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This book discusses globalization trends and influences on
traditional African oral literary performance and the direction
that Ilorin oral art is forced to take by the changes of the
twenty-first century electronic age. It seeks a new definition of
contemporary African bourgeois in terms of its global reach,
imitation of foreign forms and collaboration with the owners of the
primary agencies. Additionally, it makes a case that African global
lords or new bourgeoisie who are largely products of the new global
capital and multinational corporations' socio-political and
cultural influences fashion their tastes after western cultures as
portrayed in the digital realm.
This book traces Dadakuada's history and artistic vision and
discusses its vibrancy as the most popular traditional Yoruba oral
art form in Islamic Africa. Foregrounding the role of Dadakuada in
Ilorin, and of Ilorin in Dadakuada the book covers the history,
cultural identity, performance techniques, language, social life
and relationship with Islam of the oral genre. The author examines
Dadakuada's relationship with Islam and discusses how the Dadakuada
singers, through their songs and performances, are able to
accommodate Islam in ways that have ensured their continued
survival as a traditional African genre in a predominantly Muslim
community. This book will be of interest to scholars of traditional
African culture, African art history, performance studies and Islam
in Africa.
Through an engaged analysis of writers such as Wole Soyinka, Ola
Rotimi, Niyi Osundare, and Tanure Ojaide and of African traditional
oral poets like Omoekee Amao Ilorin and Mamman Shata Katsina,
Abdul-Rasheed Na'Allah develops an African indigenous discourse
paradigm for interpreting and understanding literary and cultural
materials. Na'Allah argues for the need for cultural diversity in
critical theorizing in the twenty-first century. He highlights the
critical issues facing scholars and students involved in criticism
and translation of marginalized texts. By returning the African
knowledge system back to its roots and placing it side by side with
Western paradigms, Na'Allah has produced a text that will be
required reading for scholars and students of African culture and
literature. It is an important contribution to scholarship in the
domain of mobility of African oral tradition, and on African
literary, cultural and performance discourse.
Through an engaged analysis of writers such as Wole Soyinka, Ola
Rotimi, Niyi Osundare, and Tanure Ojaide and of African traditional
oral poets like Omoekee Amao Ilorin and Mamman Shata Katsina,
Abdul-Rasheed Na'Allah develops an African indigenous discourse
paradigm for interpreting and understanding literary and cultural
materials. Na'Allah argues for the need for cultural diversity in
critical theorizing in the twenty-first century. He highlights the
critical issues facing scholars and students involved in criticism
and translation of marginalized texts. By returning the African
knowledge system back to its roots and placing it side by side with
Western paradigms, Na'Allah has produced a text that will be
required reading for scholars and students of African culture and
literature. It is an important contribution to scholarship in the
domain of mobility of African oral tradition, and on African
literary, cultural and performance discourse.
This book traces Dadakuada's history and artistic vision and
discusses its vibrancy as the most popular traditional Yoruba oral
art form in Islamic Africa. Foregrounding the role of Dadakuada in
Ilorin, and of Ilorin in Dadakuada the book covers the history,
cultural identity, performance techniques, language, social life
and relationship with Islam of the oral genre. The author examines
Dadakuada's relationship with Islam and discusses how the Dadakuada
singers, through their songs and performances, are able to
accommodate Islam in ways that have ensured their continued
survival as a traditional African genre in a predominantly Muslim
community. This book will be of interest to scholars of traditional
African culture, African art history, performance studies and Islam
in Africa.
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