The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. This volume in the Global Theatre Perspectives series presents a reconstructed ancient performance text, four one-act indigenous African plays and five modern dramas from various regions of Africa and the Caribbean Diaspora. Because these plays span centuries and are the work of artists from diverse cultures, readers can see elements that occur across time and space. Physicalized ritual, direct interaction with spectators, improvisation, music, drumming, and metaphorical animal characters help create the theatrical forms in multiple plays. Recurring themes include the establishment or challenging of political authority, the oppression or corruption of government, societal expectations based on gender, the complex and transformational nature of identity, and the power of dreams. Though each play is its own unique entity, reading them together allows readers to explore what theatrical elements and cultural concerns are perhaps essentially African. The Caribbean plays add further perspective to the questions of what values, theatrical and societal, are part of African drama, how these have influenced the Caribbean aesthetic, and what the relationships are between the old and new world. Among the creators of the pieces are two Nobel Laureates, those who have been exiled or jailed for the political nature of their work, and the author of his country’s first constitution. The volume can serve as the primary text for an intensive semester-long investigation of African drama and culture. But it is also possible to use this volume along with others in the series as texts for a single course on drama from around the world. The global perspectives approach, letting works from ancient, indigenous, and modern times resonate with each other, encourages thinking across boundaries and connective human understanding.

A profound version of the theme of self discovery, this novel explores the thoughts and experiences of a Ghanaian girl on her travels in Europe.

This title pays tribute to Ama Ata Aidoo through a broad spectrum of articles and personal memoirs from scholars of different generations and from other literary artists.

Two witty and perceptive dramas and honest explorations of the conflict of Western culture and the social traditions of Africa.

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. This volume in the Global Theatre Perspectives series presents a reconstructed ancient performance text, four one-act indigenous African plays and five modern dramas from various regions of Africa and the Caribbean Diaspora. Because these plays span centuries and are the work of artists from diverse cultures, readers can see elements that occur across time and space. Physicalized ritual, direct interaction with spectators, improvisation, music, drumming, and metaphorical animal characters help create the theatrical forms in multiple plays. Recurring themes include the establishment or challenging of political authority, the oppression or corruption of government, societal expectations based on gender, the complex and transformational nature of identity, and the power of dreams. Though each play is its own unique entity, reading them together allows readers to explore what theatrical elements and cultural concerns are perhaps essentially African. The Caribbean plays add further perspective to the questions of what values, theatrical and societal, are part of African drama, how these have influenced the Caribbean aesthetic, and what the relationships are between the old and new world. Among the creators of the pieces are two Nobel Laureates, those who have been exiled or jailed for the political nature of their work, and the author of his country’s first constitution. The volume can serve as the primary text for an intensive semester-long investigation of African drama and culture. But it is also possible to use this volume along with others in the series as texts for a single course on drama from around the world. The global perspectives approach, letting works from ancient, indigenous, and modern times resonate with each other, encourages thinking across boundaries and connective human understanding.

No Sweetness Here, Ama Ata Aidoo's early volume of short fiction, is now available in the U.S. Set in West Africa, these stories chart a geography of consciousness during a period of transition from a colonial society through independence into a postcolonial world still in progress today. The characters-as many men as women come alive on these pages-enjoy good fortune and suffer pain in a tradtional African manner: through brilliant, witty, defiant, image-laden speech. The style of these stories renders African orality dramatically; characterization emerges as much through the unique voice as through physical appearance. The special strength of these stories lies in Aidoo's sensitivity to men's as well as women's lives. Sometimes one can feel even more compassion for the men who are often set in ways counter-productive to living in an African-controlled but tightly-hierarchical society. Even the most critical consciousness-the Western-educated African living abroad or returning home-sometimes doesn't get it, for the changes are too vast, the future too uncharted. The title story suggests more than meets the eye. If there is no sweetness, there is the salt essential to life, even if it comes from tears, and the strength that comes from a history of endurance. There is also the wit of the word and the compassion of family and friends. The volume is at once entertaining and deeply instructive not only about a changing Africa, but about such universal themes as love, marriage, work, family, sacrifice, privilege, and hierarchy.

A celebration of Ama Ata Aidoo's work presented as a festschrift with a broad spectrum of articles and personal memoirs from scholars and literary artists. It conveys the full extent of Aidoo's place as a literary innovator and an exponent of radical social and cultural thought in Africa and internationally on account of its self-consciousness and gender equality. Included are a study, by playwright Femi Osofisan, of the Nigerian film industry and its impact on live theatre and negative images in contemporary Ghanaian music.

"Changes" explores the complex world in which the lives of professional working women have changed sharply, but the cultural assumptions of men's lives have not. Witty and compelling, Aidoo's novel, according to Manthia Diawara, "inaugurates a new realist style in African literature."
"Aidoo writes with intense power in a novel that, in examining the role of women in modern African society, also sheds light on women's problems around the globe."--"Publishers Weekly" (starred review)
Suggested for course use in:
African literature
African studies
Family Studies
Ama Ata Aidoo, one of Ghana's most distinguished writers, is the author of two other works of fiction, "Our Sister Killjoy" and "No Sweetness Here" (The Feminist Press), as well as plays, poems, and children's books. "Tuzyline Jita" Allan is associate professor of English at Baruch College, CUNY.

Ama Ata Aidoo is one of the best-known African writers today. Spanning three decades of work, the poems in this collection address themes of colonialism, independence, motherhood, and gender in intimate, personal ways alongside commentary on broader social issues. After the Ceremonies is arranged in three parts: new and uncollected poems, some of which Aidoo calls "misplaced or downright lost"; selections from Aidoo's An Angry Letter in January and Other Poems; and selections from Someone Talking to Sometime. Although Aidoo is best known for her novels Changes: A Love Story and Our Sister Killjoy, which are widely read in women's literature courses, and her plays The Dilemma of a Ghost and Anowa, which are read and performed all over the world, her prowess as a poet shines in this collection.

Some, but not all, of the stories in this collection have been previously published in periodicals. The stories illuminate the struggles that women face in post-independent Ghanaian society. They tell of the way women triumph over the prejudices of family and Ghanaian society, and cope with the pressure of foreign conventions, often in a humourous way. The protaganists range from children to successful professional women, thus portraying the hurdles to be overcome from an early age and in adulthood.

The only current anthology to survey the rich variety of contemporary African drama The plays included in this volume are: Death and the King's Horseman by Wole Soyinka; Anowa by Ama Ata Aidoo; The Chattering and the Song by Femi Osofisan; The Rise and Shine of Comrade Fiasco by Andrew Whaley; Woza Albert! by Percy Mtwa, Mbongeni Ngema and Barney Simon; and The Other War by Alemseged Tesfai.Contemporary African Drama brings together some of the best writers writing from an African viewpoint today.

This anthology consists of nine plays by a diverse group of women from throughout the African continent. The plays focus on a wide range of issues, such as cultural differences, AIDS, female circumcision, women's rights to higher education, racial and skin color identity, prostitution as a form of survival for young girls, and nonconformist women resisting old traditions. In addition to the plays themselves, this collection includes commentaries by the playwrights on their own plays, and editor Kathy A. Perkins provides additional commentary and a bibliography of published and unpublished plays by African women.

The playwrights featured are Ama Ata Aidoo, Violet R. Barungi, Tsitsi Dangarembga, Nathalie Etoke, Dania Gurira, Andiah Kisia, Sindiwe Magona, Malika Ndlovu (Lueen Conning), Juliana Okoh, and Nikkole Salter.