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As a veteran playwright and actor, Kwo Victor Elame Musinga is more than just a pioneer in popular theatre. His simple but profound messages demonstrate a depth of understanding and insight into human nature and the nature of society. The texts he crafts are universal and timeless in their content and appeal, even as the themes and situations that inspire them are localized in specific places, experiences and histories. The Barn is a collection of three topical plays. Njema captures the predicament of love in a context where innocence and trust are preyed upon by deceit, dishonesty, promiscuity, waywardness, callous indifference to human life, the reckless abandon of parental authority and wisdom by youth in a hurry to celebrate sexuality, irresponsible manhood with or without the connivance of girls/women, and HIV/AIDS and its terror. Invitation to God addresses elitism and fair-weather friendship even among believers. In Moka, the theme of friendship is explored through the simple act of dishonesty and greed, especially to those with whom one should be nothing but virtuous, open, generous and kind. In these plays Kwo Victor Elame Musinga explores the virtues of being human, while addressing the dark side of humanity.
Ashuntantang is an extraordinary weaver of words who showcases vivid pictures that compete with 3D simulation. Her greatest asset is her use of the beautiful traditional Cameroonian anchor that evokes folk tales with its moonlight romance and glory. You feel, laugh, weep, shiver, wonder, and hail the triumphant spirit of the persona as it navigates African postcolonial and global experiences with the melancholy of an exile who is purposeful, strategic, and a lot of fun.
Bold, original and stimulating in its inspirational insights, A Basket of Kola Nuts explores Cameroonís cultures as remarkable pivots of moral rectitude and such sickening vicious-circles as bribery and corruption. Ethnically grass-rooted and globalizing rather than alarmingly exotic and exclusive, this poetic diction of form-content aims at revitalizing its material contents to sever it from extinction and revamp cultural values that break the patience of silence to question deviation rather than the concrete interface of cultural identities and differences. Uprightly appealing, this poetry gathers kola seeds that fall apart in crisis to invite readers world-wide to taste its kolaly aroma.
A History from the Pre-colonial Period to 2008
Becoming Zimbabwe is the first comprehensive history of Zimbabwe, spanning the years from 850 to 2008. In 1997, the then Secretary General of the Zimbabwe Congress of Trade Unions, Morgan Tsvangirai, expressed the need for a 'more open and critical process of writing history in Zimbabwe. ...The history of a nation-in-the-making should not be reduced to a selective heroic tradition, but should be a tolerant and continuing process of questioning and re-examination.' Becoming Zimbabwe tracks the idea of national belonging and citizenship and explores the nature of state rule, the changing contours of the political economy, and the regional and international dimensions of the country's history. In their Introduction, Brian Raftopoulos and Alois Mlambo enlarge on these themes, and Gerald Mazarire's opening chapter sets the pre-colonial background. Sabelo Ndlovu tracks the history up to WW11, and Alois Mlambo reviews developments in the settler economy and the emergence of nationalism leading to UDI in 1965. The politics and economics of the UDI period, and the subsequent war of liberation, are covered by Joesph Mtisi, Munyaradzi Nyakudya and Teresa Barnes. After independence in 1980, Zimbabwe enjoyed a period of buoyancy and hope. James Muzondidya's chapter details the transition 'from buoyancy to crisis', and Brian Raftopoulos concludes the book with an analysis of the decade-long crisis and the global political agreement which followed.
The bed, dressed in hand sewn quilt or threadbare blanket, may in and of itself be memorable, but it is what happens in the bed ñ the sex and lovemaking, the dreams, the reading, the nightmares, the rest, giving birth and dying ñ which give ëbedí special meaning. Whether a bed is shared with a book, a child, a pet or a partner, whether lovers lie in ecstasy or indifference, whether ëbedí relates to intimacy or betrayal, it is memories and recollections of ëbedí, in whatever form, which have triggered the writing of these thirty stories by women from southern Africa. Well known writers Joanne Fedler, Sarah Lotz, Arja Salafranca, Rosemund Handler and Liesl Jobson will delight, but you will discover here new writers from Botswana, Zimbabwe, Mozambique, Malawi, Namibia and Zambia, each with a unique voice as they cast light on the intimate lives of women living in this part of the world and the possibilities that are both available to and denied them. The BED BOOK of short stories ñ some quirky and tender, others traumatic or macabre ñ is the perfect companion to take to bed with you, to keep you reading long into the night.
New Media and Cameroonian Transnational Sociality
The book investigates what have become of Cameroonian transnational family and friendship ties in the age of the mobile phone and the internet that make people readily available and reachable. Most theoretical literature states that these tools of sociality cement transnational social relationships through instantaneous interaction. To capture the different experiences and impressions on the significance of these media in easing communication for migrants and non-migrants, Tazanu draws on ethnographic accounts based on his fieldwork in Freiburg (Germany) and Buea (Cameroon). He argues that it is mainly the migrants who maintain or are expected to maintain ties with non-migrants back in Cameroon through calls and material support. The main finding of the study is that cell phones and the internet have facilitated discontents, grudges, insults, fights, avoidance, arguments and estrangement of relationships much more than they have contributed to binding friends or families through direct mediation. Underlying these aspects of distanciation are the high expectations and sometimes contradictory motives for instant virtual interaction. Non-migrantsí accounts suggest that direct availability and reachability should lead to uninterrupted transnational interaction and also that the cultural practices of remittances from migrants are easily requested and coordinated. Such motives are generally contrary to migrantsí wishes, willingness or ability to support friends and families in Cameroon. These unexpected outcomes arising from rapid speed of interaction questions the advantages that are often associated with instant sociality across space and time. The finding is a call for the cultural background and life-world experiences of media users to be taken into consideration when theorising the significance of information technology in the debate on media globalisation.
The UN, the UK and the Trust Territory of the Southern Cameroons
There is a growing body of literature on what was originally envisioned as a free political association of the French and British Cameroons and its dramatic effects on the 'British Cameroons' community. Anyangwe's new book is an attempt to write the history of the Southern Cameroons from a legal perspective. This authoritative work describes in great detail the story of La Republique du Cameroun's alleged annexation and colonization of the Southern Cameroons following the achievement of its independence, while highlighting the seeming complicity of the United Nations and the British Trusteeship Authority. In the process, Anyangwe unravels a number of myths created by the main actors to justify this injustice and, in the end, makes useful suggestions to reverse the situation and to restore statehood to the Southern Cameroons. The book is rich in archival research and informed by a global perspective. It convincingly shows the uniqueness of the Southern Cameroons case.
In a world where the lurid and dramatic have become the standard fare in representations of Africa, it is refreshing to read poems such as Roselyn Jua’s which depict the continent as a land of ordinary people, living ordinary lives, partaking in the ordinary nostalgias and anxieties, the everyday joys and sorrows that beset ordinary people everywhere in the world.
This collection of verse, which has mostly short poems, some of which are two-liners, is an outcome of several years of keen observation of the very nature of man. The observation brought this writer to the conclusion that man is dominated by fear and in his effort to conquer it, he resorts to unbridled aggression. Such aggression has been very instrumental in much of the success that humanity has been able to achieve, so far. But at the same time, the same aggression in man's nature has been responsible for the pleasure he takes in the ruthless destruction of his own kind, the environment in which he cushions himself, plants and animals.
Recording the History, Moments and Memories of South African Music
South Africa possesses one of the richest popular music traditions in the world - from marabi to mbaqanga, from boeremusiek to bubblegum, from kwela to kwaito. Yet the risk that future generations of South Africans will not know their musical roots is very real. Of all the recordings made here since the 1930s, thousands have been lost for ever, for the powers-that-be never deemed them worthy of preservation. And if one peruses the books that exist on South African popular music, one still finds that their authors have on occasion jumped to conclusions that were not as foregone as they had assumed. Yet the fault lies not with them, rather in the fact that there has been precious little documentation in South Africa of who played what, or who recorded what, with whom, and when. This is true of all music-making in this country, though it is most striking in the musics of the black communities. Beyond Memory: Recording the History, Moments and Memories of South African Music is an invaluable publication because it offers a first-hand account of the South African music scene of the past decades from the pen of a man, Max Thamagana Mojapelo, who was situated in the very thick of things, thanks to his job as a deejay at the South African Broadcasting Corporation. This book - astonishing for the breadth of its coverage - is based on his diaries, on interviews he conducted and on numerous other sources, and we find in it not only the well-known names of recent South African music but a countless host of others whose contribution must be recorded if we and future generations are to gain an accurate picture of South African music history of the late 20th and early 21st centuries.