Relevant bibliographies by topics / Oral history. Oral tradition Africa Africa

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Academic literature on the topic 'Oral history. Oral tradition Africa Africa'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Oral history. Oral tradition Africa Africa"

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Jones, Adam. "Some Reflections on the Oral Traditions of the Galinhas Country, Sierra Leone." History in Africa 12 (1985): 151–65. http://dx.doi.org/10.2307/3171718.

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Whenever historians of Africa write: “According to tradition…”, they evade the crucial question of what kind of oral tradition they are referring to. The assumption that oral tradition is something more or less of the same nature throughout Africa, or indeed the world, still permeates many studies on African history; and even those who have themselves collected oral material seldom pause to consider how significant this material is or how it compares with that available in other areas.The majority of studies of oral tradition have been written by people who worked with fairly formal traditions; and those who, after reading such studies, go and work in societies where such traditions do not exist are often distressed and disappointed. There is therefore still a need for localized studies of oral tradition in different parts of Africa. As far as Sierra Leone is concerned, no work specifically devoted to the nature of oral tradition has been published, despite several valuable publications on the oral literature of the Limba and Mende. The notes that follow are intended to give a rough picture of the kind of oral material I obtained in a predominantly Mende-speaking area of Sierra Leone in 1977-78 (supplemented by a smaller number of interviews conducted in 1973-75, 1980, and 1984). My main interest was in the eighteenth and nineteenth century history of what I have called the Galinhas country, the southernmost corner of Sierra Leone.I conducted nearly all of my interviews through interpreters and did not use a tape recorder more than a very few times. This was partly because the amount of baggage I could carry on foot was limited, but also because I soon found that some informants were disturbed by the tape recorder, and because it was difficult to catch on tape the contributions of all the bystanders.
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Oyewumi, Oyeronke. "Making History, Creating Gender: Some Methodological and Interpretive Questions in the Writing of Oyo Oral Traditions." History in Africa 25 (1998): 263–305. http://dx.doi.org/10.2307/3172190.

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Of all the things that were produced in Africa during the colonial period—cash crops, states, and tribes, to name a few—history and tradition are the least acknowledged as products of the colonial situation. This does not mean that Africans did not have history before the white man came. Rather, I am making distinctions among the following: firstly, history as lived experience; secondly, history as a record of lived experience which is coded in the oral traditions; and finally, the recently constituted written history. This last category is very much tied up with European engagements with Africa and the introduction of “history writing” as a discipline and as profession. But even then, it is important to acknowledge the fact that African history, including oral traditions, were recorded as a result of the European assault.This underscores the fact that ideological interests were at work in the making of African history, as is true of all history. As such, tradition is constantly being reinvented to reflect these interests. A. I. Asiwaju, for example, in a paper examining the political motivations and manipulations of oral tradition in the constitution of Obaship in different parts of Yorubaland during the colonial period writes: “in the era of European rule, particularly British rule, when government often based most of its decisions over local claims upon the evidence of traditional history, a good proportion of the data tended to be manipulated deliberately.” This process of manipulation produced examples of what he wittily refers to as “nouveaux rois of Yorubaland.”
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Khokholkova, Nadezhda E. "Voices of Africa: Podcastas a New Form of Oral History." Observatory of Culture 18, no. 1 (May 24, 2021): 22–31. http://dx.doi.org/10.25281/2072-3156-2021-18-1-22-31.

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At the beginning of the 21st century, the digital revolution has become global. Digitalization has overcome the boundaries of the field of information technology and began to provoke the metamorphosis of sociocultural reality. Gradually, society itself and, as a consequence, social sciences are changing. African studies, despite the fact that digital transformations in the region have been slow, is no exception. New plots and sources started to appear; new practices and methods began to develop and apply. This article is devoted to the evolution of the oral tradition of the Africans and representatives of the global African diaspora in terms of the “digital turn”. It emphasizes the importance of oral history as one of the main directions in the study of the history and culture of Africa, introduces and analyzes the terms of “orature” and “cyberture”. The author focuses on the transformation of the form and content of African narratives in the post-colonial era. The novelty of the research lies in the fact that it is the first time an African podcast is considered as an oral historical digital source. The article provides a brief overview of podcasts created by people from Sub-Saharan and Southern Africa in the 2010s, describes the prerequisites for creating these projects, their thematic field, and analyzes their features. Particular emphasis is placed on issues of representations and interpretations of the cultural and historical experience of Africans and members of the African diaspora. The main dilemmas of placing podcasts into the context of oral history are articulated at the end of the article. The author also concludes that African podcasts are in line with the metamodern discourse.
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Afigbo, A. E. "Oral Tradition and the History of Segmentary Societies." History in Africa 12 (1985): 1–10. http://dx.doi.org/10.2307/3171708.

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The field of the methodology of oral tradition has become increasingly specialized and technical. This much is clear from even a casual acquaintance with publications in this area. The fact is that ever since the publication in 1961 of Jan Vansina's epoch-making book, Oral Tradition, the study of the methodology of oral tradition has become a minor academic industry among historians, psychohistorians and anthropologists. Different aspects of the problems posed by the use of this family of historical evidence--dating and chronology, reliability, methods of collection and preservation, techniques of analysis (synchronic, diachronic, and multi-disciplinary)--continue to be probed in monographs, learned journals, and higher degree theses.This wide-ranging and laudable concern for the methodology of oral tradition has not only helped to underlie the centrality of oral tradition as a source for the history of Africa, especially of Black Africa, in the precolonial period or even in the colonial period; it has also made all would-be exploiters of this source alert to many of the problems associated with its use. Yet it must be conceded that all this feverish, if determined, activity has not established, and there is little likelihood that it will ever establish, a science of oral tradition as exact and universal in its application as the methods of physics and mathematics. Each user of oral tradition, like each user of documentary or other sources of history, still has, and always will have, to decide for himself, and in the light of criteria and parameters acceptable to him, what use to make of each corpus of tradition and of each event or strand in the corpus.
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van Dyck, Steven. "Sola Scriptura in Africa: Missions and the Reformation Literacy Tradition." Evangelical Quarterly 90, no. 1 (April 26, 2019): 61–87. http://dx.doi.org/10.1163/27725472-09001004.

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This theoretical reflection addresses issues arising in the history of world Christianity, in particular regarding mission churches in Africa since the nineteenth century. The article first evaluates the development of oral, manuscript and print communication cultures in western culture, and their influence since the first century in the Church. Modernity could only develop in a print culture, creating the cultural environment for the Reformation. Sola Scriptura theology, as in Calvin and Luther, considered the written Word of God essential for the Church’s life. The role of literacy throughout Church history is reviewed, in particular in the modern mission movement in Africa and the growing African church, to show the importance of literacy in developing a strong church. In conclusion, spiritual growth of churches in the Reformation tradition requires recognition of the primacy of print culture over orality, and the importance of a culture of reading and study.
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Stapleton, Tim. "Kingdoms and Chiefdoms of Southeastern Africa: Oral Tradition and History, 1400‒1830." Canadian Journal of African Studies / Revue canadienne des études africaines 51, no. 1 (January 2, 2017): 173–74. http://dx.doi.org/10.1080/00083968.2017.1298218.

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JONES, GEOFFREY, and RACHAEL COMUNALE. "Oral History and the Business History of Emerging Markets." Enterprise & Society 20, no. 1 (January 30, 2019): 19–32. http://dx.doi.org/10.1017/eso.2018.109.

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This article highlights the benefits that rigorous use of oral history can offer to research on the contemporary business history of emerging markets. Oral history can help fill some of the major information voids arising from the absence of a strong tradition of creating and making accessible corporate archives in most countries in Africa, Asia, and Latin America. It also permits a level of nuance that is hard to obtain even if written archives are accessible. Oral histories provide insights into why events did not occur, and why companies have chosen certain industries over others. Oral history can also shed light on hyper-sensitive topics, such corruption, which are rarely formally documented.
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Hamilton, C. A. "The Swaziland Oral History Project." History in Africa 14 (1987): 383–87. http://dx.doi.org/10.2307/3171851.

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In 1985 an oral history project was established in Swaziland, based in the National Archives at Lobamba. The Oral History Project set itself three tasks; the establishment of an oral archive on Swazi history; the publication of a selection of transcripts form the oral archive concerning the precolonial history of Swaziland; the popularization of precolonial history.The precolonial history of Swaziland is the history of a largely non–literate people. The colonial period is well–documented, but mostly from the perspective of the colonial administration. Oral traditions are thus a primary source for both the precolonial and the later history of Swaziland. The Project is concerned to preserve oral testimonies about all periods of Swazi history, including the immediate past. Special attention however, has been paid to the collection and preservation of the oral record pertaining to the precolonial history of Swaziland, a period for which documentary sources are largely absent.There are several reasons for this. Firstly, the relative stability of the Swazi kingdom and its high degree of centralization imparted to early Swazi traditions a unique chronological depth. Secondly, the varied circumstances of incorporation of its many component chiefdoms have endowed Swaziland with an exceptionally rich corpus of local and regional traditons. This diversity facilitates the development of a picture of precolonial life that moves beyond the elitist versions of history which have long dominated both Swazi history and precolonial history elsewhere in southern Africa. Not only are the surviving Swazi oral traditions about the precolonial past unusually rich, but Swaziland occupied a pivotal political position in nineteenth–century southeast Africa. Its traditions illuminate the processes and forces that shaped the history of the entire region
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Stapleton, Timothy J. "Oral Evidence in a Pseudo-Ethnicity: The Fingo Debate." History in Africa 22 (January 1995): 359–68. http://dx.doi.org/10.2307/3171922.

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There is a disturbing trend emerging in South African history. Unquestioning acceptance of African oral tradition threatens to become a requirement of politically correct scholarship. The African voice knows all. Julian Cobbing has been sharply criticized for ignoring oral evidence in his revision of early nineteenth-century South African history. Cobbing claims that African migration and state formation in the 1820s was caused by the illegal activities of colonial slave raiders who covered up their operations by claiming that the Zulu kingdom under Shaka had laid waste to the interior of southern Africa. This cover story was incorporated into South African history as the mfecane (or crushing) and served to justify white supremacy by portraying blacks as inherently violent. Carolyn Hamilton attacks Cobbing for ignoring the African voice which allegedly supports the orthodox mfecane by placing Shaka at the center of events. In response, Cobbing claims that the largest record of Zulu oral evidence was distorted by James Stuart, the colonial official who collected it at the turn of the last century. Although Elizabeth Eldredge rejects the Zulucentric mfecane in favor of a broad compromise theory based on environmental and trade factors plus the activities of a few Griqua labor-raiders on the High veld, she accused Cobbing of developing a Eurocentric hypothesis which robs Africans of initiative within their own history. More critically, Jeffrey Peires, whose work on the Xhosa is deeply rooted in the conventional mfecane, describes Cobbing as “a reactionary wolf dressed up in the clothing of a progressive sheep” and implies that his ideas are nothing short of racist.
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SCHMIDT, PETER R. "HISTORICAL ARCHAEOLOGY IN EAST AFRICA: PAST PRACTICE AND FUTURE DIRECTIONS." Journal of African History 57, no. 2 (June 9, 2016): 183–94. http://dx.doi.org/10.1017/s0021853715000791.

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AbstractThis forum article explores the major intellectual trajectories in the historical archaeology of Eastern Africa over the last sixty years. Two primary perspectives are identified in historical archaeology: one that emphasizes precolonial history and oral traditions with associated archaeology, and another that focuses mostly on the era of European contact with Africa. The latter is followed by most North American practice, to the point of excluding approaches that privilege the internal dynamics of African societies. African practice today has many hybrids using both approaches. Increasingly, precolonial historical archaeology is waning in the face of a dominant focus on the modern era, much like the trend in African history. New approaches that incorporate community participation are gaining favor, with positive examples of collaboration between historical archaeologists and communities members desiring to preserve and revitalize local histories.
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Dissertations / Theses on the topic "Oral history. Oral tradition Africa Africa"

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Nhlangwini, Andrew Pandheni. "The ibali of Nongqawuse: translating the oral tradition into visual expression." Thesis, Port Elizabeth Technikon, 2003. http://hdl.handle.net/10948/237.

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The tribal life and the oral traditions of black South Africans have been marginalized. The consequence of the western civilization and the apartheid regime forced people to do away from their traditional heritage and culture; they adopted the western way of life. They buried their oral tradition and only a little has survived. To save the dying culture of the art of the oral tradition we need to go out and record and document the surviving oral tradition as soon as possible. Since the art of the oral tradition is an art form conducted by an artist, it may be possible to tell the ibali likaNongqawuse by means of visual imagery. Visual images can be read and be understood easily by the public because visual forms, sings, images can make up a language for both the literate as well as the illiterate.
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Souza, Victor Martins de. "A poética e a política no cinema de Glauber Rocha e Sembene Ousmane." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/12747.

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Made available in DSpace on 2016-04-27T19:30:36Z (GMT). No. of bitstreams: 1 Victor Martins de Souza.pdf: 14114209 bytes, checksum: b000d73d7ade4a48657730af000956ac (MD5) Previous issue date: 2012-05-18
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We discuss the relation between Glauber Rocha and Sembene Ousmane s cinematographics and political projects considering images dialogues. The focus of our analysis is on the movies Der Leone have sept cabeças (1969-70), by Glauber, and Ceddo (1976), by Sembene. Using the technique of historians, these filmmakers problematized the present from the re-intepretation of the past. In Ceddo, Sembene reinvented traditions with the intention of questioning the history of his time, and denounced West African colonialism to be more sophisticated than previously imagined. In Der Leone have sept cabeças there exists different historical periods to question the present. In this process, the oral traditions have a preponderant role because they are used to critize the deformed European view concerning the Third World. Therefore, the relationship between the cinema of Glauber and Sembene enables us to gain a new perspective of their work, through the diasporic, tri-continental, and politically-cultural dialogue
Discutimos os projetos cinematográficos e políticos de Glauber Rocha e Sembene Ousmane à luz do diálogo em imagens. Assim, centramos nossa análise em dois filmes: Der Leone have sept cabeças (1969-70), de Glauber, e Ceddo (1976), de Sembene. À maneira dos historiadores, estes cineastas recorreram ao passado para problematizar o presente. Em Ceddo, Sembene reinventou tradições para questionar a história do seu tempo, mostrando aspectos mais sofisticados do colonialismo da África do Oeste. Em Der Leone have sept cabeças, há a convivência de tempos históricos distintos, nos quais o presente é posto em suspenso, portanto passível de questionamento. Neste processo, as tradições orais possuem papel preponderante, pois é a partir delas que é criticado o olhar enviesado do europeu em relação ao Terceiro Mundo . Assim, as afinidades aqui elencadas entre os cinemas de Glauber e Sembene permitem delinear novos olhares à filmografia de ambos, a partir de um diálogo diaspórico, tricontinental e político-cultural
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Wade, Richard Peter. "A systematics for interpreting past structures with possible cosmic references in Sub-Saharan Africa." Diss., Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-05052009-174557/.

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Stonier, Janet Elizabeth Thornhill. "Oral into written : an experiment in creating a text for African religion." Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/16127.

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Bibliography: pages 105-113.
This study is a description, from the vantage point of a participant observer, of the development of a new, and probably unique, method of writing, teaching and learning about an oral tradition - a method which is grounded in ways of knowing, thinking and learning inherent in that tradition. It arose in the course of a co-operative venture - between two lecturers in African Religion and myself - to write a text for South African schools on African Religion (sometimes called African Traditional Religion). Wanting to be true to our subject within the obvious constraints, we endeavoured to write within an oral mode. The product, African Religion and Culture, Alive!, is a transcript of taped oral interchanges between the three authors within a simulated, dramatised format. The simulation provided the context for using the teaching and learning strategies employed in an oral tradition, but within a Western institution. We hoped in this way to mirror and mediate a situation in which many South African students find themselves: at the interface between a home underpinned by an oral tradition, and a school underpinned by a written tradition. In the book, knowledge is presented through myth, biographical and autobiographical stories, discussion, question, and comment. The choice of this mode of knowledge-presentation has been greatly influenced by the work of Karen McCarthy Brown. A further important requirement for us was to produce a text that would be acceptable to all the particular varieties of African religious practice. This need was met in a way that became the most important aspect of the method - the device of setting, as a core part of the work for students, a primary research component. Students are required to seek out traditional elders within their community and learn from them, as authorities on African religion and culture, the details of particular practice. This is a way of decentering the locus of control of knowledge and education, as well as of restoring respect for African Religion and preserving information in danger of being lost. The primary research component highlights fundamental issues relating to the 'ownership' of religion, knowledge, power, reality which are explored in the study. Also considered are the implications of writing about an oral mode while trying to preserve as much of the character of that mode - writing by means of speaking. Text as a metaphor provides a frame for examining the process and the product - in terms of text as document, as score, as performance, as intertextual event, and as monument and site of struggle. Suggestions are made for further research, both on the particular method of text-production under consideration, and also on the approach to teaching and learning about African Religion. Also considered is the relevance of this particular learning and teaching approach to the values inherent in the proposed new curriculum for education in South Africa.
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Musandu, Phoebe A. "Daughter of Odoro Grace Onyango and African women's history /." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1152280364.

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Gadzekpo, John Rex Amuzu. "Do duelo poético-satírico na gestão de conflitos sociais : um tríptico de gêneros africano, português e brasileiro." Poitiers, 2007. http://www.theses.fr/2007POIT5030.

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Cette étude explore la poésie satirique dialoguée et chantée en tant qu'instrument pour la gestion de conflits entre individus et groupes sociaux. Après un bref exposé sur les théories fondamentales de l'oralité et de la performance orale, ainsi que sur des questions plus spécifiques liées au rapport entre la performance orale et son enregistrement par l'écrit, au rôle de la traduction, à la théorie du jeu et aux concepts du dialogue et de la satire, nous présentons un triptyque comprenant le poème-chant "halô" africain, les "cantigas de escàrnio e maldizer" du Portugal médiéval et la "peleja" brésilienne. Un bref exposé d'histoire sociale précède l'analyse textuelle de chaque volet du triptyque ; une étude comparative s'interroge sur la question de l'obscène et du grossier, en les situant dans le contexte esthétique particulier de la joute poétique
This study focusses on the sung satirical poetic duel as a genre for conflict management, given its penchant for invective and criticism. Beginning with an overview of basic orality and performance theories, it proceeds through more specific issues concerning the relation between oral performance and its written record, the role of translation, the theory of game and the concepts of dialogue and satire, to a triptych comprising the African "halô" chant-poem, the medieval Portuguese "cantigas de escàrnio e maldizer", and the Brazilian "peleja". A brief account of social history precedes the textual analysis of samples of each poetic tradition, while a comparative chapter attempts a review of the question of obscenity and vulgarity within the specific context of the aesthetics of the satirical duel
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Pires, Ricardo Annanias. "A tradição oral africana e as raízes do jazz." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8137/tde-24112009-161055/.

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Este trabalho tem como objetivo estudar as peculiaridades da tradição oral africana e suas influências na criação do jazz. Os africanos, sendo um povo onde sua cultura tem como principal característica enfatizar o emprego da oralidade na transmissão do conhecimento, o faz de forma muito distinta aos padrões culturais europeus. Sob a ótica do povo africano, a palavra expressa de forma oral possui um grande valor, sendo atribuído à mesma, um nível de relevância tamanho que chega a ser vista como um elemento místico capaz de criar ou até mesmo destruir. Os africanos, presentes em solo americano, pela imposição da escravidão, fundiram seus elementos culturais à cultura européia, dando luz uma nova concepção musical, o jazz. O jazz desde sua criação até os dias atuais, passou e passa por diversas transformações. Estas transformações, mesmo que de forma implícita, contribuem para que o jazz esteja presente nas mais diversas manifestações culturais. O jazz não pode ser considerado apenas um gênero musical de origem americana. O jazz está presente em diversas partes do mundo, inclusive no Brasil, onde se torna renovado devido à riqueza e diversidade cultural deste país.
This work studies the peculiarities of the oral African tradition and his influences in the creation of the jazz. The Africans, being a people where his culture has like principal characteristic emphasizes the job of the orality in the transmission of the knowledge, it does it in the very different form to the cultural European standards. Under the optics of the African people, the definite word of oral form has a great value, when attributed to same, a so great level of relevance that comes being seen like a mystic element able to create or even to destroy. The Africans, presents in American ground, for the imposition of the slavery, fused his cultural elements to the European culture, giving there shines a new musical conception, the jazz. The jazz from his creation up to the current days, passed and it suffers several transformations. These transformations, even that in the implicit form, they contribute so that the jazz is present in more several cultural demonstrations. The jazz cannot be considered only a musical type of American origin. The jazz is present in several parts of the world, including in Brazil, where it becomes renewed due to the wealth and cultural diversity of this country.
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Diallo, Amadou Oury. "Histoire et fiction, contextes, enjeux et perspectives : récits épiques du Foûta Djalon (Guinée)." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2011.

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La présente étude questionne les rapports complexes de la fiction et de l’histoire, les retentissements du contexte, le poids des enjeux historiques, idéologiques, axiologiques dans l’épopée orale. Dans l’Épopée du Foûta-Djalon, la fiction narrative relie les faits réels et les faits fictifs dans un élan de construction d’une histoire mémorable où la vérité épique élève au premier plan la figure héroïque (Abdoul Rahmâne) au détriment de la figure historique (Almâmy Oumar) et où certains faits, réaménagés et réactualisés font émerger les mythes fondateurs investis de nouveaux sens. Le conflit qui opposa en 1867 Peuls et Mandingues rejaillit dans le récit sous forme d’une opposition de valeurs, que la vision épique, ambivalente, accentue au moyen d’une dualité contrastée : Peuls vs Mandingues, Musulmans vs Animistes. Du fait de sa vocation d’exaltation des valeurs fondatrices, l’épopée se distingue de l’Histoire dont elle se nourrit mais qu’elle infléchit dans le sens d’un drame qui flatte et réveille la conscience collective sans cesse invitée à relever les défis du présent. Outre le ton idyllique ou encomiastique, l’épopée prend aussi des allures satiriques en faisant une critique sans complaisance des vicissitudes et des drames de l’Afrique contemporaine (L’enfant prodige). L’analyse de la composition, de la structure et de la performance narrative révèle une esthétique fondée sur le « style formulaire », la narration épisodique et une forte « épicisation » rhétorique, couronnée par les effets de l’accompagnement musical qui agrémente l’écoute et traduit en sons les thèmes essentiels
: This work questions the complex relationships between fiction and history, the effects of contextual background, the weight of historical, ideological, and axiological issues in oral epic. In Épopée du Foûta-Djalon, the narrative fiction links real and fictional facts in a dynamic momentum to construct a memorable story, one in which epic truth enhances the heroic figure – Abdul Rahmane – at the expense of the historical figure – Almâmy Oumar -, and one in which some facts have been rearranged and updated, and thus bring forth the founding myths which are endowed with whole new meanings in the process. The conflict which opposed Fulah and the Mandinka people in 1867 is represented in the story in the form of adversary values which the bivalent, epic vision reinforces in a set of contrasting dualities: Fulah versus the Mandinka people, Muslims versus Animists. Because it aims to exalt founding values, the epic story differs from, though is inspired by, History, the essence of which is shifted to fit a drama meant to flatter and awaken the collective conscience endlessly urged to meet today’s challenges. Apart from its idyllic and eulogistical tone, the epic also takes on satirical airs through a thorough criticism of the vicissitudes and dramas of contemporary Africa (L’enfant prodige). The analysis of the narrative composition, structure and performance reveals an aesthetics based on what is called “the formulaic style”, the episodic narrative structure and a strong rhetorics of “epicisation”. This aesthetics culminates in the effects of the musical accompaniment which embellishes the listening of this oral epic and translates the main themes into sounds
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Mostert, Andre. "Developing a systematic model for the capturing and use of African oral poetry: the Bongani Sitole experience." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002154.

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Oral traditions and oral literature have long contributed to human communication. The advent of arguably the most important technology, the written word, altered human ability to create and develop. However, this development for all its potential and scope created one of the most insidious dichotomies. As the written word developed so too the oral word became devalued and pushed to the fringes of societal development. One of the unfortunate outcomes has been a focus on the nomenclatures associated with orality and oral tradition, which although of importance, has skewed where the focus could and should have been located, namely, how to support and maintain the oral word and its innate value to human society in the face of what has become rampant technological developments. It is now ironic that technology is creating a fecund environment for a rebirth of orality. The study aims to mobilize technauriture as a paradigm in order to further embed orality and oral traditions to coherently embrace this changing technological environment. The central tenet of the study is that in order to enhance the status of orality the innate value embodied in indigenous knowledge systems must be recognized. Using the work of Bongani Sitole, an oral poet, as a backdrop the study will demonstrate a basic model that can act as a foundation for the effective integration of orality into contemporary structures. This is based on work that I published in the Journal of African Contemporary Studies (2009). Given the obvious multi-disciplinary nature of the material the work covers a wide cross section of the debate, from questions of epistemology and knowledge in general in terms of oral traditions, through the consciousness and technical landscapes, via the experience with Sitole’s material to issues of copyright and ownership. This work has also been submitted for publication together with my supervisor as a co-author. The study intends to consolidate the technauriture debate and lay a solid foundation to support further study.
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Mpolweni, Nosisi Lynette. "The orality - literacy debate with special reference to selected work of S.E.K. Mqhayi." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&amp.

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The focus of this thesis is on Xhosa oral and written poetry. The discussion in the thesis is based on the information from existing literature, the responses from the questionnaires and the interviews with some Xhosa iimbongi (person who sings praises) who have reflected on their personal experiences. In addition to this, S.E.K. Mqhayi is at the centre of discussion because as a prominent Xhosa imbongi he features in both the oral and the written world.
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Books on the topic "Oral history. Oral tradition Africa Africa"

1

Maïga, Hassimi Oumarou. Balancing written history with oral tradition: The legacy of the Songhoy people. New York: Routledge, 2009.

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African oral literature: Backgrounds, character, and continuity. Bloomington: Indiana University Press, 1992.

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Okpewho, Isidore. African oral literature: Backgrounds, character and continuity. Bloomington: IndianaUniversity Press, 1992.

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Ibáñez, Mario Corcuera. Palabra y realidad: Tradición y literatura oral en Africa Negra. [Buenos Aires]: Fundación para la Educación, la Ciencia y la Cultura, 1991.

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Historical archaeology in Africa: Representation, social memory, and oral traditions. Lanham: Rowman & Littlefield, 2006.

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Finnegan, Ruth H. The oral and beyond: Doing things with words in Africa. Oxford: James Currey, 2007.

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When we began there were witchmen: An oral history from Mount Kenya. Berkeley: University of California Press, 1993.

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Webber, Sabra Jean. Romancing the real: Folklore and ethnographic representation in North Africa. Philadelphia: University of Pennsylvania Press, 1991.

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International Conference on Oral Tradition (4th 1994 University of Natal). Oral tradition and its transmission: The many forms of message : papers given at the Fourth International Conference on Oral Tradition, University of Natal, Durban, 27-30 June 1994. Durban: The Campbell Collections and Centre for Oral Studies, University of Natal, 1994.

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African discourse in Islam, oral traditions, and performance. New York: Routledge, 2010.

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Book chapters on the topic "Oral history. Oral tradition Africa Africa"

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Obiwu. "History, Mofolo’s Chaka, and the postcolonial “bastard”." In Oral Literary Performance in Africa, 131–43. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Routledge African studies: Routledge, 2021. http://dx.doi.org/10.4324/9781003111887-10.

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Oyeniyi, Bukola Adeyemi. "Orality, History and Historical Reconstruction." In The Palgrave Handbook of African Oral Traditions and Folklore, 83–104. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55517-7_4.

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Ojaide, Tanure. "Michel Foucault and the Urhobo Udje oral poetic tradition." In Literature and Culture in Global Africa, 19–33. New York, NY : Routledge, 2018. | Series: Global Africa ; 4: Routledge, 2017. http://dx.doi.org/10.4324/9781315177700-3.

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Patterson, Monica Eileen. "The Ethical Murk of Using Testimony in Oral Historical Research in South Africa." In Oral History Off the Record, 201–18. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137339652_12.

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Shanklin, Eugenia. "Natural disasters in the oral history of West Cameroon." In Natural Hazards in West and Central Africa, 57–62. Wiesbaden: Vieweg+Teubner Verlag, 1992. http://dx.doi.org/10.1007/978-3-663-05239-5_7.

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Oyěwùmí, Oyèrónké. "Making History, Creating Gender: Some Methodological and Interpretive Questions in the Writing of Oyo Oral Traditions." In African Gender Studies A Reader, 169–205. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-09009-6_10.

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Lunn, Joe Harris. "Kande Kamara Speaks: An Oral History of the West African Experience in France 1914–18." In Africa and the First World War, 28–53. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18827-7_2.

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Law, Robin. "Oral tradition as history." In Writing and Africa, 159–73. Routledge, 2017. http://dx.doi.org/10.4324/9781315505176-10.

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Webber, Sabra. "Arab and Berber oral traditions in North Africa." In The Cambridge History of African and Caribbean Literature, 49–70. Cambridge University Press, 2000. http://dx.doi.org/10.1017/chol9780521832755.005.

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Costanzo, William V. "Film Comedy in Africa." In When the World Laughs, 211–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0011.

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The rich oral traditions of storytelling in Black Africa have evolved into cinematic forms, adapting social satire and political humor to the realities of modern life. After a brief history of the region and its early encounters with the medium of motion pictures, this chapter introduces concepts like négritude, the griot storyteller, pan-Africanism, and Afropolitanism to explain how African beliefs and sub-Saharan cinema differ from others in the world and how African filmmakers like Ousmane Sembène and Djibril Diop Mambéty, Jean-Pierre Bekolo and Adama Drabo, Henri Duparc and Benoît Lamy, Flores Gomes and Fanta Régina Nacro have fashioned a cinema that reflects the way Africans see themselves and their place in the world.
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