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Ahmadu Fulani
Ahmaduu Fulani is a book of performance poetry celebrating the memory of the poet's father. The anthology also addresses issues of national and international significance, human and envirnmental rights, and speaks out against injustice no matter who the oppressed or the oppressors are. With three languages (English, Yoruba and Hausa) sharing the page readers need to perform the poetry to realise their full meanings and literary aesthetics. The invocation of the street poetry tradition of Nigerian street beggars and oral singers is fully realised in this book.
African Discourse in Islam, Oral Traditions, and Performance
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.
Seriya
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Introduction to African Oral Literature and Performance
Rev. ed. of: Introduction to African oral literature. c1991.
Yoruba Oral Tradition in Islamic Nigeria
This book traces Dàdàkúàdá’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 Dàdàkúàdá in Ilorin, and of Ilorin in Dàdàkúàdá the book covers the history, cultural identity, performance techniques, language, social life and relationship with Islam of the oral genre. The author examines Dàdàkúàdá’s relationship with Islam and discusses how the Dàdàkúàdá 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.
Ogoni's Agonies
The book offers a wide range of perspectives on the crisis. It includes detailed historical analyses of the Ogoni people, of Nigerian politics, and of the international responses to the Saro-Wiwa execution. It also includes a strong body of critical responses to the work of Ken Saro-Wiwa, and to his importance as a Nigerian intellectual and activist.
Ilorin O Poetry of Praise
Abdul-Rasheed Na'Allah's Ilorin ó is a unique collection of praise poems in English, Yoruba, and Hausa passionately celebrating and illuminating the city of Ilorin's wealth of culture, history, Islamic heritage, and individual achievements. It is a work that is solid in content, form, and techniques. There are many quotable lines, a measure of poetic strength. I cannot forget the line about the child hearing Koranic recitation from the mother's womb. Also, the moral authority combined with oratory in a wise one who can be heard by a dumb ruler! In addition to the rich Islamic heritage and the success of Ilorin individuals in the areas of justice and bravery, the poet praises the city's deli...
Almajiri
A collection of poems that explores the voices of Almajiri, the street beggar-poets of the Hausa/Fulani and the Yoruba, to address contemporary global and local issues.
Long Drums & Cannons
Up-to-date biographies with a list of works for each of the writers, detailed annotations to the original text and a glossary complete this edition."--BOOK JACKET.
Globalization, Oral Performance, and African Traditional Poetry
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.
