By Gordon Collier
This factor of Matatu offers state-of-the-art stories of latest Nigerian literature, a variety of brief fiction and poetry, and various essays on numerous subject matters of political, inventive, socio-linguistic, and sociological curiosity. Contributions on theatre specialize in the idiot as dramatic personality and at the feminist theatre of exclusion (Tracie Uto-Ezeajugh). a number of essays research the poetry of wish Eghagha and the Delta author Tanure Ojaide. experiences of the prose fiction of Chinua Achebe, Tayo Olafioye, Uwem Akpan, and Chimamanda Adichie are complemented by way of a looking out reveal of the exploitation of Ayi Kwei Armah at the a part of the metropolitan publishing global and by means of a contemporary interview with the poet Jumoko Verissimo. conventional tradition is taken into account in articles on ancient websites in Ile-Ife, witchcraft in Etsako conflict, and the Awonmili girls s collective in Awka. Linguistically orientated experiences think about political speeches, drug ads, and Yoruba anthroponyms. Performance-focused essays concentrate on Emirate courtroom spectacle (durbar), Yoruba drum poetry in modern media, gospel song, indigenization and islamization of army track, and the function of the filmmaker. Contributions of broader relevance care for Islamic parts of Nigerian tradition, the decline of the tutorial approach, and the socio-economic effect of acquisitive culture."
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Additional resources for Focus on Nigeria: Literature and Culture
50 OGAGA OKUYADE a ——. “Poetry and Repression in Contemporary Nigeria: Tanuire Ojaide’s Labyrinths of the Delta,” African Literature Today 20 (1996): 62–72. Ojaide, Tanure. The Activist (Lagos: Farafina, 2006). ——. Children of Iroko (New York: Greenfield Review Press, 1973). ——. Delta Blues and Home Songs (Ìbàdàn: Kraft, 1997). ——. The Eagle’s Vision (Detroit MI: Lotus, 1987). ——. The Endless Song (Lagos: Malthouse, 1989). ——. The Fate of Vultures (Ikeja, Lagos: Malthouse, 1990). ——. 1 (Winter 1994): 15–21.
Labyrinths of the Delta (New York: Greenfield Review Press, 1986). ——. 1 (Spring 1995): 4–19. ——. Poetic Imagination in Black Africa: Essays on African Poetry (Durham N C : Carolina Academic Press, 1996). ——. 3 (2001): 44–75. E. “Vampires of Bread and Blood in Mud: The Apocalyptic Vision of Pol. Ndu,” Okike 25–26 (February 1984): 50–64. Okunoye, Oyeniyi. “Interview with Tanure Ojaide,” in Writing the Homeland: The Poetry and Politics of Tanure Ojaide, ed. Onookome Okome (Bayreuth African Studies 60; Bayreuth, 2002): 223–34.
Apart from giving the boys and men satisfaction, however, the ritual promises nothing but gloom to the young teenage girls, as they can no longer look forward to attending the festivals. This is what incenses Amaka, who tells her friends that they (the girls) must do something to remedy the situation: AMAKA: But something has to be done. We have come home to enjoy the New Yam Festival. We can’t allow unruly boys in masquerade costumes to scare us away from the market square…. This is the right time and the right opportunity to fight back.