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This volume brings together fifteen scholars from Africa, Europe and the United States to explore how Africa is represented in and through the performing arts and cinema. Essays include discussions of Lorraine Hansberry's A Raisin in the Sun, American influences on Nollywood, Nigerian video films, the representation of women in cinema, African dance in the diaspora, children's music, and media portrayals of savagery from pop cinema through news reports of Ferguson, Missouri.Using a variety of methodologies and approaches, the contributors consider how African societies and cultures have been represented to themselves, to the continent at large, and in the diaspora. The volume represents an extended dialogue between African scholars and artists about the challenges of representing themselves and their respective societies within and without Africa. Many of the contributors are scholar-practitioners, offering practical guides on how to approach these performance and media forms as artists. As such, this book will serve as both model and building block for the next generation of representors, students, and audiences.

With new integrative and indigenous approaches to literary affairs the focus of this volume is on the influence of tradition in African writing. Using the work of Chinua Achebe two scholars from outside Africa offer insight on oratorical devices in modern African fiction, two chapters follow which, by fusing traditional elements in transitional societies, illustrate the cultural awareness that touch on the exalted role of the artist in their communities. The post colonial rhetoric also continues with echoes of political commitment on modern poetry - town issues in the discourse of Africa�s literary progress in the last decade. The growing concern for African youth development is at the heart of a dialogue with children�s fiction writer Anezi Okoro. Two scholars of Africa orature have written on the birth songs of Cameroonian women performers and the riddle contents of youth artists from Nigerian in a manner which recognises the immediate relevance of this cherished but neglected part of African literary aesthetics.

This book essentially negotiates African literature as a veritable site of artistic and cultural production and situates it within the dynamic of postcolonial cultural politics. It critically evaluates African literature as a contour of cultural contestation with the imperial politics of knowledge production about others and as an ideological strategy for knowing them. The book's main contribution to the critical discourse on African literature and culture inheres in the fact that politics constitutes the enduring concern of society as it re/shapes and over-determines discourses which have continued to remain crucial to societal engineering. It, however, imagines the discursive existence as necessary for the evolving of a dynamic African literary tradition with an abiding fidelity to the verities of history. The book is useful for literary scholars, historians, critics, experts and students of postcolonial/cultural studies as well as general readership interested in African studies.