact that indigenous knowledge has on lifestyles and the ways in which societies operate. The study of ways in which specific societies articulate issues of conflict is inextricably linke
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Vajić, Nataša. "The Trickster’s Transformation – from Africa to America." European Journal of Social Sciences Education and Research 10, no. 1 (2017): 133. http://dx.doi.org/10.26417/ejser.v10i1.p133-137.

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One of the most favorite characters in many African myths and folk tales is definitely a trickster. As a part of the African cultural heritage, the trickster has an important place in the cultures of many African nations. He is an entertainer, teacher, judge and a sage. Many comic aspects of life are brought together through the trickster, as well as serious social processes. He rewards and punishes. He is a deity and an ordinary man, if not an animal. During the Middle Passage Era he goes along with his suffering people to the New World. New circumstances require him to change and assume new
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21

Jansen, Jan. "Masking Sunjata: A Hermeneutical Critique." History in Africa 27 (January 2000): 131–41. http://dx.doi.org/10.2307/3172110.

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Among the rich legacy of African oral traditions, the Sunjata epic is still one of the most complex phenonema, because it undoubtedly goes back to the times of Ibn Battuta, because of the limited variety between the available text editions, and because of its present-day popularity in sub-Saharan West Africa among people of all kinds of social background. In scholarly discussion, the epic has challenged many academics since Delafosse used the Sunjata epic as evidence for his reconstruction of the Mali empire as a thirteenth-century vast centralized polity. Although his views have been criticiz
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Mdlalose, Nomsa. "STORYTELLING AS A METHOD FOR ACQUIRING MATHEMATICAL UNDERSTANDING AND SKILL." Oral History Journal of South Africa 3, no. 1 (2016): 3–14. http://dx.doi.org/10.25159/2309-5792/181.

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According to historical accounts of old Africa, mathematics got divorced from the heritage arena. It was subsequently perceived incongruent with locally produced knowledge. Zaslavsky (1999) affirms that the manner in which Africa is portrayed in reference to the history of mathematics and the history of numbers, one would conclude that Africans barely knew how to count. Notwithstanding this, storytelling as an aspect of African indigenous knowledge systems and of a genre of oral tradition constitutes various socio-cosmic codes. Narrative being a social phenomenon and rhythm being symbolic to i
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23

Scheub, Harold. "A Collection of Stories and Its Preservation in the Digital Age." History in Africa 34 (2007): 447–51. http://dx.doi.org/10.1353/hia.2007.0017.

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There is never an end to stories.“The art of composing oral narratives,” said Nongenile Masithathu Zenani, a Xhosa storyteller,is something that was undertaken by the first people, long ago, during the time of the ancestors. When those of us in my generation awakened to earliest consciousness, we were born into a tradition that was already flourishing. Narratives were being performed by adults in a tradition that had been established long before we were born. And when we were born, those narratives were constructed for us by old people, who argued that the stories had initially been created in
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Doortmont, Michel R., John H. Hanson, Jan Jansen, and Dmitri van den Bersselaar. "Literacy's Feedback on Historical Analysis Revisited: Papers in Honor of David Henige." History in Africa 38 (2011): 1–6. http://dx.doi.org/10.1353/hia.2011.0017.

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During the course of a long and fruitful career as an historian and librarian, David Henige has made major contributions to the development of the field of African history, as well as to the historical profession in general. His insistence that historians reflect carefully on how they collect, sample and analyze their data, and the lucid way in which he has written about the historian's craft, has not only helped to remind us historians of important methodological concerns, it has also inspired us to engage with methodology as an exciting topic in its own right. One major theme in his work has
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Stapleton, Timothy J. "Oral Evidence in a Pseudo-Ethnicity: The Fingo Debate." History in Africa 22 (January 1995): 359–68. http://dx.doi.org/10.2307/3171922.

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There is a disturbing trend emerging in South African history. Unquestioning acceptance of African oral tradition threatens to become a requirement of politically correct scholarship. The African voice knows all. Julian Cobbing has been sharply criticized for ignoring oral evidence in his revision of early nineteenth-century South African history. Cobbing claims that African migration and state formation in the 1820s was caused by the illegal activities of colonial slave raiders who covered up their operations by claiming that the Zulu kingdom under Shaka had laid waste to the interior of sout
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Toulou, Simon. "Teaching Oral Tradition: What Type of Professional Training for the Mande Bards?" Swiss Journal of Educational Research 30, no. 2 (2008): 325–48. http://dx.doi.org/10.24452/sjer.30.2.4793.

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This article deals with education to oral tradition in West Africa. Its author analyses the training of Mande bards or griots in a small village – kela (in Mali) – through a didactic point of view. The general organisation of that village reveals two types of training which are complementary. The first one is embedded to everyday life, it provides what the author refers to as a type of socio-general training which covers some basic cultural topics emerging from social interaction with elders. The second one is clearly distinct from everyday life situations. Unlike the first one, it is planned
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JONES, GEOFFREY, and RACHAEL COMUNALE. "Oral History and the Business History of Emerging Markets." Enterprise & Society 20, no. 1 (2019): 19–32. http://dx.doi.org/10.1017/eso.2018.109.

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This article highlights the benefits that rigorous use of oral history can offer to research on the contemporary business history of emerging markets. Oral history can help fill some of the major information voids arising from the absence of a strong tradition of creating and making accessible corporate archives in most countries in Africa, Asia, and Latin America. It also permits a level of nuance that is hard to obtain even if written archives are accessible. Oral histories provide insights into why events did not occur, and why companies have chosen certain industries over others. Oral hist
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Drønen, Tomas Sundnes. "Anthropological Historical Research in Africa: How Do We Ask?" History in Africa 33 (2006): 137–53. http://dx.doi.org/10.1353/hia.2006.0011.

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The appeal of history to us all is in the last analysis poetic. But the poetry of history does not consist of imagination roaming at-large, but of imagination pursuing the fact and fastening upon it. That which compels the historian to “scorn delights and live laborious days” is the ardour of his own curiosity to know what really happened long ago in that land of mystery which we call the past.This paper is about qualitative research methods, and thus more about hard labor than about poetry and imagination. But to those scholars to whom the above citation gives meaning there is a clear connect
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Riach, Graham K. "“Concrete fragments”: An interview with Henrietta Rose-Innes." Journal of Commonwealth Literature 55, no. 1 (2018): 111–20. http://dx.doi.org/10.1177/0021989418777021.

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South Africa has a long and rich tradition of short story writing, stretching from the early oral-style tale (MacKenzie, 1999), through the writing of the “fabulous fifties” (Driver, 2012; R. Gaylard, 2008), to the most recent post-apartheid texts. In this interview, Henrietta Rose-Innes describes her practice as a short story writer, noting how it differs from that of writing novels or poetry. For Rose-Innes, the short story offers a way to capture her view of the world; that is, in sudden, intense moments, rather than in wholly narrative terms. Combining a number of short stories into a coll
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Kodesh, Neil. "History from the Healer's Shrine: Genre, Historical Imagination, and Early Ganda History." Comparative Studies in Society and History 49, no. 3 (2007): 527–52. http://dx.doi.org/10.1017/s0010417507000618.

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Recent interpretations of oral histories in Africa have been based increasingly on the premise that each teller creates a unique oral text. Oral sources, according to this new formulation, should not be “flattened by transcription,” with individual voices operating interchangeably. Rather, these sources should be heard with all of the personal, subjective, ambiguous, and contradictory inflections with which they circulate in practice. This emphasis on multiplicity, variability, and subjectivity represents a notable departure from earlier approaches to oral history that privileged “tradition” a
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Landman, Christina. "Telling Sacred Stories Eersterust and the Forced Removals of the 1960S." Religion and Theology 6, no. 3 (1999): 415–27. http://dx.doi.org/10.1163/157430199x00254.

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AbstractThe Truth and Reconciliation Commission (TRC) has introduced a process in South Africa in which healing became possible through storytelling. The Research Institute for Theology and Religion (University of South Africa) has taken up the challenge of extending this process to people who, for a variety of reasons, did not have the chance to tell their stories to this commission. This introduces a new era in oral history research in South Africa in which healing, that is discontinuity, and not truth or the establishment of a continuous tradition, is the aim of research on and through stor
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Nammi, Srividya. "Universal Vision in the Fiction of Ben Okri." SMART MOVES JOURNAL IJELLH 8, no. 11 (2020): 135–51. http://dx.doi.org/10.24113/ijellh.v8i11.10841.

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Okri’s fiction is a mix of fantasy, realism and oral tradition of Africa. Though the trilogy nearly covers some fourteen hundred odd pages, it doesn’t have a proper beginning or end. Okri’s view of an unnamedAfrican ghetto, which is going to get independence, is presented in these novels. He is not giving solutions to the existing problems , he is simply presenting the true nature of an African state in an elusive manner. He narrates The Famished Road through the experiences of an ‘abiku’, Azaro, a seven year old child. He uses Azaro to narrate the chaotic state of affairs in an African state
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Gavristova, Tatiana M. "Nigeria as a country of stories." Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 15, no. 2 (2021): 152. http://dx.doi.org/10.18255/1996-5648-2021-2-152-163.

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The article is dedicated to the phenomenon of storytelling and its evolution in the context of globalization and digitalization. The choice of Nigeria as an object of study is not accidental. The oral tradition in Nigeria has developed dynamically over the centuries. Nigerian literature is considered to be a successor of the traditions of world classics. It was the writers - the «children of Herodotus» - who assumed the function of recording and relaying stories that, being biased, led to the destruction of a number of stereotypes regarding Africa and Africans. The traditions of storytelling a
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Lamphear, John. "The People of the Grey Bull: the Origin and Expansion of the Turkana." Journal of African History 29, no. 1 (1988): 27–39. http://dx.doi.org/10.1017/s0021853700035970.

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While archaeology and linguistics provide an important basis for the reconstruction of the early history of those parts of eastern Africa inhabited by pastoral societies, oral traditions also can make a valuable contribution. In this paper an examination of the traditions of the Turkana of north-western Kenya reveals an often remarkably sophisticated rendering of complex processes of origin and migration. Moreover, those traditions also embody insights into basic factors concerning the development and spread of pastoralism in East Africa that the methodologies of other disciplines have only re
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Ojaide, Tanure, and Enajite Ojaruega. "Tradition and subjectivities: Warri-related comedians and their art." Tydskrif vir Letterkunde 57, no. 2 (2020): 81–91. http://dx.doi.org/10.17159/tl.v57i2.8321.

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By some coincidence, many Nigerian stand-up comedians were born, raised, live in, or are associated with Warri and its environs. By Warri, as understood in the area, we mean Warri and its surroundings and, to a large extent, what is called the ‘core Delta’ of Nigeria’s Delta State. The comedians include Gordons, I Go Dye, AY and Real Warri Pikin. We investigate what is possibly responsible for the natural talent of these comedians. We relate the success of these comedians to the notion of Warri as ‘not coming last’, the history of the city of many ethnicities, boma boys, the blues nature of su
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Vaněk, Miroslav. "Czeska oral history w perspektywie globalnej. Podobieństwa i różnice." Wrocławski Rocznik Historii Mówionej 3 (October 30, 2013): 161–73. http://dx.doi.org/10.26774/wrhm.47.

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The article aims to highlight the specific route of Czech oral history in comparison with developed countries, where oral history has been an age-old tradition. Czech oral history, same as oral history in other so called post-communist countries, did not experience that with oral history in 1960s and 1970s, oral history was totally unknown in the then Czechoslovakia (as well as in other countries of the so called socialist block). In the Czech Republic, oral history was used in the mid-1990s for the first time; but it took much more time before it stopped being ignored and criticized. Boom of
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Vansina, Jan. "Is a Journal of Method Still Necessary?" History in Africa 36 (2009): 421–38. http://dx.doi.org/10.1353/hia.2010.0000.

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Thirty-four years ago David Henige launched History in Africa (hereafter HA) at a time when scholars often cut corners in their rush to construct a history of Africa, and disregarded rules of evidence, thereby running the risk that many of their reconstructions would prove to be unsound. The question was not that these scholars were wholly indifferent to methodology, but that the precolonial history of the continent was the cynosure of the field at the time, and hence that all eyes were turned towards the use of oral sources to overcome the perceived scarcity of written sources for that period
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Kruger, Marie. "The Relationship between Theatre and Ritual in the Sogo bò of the Bamana from Mali." New Theatre Quarterly 25, no. 3 (2009): 233–40. http://dx.doi.org/10.1017/s0266464x09000414.

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The Sogo bò, primarily an animal masquerade, can be distinguished from Western theatre through its use of a fluid space with shifting boundaries between spectator and performer. An oral tradition dictates the characterization, scenario, and content. The resemblance to ritual can be found in structural elements such as its repetitive nature and the use of non-realistic performance objects and motions. As in ritual, there is a clear sense of order, an evocative presentational style, and a strong collective dimension. The functional resemblance lies in the complex metaphorical expression through
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Fergus, Claudius. "Negotiating Time, Space, and Spirit: A Case Study of Oral Tradition and the Construction of Lineage Identity in West Africa." Research in African Literatures 40, no. 1 (2009): 74–85. http://dx.doi.org/10.2979/ral.2009.40.1.74.

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Frère, Marie-Soleil. "Le Journaliste et le Griot. Les Traces de L’oralite dans la Presse Ecrite Africaine." Afrika Focus 15, no. 1-2 (1999): 13–47. http://dx.doi.org/10.1163/2031356x-0150102003.

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The Journalist and the Griot. Tracing the Oral Tradition in the African Press This paper will show the similarities between the journalist's role and narrative style and those of the griot1, a key player the traditional exercise of power. The new private press appeared in French-speaking Africa as a part of the democratic process at the beginning of the 1990’s, in the context of politic liberalization (multipartism, institutional renewal) and in the flow of a new type of political speech that allows contradictions, critiques and debates. The journalist, that had mostly been the mouthpiece of t
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Zavyalova, Olga Yu. "Tradition and Literature (Culture of Laughter of Mali and Guinea)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 150. http://dx.doi.org/10.31857/s086919080016046-7.

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This article continues the topic of the previous one [Zavyalova, Kutsenkov, 2020]. It reveals how great is the role of humor in the cultures of West Africa, where it manifests itself in various spheres of life of its peoples. The Kɔ̀tɛba Folk Theater in Mali and Guinea is another traditional aspect of humor based on satire. The secret society of Kɔ̀rɛduga “jesters” is characteristic of the traditional cultures of Manden. The Dogon have guardians of brussa, alamonyou, who play the role of clowns during the release of masks, and female jesters yayeré, who are wives of the inhabitants of a given
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42

Knittelfelder, Elisabeth. "The “Ordinary” Cruelty and the Theatre as Witness in Four South African Plays." Journal of Contemporary Drama in English 8, no. 1 (2020): 160–76. http://dx.doi.org/10.1515/jcde-2020-0012.

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AbstractThis essay looks at how four contemporary South African plays use performance to render, address, and acknowledge personal and national trauma. By staging acts of cruelty that happen as “ordinary” experience, as perpetual pain, or as representation of life-in-crisis, these plays not only question and complement the national narrative by telling stories that have not found a stage or a listener before, but they also inform and speak to topical societal issues in South Africa such as that of apathy to violence and the question of complicity. Yael Farber and Lara Foot employ a distinctly
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43

Fursova, E. N. "On the Issue of the Berber Written Tradition." Outlines of global transformations: politics, economics, law 13, no. 3 (2020): 232–48. http://dx.doi.org/10.23932/2542-0240-2020-13-3-13.

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The article is devoted to the study of the linguistic tradition of the Berbers, who are the indigenous people of North Africa. The Berbers have maintained a rich tradition of spoken language. At the turn of the 20th ‑21st centuries, against the backdrop of the intensification of the movement for self‑determination, their cultural and linguistic rights, the Berbers launched a large‑scale activity aimed at restoring the national written language. The author suggested that the need to develop standardized writing was partly due to the desire of the Berbers to consolidate the official status of th
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Depaepe, Marc, and Annette Lembagusala Kikumbi. "Educating girls in Congo: An unsolved pedagogical paradox since colonial times?" Policy Futures in Education 16, no. 8 (2018): 936–52. http://dx.doi.org/10.1177/1478210318767450.

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Generally speaking, colonial education in Congo did not engender a very great widening of consciousness among the local population. Mostly, it resulted in inevitable submission through discipline and order. This was particularly the case for girls, for which fewer initiatives were taken than for boys. Moreover, gender stereotypes from the ‘mother’ country clearly dominated the evolution of female education in Congo. At best girls were trained for care-taking professions. After independence, some Congolese leaders, like Mulele (the first Minister of Education of the Democratic Republic of Congo
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Lebaka, Morakeng Edward Kenneth. "Modes of Teaching and Learning of Indigenous Music Using Methods and Techniques Predicated on Traditional Music Education Practice: The Case of Bapedi Music Tradition." European Journal of Education 2, no. 1 (2019): 62. http://dx.doi.org/10.26417/ejed-2019.v2i1-55.

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This paper takes a look at music education in Bapedi society in Sekhukhune district, Limpopo Province in South Africa as the transmission of musico-cultural manifestations from one generation to the other. The aim is to investigate the modes of transmission of indigenous Bapedi music. Music teaching and learning in Bapedi society is an integral part of cultural and religious life, and is rich in historical and philosophical issues. Traditional music knowledge system produces a better result to the teaching and learning of indigenous music in Bapedi culture. The research question of interest th
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Förster, Larissa, Dag Henrichsen, Holger Stoecker, and Hans Axasi╪Eichab. "Re-individualising human remains from Namibia." Human Remains and Violence: An Interdisciplinary Journal 4, no. 2 (2018): 45–66. http://dx.doi.org/10.7227/hrv.4.2.4.

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In 1885, the Berlin pathologist Rudolf Virchow presented three human skeletons from the colony of German South West Africa to the Berlin Society for Anthropology, Ethnology and Prehistory. The remains had been looted from a grave by a young German scientist, Waldemar Belck, who was a member of the second Lüderitz expedition and took part in the occupation of colonial territory. In an attempt to re-individualise and re-humanise these human remains, which were anonymised in the course of their appropriation by Western science, the authors consult not only the colonial archive, but also contempor
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Beissinger, Margaret H., Michael Branch, and Celia Hawkesworth. "The Uses of Tradition: A Comparative Enquiry into the Nature, Uses and Functions of Oral Poetry in the Balkans, the Baltic, and Africa." Slavic and East European Journal 40, no. 4 (1996): 745. http://dx.doi.org/10.2307/310110.

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Distefano, John A. "Hunters or Hunted? Towards a History of the Okiek of Kenya." History in Africa 17 (January 1990): 41–57. http://dx.doi.org/10.2307/3171805.

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In the historiography of east Africa, hunter-gatherers have been given occasional mention almost since the beginning of European contacts with the interior. Early European travelers, hunters, and colonial administrators all took note of the ubiquitous “Dorobo,” as these hunters have come to be known in the literature. Furthermore, oral tradition collections from among east Africa's food-producing populations generally recall an earlier hunter-gatherer community who are said to have “disappeared,” “gone underground,” or were “driven away.”Recent scholarship has attempted to look at these hunter
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Banshchikova, Anastasia, and Oxana Ivanchenko. "Memory about the Arab Slave Trade in Modern-Day Tanzania: Between Family Trauma and State-Planted Tolerance." Antropologicheskij forum 16, no. 44 (2020): 83–113. http://dx.doi.org/10.31250/1815-8870-2020-16-44-83-113.

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The article discusses the results of field research conducted in Tanzania from August 24 to September 14, 2018, which focused on the historical memory of the Arab slave trade in East Africa and the Indian Ocean in the 19th century, as well as its influence on the interethnic relations in the country today. Structured and nonstructured interviews (mostly in-depth) were conducted in Dar es Salaam, Bagamoyo and Zanzibar. In general, opinions were almost equally divided: half of the respondents were convinced that the relations were good overall, while the other half believed that there are some t
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Pikirayi, Innocent. "Ingombe Ilede and the demise of Great Zimbabwe." Antiquity 91, no. 358 (2017): 1085–86. http://dx.doi.org/10.15184/aqy.2017.95.

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Although new research suggests multi-directional trajectories in the development of the Zimbabwe Tradition (see Chirikure et al. 2016), regional population shifts need not be discounted, as some of these generated states (e.g. Vigneswaran & Quirk 2015). Oral-historical data from northern Zimbabwe counters persistent but often misleading views of pre-colonial states in south-central Africa as exercising power over static and stationary populations (Pikirayi 1993). Rather, human mobility shaped, among other things, the Zimbabwe Culture's spatial features, its strategies for accumulating powe
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