“CHAMS SEEKS REVIVAL OF LIVE THEATRE WITH FAGUNWA’S WORKS”-FROM TRIBUNE NEWSPAPER,NIGERIA,SEPT. 2008

FROM tribune

THE NIGERIAN TRIBUNE NEWSPAPER
Since November, 1949

Sun. 7th Sept. 2008

Chams seeks revival of live theatre with Fagunwa’s works

By Akintayo Abodunrin

FagunwaLIVE theatre which has been in the doldrums in recent years is about to undergo a revival through the intervention of Computer Hardware and Maintenance Services (Chams) Plc. The company, an Information and Communication Technology (ICT) company that supports transactional card-based services, e-commerce and mobile payment solution is aiming to do this with its Chams Theatre Series.
Well aware of the entertainment and didactic roles of theatre in the human society, the company incorporated in 1985 as a computer maintenance and engineering company but which has grown to become a leading IT solutions company with pioneer status in smart card technology, according to Seye Femi Gureje, General Manager, Chams Access, conceived the theatre series as a strategic intervention and contribution to reawaken the stage culture in Nigeria. “It is also a means of promoting our culture and re-orientating Nigerians on the value we cherish”, he said.
At a briefing to introduce the series and its first presentation, an English and Yoruba adaptation of D.O. Fagunwa’s Ogboju Ode Ninu Igbo Irunmole by Professors Femi Osofisan and Akinwumi Isola last week at Protea Hotel, Lagos, Gureje explained why the company is seeking to resurrect live theatre through Fagunwa. In the company of Professor Osofisan, Dr. Kola Oyewo, director of the Yoruba adaptation entitled Ogboju Ode… and Dr. Tunde Awosanmi, director of the English adaptation entitled Adventures in the Forest of a Thousand Daemons; Gureje disclosed that the company chose the theatre series as a platform to interact with the larger society because of the benefits of theatre.
He disclosed that the company had gotten exclusive rights to sponsor stage adaptations of Ogboju Ode…, Igbo Olodumare, Ireke Onibudo, Irinkerindo Ninu Igbo Elegbeje and Adiitu Olodumare, all works of Fagunwa over the next five years and that the company was almost through with securing the rights to the works of other Nigerian authors.
Gureje disclosed that the series will open on September 13 with the adaptations of Ogboju Ode … and explained why the works of the late teacher were chosen this way: “D.O. Fagunwa’s works were essentially chosen because they portray the values we cherish in Chams. His books teaches lessons in perseverance, hard work, determination, teamwork, patriotism, etc and we also believe that this values are essential for nation building.”

From left, Dr. Kola Oyewo, Mr. Seye Femi Gureje,
Professor Femi Osofisan and Dr. Tunde Awosanmi
briefing the press on the Chams Theatre Series.He added that, “Fagunwa’s books were chosen because his works portray the richness of the African mind with most of his illustrations, and use of strong and unusual characters … The underlying theme of his works promote such virtues as perseverance, gratitude, selflessness, bravery, time management, leadership focus, service to humanity etc.”
Gureje assured that the company did not initiate the series for publicity and that it would not abandon the series midway. He said the project was very dear to Chams and that it is the values in Ogboju Ode… that made the company commence the series with it.
“Ogboju Ode… is a story of leadership, bravery, courage, discipline, industry, endurance and focus. It is a story of man striving valiantly against odds and succeeding. It is one that we commend to society”, Gureje said of the play which will be staged in Lagos, Abuja, Ibadan and Ile-Ife.
Speaking on the play which the Minister of Tourism, Culture and National Orientation, Prince Adetokunbo Kayode has endorsed and which command performance the ministry and Chams are collaborating to stage in Abuja, the project consultant, Professor Femi Osofisan, said he was privileged to work on the script of a master story-teller.
“Fagunwa is one of the great pioneers of the fiction genre in our indigenous language, a trail blazer in the modernisation and preservation of a traditional culture. Ogboju Ode Ninu Igbo Irunmole is a world classic, a story that will be forever young because it speaks to our fundamental yearning for adventure, thrill and wisdom.”
Osofisan added that he was excited because Chams realised the need to promote Nigeria’s indigenous culture by investing in the play unlike some companies that promote foreign derived shows. “By selecting this work, Chams is rendering an immeasurable service to the preservation of our culture. At a time when our country like others in the so-called Third World are faced with the menace of globalisation, certainly it is such projects as this that will help the process of our cultural rebirth,” the playwright who disclosed that he had to help some female members of the cast tie their wrappers and head tie said.
Osofisan also confessed that the project excites him because, “we all know how nowadays the stage is dying, and how live performances have almost completely vanished from the weekly diary of social experience. We have to thank Chams very specially therefore for this concrete contribution to the life of theatre. Actors are getting employment once again, both on the English speaking and Yoruba theatres, and in such large numbers too; designers and dancers and choreographers are receiving a long-needed push to creative resurgence; and the audience, long starved of direct contact with actors in a live auditorium, will have the opportunity once again of participating in the pleasure and the ecstasy that only a drama production is capable of.”

YORUBA GREAT FIRST PUBLISHED WRITER D.O. FAGUNWA’S NOVEL BROUGHT BACK ON STAGE!-FROM PUNCH NEWSPAPER,NIGERIA,SEPT. 2008

FROM punchontheweb.com

From Langbodo with blood and gold
By Akeem Lasisi
Published: Wednesday, 17 Sep 2008
At the maiden show of The Adventure in the Forest of a Thousand Daemons, an adaptation of D.O. Fagunwa‘s novel, Ogboju Ode Ninu Igbo Irunmole, the audience have a taste of magical realism.

A scene from the play.
With the magnificent structures dotting its vast edifying ambience, you can hardly mistake the MUSON Centre, Lagos for any other entertainment arena. So it was for members of the public that trooped into the complex on Saturday to watch The Adventures of a Thousand Demons, Femi Osofisan‘s theatrical adaptation of D. O. Fagunwa‘s Ogboju Ode Ninu Igbo Irunmole.

But on hitting the entrance of the Shell Hall, which was the venue of the performance, the story changed. A colony of trees on your right, an empire of stones on the left, you were spontaneously transported into a wild forest. It was this forest that ushered you into the expansive hall that also wore the garment of an unfathomable wilderness – dripping with bitter laughter and sweet tears of supernatural spirits.

On the sprawling stage lying ahead of you was a sacred foot path winding meandering through a network of sacred woods. On the roof, and entirely covering the walls of the hall, were ewele mats, which reminded learned members of the audience of the type that Egbere, one of Fagunwa‘s spirit characters wield in the novel. More important, however, was the fact that the eerie stage would soon become the battle ground for the die-hard principalities and brave men on excursion to Oke Langbodo, the ultimate destination of the Fagunwa‘s seven hunters in the mother script. As if you were no more at the MUSON, lions roared, elephants boomed just as wild, wild birds shrieked intermittently to warn the uninitiated of the dangers ahead.

But because the transformation was a make-believe, drums also roared. Tongues wagged in penetrating songs just as practised legs rolled in dance, invoking applause from the audience who were once again jolted back into the beauty of stage plays.

Such were the spectacles that the much publicised play invoked. It was the English version of the script commissioned by Chams Plc, which announced its arrival in the world of theatre promotion and development recently. Simultaneously, revered scholar and writer, Professor Akinwumi Ishola, was asked to write a Yoruba adaptation of the novel, with Tunde Awosanmi and Kola Oyewo directing respectively.

Coming in two parts, Osofisan‘s Adventures into the Forest of a Thousand Daemons captures the trials and triumphs of Akaraogun (Toyin Osinaike) and his hunting colleagues who go in search of a metaphoric Langbodo, for the sake of their fatherland for which they are out to attract resources that will invoke progress.

Since no good thing comes easy – and that is one basic lesson that both Fagunwa and Osofisan teach in the work – they encounter stiff adversity on their way. They have to wrestle with many daemons in the forest. But they too are very much prepared. Apart from physical strength, each of the adventurers has a special natural trait that proves very useful each time the chips are down. For instance, while Kako‘s invincible club can knock even an elephant, Olohun Iyo‘s sweet-singing voice can lure the most dreadful cobra to sleep. Imodoye, a name derived from knowledge and wisdom, is in the team to think and reason intelligently each time his people are in trouble. Very cleverly, Osofisan not only retains such values that Fagunwa wants the reader to pay attention to in human and societal development, he also develops the character of Akaraogun in such a way that he is a symbol of quality leadership – demonstrating determination, perseverance, and sowing no seed of hatred among the hunters he leads.

Among others, the battle with Agbako is hell hot. But for the helping spirit played by Ify Agwu, none of the adventurers would have survived his punch.

Apart from Osinaike, a thoroughbred actor, in the cast were tested hands such as Gogo Ombo Ombo (Elegbede Ode), Taiwo Ibikunle (Olohun Iyo), Martins Iwuagwu (Kako), Simileoluwa Hassan (Efoye) and Afolabi Dipeolu (Imodoye).

Also in action were Tunde Adeyemo (Oba), and actress and poet, Ify Agwu, (Iranlowo), who inspiringly carried the helper spirit that saw the hunters through the promise land.

Although Osofisan is that loyal to the spirit of the novel, he asserts freedom in certain significant areas. For instance, he introduces a lot of songs and dances. Besides, he brings in folklores that he employs to ventilate the structure of the play, while also using such to teach morality. But where he seems to have been extremely creative – or is it the director that should claim the kudos – is the point he introduces the ritual poetry, Iremoje, which hunters use to celebrate a dead colleague.

As fate would have it, the hunters lost three of their members, among who is Kako, whose hot temper remains his insatiable albatross. Now, on returning to their town after about 20 months of search for Langbodo, the hunters burst into Iremoje, and the attempt is very close to the way Yoruba hunters perform the ritual poetry in real life.

Osofisan‘s radical approach can also be seen in his interpretation of Oke Langbodo itself. Speaking through Akaraogun and Iranlowo, the playwright‘s message to the audience is that Langbodo is not a place. It is a moment of revelation, wisdom, knowledge and understanding of what brings peace and progress for the individual and society.

Altogether, The Adventures in the Forest of a Thousand Daemons is a successful exercise in attempting to revitalise live theatre in Nigeria.

Perhaps, the play can be tightened a bit, and this can be achieved by reducing the number of dramatised folklores. Besides, a fat person should have been made to play the role of the elephant.

On the part of Chams, theatre lovers can only hope that it will be able to sustain the project.

According to the company‘s Managing Director, Chief Demola Aladekomo, who led the company‘s workers dressed in dazzling green uniform traditional dresses to the show, it decided to rally the practitioners to the stage because of the roles that drama plays in the society.

AFRICA’S 100 BEST BOOKS OF THE 20TH CENTURY BY THE ZIMBABWE INTERNATIONAL BOOK FAIR,2002 FROM COLUMBIA.EDU

from columbia.edu

Africa’s 100 Best Books of the 20th Century
An initiative of the Zimbabwe International Book Fair

View a copy of the final list.

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Over the last hundred years African writers have written of their lives, experiences, culture, history and myth; they have written in diverse forms, styles and in many languages. They have been published widely on the African continent, in Europe, the Americas and Asia. They have written in English, French, Portuguese, Arabic, Swahili, and in many other indigenous languages. And they have written with extraordinary originality, flair and great integrity. Nonetheless their work as a corpus deriving from the African continent remains largely unknown and uncelebrated.

To mark the beginning of the 21st century, and encouraged by Professor Ali Mazrui, the Zimbabwe International Book Fair launched the international compilation of “Africa’s 100 Best Books.” This project was organized in collaboration with the African Publishers Network (APNET), the Pan-African Booksellers Association (PABA), African writers’ associations, book development councils, and library associations.

Nominations were sought throughout the African continent and internationally. A comprehensive list of all nominations was published at the ZIBF in August 2001 and during the course of the following year regional panels compiled their own short lists of 100 best books. Closing date for nominations was 30 September 2001.

A jury made the final decision from the short list and the final list of “Africa’s 100 Best Books” was announced on February 18, 2002.

See: a copy of the list below.

This allowed ample time for those involved (authors of nominated books and their publishers) to prepare for participation in ZIBF2002. From August 3rd to the 10th in 2002, the fair participants celebrated the authors and publishers on the final list.

Objectives

The aim of this endeavour is:
– to celebrate the achievements of African writers over the last century
– to stimulate debate, discussion, reading, criticism and analysis of African writing
– to foster the publication and development of new titles and those that are currently out of print
– to encourage translation of different texts
– to promote the sale and exchange of books continent-wide and throughout the world
– and above all to increase awareness and knowledge of books and writing by African authors.
Definition of an African

Only books written by Africans are eligible. After extensive discussion and debate the ZIBF has for the purpose of this project identified an African as: ‘someone either born in Africa or who became a citizen of an African country.’ This definition incorporates those African writers who have moved from their countries of birth to other continents. The issue of authors who are not by this definition deemed African but who consider themselves such or those who have made a notable contribution to African scholarship and literature will be addressed on their merit should their books be nominated.
Criteria for nomination of a book

Nominations were made on the basis that the book has had a powerful, important or affecting influence on the nominator, as an individual, or on society.
What you can do?

* Use this project to generate discussion among your colleagues and friends, with your teachers or students, and in the media.
* Use it as a basis for having African writers in your own cities and countries interviewed, or given a platform to speak and to debate their own work.
* Use it as a positive vehicle for analysis, serious criticism, debate and scholarship.
* Use it as an excuse to buy or loan books and to extend the breadth of your knowledge and understanding of the great wealth of fiction and non-fiction written by Africans about their lives and societies.
* Photocopy, translate, circulate and encourage people to seriously complete the nomination forms. Every serious nomination will lend weight and substance to the list; every book that has made an impact on an individual or on society is worthy of note.
***Africa Book Centre — Order Catalogue of Best Book Award Winners (Brighton, UK)
— Commercial site

Please address all queries and ideas directly to:
Zimbabwe International Book Fair Association
P. O. Box CY1179
Causeway
Harare
Zimbabwe

Fax: 263 4 702129

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Africa 100 Best Books of the 20th Century–Final List

Arranged in the tables below is a copy of the final list of 100 titles announced by the panel of judges in Accra, Ghana, 18 February 2002.
The jury selected books in 3 main categories:
— Literature for Children
— Creative Writing
— Scholarship/non-fiction

In the table below, ** indicates a top twelve title.

Literature for children

Asare, Meshack Ghana **Sosu’s Call Sub-Saharan Publishers
Al-Homi, Hayam Abbas Egypt Adventures of a Breath Atfalna
Mungoshi, Charles Zimbabwe Stories from a Shona Childhood Baobab Books
Tadjo, Veronique Côte d’Ivoire Mamy Wata et le monstre Nouvelles éditions ivoriennes

Creative writing

Abnudi, `Abd al-Rahman Egypt al-Mawt `ala al-asfalt Atlas
Achebe, Chinua Nigeria Arrow of God Heinemann
Achebe, Chinua Nigeria **Things Fall Apart Heinemann
Aidoo, Ama Ata Ghana Anowa Longman
Almeida, Germano Cape Verde O testamento do Sr. Napumoceno da Silva Araújo Ed. Caminho
Armah, Ayi Kwei Ghana The Beautyful Ones Are Not Yet Born Heinemann
Bâ, Amadou Hampâté Mali L’étrange destin de Wangrin Union générale d’éditions
Bâ, Mariama Senegal **Une si longue lettre Nouvelles éditions africaines
Ben Jelloun, Tahar Morocco La nuit sacrée Seuil
Beti, Mongo Cameroon Le pauvre Christ de Bomba Présence africaine
Brink, André South Africa A Dry White Season Penguin
Bugul, Ken Senegal Riwan, ou le chemin de sable Présence africaine
Cheney-Choker, Syl Sierra Leone The Last Harmattan of Alusine Dunbar Heinemann
Chraibi, Driss Morocco Le passé simple Gallimard
Coetzee, J.M. South Africa Life and Times of
Michael K Secker & Warburg
Couto, Mia Mozambique **Terra sonâmbula Ed. Caminho
Craveirinha, José Mozambique Karingana ua Karingana Academica
Dadié, Bernard Côte d’Ivoire Climbié Editions Segiers
Dangarembga, Tsitsi Zimbabwe **Nervous Conditions Women’s Press
Dib, Mohammed Algeria Algérie, La grande maison, L’incendie, Le métier à tisser Le Seuil
Diop, Birago Senegal Les contes d’Amadou Koumba Présence africaine
Diop, Boubacar Boris Senegal Murambi ou le livre des ossements Stock
Djebar, Assia Algeria **L’amour, la fantasia J.C. Lattes
Emecheta, Buchi Nigeria The Joys of Motherhood Alison and Busby
Fagunwa,
Daniel O. Nigeria Ogboju ode ninu igbo irunmale Nelson
Farah, Nuruddin Somalia Maps Pan Books
Fugard, Athol South Africa The Blood Knot Simondium Publishers
Ghitani, Jamal al- Egypt Zayni Barakat GEBO
Gordimer, Nadine South Africa Burgher’s Daughter Jonathan Cape
Head, Bessie South Africa A Question of Power Heinemann
Honwana, Bernardo Mozambique Nos matamos o cão tinhoso Academica
Hove, Chenjerai Zimbabwe Bones Baobab Books
Isegawa, Moses Uganda Abessijnse Kronieken Uigeverij De
Bezige Bij
Jordan, Archibald Campbell South Africa Ingqumbo yeminyanya Lovedale Press
Joubert, Elsa South Africa Die Swerdjare van Poppie Nongena Tafelberg
Kane, Cheikh Hamidou Senegal L’aventure ambiguë Editions Juillard
Khosa, Ungulani Ba Ka Mozambique Ualalapi AEMO
Kourouma, Ahmadou Côte d’Ivoire Les soleils des indépendances Le Seuil
Laye, Camara Guinea L’enfant noir Plon
Magona, Sindiwe South Africa Living, Loving and Lying Awake at Night David Philip Publishers
Mahfouz, Naguib Egypt **The Cairo Trilogy Maktabet Misr
Marechera, Dambudzo Zimbabwe House of Hunger Heinemann
Mofolo, Thomas Lesotho **Chaka Morija Sesuto Book Depot
Monenembo, Tierno Guinea Un attieké pour Elgass Le Seuil
Mutwa, Vusamazulu Credo South Africa Indaba, My Children Blue Crane Books
Ngugi wa Thiong’o Kenya Caitaani Mutharaba-ini Heinemann
Ngugi wa Thiong’o Kenya **A Grain of Wheat Heinemann
Niane, Djibril Tamsir Senegal Soundjata ou l’épopée mandingue Présence africaine
Nyembezi, Sibusiso South Africa Inkinnsela yaseMgungundlovu Shuter and Shooter
Okigbo, Christopher Nigeria Labyrinths Heinemann
Okri, Ben Nigeria The Famished Road Spectrum Books
Oyono, Ferdinand Cameroon Le vieux nègre et la médaille Editions Juillard
P’Bitek, Okot Uganda Song of Lawino Heinemann
Pepetela Angola A geração da utopia Dom Quixote
Saadawi, Nawal El Egypt Woman at Point Zero Zed Books
Salih El Tayyib Sudan Season of Migration to the North Heinemann
Sassine, Williams Guinea Le jeune homme de sable Présence africaine
Sembene, Ousmane Senegal Les bouts de bois de Dieu Le livre contemporain
Senghor, Léopold Sédar Senegal **Ouevre poétique Le Seuil
Serote, Mongane South Africa Third World Express David Philip Publishers
Shabaan,
Robert Bin Tanzania Utenzi wa vita vya uhuru East African Literature Bureau
Sony Labou Tansi Congo La vie et demie Seuil
Sow Fall, Aminata Senegal La grève des battus Nouvelles éditions africaines
Soyinka, Wole Nigeria Death and the King’s Horsemen Spectrum
Tchicaya U Tam’si Congo Le mauvais sang – feu de brousse – à trisse-coeur P.J. Swald
Tutuola, Amos Nigeria The Palm-wine Drinkard Faber
Vera, Yvonne Zimbabwe Butterfly Burning Baobab Books
Vieira, José Luandino Angola Nós os do Makulusu [União dos Escritores Angolanos]
Vilakazi, B.W. South Africa Amal’eZulu Witwatersrand University Press
Yacine, Kateb Algeria Nedjma Le Seuil

Scholarship/non-fiction

Amin, Samir Egypt Accumulation on a World Scale Monthly Review Press
Amadiume, Ifi Nigeria Male Daughters, Female Husbands Zed Books
Andrade,
Mario de Angola Os nacionalismos africanos Sa da Costa
Appiah, Anthony Ghana In My Father’s House Oxford University Press
Cabral, Amilcar Guinea-Bissau Unity and Struggle Monthly Review Press
Chimera, Rocha Kenya Kiswahili, past, present and future horizons Nairobi University Press
Diop, Cheikh Anta Senegal **Antériorité des civilisations nègres Présence africaine
Doorkenoo, Efua Ghana Cutting the Rose Minority Rights Group
Hayford, J.E. Casely Ghana Ethiopia Unbound Cass
Hountondji, Paulin Benin Sur la philosophie africaine François Maspero
Johnson, Samuel Nigeria The History of the Yorubas G. Routledge & Sons
Kenyatta, Jomo Kenya Facing Mount Kenya Secker & Warburg
Ki-Zerbo, Joseph Burkina Faso Histoire de l’Afrique noire Hatier
Krog, Antjie South Africa Country of My Skull Jonathan Cape
Mama, Amina Nigeria Beyond the Mask, Race, Gender and Identity Routledge
Mamdani, Mahmood Uganda Citizen and Subject James Currey Publishers
Mandela, Nelson South Africa Long Walk to Freedom Little Brown
Marais, Eugene South Africa Die Siel van die Mier J.L. van Schaik
Memmi, Albert Tunisia Portrait du colonisé suivi de portrait du colonisateur L’Etincelle
Mondlane, Eduardo Mozambique The Struggle for Mozambique Penguin
Mphahlele, Ezekiel South Africa Down Second Avenue Faber & Faber
Mudimbe, V.Y. Dem. Rep. of Congo The Invention of Africa Indiana University Press
Nkrumah, Kwame Ghana Ghana: The Autobiography of Kwame Nkrumah Nelson
Plaatje, Sol South Africa Native Life in South Africa P.S. King
Soyinka, Wole Nigeria **Ake: The Years of Childhood Rex Collings
Van Onselen, Charles South Africa The Seed is Mine David Philip Publishers

LANGUAGES OF NIGERIA ACCORDING TO WIKIPEDIA.ORG

FROM wikipedia.org

Languages of Nigeria
From Wikipedia, the free encyclopedia

Linguistic map of Nigeria, Cameroon, and Benin.Nigeria

This article is part of the series:
Culture of Nigeria

Languages
Literature
List of Nigerian writers
List of Nigerian poets
Music of Nigeria

Other countries – Culture Portal

view • talk • edit
The number of languages currently estimated and catalogued in Nigeria is 521. This number includes 510 living languages, two second languages without native speakers and 9 extinct languages. In some areas of Nigeria, ethnic groups speak more than one language. The official language of Nigeria, English, the former colonial language, was chosen to facilitate the cultural and linguistic unity of the country. The major languages spoken in Nigeria are Hausa, Igbo, Yoruba, Edo, Efik, Ibibio and Annang language, Adamawa Fulfulde, Idoma, and Central Kanuri. Even though most ethnic groups prefer to communicate in their own languages, English, being the official language, is widely used for education, business transactions and for official purposes. English, however, remains an exclusive preserve of a small minority of the country’s urban elite, and is not spoken in rural areas. With approximately 75% of Nigeria’s populace in the rural areas, the major languages of communication in the country remain tribal languages, with the most widely spoken being Hausa, Igbo and Yoruba. Foreign minorities speak their own languages aside from English and/or major native languages as their second languages.

Nigeria’s linguistic diversity is a microcosm of Africa as a whole, encompassing three major African languages families: the Afro-Asiatic, Nilo-Saharan, and the Niger-Congo A branch of the Niger-Congo family. Nigeria also has one unclassifiable language, Cen Tuum, spoken by a few old people among the Cham in Gombe State. This may represent an intriguing relic of an even greater diversity prior to the spread of the current language families.

Contents [hide]
1 Niger-Congo languages
2 Afro-Asiatic languages
3 See also
4 Wikimedia
5 References
6 External links

[edit] Niger-Congo languages
Niger-Congo predominates in central and southern Nigeria; the main branches represented in Nigeria are Mande, Atlantic, Gur, Kwa, Benue-Congo and Adamawa-Ubangian. Mande is represented by the Busa cluster and Kyenga in the northwest. Fulfulde is the single Atlantic language, of Senegambian origin but now spoken by cattle pastoralists across the Sahel and largely in the North of Nigeria by the Fulani (sometimes Fulbe) diaspora. The Ijoid languages are spoken across the Niger Delta and include Ịjọ (=Ijaw), Kalabari and the intriguing remnant language, Defaka, while the Ibibio language is spoken across the coastal southeastern part of Nigeria and includes Efik, Annnang, oron, Eket, and Ikot Abasi. The single Gur language spoken is Baatọnun, in the Northwest. The Adamawa-Ubangian languages are spoken between central Nigeria and the Central African Republic. Their westernmost representatives in Nigeria are the Tula-Waja languages. The Kwa languages are represented by the Gun group in the extreme southwest, which is affiliated to the Gbe languages in Benin and Togo.

The classification of the remaining languages is controversial; Joseph Greenberg classified those without noun-classes, such as Yoruba, Igbo, and Ibibio, as ‘Eastern Kwa’ and those with classes as ‘Benue-Congo’. This was reversed in an influential 1989 publication and reflected on the 1992 map of languages, where all these were considered Benue-Congo. Recent opinion, however, has been to revert to Greenberg’s distinction. The literature must thus be read with care and due regard for the date. It should be noted that there are several small language groupings in the Niger Confluence area, notably Ukaan, Akpes, Ayere-Ahan and Ọkọ, whose inclusion in these groupings has never been satisfactorily argued.

Former Eastern Kwa, i.e. West Benue-Congo would then include Yoruboid, i.e. Yoruba, Itsekiri and Igala, Akokoid (eight small languages in Ondo, Edo and Kogi state), Edoid including Edo in Edo State, Igboid, Ibibio, Efik, Annnang, Idomoid (Idoma) and Nupoid (Nupe) and perhaps include the other languages mentioned above. East Benue-Congo includes Kainji, Plateau (46 languages, notably Eggon), Jukunoid, Dakoid and [[Cross River languages|Cross River]. Apart from these, there are numerous Bantoid languages, which are the languages immediately ancestral to Bantu. These include Mambiloid, Ekoid, Bendi, Beboid, Grassfields and Tivoid languages. The geographic distribution of Nigeria’s Niger-Congo languages is not limited to south-central Nigeria, as migration allows their spread to the linguistically Afro-Asiatic northern regions of Nigeria, as well as throughout West Africa and abroad. Yoruba is spoken as a ritual language in cults such as the Santeria in the Caribbean and South-Central America, and the Berbice Dutch language in Surinam is based on an Ijoid language.

Even the above listed linguistic diversity of the Niger-Congo in Nigeria is deceptively limiting, as these languages may further consist of regional dialects that may not be mutually intelligible. As such some languages, particularly those with a large number of speakers, have been standardized and received a romanized orthography. Nearly all languages appear in a Roman script when written, often with modifications allowing for a language’s particularities. The Yoruba and Igbo languages are notable examples of this process; Standard Yoruba came into being due to the work Samuel Crowther, the first African bishop of the Anglican Church and owes most of its lexicon to the dialects spoken in Ọyọ and Ibadan. Since Standard Yoruba’s constitution was determined by a single author rather than by a consensual linguistic policy by all speakers, the Standard has been attacked regarding for failing to include other dialects and spurred debate as to what demarcates “genuine Yoruba”. The more historically recent standardization and romanization of Igbo has provoked even more controversy due to its dialectical diversity, but the Central Igbo dialect has gained the widest acceptace as the standard-bearer; however many such as Chinua Achebe have dismissed standardization as colonial and conservative attempts to simplify a complex mosaic of languages. Such controversies typify inter- and intra-ethnic conflict endemic to post-colonial Nigeria.

Linguistically speaking, all demonstrate the varying phonological features of the Niger-Congo family to which they belong, these include the use of tone, nasality, and particular consonant and vowel systems; more information is available here.

[edit] Afro-Asiatic languages
The Afro-Asiatic languages of Nigeria divide into Chadic, Semitic and Berber. Of these, Chadic languages predominate, with 70+ languages. Semitic is represented by various dialects of Arabic spoken in the Northeast and Berber by the Tuareg-speaking communities in the extreme Northwest.

The Hausa language is the most well-known Chadic language in Nigeria; though there is a paucity of statistics on native speakers in Nigeria, the language is spoken by 24 million people in West Africa and is the second language of 15 million more. Hausa has therefore emerged as lingua franca throughout much of West Africa and the Sahel in particular. The language is spoken primarily amongst Muslims, and the language is often associated with Islamic culture in Nigeria and West Africa on the whole. Hausa is classified as a West Chadic language of the Chadic grouping, a major subfamily of Afro-Asiatic. Culturally, the Hausa people have become closely integrated with the Fulani following the jihadist establishment of the Sokoto Caliphate by the Fulani Uthman dan Fodio in the 19th century. Hausa is the official language of a number states in Northern Nigeria and the most important dialect is generally regarded as that spoken in Kano,an Eastern Hausa dialect, which is the standard variety used for official purposes. Eastern dialects also include some dialects spoken in Zaria, and Bauchi; Western Hausa dialects include Sakkwatanchi spoken in Sokoto, Katsinanchi in Katsina Arewanchi in both Gobir and Adar,Kebbi, and Zamfara. Katsina is transitional between Eastern and Western dialects. Northern Hausa dialects include Arewa and Arawa, while Zaria is a prominent Southern tongue version; Barikanchi is a pidgin formerly used in the military.

Hausa is a highly atypical Chadic language, with a reduced tonal system and a phonology influenced by Arabic. Other well-known Chadic languages include Ngas, Mwaghavul, Bole, Ngizim, Bade and Bacama. In the East of Nigeria and on into Cameroun are the Central Chadic languages, such as Bura, the Higi cluster and Marghi. These are highly diverse and remain very poorly described. Many Chadic languages are severely threatened; recent searches by Bernard Caron for Southern Bauchi languages show that even some of those recorded in the 1970s have disappeared. However, unknown Chadic languages are still being reported, witness the recent description of Dyarim.

Hausa, as well as other Afro-Asiatic languages like Bade (another West Chadic language spoken in Yobe State), have historically been written in a modified Arabic script known as ajami, however, the modern official orthography is now a romanization known as boko first introduced by the British regime in the 1930s.

[edit] See also
List of languages of Nigeria

[edit] Wikimedia
Systematic graphic of the Niger-Congo languages with numbers of speakers

[edit] References
Blench, Roger (2002) Research on Minority Languages in Nigeria in 2001. Ogmios.
Blench, Roger (1998) ‘The Status of the Languages of Central Nigeria’, in Brenzinger, M. (ed.) Endangered languages in Africa. Köln: Köppe Verlag, 187-206. online version
Crozier, David & Blench, Roger (1992) An Index of Nigerian Languages (2nd edition). Dallas: SIL.

[edit] External links
Ethnologue Listing of Nigerian Languages
Blench, Roger (n.d.) Atlas of Nigerian Languages, ed. III (revised and amended edition of Crozier & Blench 1992)
[hide]v • d • eLanguages of Africa

CULTURE IN NIGERIA ACCORDING TO WIKIPEDIA.ORG

from wikipedia.org

Culture of Nigeria
From Wikipedia, the free encyclopedia
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The Culture of Nigeria is shaped by Nigeria’s multiple ethnic groups. The country has over 250 different languages and cultures. The four largest are the Hausa-Fulani who are predominant in the north, the Igbo who are predominant in the southeast, the Yoruba who are predominant in the southwest and the Benin Tribes who are predominant in the west, 80 percent of the Benins tend to be Christian while the remaining 20 percent worship idols which is called Ogu. These are followed by the Ibibio/Annang/Efik Efik, Ibibio, Annang people of the coastal southeastern Nigeria and the Ijaw of the Nigerian Delta.

The rest of Nigeria’s ethnic groups (sometimes called “mini-minorities”) are found all over the country but especially in the densely populated south. The Hausa tend to be Muslim and the Igbo, Christian. Ibibio/Annang/Efik Efik, Ibibio, Annang people are mainly Christian as Christianity and Western system entered Nigeria through their capital city Calabar. The Practitioners of both Christianity and Islam are found among the Yoruba. Indigenous religious practices remain important, especially in the south, and are often blended with Christian beliefs.

Nigeria is famous for its English literature and its popular music. Since the 1990s the Nigerian movie industry, sometimes called “Nollywood” has emerged as a fast-growing cultural force all over the continent.

Traditional music often include musicians on Gongon drums.

Other traditional cultural expressions are found in the various masquerades of Nigeria, such as the Eyo masquerades, the Ekpe and Ekpo Masquerades of Ibibio/Annang/Efik Efik, Ibibio, Annang people Ekpe Society in Calabar, the inventor of Nsibidi script of Nigeria and the Northern Edo Masquerades. Yoruba wooden masks are used in the Gelede masquerades.

[edit] Nigerian artists and writers
Internationally-known artists and writers from Nigeria include writer Chinua Achebe, Odia Ofeimum, James Ene Henshaw, Ntienyong Udo Akpan, E. E. Nkanga, Sola Osofisan, Chidi Anthony Opara, Ogaga Ifowodo, Maik Nwosu, Obi Nwakanma. juju musician King Sunny Ade, Nigerian-born Grammy winning jazz singer Sade (Helen Folasade Adu), free-style jazz musician Fela Kuti, who uses traditional African call-and-response, writer Ben Okri, playwright Ken Saro-Wiwa, Nobel prize winning writer Wole Soyinka, and British/Nigerian artist Yinka Shonibare.

[edit] External links
Things Come Together: A Journey through Literary Lagos
Overview of Nigeria’s Culture for business tourists
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LIST OF NIGERIAN WRITERS ACCORDING TO WIKIPEDIA.ORG

from wikipedia.org

List of Nigerian writers
From Wikipedia, the free encyclopedia

Nigeria

A
Adam Abdulahi
Yusufu Adamu
Chris Abani
Andy Abulu
Chinua Achebe (1930– )
Wale AdebanwiBAYO ADEBOWALE (1944-)
Remi Adedeji (1937– )
Abiola Adegboyega
Dapo Adeniyi
Mobolaji Adenubi
Kole Ade-Odutola
Kayode Aderinokun
Pius Adesanmi
Akin Adesokan
Sean Adetula
Toyin Abiodun
Toyin Adewale-Gabriel
Sola Adeyemi (1965– )
Chimamanda Ngozi Adichie (1977– )
Emeka Agbayi
Rita Aghadiuno[1]
Tolu Ajayi (1946– )
Segun Akinlolu
Segun Akinyode
Akilu Aliyu
Odinaka Anudu
Isiaka Aliagan
Olufunmi Aluko
T.M. Aluko (1918– )
Elechi Amadi (1934– )
Ifi Amadiume
Peter Anny-Nzekwue
Ike Anya
G. O. Apata
Sefi Atta (1964– )
Babatunde Awoyele
Anne Axis
Unoma Nguemo Azuah
Nnorom Azuonye
Tunde Akinloye

[edit] B-E
Babafemi Badejo
Francoise Balogun
Biyi Bandele
A. Igoni Barrett (1979– )
Charles Bodunde
Qasim Bolaji-Ashogbon
Tubal Rabbi Cain (1964–)
Chidi Anthony Opara
Chin Ce (1966– )
John Pepper Clark (1935– )
Samuel Ajayi Crowther (1809–1891)
Olumbe Bassir
Folasayo Dele-Ogunrinde
Umaru Dembo
David Diai
Jude Dibia (1975– )
Ebereonwu
Philip Efiong[[2]]
Philip Effiong jr.[3]
Etebom Ekpo
Michael Echeruo (1937– )
Amatoritsero (Godwin) Ede
Eyitemi Egwuenu
Victor Ehikhamenor
Cyprian Ekwensi (1921– )
Buchi Emecheta (1944– )
E. Nolue Emenanjo
Perpetual Emenekwum-Eziefule
Olaudah Equiano (c. 1745–97)
Rosemary Esehagu (1981– )
Femi Euba
Chielozona Eze
Vera Ezimora
Abitogun Oladipo Ojo
Itunu-Abitogun Oyinlade Oladipo
Akinbami Oluseyi Macaulay
Aderinola Richardson (nee Aderemi)

[edit] F-K
Daniel Olorunfemi Fagunwa
Adebayo Faleti
Dan Fulani
Harry Oludare Garuba (1958– )
Jumoke Giwa
Healson Adedayo Farore, Sr.
Helon Habila
Ogaga Ifowodo
Anita Omoiataman Ihaza
Rita Ihekwaba[4]
Senator Ihenyen
Ikhide R. Ikheloa (Nnamdi)
Esiaba Irobi
Akinwunmi Isola
Uzodinma Iweala
Obi “Obiwu” Iwuayanwu
Festus Iyayi
Abubakar Imam
Femi Jeboda
Prince Joshua Olawuyi
Biodun Jeyifo (1946– )
Mike Jimoh
Samuel Johnson
Kokalu O. Kalu
Uduma Kalu
Hamzat Kassim
Sulaiman Ibrahim Katsina
Olubukola Kwegan

[edit] L-N
Abimbola Lagunju
Obakanse S. Lakanse
Akeem Lasisi
Amina Mama
Oliver Mbamara
Ayodele Morocco-Clarke (1973–)
John Munonye
Uche Nduka
Austyn Njoku
Obi Nwakanma
Martina Awele Nwakoby (1937– )
Nkem Nwankwo (1936–2001)
Flora Nwapa (1931–1993)
Njideka Nwapa-Ibuaka
Chuma Nwokolo
Angela Nwosu
Maik Nwosu
Nkechi Nwosu-Igbo
Azuka Nzegwu
Onuora Nzekwu

[edit] O
Olu Obafemi
Iheoma Obibi
Obinna Charles Okwelume
Hyacinth Obunseh
Sunny E. Ododo
Pastor Taiwo Odubiyi
Odia Ofeimun
Chike Ofili
Sarah O’Gorman
Olu Oguibe
Ike Oguine
Molara Ogundipe
Samuel Olagunju Ogundipe
Tolulope Ogunlesi
Denrele Ogunwa
Omolola Ijeoma Ogunyemi
Yemi D. Ogunyemi
Ijeoma Ogwuegbu
Francis Ohanyido (1970– )
Tanure Ojaide
Bamiji Ojo
Akinloye Ojo
Olatubosun Oladapo
Gabriel Okara (1921– )
Oladejo Okedeji
Wale Okediran
Chika Okeke
Remi Okere
Niran Okewole
Christopher Okigbo (1932–1967)
Onookome Okome
Ike Okonta
Nnedi Okorafor-Mbachu
Dike Okoro
Rudolf Ogoo Okonkwo
Wole Oguntokun
Osita Okoroafor
Ben Okri (1959– )
Afolabi Olabimtan
Simbo Olorunfemi
Esho Oluborode
Alade E. Oluwadamilola
Kole Omotosho (1943– )
Nduka Onwuegbute (1969– )
Osonye Tess Onwueme (1955– )
Dillibe Onyeama
Frank Onyebu
Nwando Onyeabo
Alexander Orok
Nnaemeka Oruh
Dennis Osadebay
Femi Osofisan
Chinye Phiona Osai
Sanya Osha
Sola Osofisan
E.C. Osondu
Niyi Osundare (1947– )
Tony Nduka Otiono
Helen Ovbiagele (1944– )
Jamin Owhovoriole
Bunmi Oyinsan
Dupe Olorunjo
Naan Pocen
Seni Ogunkola

[edit] R-T
Remi Raji
Aderemi Raji-Oyelade
Ken Saro-Wiwa (1941–95)
Lola Shoneyin
Mudi Sipikin
Ladipo Soetan
Zulu Sofola (1935–95)
Bode Sowande (1948–)
J. Sobowole Sowande
Ugochukwu Ejinkeonye
Wole Soyinka (1934– ), awarded the 1986 Nobel Prize in Literature
Loud Speaker
Emmanuel Sule
Mohammed Sule
Muritala Sule
Kola Tubosun
Adebisi Thompson
Amos Tutuola (1920-97)
Morenike Taire

[edit] U-Z
Uche Nworah
Ebele Uche-Nwakile
Françoise Ugochukwu, born in France
Clarius Ugwuoha
Gracy Ukala (formerly Osifo)
Adaora Lily Ulasi (1932– )
Sumaila Isah Umaisha
Karo Umukoro
Chika Unigwe
Emman Usman Shehu
Ronnie Uzoigwe
Jumoke Verissimo
Ugonna Wachuku (1971– ), lives in Geneva, Switzerland
Segun Williams
Ken Wiwa (1968– ), now resides in Canada
Kenneth Nwobosi(www.kenobosi.tk)
Molara Wood
Oladipo Yemitan
Sa’adu Zungur

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AFRICAN LITERATURE FROM WIKIPEIDA.ORG

from en.wikipedia.org

African literature
From Wikipedia, the free encyclopedia
Jump to: navigation, search
African literature refers to the literature of and for the African peoples. As George Joseph notes on the first page of his chapter on African literature in Understanding Contemporary Africa, while the European perception of literature generally refers to written letters, the African concept includes oral literature. [1]

As George Joseph continues, while European views of literature often stressed a separation of art and content, African awareness is inclusive:

“Literature” can also imply an artistic use of words for the sake of art alone. Without denying the important role of aesthetics in Africa, we should keep in mind that, traditionally, Africans do not radically separate art from teaching. Rather than write or sing for beauty in itself, African writers, taking their cue from oral literature, use beauty to help communicate important truths and information to society. Indeed, an object is considered beautiful because of the truths it reveals and the communities it helps to build. [2]
Contents [hide]
1 Early written literatures
2 Oral literature
3 Precolonial literature
4 Colonial African literature
5 Postcolonial African literature
6 Noma Award
7 Major African novels
8 Major African poets
9 Secondary literature
10 See also
11 References
12 External links

[edit] Early written literatures
North Africa had an early literate indigenous civilization (Ancient Egypt) some of whose hieroglyphic writings survive. North Africans also contributed to writing in Phoenician, Greek and Latin. Phoenician material, from Carthage and other colonies on the continent, has been very largely lost. Encouraged by the royal patronage of the Ptolemaic rulers, scholars in Alexandria assembled the famous Library of Alexandria and Alexandrian writers contributed not insignificantly to the material housed in this institution. North Africans writing in Latin include Apuleius and Saint Augustine.

In Islamic times, North Africans, such as ibn Khaldun attained great distinction within Arabic literature.

[edit] Oral literature
Oral literature (or orature) may be in prose or verse. The prose is often mythological or historical and can include tales of the trickster character. Storytellers in Africa sometimes use call-and-response techniques to tell their stories. Poetry, often sung, includes: narrative epic, occupational verse, ritual verse, praise poems to rulers and other prominent people. Praise singers, bards sometimes known as “griots”, tell their stories with music. [3] Also recited, often sung, are: love songs, work songs, children’s songs, along with epigrams, proverbs and riddles.[4]

[edit] Precolonial literature
Examples of pre-colonial African literature include the Epic of Sundiata composed in medieval Mali, The older Epic of Dinga from the old Ghana Empire, and the Kebra Negast or book of kings from Ethiopia. One popular form of traditional African folktale is the “trickster” story, where a small animal uses its wits to survive encounters with larger creatures. Examples of animal tricksters include Anansi, a spider in the folklore of the Ashanti people of Ghana; Ijàpá, a tortoise in Yoruba folklore of Nigeria; and Sungura, a hare found in central and East African folklore. [5]

[edit] Colonial African literature
The African works best known in the West from the period of colonization and the slave trade are primarily slave narratives, such as Olaudah Equiano’s The Interesting Narrative of the Life of Olaudah Equiano (1789).

In the colonial period, Africans exposed to Western languages began to write in those tongues. In 1911, Joseph Ephraim Casely-Hayford (also known as Ekra-Agiman) of the Gold Coast (now Ghana) published what is probably the first African novel written in English, Ethiopia Unbound: Studies in Race Emancipation [6] Although the work moves between fiction and political advocacy, its publication and positive reviews in the Western press mark a watershed moment in African literature.

During this period, African plays began to emerge. Herbert Isaac Ernest Dhlomo of South Africa published the first English-language African play , The Girl Who Killed to Save: Nongqawuse the Liberator in 1935. In 1962, Ngugi wa Thiong’o of Kenya wrote the first East African drama, The Black Hermit, a cautionary tale about “tribalism” (racism between African tribes).

African literature in the late colonial period (between the end of World War I and independence) increasingly showed themes of liberation, independence, and (among Africans in French-controlled territories) négritude. One of the leaders of the négritude movement, the poet and eventual President of Senegal, Léopold Sédar Senghor, published the first anthology of French-language poetry written by Africans in 1948, Anthologie de la nouvelle poésie nègre et malgache de langue française (Anthology of the New Black and Malagasy Poetry in the French Language), featuring a preface by the French existentialist writer Jean-Paul Sartre. [7]

[edit] Postcolonial African literature
With liberation and increased literacy since most African nations gained their independence in the 1950s and 1960s, African literature has grown dramatically in quantity and in recognition, with numerous African works appearing in Western academic curricula and on “best of” lists compiled at the end of the 20th century. African writers in this period wrote both in Western languages (notably English, French, and Portuguese) and in traditional African languages.

Ali A. Mazrui and others mention seven conflicts as themes: the clash between Africa’s past and present, between tradition and modernity, between indigenous and foreign, between individualism and community, between socialism and capitalism, between development and self-reliance and between Africanity and humanity. [8] Other themes in this period include social problems such as corruption, the economic disparities in newly independent countries, and the rights and roles of women. Female writers are today far better represented in published African literature than they were prior to independence.

In 1986, Wole Soyinka became the first post-independence African writer to win the Nobel Prize in literature. Algerian-born Albert Camus had been awarded the 1957 prize.

[edit] Noma Award
The Noma Award, begun in 1980, is presented for the outstanding work of the year in African literature.

[edit] Major African novels
Chinua Achebe, Things Fall Apart (Nigeria)
Alan Paton, Cry, The Beloved Country (South Africa)
Gracy Ukala, Dizzy Angel (Nigeria)
Daniel Olorunfemi Fagunwa, Ogboju odẹ ninu igbo irunmalẹ (The Forest of a Thousand Demons) (Nigeria)
Mariama Bâ, Une si longue lettre (So Long a Letter) (Senegal)
Ousmane Sembène, Xala (Senegal)
Ngugi wa Thiong’o, A Grain of Wheat (Kenya)
Benjamin Sehene, Le Feu sous la Soutane (Fire under the Cassock) (Rwanda)
Thomas Mofolo, Chaka (South Africa/Lesotho)
Tsitsi Dangarembga, Nervous Conditions (Zimbabwe)
Dambudzo Marechera, The House of Hunger (Zimbabwe/Rhodesia)
Yvonne Vera, Butterfly Burning (Zimbabwe)
Mia Couto, Terra Sonâmbula (A Sleepwalking Land) (Mozambique)
Ayi Kwei Armah, The Beautyful Ones Are Not Yet Born (Ghana)
Ben Okri, The Famished Road (Nigeria)
J.M. Coetzee, Disgrace (South Africa)
BAYO ADEBOWALE’S NOVELS:”THE VIRGIN”,”OUT OF HIS MIND” AND “LONELY DAYS”(NIGERIA)
[edit] Major African poets
Chinua Achebe (Nigeria)
Gracy Ukala (Nigeria)
Wole Soyinka (Nigeria)
Christopher Okigbo (Nigeria)
Lenrie Peters (Gambia)
Kofi Anyidoho (Ghana)
Dennis Brutus (South Africa)
Kofi Awoonor (Ghana)
Chidi Anthony Opara(Nigeria)
BAYO ADEBOWALE(NIGERIA)
[edit] Secondary literature
Encyclopedia of African Literature, ed Simon Gikandi, London: Routledge, 2003.
The Cambridge History of African and Caribbean Literature, ed Abiola Irele and Simon Gikandi, 2 vls, Cambridge [u.a.]: Cambridge University Press, 2004. Table of contents
Daughters of Africa: An International Anthology of Words and Writing by Women of African Descent”, ed Margaret Busby (Random House, 1992).
General History of Africa vol. VIII, ed. Ali A. Mazrui, UNESCO, 1993, ch. 19 “The development of modern literature since 1935,” Ali A. Mazrui et al.
Understanding Contemporary Africa, ed. April A. Gordon and Donald L. Gordon, Lynne Rienner, London, 1996, ch. 12 “African Literature”, George Joseph
“Great Poets From Around The World (Nigeria)”,World Poets Society Official Website,www.world-poets.blogspot.com

[edit] See also
List of African writers
African cinema
Nigerian literature

[edit] References
^ George, Joseph, “African Literature” ch. 12 of Understanding Contemporary Africa p. 303
^ ibid p. 304
^ http://www.infoplease.com/ce6/ent/A0802673.html
^ George Joseph, op. cit. pp. 306-310
^ African Literature – MSN Encarta
^ [1].
^ Leopold Senghor – MSN Encarta
^ Ali A. Mazrui et al. “The development of modern literature since 1935” as ch. 19 of UNESCO’s General History of Africa vol. VIII p. 564f Collaborating with Ali A. Mazrui on this chapter were Mario Pinto de Andrade, M’hamed Alaoui Abdalaoui, Daniel P. Kunene and Jan Vansina.

[edit] External links
African Languages and Literature at the University of Wisconsin-Madison
African Literature Association
The 100 best African books of the 20th century
Research in African literature and Culture
[show]v • d • eLiterature of Africa
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