Omiano vya Tjipangandjara: Otjiherero Proverbs and Idioms is a unique collection of linguistic and cultural significance. The author has collected over 150 proverbs and idioms from the Ovaherero community, particularly the Ovakaoko, in Namibia, and from various written sources. He encourages the use of these proverbs as a means of cultural enrichment, since younger speakers of Otjiherero tend to use and/or translate English or Afrikaans proverbs. Concise and extensively researched, this book distinguishes between proverbs and idioms; gives the literal English translation; the origin; general meaning; context; usage; and English equivalents.
Omiano vya Tjipangandjara: Otjiherero Proverbs and Idioms is a unique collection of linguistic and cultural significance. The author has collected over 150 proverbs and idioms from the Ovaherero community, particularly the Ovakaoko, in Namibia, and from various written sources. He encourages the use of these proverbs as a means of cultural enrichment, since younger speakers of Otjiherero tend to use and/or translate English or Afrikaans proverbs. Concise and extensively researched, this book distinguishes between proverbs and idioms; gives the literal English translation; the origin; general meaning; context; usage; and English equivalents.
Otuzo twOvaherero provides valuable information on Ovaherero patriclans and records folklore and praise poems in Otjiherero. Previously, these did not exist in written form. The book attempts to preserve these oral traditions before they disappear. It aims to restore pride to the Ovaherero, particularly in patrilineages that were displaced by the Ovaherero-German war of 1904-1907. Otuzo twOvaherero is structured around the Ovaherero patrilineal descent system (otuzo) which is the basis of the Ovaherero religion Oupwee. The surnames and homesteads that belong to the same patrilineage are grouped together under each patriclan to help the reader to easily trace the homesteads that belong to one patriclan (and thus have a common ancestry). The distinct features of each patriclan are specified in terms of totems, taboos, patriclans which collaborate, and praise poems of homesteads. All the patriclans and praise poems in this book were collected from Ovaherero communities living in Namibia. The author uses the term Ovaherero to include the various groups which speak the common language Otjiherero and which include the Ovahimba, Ovaherero, Ovatjimba and Ovambanderu. This book has the potential to promote unity within the Ovaherero community by showing how families are connected in lineages which trace back centuries.
Travel and the Pan African Imagination explores the African Atlantic world as a productive theater or space where modernity, racialized dominance, and racialized resistance took form. The book stresses the importance of placing three Atlantic figures—the Charleston, South Carolina-based armed resistance leader Denmark Vesey; the West African emigration advocate Edward Wilmot Blyden; and the Christian missionary and teacher in Liberia as well as the United States, Alexander Crummell—within an Atlantic context and as African world community figures between the late-eighteenth and early-twentieth centuries. The book also examines the religious origins of Black Power ideology and modern Pan Africanism as products of the intense dialogue within the African world community about concepts of modernity, progress, and civilization. Tracy Keith Flemming identifies how travel and social mobility led to the generation of an ever more complex and dynamic Atlantic world and of a fluid and adaptive African world community imagination for those figures who were forced to operate within and against a racially framed universe. The vexing social position and symbolic figure of “the African” was central to the dilemmas facing the racialized imagination of African world community figures and the discipline of Africology.
The Otjiherero-English dictionary is a working dictionary of contemporary Otjiherero-English words you are likely to read, write or hear in daily interactions. It is designed to be a translator reference source for travelers, students and home. Additionally, the book contains lists of grammar, phrases, numerals, conversion sizes, holidays and commemorations, life and culture of Otjiherero-speaking people, time charts, abbreviations, etc. The goal of this book is to enhance communication between Otjiherero and English language and through it introduce the culture of the Otjiherero- speaking people. Embo romambo ndi embo e ungurisiwa esusupare neperaka rOtjiherero nOtjiingirisa ndi nomambo ayehe wOtjiherero potungi ngu mo yendakana mokuzuva, okulesa nokutjanga. Embo romambo romburo ohinandjambi yondjiviro komuryange, omuhongwa nomukareponganda wandino. Okuyandja ondjiviro ohepwa momatorokero wohakahana nomapupu nu youparanga yomambo omahungirwa nomatjangwa yOtjiherero oyeni. Ondando yEmbo romambo ndi okununisa omawaneno we reka rOtjiherero nOtjiingirisa nokutjivisa ombazu yaKouherero. Embo romambo ndi enahepero motuveze atuhe.
Writing Namibia: Literature in Transition is a cornucopia of extraordinary and fascinating material which will be a rich resource for students, teachers and readers interested in Namibia. The text is wide ranging, defining literature in its broadest terms. In its multifaceted approach, the book covers many genres traditionally outside academic literary discourse and debate. The 22 chapters cover literature of all categories in Namibia since independence: written and performance poetry, praise poetry, Oshiwambo orature, drama, novels, autobiography, women’s writing, subaltern studies, literature in German, Ju|’hoansi and Otjiherero, children’s literature, Afrikaans fiction, story-telling through film, publishing, and the interface between literature and society. The inclusive approach is the book’s strength as it allows a wide range of subjects to be addressed, including those around gender, race and orature which have been conventionally silenced.
This unique collection of articles on literature in northern Nigeria is in three parts. Part one presents an overview of the running theme, in which Na’Allah explores the theoretical relationship between literature, history and identity in northern Nigeria, using the proverbial story of the blind man who holds a lamp while walking alone in the night. Similarly, Tsiga undertakes in a long bibliographical essay, a notable survey of the relationship between literature, history and identity in northern Nigeria, chronicling the development of life writing in the region dating back three hundred years. Part two focuses on the relationship between literature and history in northern Nigeria and begins with the article in which Illah investigates the theme. He uses the image of the bus to underscore the point he makes concerning the uniqueness of northern Nigerian literature, which continues its journey, even without a spare tyre. Equally in this part, Balogun discusses Yerima’s Attahiru, Ameh Oboni: The Great as theatres of colonial resistance; just as Methuselah also examines the heroism celebrated in Ahmed Yerima’s Attahiru. Adamu revisits the trans-fictional use of the Grimm Brothers’ tale in the early published Hausa written narratives, while Yunusa and Malumfashi examine similar historical concerns in Abubakar Imam and Sa’adu Zungur, respectively. This part concludes with Garba assessing the transformation of the written Hausa prose narratives into radio broadcasts; while Abiodun examines in a historiographic survey the various forms and composition of Ilorin music. In what might have been the scholar’s last conference article before his sudden death, Nasidi, in Part three, opens the debate on literature and identity in northern Nigeria, eloquently theorising on the relationship with Foucault, his favourite philosopher. AbdulRaheem illustrates how the literature of the people of Ilorin is their identity marker, while Kazaure investigates the split character in Labo Yari’s Man of the Moment. Ibrahim explores identity in marriage between migrants and natives in Kanchana Ugbabe’s Soul Mates, while Aondofa investigates globalisation and indigenous television. Using Tiv film typology, like Aondofa, Sulaiman examines the use of diction in characterisation in the film industry. The third of the contributors on the film industry, AbdulBaqi, uses films shown on DSTV’s African Magic channels to investigate matrimonial harmony in North Central Nigeria. Jaji revisits the antecedents and prospects in the relationship between prose and identity in northern Nigeria. Giwa offers a detailed investigation of Zaynab Alkali’s The Initiates on gender politics. Similarly, Muhammad and Muhammad are concerned with identity and the gender politics in Bilkisu Abubakar’s To Live Again and The Woman in Me. The last article in the book, jointly written by Yusuf, Anwonmeh and Agulonye, offers the only viewpoint on children’s literature in northern Nigeria.
Michael Andindilile in The Anglophone Literary–Linguistic Continuum: English and Indigenous Languages in African Literary Discourse interrogates Obi Wali’s (1963) prophecy that continued use of former colonial languages in the production of African literature could only lead to ‘sterility’, as African literatures can only be written in indigenous African languages. In doing so, Andindilile critically examines selected of novels of Achebe of Nigeria, Ngũgĩ of Kenya, Gordimer of South Africa and Farah of Somalia and shows that, when we pay close attention to what these authors represent about their African societies, and the way they integrate African languages, values, beliefs and cultures, we can discover what constitutes the Anglophone African literary–linguistic continuum. This continuum can be defined as variations in the literary usage of English in African literary discourse, with the language serving as the base to which writers add variations inspired by indigenous languages, beliefs, cultures and, sometimes, nation-specific experiences.
Nation, Power and Dissidence in Third Generation Nigerian Poetry in English is a theoretical and analytical survey of the poetry that emerged in Nigeria in the 1980s. Hurt into poetry, the poets collectively raise aesthetics of resistance that dramatises the nationalist imagination bridging the gap between poetry and politics in Nigeria. The emerging generation of poetic voices raises an outcry against the repressive military regimes of the 1980s and 1990s. Ingrained in the tradition of protest literature in Africa, the third-generation poetry is presented here as part of the cultural struggles that unseat military despotism and envisage a democratic society.
