In the face of the difficult task of inculturating the Christian faith in Igboland, christianizing the Igbo and igbonizing Christianity, this book offers an interesting and inspiring study of Igbo traditional initiation forms in comparison with the Christian sacraments of initiation. Because of its characteristic features and the significant role in Igbo tradition and culture, it proposes traditional Igbo initiation forms as inculturation basis for pastoral catechesis of Christian initiation.

Highlife Music in West Africa is an excursion into the origins and development of an extraordinary music form. Highlife music is essentially an urban music, but unlike dance music performed using Western musical instruments, its dynamism is based less in the aesthetics of form and style than in song-texts. Critics treat highlife as a popular music genre, but this fails to acknowledge the role that the lyrics of highlife music played in the search for political, economic, and national growth and stability in Africa. Highlife musicians' messages, like drama and theater scripts, not only reflect Africa's culture but also highlight her social, economic, and political problems. The involvement of radicals and Pan-Africanists has helped elevate highlife musicians from the status of entertainers to a more serious and responsible one, as modern African town criers, whose song-texts are communal messages, warnings, and counseling.

This book argues that indigenous modes of communication - for example the oral tradition, drama, indigenous entertainment forms, cultural modes and local language radio - are essential to the societies within which they exist and which create them; and that coupled with newer, or modern forms of communication technology such as the internet and digitised information, endogenous modes of communication are paramount to the processes of human development in Africa.