|Chiji Akọma, PhD (Binghamton University—SUNY) |
My first book, Folklore in New World Black Fiction, examined the fiction of two Americans, Toni Morrison and Jean Toomer, and two Guyanese, Wilson Harris and Roy Heath, for the myriad of ways they call attention to the intersections between orality and literacy, especially in relation to African oral performance aesthetics. The book organizes the major works by these writers around a grammar of meaning that I locate within an African Diaspora sensibility. I like the dynamism of oral performance, and I’m especially grateful for the fact that Africa and parts of the Caribbean still have artists who continue to maintain and expand the creative and intellectual capacities of African oral traditions, despite the seeming dominance of the written tradition. As the Vice President of the International Society for the Oral Literatures of Africa (ISOLA), I’m privileged to have the front view of the exciting research going on in the field. I am also co-editing with Nduka Otiono a collection of essays on the subject entitled, Beyond Text: Issues in African Oral Literature and Diaspora Studies. The volume is in honor of the work of Isidore Okpewho, one of the influential scholars of African oral traditions.
I have a passing interest in African cinema, but the more I observe the wildly popular Nigerian movie industry, commonly called Nollywood, the more I more I rub my gray beard in contemplation and say, Hmmm…