Hausa Oral Songs and the Influence of Shari'a: The Bakura Experience ab 49 € als Taschenbuch: Policy on Tradition. Aus dem Bereich: Bücher, English, International, Gebundene Ausgaben,
Hausa Oral Songs and the Influence of Shari'a: The Bakura Experience ab 49 EURO Policy on Tradition
African literatures in African languages are still in the margin of literary critical analyses and theories. As a consequence,there are few critical studies and theories focused on the interface between the African oral literatures in African languages and their written ones. This situation raises important critical and theoretical questions for literary critics, theoreticians and students. This book provides critical perspectives taking into account aspects of the interface between the oral and written forms through a case study on Hausa literature. In fact, the notion of interface permeates the book: interface between the collective repertoire of Hausa oral traditions and the individual, more stylized usages of elements of the repertoire by traditional artists, between oral and written literary productions in the Hausa language as well as in translation, between the traditional astists and modern writters and between Francophone and Anglophone literary traditions and civilizations often competing with the Hausa ones from Northern Nigeria and Southeastern Niger, symbols of different colonial experiences.
This book, Hausa Songs and Shari ah Implementation, focuses on the influence of Shari ah implementation on Hausa oral songs. The book classifies oral songs into two major categories: Pre-Shari ah and Post- Shari ah songs. Pre-Shari ah songs are many and free, in their diction, from Shari ah influence in handling topics that is either of childbirth, marriage, farming, polygamy or death. Religious references are either unconsciously or connotatively used in pre-Shari ah songs. Post-Shari ah songs are minimized and restricted by Shari ah policy. This is seen in the post-Shari ah songs, which are directly, or indirectly religiously conscious. The book presents Sub-genres of Pre-Shari ah and Post-Shari ah oral songs with adequate examples. It also defines the position of oral songs and that of oral singers. The book established the fact that Shari ah policy has not only changed the diction of the Post-Shari ah songs but also the lives of oral artistes and public function.
Drawing from Plato to Ghandi, to Martin Luther King Jr. and Nelson Mandela, Khalid Imam, in this book, articulates the principles of social justice and fairness, equity, and egalitarianism as they abound in the moral statements of the Hausa tales. He delves into the sociology of oral literature using the example of the Hausa folktales collated in Bukar Usman's Taskar Tatsuniyoyi collection. For instance, the virtue of altruism is resonant in Marainiya (The Orphan Girl Child) who 'subjected herself to the dangers of passing through many valleys of death to save the precious life of a prince that was about to die.' The book argues that justice 'is the fundamental principle upon which a well-ordered society stands.' And situating the bastion of justice on good leadership, the author, goes on to cite the example of Africa's most revered leader of modern times, Nelson Mandela. Mandela's life is a clear testimony to the benefit of folktale in moulding the character of the child and building charismatic leadership. Indeed 'Justice, Fairness and the Quest for Egalitarian Societies' is sublime book for all lovers of justice and fairness.
A griot or jeli is a West African poet, praise singer, and wandering musician, considered a repository of oral tradition. As such, they are sometimes also called bards. According to Paul Oliver in his book Savannah Syncopators, "Though [the griot] has to know many traditional songs without error, he must also have the ability to extemporize on current events, chance incidents and the passing scene. His wit can be devastating and his knowledge of local history formidable." Although they are popularly known as 'praise singers', griots may also use their vocal expertise for gossip, satire, or political comment. Griots today live in many parts of West Africa, including Mali, the Gambia, Guinea, Western Sahara and Senegal, and are present among the Mande peoples (Mandinka, Malinké, Bambara, etc.), Ful e (Fula), Hausa, Songhai, Tukulóor, Wolof, Serer, Mossi, Dagomba, Mauritanian Arabs and many other smaller groups.
Looks at performance forms in Africa and questions the tendency to employ western frames of reference to analyze and appreciate theatrical performance. This book examines masquerade theatre in Eastern Nigeria; possession ritual theatre of Hausa of Northern Nigeria; oral tradition of Mandinka of Senegal; and, comedy and satire of Bamana in Mali.
The oral histories and folk stories of the Hausa women are examined to challenge the written documentation of the Sokoto Caliphate during the colonization of Western Africa.
First published in 1988, this book is a landmark in the study of one of the major African languages: Hausa. Hausa is spoken by 40-50 million people, mostly in northern Nigeria, but also in communities stretching from Senegal to the Red Sea. It is a language taught on an international basis at major universities in Nigeria, the USA, Western and Eastern Europe, the Middle and Far East, and is probably the best studied African language, boasting an impressive list of research publications. As Nigeria grows in importance, so Hausa becomes a language of international standing. The volume brings together contributions from the major contemporary figures in Hausa language studies from around the world. It contains work on the linguistic description of Hausa, various aspects of Hausa literature, both oral and written, and on the description of the relationship of Hausa to other Chadic languages.