Musician, political critic, and hedonist, international superstar Fela Anikulapo-Kuti created a sensation throughout his career. In his own country of Nigeria he was simultaneously adulated and loathed, often by the same people at the same time. His outspoken political views and advocacy of marijuana smoking and sexual promiscuity offended many, even as his musical brilliance enthralled them. In his creation of afrobeat, he melded African traditions with African American and Afro-Caribbean influences to revolutionize world music. Although harassed, beaten, and jailed by Nigerian authorities, he continued his outspoken and derisive criticism of political corruption at home and economic exploitation from abroad. A volatile mixture of personal characteristics -- charisma, musical talent, maverick lifestyle, populist ideology, and persistence in the face of persecution -- made him a legend throughout Africa and the world. Celebrated during the 1970s as a musical innovator and spokesman for the continent's oppressed masses, he enjoyed worldwide celebrity during the 1980s and was recognized in the 1990s as a major pioneer and elder statesman of African music. By the time of his death in 1997 from AIDS-related complications, Fela had become something of a Nigerian institution. In Africa, the idea of transnational alliance, once thought to be outmoded, has gained new currency. In African America, during a period of increasing social conservatism and ethnic polarization, Africa has re-emerged as a symbol of cultural affirmation. At such an historical moment, Fela's music offers a perspective on race, class, and nation on both sides of the Atlantic. As Professor Veal demonstrates, over three decades Fela synthesized a unique musical language while also clearing -- if only temporarily -- a space for popular political dissent and a type of counter-cultural expression rarely seen in West Africa. In the midst of political turmoil in Africa, as well as renewal of pro-African cultural nationalism throughout the diaspora, Fela's political music functions as a post-colonial art form that uses cross-cultural exchange to voice a unique and powerful African essentialism.

EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.

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.

This text captures within a single volume a wide,range of themes that underline the foundations of,modern Nigeria, notably nationalismconstitutional development, politics and,government, economy, culture, ethnicity and,religion. A comprehensive compendium of,the colonial history of Nigeria, this book,combines an interdisciplinary framework of,analysis with critical discourse to produce a,unique and fresh interpretation of colonial,history as a whole.

Revision of the author's thesis (M.Phil.) University of Leeds, 1974.

Guns are an enduring symbol of imperialism, whether they are used to impose social order, create ceremonial spectacle, incite panic, or to inspire confidence. In Guns and Society, Saheed Aderinto considers the social, political, and economic history of these weapons in colonial Nigeria. As he transcends traditional notions of warfare and militarization, Aderinto reveals surprising insights into how colonialism changed access to firearms after the 19th century. In doing so, he explores the unusual ways in which guns were used in response to changes in the Nigerian cultural landscape. More Nigerians used firearms for pastime and professional hunting in the colonial period than at any other time. The boom and smoke of gunfire even became necessary elements in ceremonies and political events. Aderinto argues that firearms in the Nigerian context are not simply commodities but are also objects of material culture. Considering guns in this larger context provides a clearer understanding of the ways in which they transformed a colonized society.

This book explores the themes of colonial encounters and postcolonial contests over identity, power and culture through the prism of theatre. The struggles it describes unfolded in two cultural settings separated by geography, but bound by history in a common web of colonial relations spun by the imperatives of European modernity. In post-imperial England, as in its former colony Nigeria, the colonial experience not only hybridized the process of national self-definition, but also provided dramatists with the language, imagery and frame of reference to narrate the dynamics of internal wars over culture and national destiny happening within their own societies. The author examines the works of prominent twentieth-century Nigerian and English dramatists such as Wole Soyinka, Femi Osofisan, Davd Edgar and Caryl Churchill to argue that dramaturgies of resistance in the contexts of both Nigerian as well as its imperial inventor England, shared a common allegiance to what he describes as postcolonial desires. That is, the aspiration to overcome the legacies of colonialism by imagining alternative universes anchored in democratic cultural pluralism. The plays and their histories serve as filters through which Ampka illustrates the operation of what he calls 'overlapping modernities' and reconfigures the notions of power and representation, citizenship and subjectivity, colonial and anticolonial nationalisms and postcoloniality. The dramatic works studied in this book embodied a version of postcolonial aspirations that the author conceptualises as transcending temporal locations to encompass varied moments of consciousness for progressive change, whether they happened during the hey day of English imperialism in early twentieth-century Nigeria, or in response to the exclusionary politics of the Conservative Party in Thatcherite England. Theatre and Postcolonial Desires will be essential reading for students and researchers in the areas of drama, postcolonial and cultural studies.

Revision of the author's thesis (M.Phil.) University of Leeds, 1974.

In this collection of essays written from different critical perspectives, African playwrights demonstrate through their art that they are not only witnesses, but also consciences, of their societies.

Originally published in 1982, this book explores concepts such as ‘traditional performance’ and African theatre’. It analyses the links between drama and ritual, and drama and music and diagnoses the confusions in our thought. The reader is reminded that drama is never merely the printed word, but that its existence as literature and in performance is necessarily different. The analysis shows that literature tends to replace performance; and drama, removed from the popular domain, becomes elitist. The book’s richness lies in the constantly stimulating analysis of ‘art’ theatre, as exemplified in protest plays, in African adaptations and transpositions of such classical subjects as the Bacchae and Everyman, in plays on African history, on colonialism and neo-colonialism. The final chapters argue that the form of African drama needs to evolve as the content does.