Relevant bibliographies by topics / West African poetry

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

Academic literature on the topic 'West African poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2024

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Journal articles on the topic "West African poetry"

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

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Ogunnaike, Oludamini. "The Presence of Poetry, the Poetry of Presence." Journal of Sufi Studies 5, no. 1 (May 23, 2016): 58–97. http://dx.doi.org/10.1163/22105956-12341283.

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The composition and performance of Arabic Sufi poetry is the most characteristic artistic tradition of West African Sufi communities, and yet this tradition has yet to receive the scholarly attention it deserves. In this article, I sketch an outline of a theory of Sufi poetics, and then apply this theory to interpret a performance of a popular Arabic poem of the Senegalese Shaykh Ibrahim Niasse (d. 1975), founder of the most popular branch of the Tijāniyya in West Africa.
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Waters, Harold A., and Robert Fraser. "West African Poetry. A Critical History." Modern Language Studies 18, no. 3 (1988): 86. http://dx.doi.org/10.2307/3194972.

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King, Bruce, and Robert Fraser. "West African Poetry: A Critical History." World Literature Today 61, no. 3 (1987): 480. http://dx.doi.org/10.2307/40143481.

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Brigaglia, Andrea. "Sufi Poetry in Twentieth-Century Nigeria." Journal of Sufi Studies 6, no. 2 (January 30, 2017): 190–232. http://dx.doi.org/10.1163/22105956-12341302.

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Abstract This article presents the translation and analysis of two poems (the first in Arabic, the second in Hausa) authored by one of the most famous twentieth-century Islamic scholars and Tijānī Sufis of Kano (Nigeria), Abū Bakr al-ʿAtīq b. Khiḍr (1909–74). As examples of two genres of Sufi poetry that are rather unusual in West Africa (the khamriyya or wine ode and the ghazal or love ode), these poems are important literary and religious documents. From the literary point of view, they are vivid testimonies of the vibrancy of the Sufi qaṣīda tradition in West Africa, and of the capacity of local authors to move across its various genres. From the religious point of view, they show the degree to which the West African Sufis mastered the Sufi tradition, both as a set of spiritual practices and techniques and as a set of linguistic tools to speak of the inner.
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Opoku-Agyemang, Kwabena. "“Coat and Uncoat!”: Satire and socio-political commentary in My Book of #GHCoats." Legon Journal of the Humanities 34, no. 2 (December 11, 2023): 1–23. http://dx.doi.org/10.4314/ljh.v34i2.1.

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Research related to creative expression has examined the form and nature of satire in both oral and print poetry in West Africa but is yet to adequately consider digital poetry. This essay examines Nana Awere Damoah’s My Book of #GHCoats, arguably the first example of African conceptual poetry. A collation of humorous fictional quotes by Ghanaian Facebook users, #GHCoats allows for analysis the context of socio-political satire. In exploring the presence and utility of satire in #GHCoats, this essay analyzes the features of conceptual poetry as used via social media to present digital poetry as a developing force of creative expression.
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Idrees Kankawi, Uthman. "Prophetic Panegyrics in West Africa." Hebron University Research Journal (HURJ): B- (Humanities) 18, no. 2 (December 1, 2023): 91–118. http://dx.doi.org/10.60138/18220234.

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Prophetic Panegyric is a widely appreciated genre of Arabic poetry both، ancient and modern era in West Africa. The great majority of African poets dwelt into it، since fourteenth century AD، started by Ibrahim Al-Sahili، during the Caliphate of the King of the Mali’ Islamic Kingdom. Indeed، their devotion to Sufism was one of the strongest factors that influenced it، either in collection or poem. This research titled “Prophetic Panegyrics in West Africa” aimed at justifying the literary existence of the art of the Mad-h Nabawiyy by the West African poets and its analytical literary study. The personality of the Noble Prophet has received great attention and concern of those poets since the emergence of Islam in this country in an emotional glow and abundance. The research is divided into five sections. The research adopted the descriptive analytical method to address the subject matter.
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MAİGA-, Mohamadou Aboubacar. "THE PHENOMENON OF NOSTALGIA IN AFRICAN ARAB POETRY (WEST AFRICA EXAMPLE)." Kesit Akademi 26, no. 26 (2021): 49–69. http://dx.doi.org/10.29228/kesit.49543.

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Thulla, Philip Foday Yamba, and Ibrahim Mustapha Fofanah. "Ideology in Thompson’s, Kailey’s, and Robin-Coker’s collections of poems: A psychoanalytical exploration." Journal of Research on English and Language Learning (J-REaLL) 5, no. 1 (December 30, 2023): 24–35. http://dx.doi.org/10.33474/j-reall.v5i1.20586.

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This study employed psychoanalytic theory to delve into the ways Sierra Leonean poets Celia Eva Beatrice Thompson, Princess Mildred Kailey, and Kayode Adesimi Robin-Coker explored themes of despair, lust, and loss in their poetry. Addressing a notable gap in literary criticism, especially regarding Sierra Leonean authors, the research sought to raise the international stature of African writers and support students facing challenges with poetry in West African public exams. Employing psychoanalytic principles, the study uncovered deeper meanings behind the unconscious drives and emotions in these poets' works. It involved analyzing the occurrence of themes, detecting psychoanalytically significant lines and phrases, and identifying central themes and literary techniques used to express complex emotions. The analysis, which combined thematic and literary analysis, focused on the language, themes, and use of figurative language, diction, and other poetic devices in Thompson's 23, Kailey's 41, and Robin-Coker's 20 poems. This approach highlighted their distinct ways of depicting despair, lust, and loss. By integrating thematic analysis, the study offered a more profound comprehension of each poet's style. Ultimately, this psychoanalytic exploration aimed to enhance critical interpretation skills and helped in understanding the deeper psychological aspects of Sierra Leonean and other African poetry.
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Frishkopf, Michael. "West African Polyrhythm: culture, theory, and representation." SHS Web of Conferences 102 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202110205001.

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In this paper I explicate polyrhythm in the context of traditional West African music, framing it within a more general theory of polyrhythm and polymeter, then compare three approaches for the visual representation of both. In contrast to their analytical separation in Western theory and practice, traditional West African music features integral connections among all the expressive arts (music, poetry, dance, and drama), and the unity of rhythm and melody (what Nzewi calls “melo-rhythm”). Focusing on the Ewe people of south-eastern Ghana, I introduce the multi-art performance type called Agbekor, highlighting its poly-melo-rhythms, and representing them in three notational systems: the well-known but culturally biased Western notation; a more neutral tabular notation, widely used in ethnomusicology but more limited in its representation of structure; and a context-free recursive grammar of my own devising, which concisely summarizes structure, at the possible cost of readability. Examples are presented, and the strengths and drawbacks of each system are assessed. While undoubtedly useful, visual representations cannot replace audio-visual recordings, much less the experience of participation in a live performance.
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Dissertations / Theses on the topic "West African poetry"

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Eldridge, Jr Reginald. "Shifting Blackness: How the Arts Revolutionize Black Identity in the Postmodern West." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3087.

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The contemporary experiences of racially marginalized people in the West are affected deeply by the hegemonic capitalist Orthodox cultural codes, or episteme, in which blackness operates as the symbol of Chaos. As it relates to people of African descent, these affects are marked by a denial of the black person's full status as an unproblematic subject, by ontological voids arising from the practice of enslavement over the past centuries, and by problems of representation within the West, where examples and points of reference for black identity are always tied up with conflicting interests. Utilizing Sylvia Wynter's model of the Ceremony as one means of describing the ways in which blacks in the West maneuver the extant psychological and philosophical perils of race in the Western world, I argue that the history of black responses to the West's ontological violence is alive and well, particularly in art forms like spoken word, where the power to define/name oneself is of paramount importance. Focusing on how art shaped black responses to ontologically debilitating circumstances, I argue that there has always existed a model for liberation within African American culture and tradition. This work takes an approach that is philosophical and theoretical in nature in order to address the wide breadth of the black experience that lies beyond the realm of statistics. The goal of this approach is to continue the work of unraveling hidden or under-discussed aspects of the black experience in order to more clearly find possibilities for addressing problems in the construction of race and marginalized people within the Western episteme. This work attempts to redefine the struggle for a healthier ontology within the framework of a process of liberation that transcends Orthodox limitations on the marginalized subject.
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Avila, Alex. "THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCE." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/394.

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The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun.
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Mosoti, Edwin. "A comparative study of contemporary East and West African poetry in English." Thesis, 2012. http://hdl.handle.net/10539/11878.

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Ph.D. University of the Witwatersrand, Faculty of Humanities, 2012
Modern African poetry in English is a product of a number of literary traditions broadly categorised as either „indigenous‟ or „alien‟ to Africa. Working on the premise that these vary from one region to another, this study seeks to compare the myriad of poetic influences and traditions as manifested in contemporary East and West African poetry of English expression using a corpus of selected contemporary African poems. The contemporary era, here temporally defined as the post 1980s period, is typified by borrowing across literary genres and traditions to the point where the boundaries of what may be designated as „indigenous‟ or „alien‟ has become difficult to determine and distinguish. Core to my thesis is what Jan Ramazani (2001) designates as the hybrid muse, which ensures that contemporary poetry or poetic discourses explicitly or implicitly acknowledge that they are defined by their relationship to others, hence regarded as „epochal continuities‟ of foundational poetics. The study seeks to illustrate how creative writing, in particular poetic composition, emerging from the two regions exhibits affinities, parallels, as well as inter-connectedness despite the much emphasised disparities and peculiarities. Central to contemporary poetry examined in this study is „song‟ as a metaphor for its characteristic hybrid nature. The following chapters engage with different facets of song; from the praise song – hatched as a dirge in Chapter Two, mashairi as a Swahili sung poem tradition influencing poetry in written English in Chapter Three, what Osundare calls „songs of the season‟ in Chapter Four and how the experiment dialogues with journalistic discourses, song school and the different „Lawinos‟ singing in contemporary times in Chapter Five, through to Mugo‟s mother‟s poem and other songs in Chapter Six. Recent poetry from Africa is replete with and informed by diverse texts and intellectual discourses available to the poet in East or West Africa. Despite the much emphasized differences, I argue that there need not be explicit intertextual relations; that even when produced or consumed in tregion („solitary speaker‟), contemporary poetry still typically includes „language‟ or textual material derived not just from a „socially diverse discursive formation‟ but econo-political and intellectual environment underpinning the „other‟. The contemporary socio-political and economic conditions as well as various institutional parameters ensure that sharp differences in thematic preoccupations and aesthetic – are not as much as they may have been portrayed in “foundational poetry”. Considering the commonality in contemporary poetry issues from more or less the same pool of texts, intertextuality marking the era therefore evidences dialogues within and across the regions examined
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Kaschula, Russell H. "Imbongi and griot: toward a comparative analysis of oral poetics in Southern and West Africa." 1999. http://hdl.handle.net/10962/59379.

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This article takes up the challenge of comparative research in Africa by analysing and comparing the oral art of West African griots and Southern African iimbongi or oral poets. Similarities and differences between these performers and their respective societies are highlighted through the use of an ethnographic methodology. A distinction is drawn between the more traditional performers such as Thiam Anchou and D.L.P. Yali-Manisi, and the more modern performers such as M’Bana Diop, Bongani Sitole and Zolani Mkiva. The rich use of genealogy and history in the more traditional performances is highlighted. In comparing the work of the more contemporary, urban poets such as M’bana Diop of Senegal and Zolani Mkiva from Southern Africa, similarities are found in their performances on post-independence leaders such as Senghor and Mandela. Political pressures which have been brought to bear on the performer are also discussed. This article explores the continuity between the past and the present in relation to aspects such as the following: how performers gain recognition, their continued survival, their relationship with politics and religion, the orality- literacy debate, and the stylistic techniques used by these performers. Wherever possible, examples of performers and their work are provided.
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Books on the topic "West African poetry"

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Robert, Fraser. West African poetry: A critical history. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.

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1958-, Sallah Tijan M., ed. New poets of West Africa. Ikeja, Nigeria: Malthouse Press, 1995.

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Daise, Ronald. Gullah branches, West African roots. Orangeburg, S.C: Sandlapper Pub., 2007.

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Deandrea, Pietro. Fertile crossings: Metamorphoses of genre in anglophone West African literature. Amsterdam: Rodopi, 2001.

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Abdoulaye, Wade, ed. Une parole autour de la poésie: Suivi de, L'éloge funèbre à Léopold Sédar Senghor. Dakar-Ponty, Sénégal: Editions Feu de brousse, 2004.

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Espaces littéraires d'Afrique et d'Amérique: Tracées francophones. Paris: L'Harmattan, 1996.

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al-Mabrūk, Dālī al-Hādī, ed. Āfāq li-adab Ifrīqiyā fīmā warāʼa al-ṣaḥrāʼ. al-Qāhirah: al-Dār al-Miṣrīyah al-Lubnānīyah, 2001.

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Mvett Ekang, forme et sens: L'épique dévoile le sens. Paris: L'Harmattan, 2014.

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Sidikou, Aïssata G. Women's voices from West Africa: An anthology of songs from the Sahel. Bloomington, Ind: Indiana University Press, 2011.

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Biyogo, Grégoire. Adieu à Tsira Ndong Ndoutoume: Hommage à l'inventeur de la raison graphique du mvett. [Paris]: L'Harmattan, 2006.

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Book chapters on the topic "West African poetry"

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Egerer, Juliane. "Son of the Soil and Son of Óðinn: Unveiling a Farmer’s Eddic Poetry (1920) and Colonial Germanic Concepts of Nature in South West Africa, Now Namibia." In Ecocriticism and Old Norse Studies, 269–99. Turnhout, Belgium: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.naw-eb.5.134103.

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Aljoe, Nicole N. "The Impact of West Indian Emancipation on African American Poetry." In African American Literature in Transition, 1830–1850, 221–43. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108386067.016.

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Johnson, Julie B. "From Warm-up to Dobale in Philadelphia." In Hot Feet and Social Change, 56–72. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042959.003.0004.

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From an experiential perspective, Julie B. Johnson charts the five main components of a West African dance class in West Philadelphia as a lens through which to explore the varied understandings of community that can emerge through engagement with African dance traditions. Each component – the warm up, the lesson, dancing down the floor, the circle, and the concluding ritual to honor the musicians (Dobale) – outlines a narrative through which students construct shared understandings of community through collective experiences at each phase of the class’s procedural structure. Employing poetry and vignettes, Johnson provides a participatory ethnography of African dance in Philadelphia rooted in scholarship and first-hand experience.
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Zeitlin, Steve. "The AIDS Poets." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0010.

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This chapter looks at how poetry has been used to serve people with AIDS at the AIDS Day Treatment Program, located on West Twentieth Street in New York City. At the center, the wall leading to the cafeteria is lined with poems, many from poets who have passed away. According to Lila Zeiger, creative and social director, the poems show the shift in the city's AIDS population, from the gay men and drag queens who died in great numbers in the 1980s to the many African Americans and Latinos who succumbed to the disease in the 1990s. Lila, an accomplished, widely published poet herself, taught creative writing informally at the center for eighteen years, from the early 1990s until her retirement in 2000. Her goal was to help her clients express their pain and leave a legacy. Lila passed away in 2013 at the age of eighty-four. Her family chose to hold her memorial service at the AIDS Day Treatment Program.
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Smethurst, James Edward. "The Popular Front, World War II, and the Rise of Neomodernism in African-American Poetry of the 1940s." In The New Red Negro, 180–207. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195120547.003.0008.

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Abstract Despite the obvious differences between the “popular”neomodernism exemplified by the work of Hughes in the 1940s and the “high”neomodernism of which Brooks was the leading exponent, both neomodernist tendencies had in common an urban and largely northern landscape in which the ghetto, rather than the plantation or tenant farm, increasingly became the locus of authentic African-American culture. African-American communities in the North, notably Harlem and the South Side of Chicago, were seen not as either a “refuge”or as a place of alienation where the urculture of the rural immigrant is distorted or destroyed, but instead as “home”(as Amiri Baraka was to later title a collection of essays describing his intellectual journey to cultural nationalism mirroring his physical journey from the Lower East Side to Harlem). If life in the ghettos of the North and West was depicted as alienating, it was an alienation that was seen increasingly as typical of African-American life in the United States.There were, of course, certain empirical pressures for such a redefinition of “home,”the most important being that by the 1940s African Americans in the cities outnumbered those in the country for the first time in U.S. history. By the end of the decade, 62 percent of the African-American population was urbanized.2 In the 1940s, changes in agricultural technology greatly reduced sharecropping. At the same time, the new demand for labor by the war industries and the relatively egalitarian policies of the CIO unions, particularly those led by the Communist Left, vastly increased the number and status of African-American industrial workers.
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Doreski, C. K. "Native Knowledge." In Elizabeth Bishop, 102–25. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195079661.003.0006.

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Abstract The world of the adult, even more than that of the child, is beguiling but unsettlingly diverse. Though most comfortable generating poetry from domestic images of her childhood, Bishop, like other perceptive people, was drawn to subjects, images of people and landscapes, language, and themes best defined by their otherness. How she explores this material, and the problem of why her poetry about African-American and Brazilian folk life compares poorly to her portraits of North American ancestral provincials are the issues of this chapter. From the perspective of her mastery of the conventions of English-language poetry, Bishop re-invents herself in an alien context. Working from romantic-modern traditions and expectations established by Wordsworth, Emerson, Hopkins, Williams, and Frost, including the re-invigoration of the pastoral mode, she attempts to advance her grasp of dailiness to illustrate, if not penetrate, aspects of culture from which she remains emotionally estranged. She juxtaposes familiar cultural images and constructs with those of the exotic cultures of Key West and Brazil, and, in the process, generates tropes of self-realization in which she herself becomes “more truly and more strange.” She becomes an “experience-distant” fieldworker attempting to illuminate what Clifford Geertz has called “concepts that, for another people, are experience-near.”
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Kigozi, Benon. "Music Composition in Music Education." In The Oxford Handbook of Music Composition Pedagogy, 841–60. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780197574874.013.40.

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Abstract Music composition from an African point of view calls for attention to music as both an academic skill and a cultural practice. A music composition portrays the full intention and contextual significance of the community and in many, if not all cases, the composer is also the performer. Music composition is therefore embedded within the oral tradition and reflective of the African philosophy of direct experience within music-making as opposed to the Western perspective where music composition is acquired as an academic skill and intellectual ability. In Uganda, music creativity is mostly practiced by community musicians who have no experience with the theoretical knowledge and notational skills favored in the West. Attempts are being made to formalize the teaching and learning of music based on African philosophical approaches, yet the current formal music education program has not done enough to promote music composition as an academic aspect of music education across a wider part of the country. The main objective of this chapter is to evaluate music composition within various spaces. Discussion focuses on compositional techniques and creative resources as a means of evaluating the creative processes engaged in the education system. The chapter highlights the ‘African perspective’, which refers to philosophical models that are based on African concepts and aesthetics other than those that are practiced in the West. The African perspective addresses the holistic, integrated arts and cultural approach of musical arts education, addressing the oral, informal, formal and non-formal acquisition of musical arts education, Where “listening and observation remain the key elements of acquiring the basic skills . . . ’ (Flolu in Herbst, 2005:109). The African perspective is very much felt in terms of reality and attitude, of music composition pedagogy centered around the practical means of creating, assessing, appreciating, approving or otherwise of music, composition which applies to all other creative arts disciplines such as drama, poetry, and plastic art (Onyeji 2019:263), and which “entails creating and manipulating intangible realities that imperceptibly influence attitudinal dispositions and relational habits (Nzewi, 2013)”. Recommendations are made based educational perspective both for the teaching of Uganda music composition.
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Tenzer, Michael. "That’s All It Does." In Rethinking Reich, 303–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190605285.003.0014.

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Though integral to his formation as a composer, Steve Reich’s studies of Balinese gamelan have been overlooked. In part this is because of a certain redundancy: features of Balinese overlap significantly with the West African music whose impact on Reich’s formative works of the 1970s has been amply demonstrated. These include predominance of percussion, repetitive cyclic structures, interlocking rhythms, systems of oral transmission, and the nonprofessional ethos of the performing ensemble’s interactive behaviors. But what of the features of the Balinese music Reich studied and did not assimilate? Among these are malleable tempo, extended and minimally repetitive cycles, and tonally hierarchic melodies rooted in Southeast Asian traditions of sung poetry. Their eschewal opens pathways for insight into Reich’s music, as well as his cultural subjectivity, in the process illuminating unsuspected aesthetic affinity between his detractors among “uptown” composition apologists of the time and traditional Balinese musicians.
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Smethurst, James Edward. "I Am Black and I Have Seen Black Hands The Narratorial Consciousness and Constructions of the Folk in 1930s African-American Poetry." In The New Red Negro, 116–43. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195120547.003.0005.

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Abstract Any argument for the coherence of poetry produced by African Americans during the 1930s has to contend with the formal and thematic variety of that poetry. In his Negro Poetry and Drama (1937), Sterling Brown claimed that “contemporary Negro poets are too diverse to be grouped into schools.”Nonetheless, Brown went on to divide poets between those influenced by the modernist “new poetry revival”(to which Brown applied the pejorative “so called poets writing after the manner of Victorian and Pre-Raphaelite poets, and those who “have taken folk-types and folk-life for their province.”Brown clearly did not conceive of these as mutually exclusive categories.
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"The relation to “Africa”." In An Introduction to West Indian Poetry, 141–94. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9780511612039.008.

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