This collection of essays from eminent scholar F. Abiola Irele provides a comprehensive formulation of what he calls an "African imagination" manifested in the oral traditions and modern literature of Africa and the Black Diaspora. The African Imagination includes Irele's probing critical readings of the works of Chinua Achebe, Edward Kamau Brathwaite, Amadou Hampat B , and Ahmadou Kourouma, among others, as well as examinations of the growing presence of African writing in the global literary marketplace and the relationship between African intellectuals and the West. Taken as a whole, this volume makes a superb introduction to African literature and to the work of one of its leading interpreters.

The world of Sub-Saharan African music is immensely rich and diverse, containing a plethora of repertoires and traditions. In The African Imagination in Music, renowned music scholar Kofi Agawu offers an introduction to the major dimensions of this music and the values upon which it rests. Agawu leads his readers through an exploration of the traditions, structural elements, instruments, and performative techniques that characterize the music. In sections that focus upon rhythm, melody, form, and harmony, the essential parts of African music come into relief. While traditional music, the backbone of Africa's musical thinking, receives the most attention, Agawu also supplies insights into popular and art music in order to demonstrate the breadth of the African musical imagination. Close readings of a variety of songs, including an Ewe dirge, an Aka children's song, and Fela's 'Suffering and Smiling' supplement the broader discussion. The African Imagination in Music foregrounds a hitherto under-reported legacy of recordings and insists on the necessity of experiencing music as sound in order to appreciate and understand it fully. Accordingly, a Companion Website features important examples of the music discussed in detail in the book. Accessibly and engagingly written for a general audience, The African Imagination in Music is poised to renew interest in Black African music and to engender discussion of its creative underpinnings by Africanists, ethnomusicologists, music theorists and musicologists.

This book investigates how African authors and artists have explored themes of the future and technology within their works. Afrofuturism was coined in the 1990s as a means of exploring the intersection of African diaspora culture with technology, science and science fiction. However, this book argues that literature and other arts within Africa have always reflected on themes of futurism, across diverse forms of speculative writing (including science fiction), images, spirituality, myth, magical realism, the supernatural, performance and other forms of oral resources. This book reflects on themes of African futurism across a range of literary and artistic works, also investigating how problems such as racism, sexism, social injustice and postcolonialism are reflected in these narratives. Chapters cover authors, artists, movements and performers such Wole Soyinka, Ben Okri, Ngugi wa Thiong’o, Elechi Amadi, Mazisi Kunene, Nnedi Okorafor, Lauren Beukes, Leslie Nneka Arimah and the New African Movement. The book also includes a range of original interviews with prominent authors and artists, including Tanure Ojaide, Lauren Beukes, Patricia Jabbeh Wesley, Benjamin Kwakye, Ntongela Masilela and Bruce Onobrakpeya. Interdisciplinary in its approach, this book will be an important resource for researchers across the fields of African literature, philosophy, culture and politics.

During the twentieth-century, Christendom shifted its centre of gravity to the Southern Hemisphere, Africa becoming the most significant area of church growth. This volume explores Christianity’s advance across the continent, and its capturing of the African imagination. From the medieval Catholic Kingdom of Kongo to a transnational Pentecostal movement in post-colonial Zimbabwe, the chapters explore how African agents – priests and prophets, martyrs and missionaries, evangelists and catechists – have seized Christianity and made it theirs. Emphasizing popular religion, the book shows how the Christian ideas and texts, practices and symbols, which have been adapted by Africans, help them accept existential passions and empower them through faith to deal with material concerns for health and wealth, and to overcome evil.

Justice and Human Rights in the African Imagination is an interdisciplinary reading of justice in literary texts and memoirs, films, and social anthropological texts in postcolonial Africa. Inspired by Nelson Mandela and South Africa’s robust achievements in human rights, this book argues that the notion of restorative justice is integral to the proper functioning of participatory democracy and belongs to the moral architecture of any decent society. Focusing on the efforts by African writers, scholars, artists, and activists to build flourishing communities, the author discusses various quests for justice such as environmental justice, social justice, intimate justice, and restorative justice. It discusses in particular ecological violence, human rights abuses such as witchcraft accusations, the plight of people affected by disability, homophobia, misogyny, and sex trafficking, and forgiveness. This book will be of interest to scholars of African literature and films, literature and human rights, and literature and the environment.

Travel and the Pan African Imagination explores the African Atlantic world as a productive theater or space where modernity, racialized dominance, and racialized resistance took form. The book stresses the importance of placing three Atlantic figures—the Charleston, South Carolina-based armed resistance leader Denmark Vesey; the West African emigration advocate Edward Wilmot Blyden; and the Christian missionary and teacher in Liberia as well as the United States, Alexander Crummell—within an Atlantic context and as African world community figures between the late-eighteenth and early-twentieth centuries. The book also examines the religious origins of Black Power ideology and modern Pan Africanism as products of the intense dialogue within the African world community about concepts of modernity, progress, and civilization. Tracy Keith Flemming identifies how travel and social mobility led to the generation of an ever more complex and dynamic Atlantic world and of a fluid and adaptive African world community imagination for those figures who were forced to operate within and against a racially framed universe. The vexing social position and symbolic figure of “the African” was central to the dilemmas facing the racialized imagination of African world community figures and the discipline of Africology.

The postcolonial African culture, as it is discoursed in the academia, is largely influenced by Africa's response to colonialism. To the degree that it is a response, it is to considerably reactive, and lacks forceful moral incentives for social critical consciousness and nation-building. Quite on the contrary, it allows especially African political leaders to luxuriate in the delusions of moral rectitude, imploring, at will, the evil of imperialism as a buffer to their disregard of their people. This book acknowledges the social and psychological devastations of colonialism on the African world. It, however, argues that the totality of African intellectual response to colonialism and Western imperialism is equally, if not more, damaging to the African world. In what ways does the average African leader, indeed, the average African, judge and respond to his world? How does he conceive of his responsibility towards his community and society? The most obvious impact of African response to colonialism is the implicit search for a pristine, innocent paradigm in, for instance, literary, philosophical, social, political and gender studies. This search has its own moral implication in the sense that it makes the taking of responsibility on individual and social level highly difficult. Focusing on the moral impact of responses to colonialism in Africa and the African Diaspora, this book analyzes the various manifestations of delusions of moral innocence that has held the African leadership from the onerous task of bearing responsibility for their countries; it argues that one of the ways to recast the African leaders' responsibility towards Africa is to let go, on the one hand, the gaze of the West, and on the other, of the search for the innocent African experience and cultures. Relying on the insights of thinkers such as Frantz Fanon, Wole Soyinka, Kwame Anthony Appiah, Achille Mbembe and Wolgang Welsch, this book suggests new approaches to interpreting African experiences. It discusses select African works of fiction as a paradigm for new interpretations of African experiences.

This work examines both the emergence of African literature and its institutionalization within nationalist African academies. Amoko analyzes the relationship between such institutions of literature and the processes of nationalist legitimization and between colonial and postcolonial school cultures and national cultures.

This book chronicles the rise and the development of postcolonial agency since Africa’s encounter with Western modernity through African and African diaspora literature and film. Using African and African diasporic imaginaries (creative writings, autobiographies, polemical writings, and filmic media), the author shows how African subjects have resisted enslavement and colonial domination over the past centuries, and how they have sought to reshape "global modernity". Authors and film makers whose works are examined in detail include Olaudah Equiano, Haile Gerima, Amma Asante, George Washington Williams, William Sheppard, Wole Soyinka, Dani Kouyaté, Chris Abani, Chimamanda Adichie, and Leila Aboulela. Providing a critical study of nativism, hybridity and post-hybrid conjunctive consciousness, this book will be of interest to students and scholars of African and African diasporic literature, history, and cultural studies.

Indigenization of Language in the African Francophone Novel: A New Literary Canon discusses the question of indigenization in the African Francophone novel. Analyzing the prose narratives of Nazi Boni, Ahmadou Kourouma, and Patrice Nganang, this book contends that African literature written in European languages is primarily a creative translation process. Recourse to European languages as a medium of expressing African imagination, worldview, and cultures in fictional writing poses problems of intelligibility. Developed to express and reflect Western worldviews and sensibilities, European languages are employed by African writers to convey messages that seem to be at variance with European imagination. These writers find themselves writing in languages they wish to subvert through the technique of literary indigenization. The significance of this study resides in its raising awareness to the hurdles that literary creativity in a polyglossic context may present to readers and translators. This book provides answers to intriguing questions centering on the problematic of translation in contemporary African literature. It is a contribution to current research aimed at unraveling the conundrum surrounding the language question in African Europhone fiction, particularly the cultural functions of translation in literature. Potential translation problems have to be addressed in order to make African literature written in European languages intelligible to global readership. With the advent of globalization, transcultural communication has become an activity of enormous importance to the international community. It is a subject of great interest to translators, linguists, language instructors, and literary theorists.