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Opinion

African Literature In The Digital Age

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Dele Jegede In Conversation With Prince Yemisi Shyllon
Prof. Toyin Falola

By Toyin Falola

The second week of November reminds us of African Literature Day. It is a good moment for creative writers and their readers to interact at a most intense level. In partnership with the Pan-African Writers Association, The Toyin Falola Interviews is pleased to be associated with the moment and to feature ideas on the frontiers of African literary journeys.

Every form of literature, whether fictitious or not, is founded on thoughts— thoughts jointly shared by the populace, contrarian thoughts held by a select number of people and propagated through writing, thoughts that reflect beliefs, norms, cultures, and values that the individual stands by, in a way that reflects the human society they are a part of. Since our thoughts form the basis of our literature, it suffices to say that literature is a portal that opens us to the thought processes, world views, and evolution of any given society or conglomerate of societies. Africa is not left out. 

African literature’s rich and diverse history — exploring multiple mediums from oral and then to written, and comprising thousands of languages, cultures, beliefs, and societies — has seen systemic changes in how it is produced, perceived, interacted with, distributed, and critiqued, huge thanks to the digital era. These changes have encompassed a variety of aspects, including literary creation, publishing and distribution, while also presenting opportunities and challenges, giving a voice to independent writer-publishers, and rightly positioning Africa as a force in the literary world.

Digital Tools and African Literary Creation

Since the advent of the digital age, the creative process has witnessed a reinvention, and African authors are not left out. This reinvention has mostly been in the availability of digital tools to facilitate a smoother creative process for authors. Although becoming an author is still a Herculean task, African writers’ access to word processors, internet research, and writing and editing software has brought about a more structured and faster writing and editing process, giving authors the ability to collaborate with their fellow African authors in the diaspora or another African country. Although I had authored several books well before the mainstream digital age, I have seen a more productive career as an African author since the digital age, evidenced in the sheer number of books I have been able to author or co-author compared to the pre-digital era.

The coming of the digital age has afforded authors the opportunity to infuse their writing with African-centric styles — humor, idioms, proverbs, oral traditions, folklore, and oral poetry — thanks to digital word processors and language processing software. This, in turn, has served as a more effective way to preserve the oral traditions and richness of African cultures.

Another all-important influence of the digital age on African literature is the exponential rise in self-publishing. Prior to the mass digital era, numerous challenges militated against African authors, especially as they struggled to get favorable publishing contracts for their writings. This meant that there were more writers than authors of African descent, thus leading to an indirect stifling of the African voice. Digital publishing platforms such as Amazon Kindle Direct Publishing, PublishDrive, Okadabooks, Apple Books, and AfricaRead, have made it possible for authors to self-publish at more affordable rates and without the roadblock of being rejected by traditional publishing houses and agencies. 

The recently minted independence of African authors to self-publish has led to a surge in the number of authors from the continent, making it possible for several diverse voices to be heard and giving room for multiple narratives, all needed ingredients for the full evolution and positioning of the African continent, without the constraints, censure, or limitations that would have come with traditional publishing. This also means that authors do not have to pick pseudonyms or be famous to get published. 

Digital Platforms for Publishing and Distribution

The democratization of book publishing and distribution in the digital era is yet another important point of discourse. Prior to the digital era, agencies and book publishing companies were the sole guardians and gatekeepers of authorship — they decided who could publish, what they could publish, and whom the published books could reach. The downside to this was that while books misrepresenting African cultures and the African people — written by colonial historians who had little to no encounter with the people or their continent — were gaining global penetration, the books that African authors afterward wrote to counter the misrepresented histories and wrong narratives did not gain as much global penetration.

Today, the digital era has not only made it possible to self-publish, but it has also made book distribution more flexible, allowing authors to cater to a wide range of audiences across print books, e-books, and audiobooks. For example, Google Books, Project Gutenberg, and several other digital platforms have made African literary classics reach a larger global audience by digitally archiving books that were written prior to the digital era.

In the same vein, online literary journals and blogs have been a vital part of the distribution of African literature to a wider global audience. Several of these platforms — run by Africans mostly — have offered a home for the works of African authors, giving them visibility for their works and setting the foundation for the raw and independent African voices and authors, especially the younger ones. These platforms also seek out collaborations with African literary heavyweights for contests and awards that could set the pace and establish the career of many a young African writer. I have watched Lunaris Review, Brunel African Prize for Poetry, African Poetry Book Fund, Brittle Paper, The Chimurenga Chronic, Open Country Mag, All Africa, and several other platforms serve as the foundation for emerging and established African authors, such as Romeo Oriogun (recent winner of the NLNG Prize for Literature), Warsan Shire, and Tsitsi Dangarembga.

Aside from giving a home to emerging voices, these online communities have also created an ecosystem to facilitate worldwide visibility for and engagement with African literature. They now serve as online cafes for discussions, recommendations, and even literary events that bring together African authors. Thanks to social media, African authors can situate their voices within the already established online communities and reach global audiences by interacting with and belonging to online communities of African authors or simply using popular hashtags related to African literature. 

African Literature and the Global Literary Canon

The facilitation of the integration of African literature into the global literary canon is perhaps the most significant contribution of the digital era to African literature. This era has brought about a steady recognition, positive positioning, and prominence of authors and books from Africa on the global literary stage, huge thanks to the affordability of translation and the provision of cross-cultural exchanges that the digital era has made smoother.

Since the advent of the mass digital era, there has been an exponential rise in the recognition attributed to African literature from the global scene. Several African authors — much more than there were prior to the digital age — have attained critical acclaim and global recognition, reaching a broader audience in fewer years of actively being an author than was possible before. Chimamanda Adichie, Bernadine Evaristo, Tomi Adeyemi, Ben Okri, and Aminatta Forna, among others, have received recognition and placements on the global literary map, thus contributing to the attention African literature is receiving. 

Furthermore, translation projects have helped to integrate African literature into the global literary canon. Several African books have been translated into French, Greek, Chinese, Spanish, Italian, and other languages, helping the authors reach a wider audience and making African narratives more accessible. 

Challenges and Opportunities of African Literature in the Digital Age

There’s no denying that African literature has seen tremendous growth and exposure in the digital age. Nonetheless, as with everything in life, there are downsides to the infusion of digital approaches in the African literary world. The first of them is the widening digital divide. African literature is increasingly tilting toward the digital, yet it is important not to forget that Africa is one of the slowest, if not the slowest, continent when it comes to digital adoption. As of 2022, Statista reported Africa’s internet penetration rate to be 43.2%, which is more than 20% shy of the global average internet penetration rate of 67.9%.  Several Africans still do not have access to stable internet or are not aware of the wide range of literature-related tools available online. This means that while Africa is rushing to adopt digitization for its literary world, it may well be leaving about 60% of its population unaware of the literary works being published on the continent. Even though there have been concerted efforts to publish literature in native languages, what use would that be if the target readers do not have access to the digital tools to read? 

The digital divide also has limiting effects on African authors who have poor access to the internet and digital resources, shutting them off from accessing the now mostly digital global literary community. Another big issue caused by the digital era in African literature is the widespread copyright problems. Digitization makes it difficult to protect the copyright of African books. Several African authors are subjected to cloned copies of their books, being shared widely as PDFs and even being publicly published on websites. This is especially true of books in print. The problem with this is that while it potentially brings a deeper penetration rate for the authors’ books into the markets, there is little to no evidence to show that in terms of money earned.

In spite of the challenges, African literature has witnessed tremendous growth and positive evolutionary bouts since the advent of the digital era. Come November 12, 2023, The Toyin Falola Interviews, in collaboration with the Pan-African Writers’ Association, will host a panel discussion on the topic “African Literature and the Digital World.” In this piece, I have only scraped the top layers of what there is to discuss. Our panelists will go fully in-depth on several nuances, dimensions, and realities of African literature in the digital era. Join us.

Sunday, November 12, 2023

5 PM Nigeria // 5 PM Congo // 10 AM Austin

Register and Watch:

https://www.tfinterviews.com/post/african-literature  

 

Join via Zoom:

https://us02web.zoom.us/j/81888895343 

 

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Opinion

Fear Of Witchcraft And Politics In Zambia

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Witch Burning, Impunity And Abuses Linked to Witchcraft Beliefs In Benue State
Dr Leo Igwe

By Leo Igwe

The Advocacy for Alleged Witches (AfAW) is concerned over the reported arrest of two men accused of being ‘witchdoctors’ in Zambia. The arrest underscores the potency of witchcraft fears and the connection between occult anxieties and the country’s politics. These individuals were accused of trying to bewitch the Zambian president, Hakainde Hichilema. The police claimed that they had charms. They planned to use the charms to harm the president. The report says the two persons have been charged under Zambia’s Witchcraft Act. The Act criminalizes “possession of charms”, “professing knowledge of witchcraft”, and “cruelty to wild animals”. The police found the two with assorted charms, including a live chameleon.

This development is utterly embarrassing and shows that the Zambian government is slowly losing its focus and bearing.The country has many socio-economic challenges. Suspicion of bewitchment or possession of charms should be the least of its worries at this time. There should be no place for witchcraft and possession of charms in modern politics because there is no evidence for these beliefs and practices. Zambian authorities should not weaponize the Witchcraft Act or use it to justify this incident. Zambian law does not recognize witchcraft. Zambia’s Witchcraft Act criminalizes naming or imputing witchcraft. It prohibits accusing or threatening to accuse any person of being a witch or a wizard. In this case, it is the police who are breaking the law.

Otherwise, how did they know the two individuals were ‘witchdoctors’? Did these persons identify as witch doctors? If not, the police are liable because they named and imputed witchcraft and have to prove that these individuals have witch-doctoring powers. The police claimed to have charged these individuals for possessing “assorted charms”, including a chameleon. Really?

The police in Zambia have questions to answer: What are charms? How did they know that what was in their possession were charms, not pets? Is a chameleon a form of charm? What makes possession of a chameleon possession of a charm? When and how does a chameleon become a charm? The police need to answer these questions and more before one takes them seriously.

Again, did the individuals describe what was in possession as ‘charms’? If they did, does confessing or designating something as a charm make it a charm? And if they did not, the police are liable because they need to prove how those possessions translated into charms.

In addition, the police claimed that the duo wanted to bewitch the president. What does that mean? How did they know? Are the police not contravening a provision under the Witchcraft Act by professing knowledge of witchcraft? Can one harm another person using a chameleon? They claimed that the two persons wanted to use the charms in their possession, including the chameleon to harm the president. How did they know that? What is the evidence for that?

The Advocacy for Alleged Witches calls for an end to this state-sponsored witch hunt. There is no evidence of harm through witchcraft or charms. The Zambian government should desist from witchcraft- related infractions and violations including arbitrary arrest, and detention of innocent citizens. These allegations are baseless and absurd. The arrest was politically motivated. This development demonstrates that Zambian authorities are out of sync with their duty and obligation to uphold the rule of law and protect accused persons.

Zambian authorities need to act in compliance with the 2021 UN resolution, which urged states to take measures to combat abuses linked to witchcraft beliefs and ritual attacks. End witchcraft allegations in Zambia. End witch hunts in Africa now!

Dr Igwe directs the Advocacy for Alleged Witches.

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Opinion

Burning Issues: (FCT Minister And Paulosa) (2)

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Readers’ Showers Of Encouragement
Prof. Tony Afejuku

By Tony Afejuku

The other burning issue, apart from Farotimi and Babalola’s, which I wish to take a look at – and which I am taking a look at now – relates to what is happening in our capital territory. What is this burning issue – which our human rightists and civil society organisations and personages are surprisingly and un-satisfactorily not inclined to focus attention on and examine as they should? I may be wrong, but it surely seems to me that this issue, this burning issue, which is of more importance than Farotimi and Babalola’s – which has been given undue adulation – is deliberately being neglected and depreciated by proclaimers and heroes and heroines of human rights, justice, equity and equality of rights in your country my country our country. Why, why, why and why, why, why? Anyone who has any iota of patriotic sensibility, feeling and judgment well watered and buttressed by a very great influence upon his or her critical judgment will keep on asking the question I am asking.

Mr. Nyesom Wike, as almost everybody who can read and write a little knows, is the current minister of your, my and our Federal Capital Territory. His post or office is akin to that of a governor of a state. As the immediate past governor of Rivers State who was drafted, after his two terms there expired, to continue in the FCT as its new minister-governor or governor-minister under the auspices of a party he is not a true member of, Mr. Wike cannot but be seen as a lucky man. He is in every possible and impossible way. Minister-Governor Wike is a lucky man and a very fortunate one indeed. No former governor of Rivers State (or of any Nigerian state), as far as I know, has achieved what the famed political rouser of rabbles has achieved in one short gubernatorial life-time, and at a relatively young and fertile age. His dual achievement with and in two different political parties at this delicate point of Nigerian politics indicates to our politicians and us all that there is always time for a reminder that there are ready-made high rewards for arch-angels of betrayals. And Mr. Wike may go down in Rivers and Nigerian history as both an arch-angel and an emperor of betrayal of us all if we attempt to indicate what I have defined here as his dual achievement.

We can roughly divide, briefly, Wike’s political development into two periods. During the first, excluding his lower political positions before he became the governor of Rivers State, he quickly adapted his style to that of an emperor who became a rabble-rouser of rabble-rousers whose gubernatorial efficiency moved from stiffness to stiffness. He did not at any time feel that he needed suppleness to govern Rivers State. “Let the heavens fall if they must fall!” We are not there yet in this attempted analysis of the stiff-hearted and stiff-minded one. True? But he is already demonstrating this characteristic in Abuja. False? Judge and give the answer yourself.

Even after he left Rivers State a short while ago as governor, he is still trying to control happenings there to the political discomfiture of his hand-picked successor, his erstwhile “boy” and “son” – with whom he has fallen out. As the minister-governor or governor-minister of the FCT, Wike is occupied with the other taste of the emperor-juggernaut formulator – doing the work of two key political masters in one room and desk of political jugglery. Since his appearance in the FCT, minister-governor or governor-minister Wike has allegedly attempted to recover or transform for Abuja what is not traditionally or socially Abuja’s, for example, the city’s social idiom and landscape and terrain as well as its environs. In doing this he sometimes over-steps his bounds and mark of human/inhuman decency/indecency and psychological understanding of human nature, if you follow well what I am saying; he has so far become at best not really better than a typical pedestrian Nigerian lawyer and officer of political power: in his explorations so far in the Federal Capital Territory we have come to the realization, as T. S. Eliot would say, that “it is so often true that only by going too far can we find out how far we can go.” But one has to be a very negatively obstinate and self-serving emperor and a thorough-bred arch-angel of betrayal of the people and masses to justify such perilous and perfidious expeditions and adventures.

Last week, I saw on Arise Television “The Morning Show” Chief Rita Lori-Ogbebor, the dutiful widow of the late Nigerian supreme patriot and soldier, Colonel Ogbebor (of Benin stock) battling, so to say, to wrest the legacy of her late husband from the tight grip of the adventurous FCT minister-governor who has registered his name and signature in the hearts and consciousness of the people as the depriver of their possessions. The three anchors of “The Morning Show” were in their respective ways splendid in their structures of remarks and questions to Chief (Mrs.) Rita Lori-Ogbebor whom I have had occasions in times past to call patriotically Rita A-K 47 on account of her natural right to fire her beautiful tongue at any person, usually an enemy, of just actions. When she made the case she made to protect the estate of Paulosa Nigeria Limited, her late husband’s aforesaid legacy in the FCT, she was in her natural territory, habitat and element where even at age eighty-four, she never ever loses her stability – although she unusually restrained herself in the Arise Television appearance. Dr. Reuben Abati, Rufai Oseni, and Ayo Mairo-Ese clearly explored seriously but delightfully the mind of the mother-hen of Warri – my other coinage and appellation I gave her in my poetry. Her “The Morning Show” appearance enabled me to see the poignant cry de profundis of the FCT inhabitants whose property and residences in different guises have been demolished. She did not say anything that was out of joint. She spoke and came out as a mother, protector and symbol of the people who have suffered – and are suffering – from the state of affliction and anguish Wike’s demolitions have placed – and are placing – the people.

Ojy Okpe in her delicious and delectable “What is Trending” slot on the same show, showed without exaggeration but with further elaboration what people in and outside Abuja/FCT think of the mighty Wike’s demolitions, a burning issue that the Senate has asked “Let Heaven Fall” minister-governor Wike to halt as the committee the Senate set up on the issue starts its work. Of course, we cannot but assume that Chief Rita Lori-Ogbebor, Mrs. Natasha Akpoti-Uduaghan as well as Mrs. Ireti Kingigbe, the senator representing the FCT in the Senate and other patriotic senators diligently did what they did on the floor of the Senate when the burning issue was tabled for debate with the gracious understanding and authorization of the Senate President.

I need to state further that the “The Morning Show” anchors did well and extremely so by giving the minister-governor the opportunity to air his anti-Paulosa story. His senior special assistant on public communication and social media, Mr. Olalere Olayinka, stood in for him. After he gave the reasons for the clamp-down, his responses to the questions the anchors put to him followed the usual pattern of denials by artificial men in power – denials that they always use to intimidate and betray the people. In fact, Mr. Olayinka’s ploy to ride easily over our dear Rufai Oseni, a wholesome representative of the deprived, that the chap (or is it guy?) and his boss always employ their colloquial speeches and remarks to dishonor, failed. Yes, the ploy failed woefully. In stanza after stanza of the exchanges between Mr. Olayinka and the Arise anchors, he deteriorated – and his deterioration was hall-marked when he unwittingly revealed that the Paulosa land had been acquired by his minister-governor’s close cohort, an act that was nothing short of gross abuse of power and authority.

Because the Senate is already using its authority, power and privilege to resolve the burning issue, hopefully, in a way that the late Colonel Ogbebor’s legacy and family will not be subjected to any kind of degradation, I will utter no more words for now. I trust, however, that the liberties the Senate is taking – or has taken – are for the sake of order to favour the down-trodden.

As for the minister-governor, the PDP emperor at large, here is an immortal quote from Marcus Aurelius, the magnificent and authentic Roman Emperor and philosopher (A.D. 121-180): “If it is not right, do not do it; if it is not true, do not say it.” You lose nothing by giving us a slice of your humanity by your right acts and correct words. Everything changes and passes. Be humane as a human being.

Afejuku can be reached via 08055213059.

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Opinion

Questionstorm As A Method Of Teaching

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Witch Burning, Impunity And Abuses Linked to Witchcraft Beliefs In Benue State

By Leo Igwe

Recently, I facilitated a critical thinking workshop at the Bay Wreath Schools in Lagos. The theme was critical thinking and teacher development. As the theme stated, the workshop was on teaching, about teaching, and for teachers. It highlighted the pedagogical value of critical and reflective inquiry. The workshop exposed teachers to critical mental habits and skills. It emphasized how critical thinking would enhance expertise in the learning and delivery of subjects in classrooms.

I used the opportunity to discuss questionstorm as a method of teaching and learning. Questionstorm is a way that I operationalized critical thinking for primary and elementary schools. Questionstorm is the ability to interrogate all objects and materials. It is a habit of questioning ideas and experiences in all areas of human endeavor. Simply put, questionstorm is a question-driven inquiry. Children are naturally curious. They thirst for knowledge and understanding. Unfortunately, the school system kills children’s curiosity and dampens their interrogative appetite. The school system places much emphasis on rote learning and memorization. It makes the generation of answers not questions or problems the test of knowledge, and the determinant of intelligence. Teaching is largely a drudgery, a monotonous exercise, and a process of depositing knowledge on passive recipients, the students. Teaching entails dumping information on learners whose duty is to cram and reproduce during tests or examinations.

This teaching praxis has been criticized and blamed for the poor performance of students post-school (college and university) and their inability to think independently, creatively, and innovatively. Other teaching methods have tried to address these gaps and limitations. There have been suggestions to make teaching and instruction more active, and more student/learner/child-centered. One such method is the Montessori method. The Montessori method discourages grades and tests as ways of measuring achievement or determining intelligence and excellence. It emphasizes hands-on learning and the development of real-world skills. While the Montessori method stresses the practical approach to learning it says very little about the authoritarian teacher-to-student approach that is the mainstay of teaching and learning in classrooms. Teaching follows a pattern that leaves students and learners in the margins and unable to question and contribute to the learning process. Teachers present what is to be learned such as a text, and then generate questions that students respond or address to demonstrate knowledge of what has been taught. The student’s or learner’s main job is to answer questions, to look for or find answers or solutions. The teacher’s work is to get students to look for, and provide answers, and reproduce what they have been taught or told. But students are answer-depots. Students are not memory banks or reserves. They are active minds and thinking agents.

With questionstorm as a teaching method, the mode of instruction would change. Teaching becomes a cooperative endeavor that actively involves teachers and students. What is taught in the classroom is a collaborative note, not the teacher’s note, not a handout to students. Teachers present or generate texts or objects for learning, in response to intense questioning of the object or material by students, teachers provide information as required for that subject, topic, level, and time frame. No two instances of teaching – of the same topic or subject- are or should be the same because the input of students and teachers is not predetermined.
This is because of an overlooked principle in teaching and learning, that I call the “uncertainty principle”.

The uncertainty principle underlies questionstorm because knowledge is not fixed. Learning is a fluid process. All that is to be learned is uncertain, it is unknown and never determined. No teacher can say beforehand what is to be taught or learned because no one knows exactly the questions and answers or replies that would arise when a topic is presented or taught in a particular class. A topic or learning material elicits unique responses and exchanges that both teachers and students cannot exactly know or predict a priori, before the fact.

Teaching is a shared task and responsibility. Class notes are fluid materials. They are not texts cast on educational stones and delivered by teachers to students to copy, cut, and paste as is often the case. Class notes are not written or produced by teachers for students but by teachers with students. Teachers’ notes are incomplete and insufficient. They account only for a part, not a whole of the learning process and material. Students’ input completes and complements the teaching material and learning process. Thus every class note is unique because it is a product of a specific collaborative endeavor, a product of particular teaching and learning agents and circumstances that cannot be repeated or replicated.

Thus, as a teaching method, questionstorm is set to facilitate teacher development and improve the quality of instruction in schools. Questionstorm will help realize a paradigm shift in education and learning. I hope educators, teachers, and school managers will embrace this method of teaching and learning.

Dr  Igwe directs the Critical Thinking Social Empowerment Foundation.

 

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