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Planeyo Journal of Arts and Humanities (PLANJAH)

Authors: Ekikereobong Aniekan Usoro

Email: ekikereobongusoro@gmail.com

Phone: +2348083964949

Abstract

The transitory nature of critical practice does not grant literary approaches the licence to remain in stasis, and the corpus of postcolonialism in its broad spectrum takes no exception. Although counter-discursivity is the elixir that gave postcolonialism its golden cast, non-counter-discursive conceptual frameworks have been devised by critics to bear the burden of present-day postcolonial desiderata. Drawing upon postcolonial literary theory, Quayson's divergent conceptualisation of postcolonialism and Oyewumi Agunbiade's concept of inverted disillusionment, the paper adopts the qualitative content analysis methodology and purposive sampling method to interrogate postcolonialism within and beyond the primal threshold of counter-discourse using nine poems in Joe Ushie's Yawns and Belches. Cognizant of the postcolonial motifs which the aforementioned poetry collection is replete with, the paper argues that the heavy presence of non-counter-discourse does not deny its eligibility in the canon of postcolonial literature. Furthermore, it reinforces the notion of inverted disillusionment to argue for the collective complicity of the masses against the decade-long belief that the sheer source of socio-political decay in Africa is the African leader. This deceptive conviction absolves the egoistic citizens of their vicious partnership with egomaniacal leaders who plunge the people to disturbing depths. Having highlighted lucid illustrations culled from Ushie's Yawns and Belches, the paper concludes that the degenerated postcolonial status of Africa is not merely a product of the activities of the West or African political elite at the top stratum but also driven and sustained by the masses who offer themselves as expendable tools for the disruption of principles that should ensure political sanity.

Keywords

Postcolonialism, Counter-discoursivity, Joe Ushie's Poetry, Yawns and Belches, Non-counter-discoursivity

Introduction

While postcolonialism may appear to be an easily and finely knitted academic study, the evolutionary status of critical practice has revealed frays that must be timely stitched. From among the many contemporary Nigerian poetry collections that have addressed post(- )colonial issues, Joe Ushie's Yawns and Belches stands as one of the best exemplars in demonstrating the transition that has perforated postcolonialism from counter-discourse to non-counter-discourse even with the arrangement of poems in the collection. With fewer poems on counter-discourse and more poems on non-counter-discourse, Ushie emphasises the fact that postcolonialism can retain its postcoloniality even without wrapping its entire existence and essence around the interaction between the First World and the Third World. The principles that define a literary theory are rarely constant as critics modify existing tenets to accommodate the dynamics of changing critical relations. This submission is corroborated by Brannigan (1998) who contends that 'Literary theories and critical practices are always in transition, because they are always in history, always subject to change and constantly being revised and reused' (p.219). The aggregation of postcolonialism is not exempted from these modifying possibilities although certain conclusions have apparently been made as to what defines postcolonial literature and postcolonial criticism. Some of the issues pioneering the problematic divide of this field of critical practice are captured by Biccum (2002) who avows that 'There is no consensus in the field of Postcolonial Studies either about its object of study or the terminology it uses to describe both itself and its various objects' since there have been several arguments regarding 'who is “postcolonial”, when is the “postcolonial”, and what it means to be “postcolonial” ' (p.34). These areas that are central to 'postcolonial' polemics have been addressed by critics through the years, and their submissions converge and diverge at certain nodes. However, the problems engulfing this theory are not limited to those identified by Biccum as there is also the problem of what morphologically constitutes the adjectival resultant of the word 'postcolonialism'. Quayson (2000) acknowledges its hyphenated and unhyphenated variants — 'post-colonial' and 'postcolonial' — noting that while the former is usually chronologically inclined, the latter is not.

Content

Within this context, 'post-colonial' is mostly used to indicate the period after imperialism while 'postcolonial' transcends chronological limitations as it could alternate the periods before, during, and after colonialism. It is in this regard that Gilbert and Tompkins (1996, p.4) write that postcolonialism 'is frequently misunderstood as a temporal concept, meaning the time after colonialism has ceased, or the time following the politically determined Independence Day on which a country breaks away from its governance by another state'. In this light, it is fallacious to only think of this concept from 1957 following Ghana's independence, or from 1960 within the context of Nigeria, or the period trailing 1961 in South Africa (or, by extension, 1994 when the African National Congress [ANC] won the first democratic election in the country). For Ashcroft et al. (2002), the term 'post-colonial' covers 'all the culture affected by the imperial process from the moment of colonization to the present day' (p.2). Their concept of postcolonial literature is then hinged on the node that connects colonialism and colonies/ex-colonies, concretised in their view that this literature engages the 'world as it exists during and after the period of European imperial domination and the effects of this on contemporary literatures' (p.2). In one of Quayson's explications of postcolonialism, this critical approach involves 'a studied engagement with the experience of colonialism and its past and present effects, both at the local level of ex-colonial societies as well as at the level of more general global developments thought to be the after-effects of empire' (p.2). Nonetheless, Quayson tackles the constricted stand by Ashcroft et al. on who the postcolonial is. For the trio, the postcolonial covers, among other countries, African countries, Caribbean countries, India, Pakistan, South Pacific Island countries, and the United States of America (Ashcroft et al., p.2). This view, for Quayson, overlooks the imperial position of the USA today solely because it was colonised by the British. Correspondingly, Quayson's conception of postcolonialism is not restricted to literature of former colonies. For him, it is mostly the content, and not the society of emergence, that defines postcolonial literature. The content of postcolonial literature is the most problematic, for while many argue that it must be counter-discursive, some have countered the counter-discursivity usually associated with postcolonialism. Ashcroft et al. assert that postcolonial literature is steeped in 'the tension with the imperial power, and by emphasizing their differences from the assumptions of the imperial centre. It is this which makes them distinctively post-colonial' (p.2), one that is tasked with the duty of 'revisiting, remembering and, crucially, interrogating the colonial past' (Gandhi, 2019, p.4). This stance parallels Kehinde's (2006, p.94) assertion that African postcolonial texts 'have become veritable weapons for dismantling the hegemonic boundaries and the determinants that create unequal relations of power, based on binary oppositions such as “Us” and “Them”; “First World” and “Third-World”; “White” and “Black”, “Colonizer” and “Colonized”'. According to him, the 'primary concern of most post-colonial African novelists is to salvage the history of their people that colonialism has manipulated' (p.94), the mark of counter-discourse. The effect of colonialism on the colonised is intergenerational, so intense it is that the 'post-imperial writers of the Third World therefore bear their past within them — as scars of humiliating wounds, as instigation for different practices, as potentially revised visions of the past tending toward a postcolonial future …' (Said, 1994, p.212).

Conclusion

The poet's personality as a revolutionary compels him to use his collection of poems to chastise the political elite who oppress the masses and the masses who offer themselves as soldiers of fortune, also demonstrating how the West has replaced colonialism with imperialism. The status of postcolonialism as it is today is a product of generational mutations modified to accommodate contemporary issues, one that began solely as a counter-discursive approach which was marked by writing back to the Centre. Over time, the concept of postcolonial disillusionment where African leaders are projected solely as the bane of the postcolonial degradation the continent reeks of was devised. This paper, however, has used inverted disillusionment, a more recent conceptual framework in postcolonial studies, to argue for the collective complicity of the masses. Electoral violence, for instance, cannot be effectively executed without the masses conceding to the whims and caprices of the political elite who are bent on amassing wealth for themselves. These issues have prickled the lives of Africans and have caused them to come to terms with the fact that the hope of a near-utopian life they envisaged at the departure of colonisers has so far become a mere wish and daydream. Nevertheless, with concrete illustrations drawn from Ushie's Yawns and Belches, the degenerated postcolonial status of Africa is not merely a product of the activities of the West or African political elite at the top stratum but also driven and sustained by the masses who offer themselves as expendable tools for the disruption of principles that should ensure political sanity.

References

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Authors: Imikan N. Nkopuruk

Email: nkopuruk@gmail.com

Phone: +2347080030792

Abstract

As effective means of communication and a repository of cultural knowledge, proverbs are an essential component of Annang oral tradition. The rich proverbial content of Uko Akpan's song provides a distinctive way to examine how context and pragmatic acts interact in Annang discourse. Even while proverbs have been studied, little is known about their practical use in traditional music, especially among the Annang people. As a result, this study examined how proverbs in Uko Akpan's music are interpreted by context and what it means for language acquisition. The research used a case study design and a qualitative methodology. Pragmatic Act Theory was used to evaluate twenty (20) Annang proverbs that were purposefully chosen from Uko Akpan's music. The process of gathering data included interviewing Annang elders for validation, song lyrics transcription and contextual analysis. The research shows that Annang proverbs in Uko Akpan's music have several practical uses, such as warning, advice, rebuking, and persuading. They reinforce values and conventions, and their meaning is firmly anchored in the sociocultural environment. The study also emphasizes the part music plays in bilingualism and language socialization. The study emphasizes how important it is to incorporate proverbs into language instruction in order to improve students' pragmatic proficiency and cultural awareness. It was suggested that in order to conserve indigenous languages and improve linguistic competency, educators should, among other things, provide multilingual resources, encourage music-based learning, and include Annang proverbs in their curricula.

Keywords

Annang Proverbs, Uko Akpan, Pragmatic Acts, Context, Language Education, Indigenous Knowledge

Introduction

Human communication relies heavily on language, which allows people to engage in certain cultural situations, express emotions and transmit meaning. Language, defined as a complex system of communication that encompasses spoken, written and gestural forms used by humans to convey meaning, create social bonds, and navigate cultural contexts (Ahmadu Lawal, 2017, p.639), serves as more than just a collection of words and grammatical rules. Beyond its grammatical and structural components, language serves as a dynamic instrument for meaning-making that is influenced by the social and cultural contexts of its users. Central to understanding how language functions in cultural contexts is the concept of pragmatics, which refers to the branch of linguistics that studies how context, speaker intention and social factors influence the interpretation and use of language in real communicative situations (George Yule, 2016, p.209). Pragmatics emphasises how language users accomplish specific communicative goals through interaction, going beyond the literal meaning of words to examining how meaning is constructed through social and situational contexts. Proverbs, defined as concise, traditional sayings that express widely accepted truths, moral lessons, or practical wisdom through metaphorical or figurative language (Wolfgang Mieder, 2004, p.284), are one manifestation of how language demonstrates its cultural richness. These brief, figurative statements capture the morals, knowledge and beliefs of a society, serving as repositories of collective wisdom passed down through generations. Many African communities have long used proverbs as oral literary techniques that serve both aesthetic and educational purposes, functioning as pragmatic tools that accomplish various communicative functions within specific cultural frameworks. The Annang people of Southern Nigeria use proverbs extensively in conversation, especially in traditional music genres like Uko Akpan. One distinctive feature of Annang oral music, Uko Akpan, is the extensive use of proverbs that are incorporated into songs to discuss social standards, uphold group values and address contemporary challenges. In addition to serving as language embellishments, these proverbs have practical purposes that are consistent with the sociocultural norms of the Annang people. Proverbs are pragmatic acts that fulfil a variety of communication functions, including warning, praise, reprimand and persuasion when used in the appropriate settings. The way that meaning and context interact in these sayings emphasises how crucial pragmatic activities are to comprehending language usage.

Content

Language is a tool that people use to traverse their social environments, create meaning and build connections. However, the study of pragmatics focuses on how listener perception, speaker intention and circumstance all influence meaning. Pragmatics stresses how language is utilised in interaction to accomplish communicative goals, in contrast to semantics, which deals with meaning in isolation. One of the key theories in this area is Pragmatic Act Theory (Jacob Mey, 2001, p.246), which builds on the classic Speech Act Theory (John Austin, 1962, p.212; John Searle, 1969, p.109) by emphasising the more comprehensive interactive processes of communication rather than discrete speech actions. This method is especially helpful for studying proverbs, which frequently get their meaning from both their literal content and the social and cultural settings in which they are utilised. The Pragmatic Act Theory suggests that language users participate in pragmatic acts, which are intricate linguistic actions impacted by context, speaker purpose and listener expectations, rather than only producing single speech acts like requests, demands or affirmations. According to Jacob Mey (2001, p.290), language is essentially situated, which means that depending on the situation, a single utterance can have a variety of purposes. Given that meaning is jointly created by performers and audiences in culturally diverse contexts, this viewpoint is extremely pertinent to the study of Annang proverbs in Uko Akpan songs. The interpretation of proverbs in this context is based on common knowledge within the Annang community and may be used for a variety of communication purposes, including entertainment, admonishing, persuasion and instruction. As a type of oral literature, proverbs are ingrained in African nations' communication customs. In a variety of social contexts, they act as conduits for the dissemination of knowledge, the upholding of cultural standards and the formation of discourse. African proverbs, according to scholars like Akin Odebunmi (2008, p.209), Michael Ndiribe (2020, p.730), Femi Unuabonah and Suleiman Akinwotu (2025, p.55) and Akin Odebunmi (2021, p.15), are powerful pragmatic tools that improve communication by utilising collective cultural knowledge. In order to properly understand the intended meaning of proverbs, speakers and listeners must rely on common experiences, historical allusions and cultural insights, according to these academics. A saying like "A child who does not listen to the sound of the drum will dance out of rhythm" illustrates the negative effects of disregarding knowledge or counsel. However, how and when this adage is applied determines its entire significance. The social context and the identities of the performer and the intended audience accentuate the significance of a song that is sung during an Uko Akpan performance to chastise a misbehaving young person. The study of Annang proverbs in Uko Akpan songs is particularly important because it illuminates the ways in which traditional music functions as a site of pragmatic engagement and cultural transmission. This is in line with Adebayo Akande and Adams Mosobalaje (2014, p.43), who contend that the strategic deployment of proverbs in oral performances enhances audience engagement and reinforces the speaker's message. ([First Name] Bamgbose (2023, p.158) further explores how proverbs function as socially binding linguistic resources, allowing members of a community to express values and resolve conflicts in non-confrontational ways through the use of proverbs in music. Even though African oral literature has a long history of proverbs, little is known about their practical application in musical contexts. Fewer studies have looked at the pragmatic roles that proverbs play in traditional music, despite the fact that many have studied their linguistic and literary features (Wale Adegbite, 2020, p.6; Akintunde Akinyemi, 2022, p.18). Furthermore, the Annang people have been frequently ignored in previous studies on African oral traditions, despite the fact that their proverbs and musical expressions are essential to comprehending Nigeria's larger linguistic environment. In order to close this gap, this study looks at how context affects the pragmatic actions used in Annang proverbs in Uko Akpan songs. It specifically looks at how these proverbs serve as practical deeds and considers the pedagogical implications of these sayings. In doing so, the study hopes to advance the disciplines of pragmatics, discourse analysis and indigenous language instruction. Review of Related Literature Uko Akpan as an Annang Man Through his musical, dancing and drumming practices, Chief Uko Akpan has created Ukokpan Music which is now recognised as a musical genre. Ukokpan music stands as one distinct musical genre. Dr. Uko Akpan Ekpo initiated his musical career in 1945 which extended through his final performance in December 2019 according to Victor Umanah (2014, p.17). Uko Akpan dedicated seven remarkable decades to his musical career. People often express appreciation to men after their death and to women only after they divorce according to traditional guidance. Before Uko Akpan died, he received massive appreciation from people throughout his 74-year singing career. Throughout his professional career, he received continual appreciation which followed him during every moment. When his fame reached its peak, he established himself as a popular entertainment option for major events organised by Akwa Ibom State Government and important figures in the state as well as other regions. The life work of the singer and balladist Uko Akpan along with his dancer, composer and oral poet roles has been thoroughly documented in recorded media and written press (Victor Umanah, 2014, p.22). These themes emerged in the artist's songs: oppression, religious bigotry, hypocrisy, immorality, politics, social, cultural alongside concerns about general human matters.

Conclusion

Studying Annang proverbs in Uko Akpan's songs provides significant understanding of Akwa Ibom language acquisition. Proverbs are more than simply words; they are symbols of moral principles, cultural knowledge, and effective communication techniques. This study highlights their function in fostering language ability beyond vocabulary learning by examining their pragmatic acts and contextual importance. Students who study these proverbs get a stronger comprehension of discourse patterns, metaphorical language, and the significance of cultural context in communication. This study's emphasis on pragmatic competence, which gives students the tools to use language effectively in a variety of situations, is one of its main contributions. The proverbs improve discourse abilities in both Annang and English by illuminating a variety of speech actions, including as persuasion, caution, encouragement, and social critique. Furthermore, by promoting bilingualism and linking local and international language patterns, proverbs strengthen the socialization process. Furthermore, including Annang proverbs into the curriculum guarantees language preservation and combats the linguistic deterioration brought on by industrialization. Through performance, narrative, and dramatization, Uko Akpan's music—a rich oral tradition—offers a captivating, immersive approach to education. A multilingual society that cherishes its linguistic legacy will be fostered by implementing these discoveries in schools, which will also provide students the communication skills they need in an increasingly interconnected world.

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Authors: Bassey Ekpenyong Bassey

Email: mailbassey@gmail.com

Phone: +2347033992703

Abstract

Notably, Nigerian theatre extends beyond its physical location to the virtual space, emerging as digital performances. A layer of mediated performances overlays this virtual environment and is reinforced in many ways. It is interesting to note that within these mediated performances, there are references to women which could be interpreted as misconceptions about perceived bias and prejudices against women. Leaning on this notion, this study seeks to explore the prevailing themes in Nigerian Digital performances and interrogate the extent of objectification and patriarchal bias that exist within the performances. Through the lenses of feminist criticism, cultural ideologies and theories of digital media, this paper critically examines some of these digital performances with regards to their portrayal of women and goes on to discuss contending realities that have shaped this portrayal. Findings of this study reveal that Mark Angel presents a form of objectification that posits that women are bound to internalise the society's perspective as a view of what their bodies should be, while Battabox objectifies the woman sexually and defines her as a commodity with a price tag; a description that aligns it with sexual objectification. It advocates that, in order to overcome the miscommunication regarding women, a more profound and radical 'spin' is needed, as women's competing desires and realities are contained within these created terrains. Additionally, the paper presents pragmatic alternatives for the biased digital signals that are portrayed in the virtual space.

Keywords

Digital performances, Feminism, Gender bias, Miscommunication, Objectification

Introduction

The arts of the theatre have grown beyond the traditional performance spaces because, like every other field, theatre has embraced the possibilities in technological innovations. However, the interface of theatre and technology has not invalidated earlier practices, rather the existing practices are made to interact with digital technology. Marshall McLuhan (2004) argues that a new medium 'is never an addition to an old one, nor does it leave the old one in peace; it never ceases to oppress the older media until it finds new shapes and positions for them' (p. 158). Just as the invention of television brought entertainment into the living room, internet facilities make digital performances possible and now the audience can consume theatrical products anywhere and anytime via internet-enabled devices. Digital performances are simply theatrical arts that are disseminated using internet applications and other replication technologies. It is one of the latest genres that have emerged in the arts. Dixon (2007) defines digital performance to include: All performance works where computer technologies play a key role rather than a subsidiary one in content, techniques, aesthetics, or delivery forms. This includes live theatre, dance and performance art that incorporates projections that have been digitally created or manipulated; robotic and virtual reality performances; installations and theatrical works that use computer sensing/activating equipment or telematics techniques; and performative works and activities that are accessed through the computer screen, including cybertheatre events, MUDs, MOOs and virtual worlds, computer games, CD-ROMs, and performative net.art works (p. 3). Some studies have shown the beneficial effects of taking theatre to the cyber space while others show a deterioration in the presentation and imaging of the woman. This paper examines female objectification as a form of gender bias which brings about miscommunication in Nigerian digital performances. It argues that these performances seem to cement patriarchal narratives while perpetuating women's subjugation, thereby making the woman an object of male gratification. Women in a variety of endeavours have received recognition for their efforts to accomplish remarkable life goals, but they still struggle to gain respect as human beings who can be the heroes of their own tales. In addition to the challenges that women confront, objectifying behaviours are being promoted through digital performances. Treating or dismissing women as commodities that can be acquired and discarded or presented as objects of manipulation at will is disrespectful to say the least. Some digital performances' storylines are patriarchal in nature, portraying women as objects in general. As a result, the way digital performances are portrayed based on gender demands careful consideration. Among other things, this paper argues that women's representation in the media ought to change as they are also key players in societal development and health and, on the other hand, is the role media products play in moulding societal focus. As noted by Ekpe & Wekpe (2023), “media products have proven [sic] valuable tools for engaging and analysing human concerns… they have been appropriately situated to reiterate viable communication messages. They have also been employed as veritable moments of propaganda” (130).

Content

Theatrical activities in Nigeria have been profoundly influenced by the operations of the virtual space. The changes are happening quickly and in a subtle way because of the ever-increasing number of internet users in Nigeria. Statistics from Statista as of October 2024 show that Nigeria tops the chart as the country with the highest number of internet users in Africa, with 108.27 million users; giving a reasonable gap to the second and third country which are Egypt (with 54.74 million users) and Kenya (with 46.87 million users). This figure is projected by Statista to grow to 152.28 in 2025. Further data by Statista reveal that internet usage penetration in Nigeria is on a steady rise, growing from 30% in 2013 to 32.6% in 2014 and then 34.8%, 37.1%, 40%, 43.1%, 61.4% and 46.6%, respectively, between 2014 and 2020. Still in line with reports on the huge number of internet users in Nigeria, DigitXplus (2024, p. 9) reports that Nigeria ranks 6th in the world for countries with the highest number of internet users. This is an indication that the virtual space is a striving concern for the Nigerian populace and a major destination for theatrical contents. Also, within the last two years, giant operators of the virtual space have made visits and effected business plans to encourage and further aid the growth of internet usage in Nigeria. Such include the visit of The Chief Executive Officer and Founder of social networking app – Facebook, Mark Zuckerberg, to Nigeria. ThisDay (2018) reports that the visit which was on the 30th of August, 2016, was Zuckerberg's first visit to Africa. Earlier in the year 2016, Facebook had announced that the population of Nigerians on Facebook was 16 million and, upon his visit, Zuckerberg announced that 'the figure has grown to 18 million and Nigeria still maintains its position as the largest market for Facebook in Africa'. Again in 2018, as stated by The Guardian, 'Facebook deepened its investment and commitment in Nigeria by unveiling the NG_Hub in Lagos, Nigeria, on the 22nd of May. It was its first flagship community hub space in Africa'. Still in line with activities that recognise the strength of internet usage in Nigeria and the possible growth opportunities for users of the virtual space, Channels Television (2018) reports that 'Tech giant, Google, has launched its free Wi-Fi service for Nigerians, the Google Station, in Ikeja, Lekki and other parts of Lagos'. Channels Television quoted the Google Nigeria Country Director, Juliet Ehimuan-Chiazor as saying that the developments are aimed at helping more Nigerians and Africans to benefit from the opportunities the web has to offer. Also, 'the free Wi-Fi service will be launched in 200 locations in five cities across Nigeria by the end of 2019'. All these are pointers that internet usage in Nigeria will keep growing and thus provide a sustained market for operators that utilise the internet. Review of Related Literature
Digital performance is not entirely a new phenomenon, but rather a morph from existing art forms. It represents the adaptation and evolving trend of older forms of theatrical activities that now produce an exciting experience. This expression supports the assertion that 'we are engaged in a transformation of the entire world (and ourselves) into mere raw materials or standing reserves' (Heidegger, 1977, pp. 155). Ekpe & Okoronkwor (2024) add that 'digital performance is pervasive and encompasses various presentational and communicational facets of electronic daily life' (p. 29). They add that 'beyond the concern for change in space experience, lies the contents promoted' (p. 29). Notably, theatre is embracing the rapidly evolving media and by moving to the cyber space, there seems to be more patronage as the reach is expanded to meet different needs and desires. Also, the appeal feature is heightened as the process of digitalisation creates enhanced representation of the contents. The concept of digital performance is a pertinent subject of interest and research due to the fact that digitalisation of performances is getting more and more popular. This explanation draws inference from the Mediamorphosis theory which states that new media do not arise spontaneously and independently; rather, the earlier forms of media tend to adapt and evolve continuously rather than die, they either morph from something that already exists or emerge gradually from the transformation. Mediamorphosis is 'the transformation of communication media usually brought about by the complex interplay of perceived needs, competitive and political pressures and social and technological innovation' (Fidler, 1997, pp. 22-23). The mediamorphosis theory recognises digitalisation as a main feature of the artistic communication and stresses its development as being important to the production, reproduction, distribution and reception of products. Fidler (1997, pp. 22-23) stresses that digitalisation has changed the way we manipulate texts, images and sounds. Blau (2025, pp. 23-25) acknowledges the tendency as well, arguing that theatrical practices are evolving into more favourably positioned forms and taking on a variety of shapes. He emphasises this point by outlining the distinctions between mediatised forms (digital performances) and live performances. He infers that both forms compete for audiences in the cultural marketplace, and that mediatised forms have gained the advantage with particular thanks to the features of technological innovations. In establishing the relationship between live theatre and mediated form, Blau (2025) states that: The theatre's status has been continually threatened by what Adorno named the culture industry and . . . the escalating dominance of the media. “Do you go to the theatre often?” That many have never gone, and that those who have, even in countries with established theatre traditions, are going elsewhere or, with cable and VCRs, staying home, is also a theatrical fact, a datum of practice (p. 76). Alongside its good aspects, digital performances are equally full of misrepresentations of women, which is a recurring subject. As entertaining, informing and widely distributed as it may be, there seems to exist an obvious gender bias because the performances tend at some time to objectify female characters and at other times pass generalised judgment on women. The objectification and commodification of the woman's body in digital theatrical performances reflect a norm and appear to sustain a culture that abuses woman's sexuality. On the other hand, the woman's body has become a trophy used by some artists to place themselves in the spotlight. This study leverages on the concept of technological determinism which advocates that a society's technology defines the development of its social structure and cultural values. In this context, the objectification of women via the media showcases the patriarchal placement of women in society, while at the same time encourages the widespread of such placement. The treatment of women depicted in a society's media can influence the developmental imperatives of such society. This appears to be in line with Karl Marx's perception that changes in technology affect social relations and organisational structure, and that social relations and cultural practices ultimately centre on a society's economic and technological foundation. As society develops 'new production forces like technology, material life and class order become mutable' (Eze, 2014, p. 70). Relatively, technology is seen as the basis for all human activities, it is believed that technology is the key governing force in society (Smith & Marx, 1994, p. 174). The media is a very powerful and explicit determinant, and our use of particular media may have subtle effect on us (McLuhan, 2004, p. 158). The view above explains the trend and possible effect contents of digital performances are likely to evoke especially as they record widespread involvement and keep growing at an alarming rate. The increase is adjudged by the number of content providers emerging in the digital performance field...(Download full article below)

Conclusion

A significant part of artist marketing and promotion involves digital performances. They generate a lot of attention and penetrate different angles of the online media space. The objectification of females in Nigeria is borne out of the desire of a patriarchal society to subjugate and dominate. The most prevalent form of female objectification in the Nigerian context has been in advertisements and recent studies seem to show that focus is heightened in digital performances where the female body is defined as an object in thousands of different ways and her personhood determined by her bodily ornaments and societal construct of subjugation. In a bid to sell an idea, product, generate virtual followers and earn money from social platform operators, the woman's body is dismembered, fragmented and objectified. The diversified forms of female objectification in the performances range from women's sexual roles, women's 'supposed' materialistic nature, 'acceptable' body size for a woman, the woman as a 'commodity', the dependent nature of women and so on. These portrayals, consciously and unconsciously create a definition assumed for the woman and this imposed definition is more of a reflection of what the objectified woman is expected to be. The performances analysed in this paper expose the struggles women often face in a society that institutionalizes competition in every aspect of women's life which at the same time denies women the ability to compete and still be feminine. Analytically, Battabox and Mark Angel performances illustrate the different forms of objectification identified by Nussbaum and Langton. The elements of instrumentality, denial of autonomy and subjectivity plus violability, ownership and fungibility appear more overt in Battabox than in Mark Angel. The rhetoric in Mark Angel appears more subdued in the inertness and ownership form but explicit in reduction to body and denial of subjectivity. Comparatively, the performances of Battabox are replete with the supposed man-woman superior-inferior ideologies, which are anchored on pedagogies of the oppressed, much more so, than what is contained in the performances of Mark Angel. Overall, all the performances give express definition to the different forms of objectification categorized by Nussbaum and Langton. The female can, through their bodies live out their own oppression and objectification, which are institutionalised by a patriarchal, capitalist culture that profits from women's subordination. Women can demonstrate their strength, uniqueness, and inventiveness through their bodies. They can use the transitional and creative nature of reproduction to transform the bodies and their selves. But to achieve the aforementioned, women must continue to critique and challenge practices and ideologies that demean them and rob them of agency. The diversity of the female form and beauty of all women must be appreciated. Women should continually be celebrated and the attention focused only on how women look should be challenged. Women should celebrate the power to give birth and link it to respect for the female sexuality.

References

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Authors: Micah Okon Asukwo, Udi Peter Oghenerioborue

Email: micahasukwo@aksu.edu.ng

Phone: 08054836601

Abstract

In primordial times, migration and exile had the capacity of providing security, succour or solace for people who were no longer safe in their traditional homelands. Early fictional works on migration and exile were basically deployed to paint a picture of how an individual who was faced with an existentialist challenge was able to overcome the situation and have a new, positive experience altogether. In contemporary times, however, artistic portrayal of migration/exile narratives tends to paint a seemingly opposite picture of the experience. This is the thrust of this study which examines the basis, trajectory and aftermath of migration in DeeparkUnniskrishnan's Temporary People. The study adopts trauma theory for its framework. The interpretive design was adopted.The tropes deployed are the diaspora, nostalgia, identity negotiation and return migration. Findings reveal that disenchanting realities, particularly ambivalences, displacement, alienation, solitude, and hostility typify the Indian and other Third-World migrants' experience in their host land. Related tropes of rootlessness, frustration, and trauma encapsulate their experience in the United Arab Emirates. Trauma among the migrants finds expression in anxiety, self- estrangement, psychosis and depression. Thus, rather than being the much anticipated Eldorado, the suffering inherent in exile becomes more severe than the ones the migrants had run away from in their native homelands. Among Third-World subjects, migration is a phantasmal search for the ideal and an experience in ambivalences.

Keywords

Migration, Exile, Trauma, Nostalgia, Third-World

Introduction

Generally, migration denotes the movement of living organisms – animals, plants, andhumans – from one location or region to another for numerous and varied reasons. But of these three categories, only human migration may be deemed to be deliberate, time- bound, purpose-driven, and distance-specific. Among the numerous realities of human history, migration is one of the most recurring experiences as people, the world over, do have reasons to leave or want to leave their traditional homelands for a new one. In fact, there appears to exist an innate tendency on the part of man to leave their traditional homeland for a new, sometimes, foreign one. Studies abound about the early migration of people from one part of the earth to another. In “The Great Human Migration”, for example, Guy Gugliota posits that homo sapiens first lived in Africa and that at about seventy to eighty thousand years ago, these peoples began to disperse and fill the remaining parts of the world as a result of sustained changes in the climatic conditions of the initial settlement (https://www.smithsonianmag.com). In the same vein, Michael Price, a foremost American archaeologist, notes that “all non-Africans alive today descend from a single wave of migration out of Africa, perhaps between 50,000 and 60,000 years ago”, and that the need to explore the world formed the basis of the journey (https://www.science.org). This is further corroborated by Michael De Filippo, et al, whose study also traces the first ever human migration to Africa,which migration saw people move and occupy the present day Asia, Europe, America, Australia, and indeed every other part of the world(https:/www.researchgate.net). The Bible, which, incontestably, is one of the earliest sources of English literature especially during the Medieval and Renaissance Periods, is inundated with enormous migration stories or accounts. For example, on divine instruction, Abraham had to leave his biological home, Ur, for Canaan, to establish a new nation. Jacob and his family migrated from Canaan to Egypt to avert a severe famine. Several years later, and on divine instruction, the same family, this time as a nation (Israel), migrated from Egypt to the Promised Land under the leadership of Moses. The scriptures also records that Jesus' family had to migrate from Bethlehem to Egypt to avoid King Herod's persecution (The Holy Bible, Genesis 11, 12, 46; Exodus 1; Matthew 2). Like migration, exile also has some primeval underpinnings. Just like the picture created above on biblical migration, the expulsion of Adam and Eve from the Garden of Eden as a result of their disobedience may be regarded as a literary narrative of a movement away from home to exile, as it marked the beginning of man's wandering on the surface of the earth. This exilic wandering was continued by their offspring typified by Cain who killed his brother, Abel, out of unbridled envy and anger, and like his parents, received a curse from God (The Holy Bible, Genesis 3 and 4).

Content

The literary art is replete with enormous exilic inscriptions or representations. For example, upon discovering, after many years, that he killed his father, Laius, at the crossroads, and later married his mother, Jocasta, Oedipus blinds himself and gets banished from Thebes. This exile is a form of punishment and a way to purify the city from the pollution caused by his (Oedipus) abominable deeds (Sophocles' OedipustheKing). This scenario is almost exactly recreated in Ola Rotimi's The Gods Are Not to Blame, adapted from Sophocles' OedipusRex. Here, Odewale suffers Oedipus's fate by being banished from Kutuje after it is convincingly established that the man he killed at the place where the three footpaths meet and the woman he subsequently married were his biological father and mother, respectively. In a somewhat different scenario, Okonkwo, upon killing, inadvertently though, a fellow Umuofian, is banished from the clan for seven years. Thus, for all these years, Okonkwo remains an exile in Mbanta, his maternal community, where he is granted a familial asylum in tandem with the culture of the people. In Mbanta, Okonkwo, alongside his wives and children, lives peacefully, engages in economic activities, and prospers therefrom (Things Fall Apart, 1958, pp. 103-134). It is indeed safe to observe that right from primordial times, exile/migration had the capacity to provide solace to those who were confronted with some existentialist situations or challenges. In contemporary times, however, artistic depiction of exile/migration narratives tends to paint a seemingly opposite picture of the experience. Rather than being the much- anticipated Eldorado, migration in recent times is presented by many authors as risk-laden, precarious, and terrible experience especially among Third-World subjects. In The Human Cost of African Migration, for example, Toyin Falola examines the pains African and indeed Third-World migrants go through in a bid to leave the shores of their continent for Europe, America, and other economically viable segments of the world. The author observes that there has been a rather unprecedented and pervasive rise in migration trends among young Africans who seek greener pastures and a new lease of life in other climes. Falola's work succinctly paints a hypothetical picture reflective of the notion that African and indeed Third-World subjects are willing to pay any price humanly possible to have their lives improved somewhere far away from their traditional homelands (cited in Micah Asukwo, 2023, p. 61). However, quite disheartening is the fact that these journeys do end up, in most cases disillusioning, lamentable and therefore, regrettable. This is the thrust of this study which examines the disenchanting, alienating, lamentable, ambivalent and trauma-laden aftermaths of migration in Deepak Unikrishnan's Temporary People. Review of Related Literature
Temporary People was published in New York in 2017. Its author, Deepak Unnikrishnan, who hails from Abu Dhabi, the capital of the United Arab Emirates (UAE), resides in the United States of America. The work has received enormous critical reactions. Reviewing the novel for the Oak Literary Magazine, Elizabeth Jaeger notes that Deepak Unnikrishnan's debut work of fiction weaves together twenty eight short stories that explore the untoward experiences encountered by immigrant labourers from the Asian continent who find themselves in the UAE. These Asian migrants, Jaeger notes, undergo harrowing experiences that may be likened to “a purgatory of sorts” in view of its dehumanising disposition (http://www.the literaryreview.org). She describes the condition of migrants in the UAE as portrayed in the novel as “ghastly and deplorable”, a status situation that adversely affects the migrants' “psyches, families, memories, fables and languages” (http://www.theliteraryreview.org). On the author's spectacular style, Jaeger notes that Unnikrishnan deliberately deploys vivid images to capture the condition of each character's experience even as she views the entire stories as haunting, empathy-invoking, raging, and despair-inclined. Jaeger rounds off her review by stating that Unnikrishnan's work is a must-read for everyone especially those who fantasises foreign nations as holding the key to their happiness, not anticipating or foreseeing the disillusioning or regrettable situations or realities that abound therein (http://www.the literaryreview.org). Also reviewing the novel, Saadia Faruqi notes that only very few persons are aware of the travails faced by foreign nationals or migrants who live in the United Arab Emirates also called the Gulf States. For Faruqi, news reports that emanate from the region do focus more on the locals and their kings, and that it is very rare to find the western media discuss the challenges faced by foreigners whom he describes as “the largest percentage of the Gulf populations” (https://www.nyjournalofbooks.com). Faruqi is, however, excited to find Unnikrishnan's novel attempting to break the jinx and as well blaze the trail in an effort to draw the world's attention to this group of hitherto diminished, forgotten, and neglected, yet very important segment of the UAE's population. He describes migrants in the UAE as those brought in from Third-World countries, and “given tasks to complete, then sent back home spent and useless” (https://www.nyjournalofbooks.com). The migrants, he notes, are like objects caught between the devil and the deep blue sea, and that in spite of working very hard to develop the region, they have no hope of gaining citizenship, “and through appearance, language, and culture, they stand out as different from the real citizens of the Gulf States” (http://www.the literaryreview.org). Faruqi is at home with the novelist's style of narration which he describes as a mixture of contemporary settings with a hint of fantasy. Moreover, Unnikrishnan's novel, for him, portrays and projects the unreal, the real and the surreal. In “Challenging Migration Narratives in Deepak Unnikrishnan's Temporary People”, Raya Alraddadi argues that Unnikrishnan's work unequivocally challenges dominant migration narratives which tend to focus more on mundane issues rather than the concrete realities and experiences of migrants in their host lands. The critic further notes that Unnikrishnan's deliberate effort at adequately presenting the concrete experiences of the “exploited and estranged individuals who are often positioned outside the narrative itself” speaks to his poise to develop “a broader critical perspective that addresses the impact of global power on emerging narratives of labour migration” (https://www.muse.jhu.edu). On his part, Mohammed Illyas, in his “Critical Discourse Analysis of Diaspora Writings: A New Paradigm”, notes that literary critics who are basically engaged in Critical Discourse Analysis (CDA) appeared to have been confined to “political and socio-political contexts” and that Unnikrishnan's text opens a new “diasporic dimension” or vista for critics involved in CDA as the text “will expand the horizon of the research domain of CDA and motivate researchers in both literature and language domains to explore new research avenues” (https://www.archive.aessweb.com.). Thus, for Illyas, Unnikrishnan's Temporary People has contributed towards widening the scope and dimension of Critical Discourse Analysis.It is, however, expedient to note that of all that has been reviewed, none of the works centres categorically on the motifs and dialectics of exile and trauma in the text, which is the preoccupation of this research. Exilic Ambivalences, Disillusionment and Trauma in Deepak Unikrishnan's Temporary People
Migrationis an outcome of tensions between the individual's desires and perceived, anticipated, or hoped-for opportunities (White, 1995, p 15.). One of the implications, among others, is that the predominant catalyst for migration and indeed migrants generally is hope – hope for a better experience in all ramifications as opposed to despair in one's homeland. However, in spite of the enormous hope that ordinarily serves as its stimulus, migration, White believes, is an experience in ambivalences. It is characterised, essentially, by unanticipated, unforeseen, and profound uncertainties. White (1995, p. 3) foregrounds this assertion when he notes that migration is “rarely absolute, unambivalent or final; it is not a cause and consequence of a definite break with a cultural life that is part of history, but a partial and conditional state, characterised by ambiguity and indeterminacy”. Generally speaking, migration is a journey in search of livelihood, better quality of life and living, improved social status, and general life's stability. In many instances, migration appears to be the last resort on the part of those whose societies or nations have carefully, tactically, and/or subtly abandoned their primary responsibility of providing the enabling environment for survival for their citizens, thereby leaving their survival in their own hands or in the hands of fate. As a consequence, such societies or climes do witness a massive movement of their citizens to faraway places that are capable of providing them a lifeline in terms of job opportunities and other necessities of life. The result is that, if offered opportunity, some members of these prospect-bereft societies or nations would not want to go back to their traditional homelands; they might want to fulfil any condition, including working extra hard, to be members or citizens of the new homeland, given the life- enhancing opportunities that abound therein. In terms of the number of years spent in a particular environment, some members of the Third-World nations do actually meet the common requirements to become citizens of the new homeland having lived their youthful and latter lives there. But very unfortunately, and, in spite of having lived their entire active days there, members of these Third-World nations normally discover to their chagrin that they do not just belong, and that they are foreigners, exiles or the Other. This perpetually deferred hope, anxiety, and aspiration of migrants who have spent their entire active years in foreign lands without the prospect of acquiring citizenship there is the focus of this section of the study as depicted in Deepak Unnikrishnan's Temporary People. Unnikrishnan's Temporary People (henceforth, TP) chronicles the rather bizarre and delusionary experience of Third-World migrants of Indian, Pakistani, Nepali, Sri Lankan, and Bangladeshi origin who find themselves in Abu Dhabi and Dubai, all bubbling cities that constitute parts of the United Arab Emirates (UAE), popularly called the Emirates. They are there as migrant workers and found in the construction industry and indeed many other sectors of the Emirates' economy. The migrants, majority of whom are Indians, are in legions and constitute over seventy per cent of the workforce of the entire Gulf region (www.reseearchgate.net). They are the nurses, gardeners, artisans, masons, nannies, mechanics, storekeepers, interior decorators, electricians, barbers, security guards, taxi drivers, carpet sellers, morgue cleaners, photographers, to mention just a few (TP, 2017, pp.137-139). However, in spite of their intimidating number which makes it appear as if the entire Gulf region would not thrive economically without them, they are regarded or treated as aliens, exiles, and, as the title of Unnikrishnan's text suggests, temporary people. They are those who can be dispensed with anytime the authorities so deem fit without batting an eyelid. The United Arab Emirates (UAE) is one of the most economically strong, viable, and prospective countries not only on the Asian continent but the entire world. As of 2020, its population was estimated at 9.6million. It has its capital at Abu Dhabi, often times considered the centre of the Emirates' oil industry. Other prominent cities in the Emirates include Dubai, Sharjah, Ajman, Umm Al-Qaywayn, and Ra's Al-khaymah. The Emirates' economy has been adjudged one of the fastest growing in the world with a Gross Domestic Product (GDP) per capita estimated at 43,103.3U$D while its Gross National Income (GNI) per capita stood at 70.430U$D, making it one of the top ten richest countries in the world (https://www.britannica.com/place/dubai-). Given the fact of its relatively small population vis-à-vis the economic activities that abound therein, it is natural that the country welcomes some foreign hands to come in and avail themselves of the various ranges of economic activities that therein abound. This is, perhaps, the basis for the flourishing of the Emirates with migrant workers majority of whom are from the developing countries of the Asian continent – India, Pakistan, Nepal, Sri Lanka, and Bangladesh (TP, 2017, pp.85-86). These migrant workers constitute over seventy per cent of the workforce of the Emirates. Indians, for instance, find the Gulf coast their second home as far as migration prospect is concerned. They go there in their numbers basically as unskilled labourers, and as those who can afford to do any category of menial jobs for a fee (www.britannica.com/place/dubai-). Their experience in the Gulf is, perhaps, the basis for Unnikrishnan's narrative and indeed other related narratives which have the Gulf coast as their setting. It is probably the reason why exile, as an experience, continues to have a widened definition, description or conceptualisation by scholars. Migrants in Abu Dhabi are not regarded or treated as human beings; in fact, they are not even treated as exiles which, of course, they are. They are rather treated as expendable, replaceable, and worthless property or things with absolutely no value. The migrant workers, majority of whom are Indians, form part of the workforce in the high-rise buildings or skyscrapers that inundate the Gulf cities and work even at nights. Rather than provide proper medical services for these workers, a quack nurse (Anna) is employed to “tape construction workers who fell from incomplete buildings” (TP, p.9). Khalid, the contractor in charge of the building does not deem it necessary to have these workers receive proper medical attention in cases of eventualities, which are indeed regular. The constant nature of these eventualities is not unconnected with the fact that these workers are made to work even in the dead of the night to satisfy the whims and caprices of their employers. Naturally, these workers are bound to feel sleepy, get tired, grow weak, or become fatigued. This is why a good number of them do frequently fall from any of the floors of the buildings unabated and get wounded. When such situations occur, Anna would be required to stitch their wounds before asking them to leave the construction site...(Download full article below)

Conclusion

Migration is a journey in search of the means of survival. It is a movement from an economically mismanaged, socially unstable, and prospect/opportunity-bereft clime to a somewhat stable, life-supporting, economically viable, and prospects-building one. Globally, migration has assumed an unprecedented dimension in recent times, catalysed by the apparent inequality in the world in which very many countries continue to look up to a few others for survival. From this context, migration may be defined as the movement of members of the developing Third-World countries to the developed nations in search of the means of livelihood. However, in spite of the dogged resolve to abandon the traditional homeland for a new, foreign one, Third-World migrants soon come to grasp with the ambivalences of exile occasioned by the fact of alienation, displacement, solitude, hardship, nostalgia, hostility, and trauma. This study examined the odd experiences of Asian migrants in the United Arab Emirates and found that rather than being the much-anticipated Eldorado, the frustration, suffering, and misery inherent in exile appear more biting than the ones the migrants had run away from in their traditional homelands. Migration, therefore, especially among Third-World subjects, is a phantasmal search for the ideal and an experience in ambivalences.

References

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Authors: Amos Francis Dike

Email: paamosdike@gmail.com

Abstract

The Fourth Industrial Revolution, driven by technologies like artificial intelligence (AI), presents both opportunities and challenges for Africa, particularly concerning environmental sustainability. AI's potential to address critical issues like climate change, deforestation, and water scarcity is significant, yet concerns exist regarding the preservation of African heritage. This research investigates the crucial interplay between traditional African values, AI, and environmental sustainability, aligning with the UN Sustainable Development Goals (SDGs). By examining indigenous African philosophies, ethical principles, and cultural norms, including communalism, respect for nature, and intergenerational equity, the study explores how these values can guide the responsible development and application of AI for environmental management. Specifically, it analyses how these values can be integrated into the design and implementation of AI systems to contribute to sustainable development while simultaneously preserving and revitalizing African cultural heritage. A mixed-methods approach, combining qualitative and quantitative research techniques, is employed. Case studies of AI applications in sectors like agriculture and climate change mitigation are analyzed to assess their impact on local communities and ecosystems. The research aims to provide valuable insights for policymakers, researchers, and practitioners on leveraging AI for sustainable development in Africa in an ethically sound, culturally sensitive manner that respects the unique needs and aspirations of African communities. Ultimately, the paper argues that African values provide a vital moral compass for the development and application of AI technologies in environmental management, contributing to the achievement of the SDGs.

Keywords

African Values, Artificial Intelligence, Environmental Sustainability, Sustainable Development Goals, Integration

Introduction

Africa stands at a critical juncture as Artificial Intelligence (AI) rapidly evolves globally. While AI offers significant potential to drive sustainable development and address environmental issues crucial to achieving the United Nations Sustainable Development Goals (SDGs), its implementation raises ethical questions, especially concerning the preservation of African cultural heritage. This research, "Integrating African Values in Artificial Intelligence for Environmental Sustainability Development Goal," examines the intersection of African values, AI, and environmental sustainability within the SDG framework. It seeks to understand how AI can be used to achieve environmental goals while safeguarding African cultural integrity, addressing key questions about integrating African values into AI, the potential cultural impacts of AI on environmental practices, AI's role in sustainable development while minimizing risks, and the responsibilities of stakeholders in fostering responsible innovation.

Content

The work chiefly revealed that African values serve as a crucial moral compass for the development and application of AI technologies in environmental management, thereby contributing directly to the achievement of the SDGs. AI is a powerful tool for tackling Africa's environmental challenges, including climate change, deforestation, and pollution. The research provides valuable insights into how AI can be harnessed to achieve environmental sustainability in Africa while respecting and preserving African cultural values and heritage, contributing to the broader SDG agenda. It concludes with recommendations for policymakers, industry leaders, and researchers to promote ethical and inclusive AI development in Africa that aligns with both environmental sustainability goals and African cultural values, ultimately contributing to the successful implementation of the SDGs.

Conclusion

The Fourth Industrial Revolution, propelled by Artificial Intelligence (AI), presents a pivotal moment for Africa, offering both transformative potential and complex challenges, particularly in the realm of environmental sustainability. While AI holds immense promise for addressing critical environmental issues such as climate change, deforestation, and water scarcity across the continent, this potential must be carefully navigated to avoid unintended consequences, including the erosion of invaluable African heritage. Consequently, this research, emphasises the critical need to integrate traditional African values into AI development. Values like communalism, respect for nature, and intergenerational equity can guide the responsible application of AI for environmental management, aligning with the SDGs. In analyzing how these values can inform AI design and implementation, and through case studies in sectors like agriculture and climate change, this study provides insights for ethical and culturally sensitive AI deployment. Ultimately, African values serve as a vital moral compass, ensuring AI-driven environmental solutions respect local needs, preserve cultural heritage, and contribute to the long-term well-being of the continent. Ultimately, this paper conclude that African values provide a vital moral compass for the development and application of AI technologies in environmental management.

References

Bartnec, C. Lutge, C. Wagner, A. and Welsh, S. (2021). An Introduction to Ethics and AI. New York: Springer. Battle, M. (1997). Reconciliation: The Ubuntu Theology of Desmond Tutu. Ohio: Pilgrim Press. Bryman, A. (2016). Social Research Methods. Oxford: Oxford University Press. Buolamwini, J. (2023). Unmasking AI: My Mission to Protect What is Human in a World of Machines. New York: Penguin Random House. Creswell, John W. (2014). Research Design: Qualitative, Quantitative, and Mixed Methods Approaches. Thousand Oaks: Sage. Dike, A. (2015). Church, Society and Globalization: Issues of Concern. Jos: Challenge Publishers. Dike, U. A. and Okoronkwo, M. E. (2024). “Thinking Machines Taking Our Job? Exploring the use of Artificial Intelligence in African Biblical Exegesis.” Institute Biblical Studies in Africa (IBSA) West Africa Journal. 2(2), 19-38. Dike, U. A. (2024). “Leveraging AI for Quality Assurance in Nigeria's Higher Education: Enhancing Teaching, Research, and Community Engagement – Challenges and Solutions”. Artificial Intelligence and Quality Assurance in Higher Education. A Book in Honour of Professor Abubakar Adamu Rasheed. Vol. 1, 308-315. Dorine E. (2022). “The Ethics of Artificial Intelligence, UNESCO and the African Ubuntu Perspective” Journal of Information, Communication and Ethics in Society. 7(3), https://doi.org/10.1108/jices-04-2022-0037. 112-128. Eke, D.O., Wakunuma, K., Akintoye, S. (2023). “Introducing Responsible AI in Africa” Eke, D.O., Wakunuma, K., Akintoye, S. (eds). Responsible AI in Africa. Social and Cultural Studies of Robots and AI . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-08215-3_1. 1-11. Okon, E. A., & John, E. A. Combinatory Possibilities and Linear Sequence in Ibibio Verbal Morphology. https://usemjournal.com/pdf/6612a5a68bb46.pdf Ehsan, U. Muller, Q. Michael, J. Riedl, M. and Weisz, J. D. (2021). “Expanding Explainability: Towards Social Transparency in AI systems.” Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems. https://doi.org/10.1145/3411764.3445188. 1-19. Eubanks, V. (2018). Automating Inequality: How High-Tech Tools Profile, Police, and Punishthe Poor. New York: St. Martin's Press. Floridi, L. (2019). The Ethics of Artificial Intelligence. Oxford: Oxford University Press. Floridi, L. and Taddeo, M. (2016) “The Ethics of Artificial Intelligence” Journal of Ethics and Information Technology. Springer: 18(2), 97-108. Gade, C. B. N. (2017). A Discourse on African Philosophy: A New Perspective on Ubuntu and Transitional Justice in South Africa (African Philosophy: Critical Perspectives and Global Dialogue). Maryland: Lexington Books. Huang, C. & Shiri, A. (2021). “AI and Ethics: Ethical and Educational Perspectives for LIS” Journal of Education for Library and Information Sciences. 62(4), 110-125. Jonas, H. (1984). The Principle of Responsibility. Search of an Ethics for the Technological Age. Chicago: University of Chicago Press. Mbiti, J. (1969). African Religions and Philosophy. Johannesburg: Heinemann. Morley, J., Elhalal, A., Garcia, F., Kinsey, L., Mökander, J., & Floridi, L. (2021). “Ethics as a Service: A Pragmatic Operationalisation of AI Ethics”, Minds and Machines. 31, https://doi.org/10.1007/s11023-021-09563-w. 239–256 Norren, D. E. V. (2022). “African Ubuntu and Sustainable Development Goals: seeking human mutual relations and service in development”, Third World Quarterly, T a y l o r a n d F r a n c i s . https://scholar.google.com/scholar?q=Norren%2C+D.+E.+Van+%282022%29.+African +Ubuntu+and+Sustainable+Development+Goals%3A+seeking+human+mutual+relatio ns+and+service+in+development%2C+2791-2810&btnG.x=0&btnG.y=0&hl=en 2791- 2810. Accessed 5-04-2025. Nwogu, N. C., and O. C. Okoli. (2010). “Research Methodology: A Review of Scholars' Research Library”, Journal of Social Sciences. 18 (1), 1-10. Nwokolo, N. (2019). “Artificial Intelligence and the Future of Work in Nigeria: Challenges and Opportunities”, Nigerian Journal of Technology. 38(2), 123-135. Nussbaum, M. (2006). Frontiers of Justice: Disability, Nationality, Species Membership, Cambridge: Harvard University Press. Okoronkwo, M. E. & Dike, U. A. (2025). “Ethics of Artificial Intelligence and the Judeo Christian Practices: Toward a Theology of Thinking Machine.” Futurity Philosophy, 4(1),19-38. O'Neil, C. (2016). Weapons of Math Destruction: How Big Data Increases Inequality and Threatens Democracy. New York: Crown.

Authors: Oviemuno Wilfred Egara

Email: egaraovie@gmail.com

Phone: +2348036925441

Abstract

In a world grappling with various challenges, the pursuit of gender equality and the protection of human rights stand at the front burner of the global discourse. Nigeria's progress towards achieving gender equality and promoting human rights remains hindered by entrenched patriarchal norms, inadequate policy frameworks, and insufficient implementation. This study examines the nexus between gender equality and human rights in Nigeria, with a focus on envisioning a global future where these rights are universally recognised and respected. Thus, grounded in the framework of the Convention on the Elimination of all forms of Discrimination against Women (CEDAW), this research adopts the qualitative method of research, and shows the benefits of advancing gender equality and human rights as it leads to increased social cohesion, economic growth, and enhanced wellbeing for individuals and communities. The findings highlight the persistence of gender-based discrimination and socio-cultural barriers that perpetuate inequality and human rights abuses. The study recommends a multi-faceted approach to addressing these challenges, including policy reforms, education and awareness creation that promotes gender equality and human rights. Ultimately, this research contributes to the on-going discourse on gender equality and human rights in Nigeria, emphasizing the need for a transformative and inclusive approach that prioritizes the empowerment of women, and envisions a future where human rights are universally respected and protected.

Keywords

Gender equality, human rights, social inclusion, justice, equitability, sustainable development

Introduction

The concept of gender equality no doubt is perceived as a global issue as it is obviously the f ifth item in the seventeen millennium development goals (MDGs) of the United Nations (UN), and as such, it is among the key issues in the international arena. Advancing gender equality and protecting human rights are critical components of building a just and inclusive global society. The journey towards achieving these goals has been long and arduous, marked by struggles, progress, setbacks, and marked by persistent challenges. As we stand at the threshold of the future, envisioning a world where every individual is treated with dignity, respect, and fairness irrespective of their gender or social status, it is imperative to reflect on the path we have travelled and chart a course for a more equitable and sustainable future.

Content

According to Naila Kabeer (2005, p.13), “Gender equality is an intrinsic rather than an instrumental goal, explicitly valued as an end in itself rather than as an instrument for achieving other goals.” The principle of equality is a central commitment in international human rights instruments. Gender oppression and human rights violations continue to pervade communities and societies worldwide, reinforcing harmful power dynamics and perpetuating discrimination and marginalization. Women, girls, and other marginalized groups face barriers to education, employment, healthcare, and political participation, therefore limiting their agency and opportunities for advancement. The denial of basic human rights, such as the right to live free from violence, discrimination, and oppression, further undermines human freedoms and dignity.

Conclusion

As we look ahead to the global future, the imperative to advance gender equality and human rights becomes even more pressing as rapid technological advancements, climate change, political upheavals, and economic transformations pose complex challenges that intersect with and exacerbate existing inequalities. To navigate this rapidly changing landscape and build a future that is truly equitable and just, societies must centre gender equality and human rights in policies, practices, and narratives. By fostering solidarity, promoting social justice, and upholding the inherent dignity of every individual, societies can pave the way for a more inclusive, peaceful, and sustainable world where everyone can thrive and fulfil their potential. It is therefore evident that gender equality and human rights are essential for envisioning a future where all have equal opportunities. Achieving true equality requires a collective effort from individuals, communities, governments, and organisations worldwide. By addressing systematic barriers, promoting education and awareness, and advocating for inclusive policies, we can work towards creating a more just and equitable global society. It is imperative therefore, that we continue to push for progress and strive for a future where every person, regardless of gender, is empowered to reach their full potential. Only through sustained dedication can we actually build a world where gender equality and human rights are truly universal.

References

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Authors: Stephen Kekeghe

Email: stephenkekeghe@delsu.edu.ng

Phone: +2348062197140

Abstract

Creative writing is a mentally taxing intellectual, artistic endeavour that requires special training in a formal setting. Besides the significance of experience in imaginative expression, there is the arduous job of craftmanship, where the creative writer perspires in bringing out the artistic beauty of the literary work. This accounts for why creative writing is taught as a course in different universities in the Global North and South. However, while universities in the Global North have well developed curricula for creative writing classes and degrees, there is hardly any of such efforts in Nigeria. In fact, there is a dearth of reference or resource materials on creative writing in Nigeria. Tanure Ojaide's handbook on creative writing is perhaps, one of the foremost efforts in Nigeria. National Open University of Nigeria has also made an appreciable effort by developing modules on creative writing. There is need for more materials on creative writing, especially from the perspective of creative writers. This will help underscore practical steps in the creative writing vocation. This paper, therefore, examines different principles and approaches that are indispensable in creative writing classes, with the aim of providing resource materials for students and tutors in creative writing classes. This study is anchored on qualitative methodology that deploys literary analytical tools. Besides the background discussion of relevant concepts in creative writing, this article also explores some practical reflections by drawing illustrative instances from texts, which are purposively selected from the three genres of literature— poetry, prose and drama. The analysis reveals different constituents of creative writing, which include: experience, inspiration, imagination and perspiration (craftmanship). The overall discussion demonstrates that creative writing is a practical exercise that requires a formal language and aesthetic training.

Keywords

Creative imagination, Inspiration, Experience and expression, Creative writing

Introduction

Creative writing is a form of specialised writing that involves the imaginative and artistic deployment of the resources of language to convey human experiences in educative and entertaining ways. It is simply seen as an imaginative writing that characterises literature in the particular dimension, such as writing poetry, prose and drama. At the generic level, every written material is regarded as literature. Thus, we have religious literature, medical literature, chemical literature, geographical literature, historical literature, legal literature, and the like. However, at the particular dimension, literature refers to an artistic, fictional form of writing that is meant to inform, educate and entertain the reader. The practice of creative writing falls within the domain of literature in the particular perspective. For any writing to be stimulating, as we also have in journalistic reportage, it requires a touch of creativity. This implies that apart from the conventional practice of literary expression in the form of poetry, prose and drama, creativity is required in other related fields like journalism, auto/biographies, memoirs and historical narratives to captivate the attention of the reader.

Content

Over the years, creative writing has attained a significant place in the curricula of different universities in the world as a specialised sub-field of study, especially in America. British and African universities have also continued to adopt creative writing as a course domiciled in the Department of English. Scholars have continued to argue that since the technical and creative use of language constitutes the thrust of creative writing, it should occupy a significant place in the syllabi of universities. Tanure Ojaide (2005) notes that the enlisting of creative writing in the university system is pioneered by American universities. He observes that the delayed inclusion of creative writing in the curricula of African universities is because “African educational systems are generally modelled on European systems because of the colonial legacy” (p. 1). By implication, the influence of the European colonial system on African universities caused a delay in the formal teaching of creative writing in African universities. Ojaide further declares: “Africans who studied creative writing in the United States and returned to the continent must have influenced its inclusion in the university curriculum” (Ojaide, 2005, p.1).

Conclusion

The formal teaching of creative writing in the school or university systems is meant to enhance professionalism. As discussed, and illustrated above, creative writing is a serious, formalised skill that requires consistent training and practice. Apart from the constituents, features and elements that characterise the different literary forms, language learning and development occupy a significant place in the art of creative writing. The creative writer who wishes to write in the English language has to first learn rules of concord, tenses and punctuation marks. This is because in the business of creative writing, these grammatical and technical rules are indispensable. Also, creative writing is not a mere expression of ideas. It requires a creative expression of ideas to have both informative and entertaining effect on the reader. The various constituents of creative writing like experiences, inspiration, imagination and perspiration are applicable to all the genres of literature: poetry, prose and drama.

References

Achebe, C. (1958). Things Fall Apart. London: Heinemann Achebe, C. (1964). “The Role of the Writer in a New Nation.” Nigerian Magazine, 81: pp. 157-160. Adebowale, B. 1987. Out of His Mind. Ibadan: Spectrum Books Alaku, M. E., Akayi, I. Y & Okpala, N. V. (2024). “Creative Writing as a Teaching Strategy to Effect Positive Changes in Primary School Pupils in Nigeria.” International Journal of African Development and Sustainable Res 3(2): pp. 37-47. Bamidele, L. O. (2003). Literature and Society. Ibadan: Sterling-Horden. Clark, J.P. (1967). “Ibadan”. West African Verse. Annotator. Donatus I Nwoga. London: Longman. 57. Cole, S. (2018). Embers. Ibadan: Omojojolo Books Coleridge, S. T. (1827). “Poetry: The Best Words in the Best Order.” The Socratic Method. —Samuel Taylor Coleridge: 'Poetry: the best words in the best order.' The Socratic Method (socratic-method.com). Retrieved June 26, 2024. Davis, L. J. (1998). “Who Put the 'The' in “the Novel”?: Identity Politics and Disability in Novel Studies.” Novel: A Forum on Fiction Vol 31 (3): pp. 317-334 Egudu, R. N. (1979). The Study of Poetry. Ibadan: University Press Iwuchukwu, O. (2010). Creative Writing II. National Open University of Nigeria (Noun), Lagos Jonson, B. (1623). “To the memory of My Beloved Author, Mr William Shakespeare”. Poetry Nook: Poem: To the Memory of My Beloved Author, Mr. William Shakespeare by Ben Jonson (poetrynook.com). Retrieved June 27, 2024. Kekeghe, S. (2020). Rumbling Sky. Ibadan: Kraft Books Kekeghe, S. (2023). Broken Edges. Ibadan Kraft Books McKeon, M. (2000). “Watt's Rise of the Novel within the Tradition of the Rise of the Novel.” Eighteenth Century Fiction 12 (2): pp. 253-276 Ojaide, T. (2005). A Creative Handbook for African Writers and Students. Lagos: Malthouse Omobowale, E. B. (2004). The President's Physician. Ibadan: All Saints publishers. Omoko, P. (2023). Kidnapped. Ibadan: Kraft Books Piper, W. B. (1963). “The Large Diffused Picture of Life in Smollett's Early Novels.” Studies in Philology 60 (1). pp. 45-56. Reeve, C. (1785). The Progress of Romance. Bib. Note. Esther M. McGill. New York: The Facsimile Text Society. Soyinka, W. (1975). Death and the King's Horseman. New York: W.W. Norton & Company: Watt, I. (1957). The Rise of the Novel. California: University Press

Authors: Innocent Chima Ogoke

Email: chimaogoke11@gmail.com,

Phone: +2348169259331

Abstract

This paper explores the representation of lesbian-self and the intersections of multiple identities in Nkunzi Zandile Nkabinde's Black Bull, Ancestors and Me: My Life as a Lesbian Sangoma and Unoma Azuah's Embracing My Shadow: Growing up Lesbian in Nigeria. Anchored in queer theory, particularly the concept of intersectionality as theorised by Kimberlé Crenshaw, the paper interrogates how sexuality, spirituality, gender, culture and national identity coalesce in shaping the lesbian experience in Southern and West African contexts. Queer theory, which challenges heteronormative assumptions and embraces fluidity in gender and sexual identities, provides the lens for this critique. Intersectionality is deployed to understand how overlapping identities—such as being black, African, lesbian, female, and spiritual—contribute to unique experiences of marginalisation and resistance. The qualitative approach adopted utilises close textual analysis to examine the diverse self-representations and cultural negotiations by both authors. Nkabinde's narrative foregrounds the tension between traditional spirituality and sexual identity, offering insight into the complexities of being a lesbian sangoma in a society that spiritualises but simultaneously stigmatises non heteronormative sexualities. Similarly, Azuah's memoir explores the burden of silence, shame and internal conflict within a hyper-religious and patriarchal Nigerian context, foregrounding how lesbian identity is both contested and self-affirming. By analysing these autobiographical texts, the paper reveals how the authors assert agency through storytelling and negotiate their identities within oppressive socio-cultural and spiritual frameworks. The paper contributes to African queer discourses by centring marginalised voices that challenge monolithic representations of African womanhood and sexuality. Evidently, it affirms literature as a vital site for identity reclamation and socio-political critique.

Keywords

Lesbian Identity, Intersectionality, Queer Theory, African Spirituality, Autobiographical Narratives

Introduction

Queer identities in Africa remain a contested subject, often entangled in socio-cultural, religious, and political discourses that seek to marginalise non-heteronormative expressions of gender and sexuality.The exploration of queer identities in African literature has gained increasing scholarly attention, particularly in the wake of evolving discourses on gender and sexuality. While discussions on African queer identities often revolve around the tension between traditional cultural norms and Western conceptions of LGBTQ+ rights, it is imperative to recognise that African queer identities are not merely reactive but are shaped by complex intersections of culture, religion, gender, and spirituality. Queer theory, as a critical framework, provides the necessary lens to analyse these narratives, particularly through the concept of intersectionality, as introduced by Kimberlé Crenshaw (1991). Intersectionality highlights how multiple social categorisations—such as race, gender, and sexuality—intersect to create systems of oppression or privilege (Crenshaw, 1991, pp. 139 167). Applying this theoretical perspective to African lesbian narratives provides a diverse understanding of how identity is negotiated in diverse socio-cultural settings.

Content

In this regard, the autobiographical texts Black Bull, Ancestors and Me: My Life as a Lesbian Sangoma by Nkunzi Zandile Nkabinde and Embracing My Shadow: Growing up Lesbian in Nigeria by Unoma Azuah serve as critical case studies. Both narratives foreground the lived realities of African lesbians who navigate multiple, and at times, conflicting identities. Nkabinde, as a South African lesbian and traditional healer (sangoma), embodies an intersection of spiritual and sexual identities that challenges rigid societal binaries. Her life story accentuates the dynamic interplay between indigenous spirituality and non-conforming sexual identities, illustrating that African spiritual tradition in some cases, accommodates queerness (Nkabinde, 2008, p, 56). Azuah, on the other hand, presents a compelling narrative of growing up as a lesbian in Nigeria, a country where same-sex relationships are criminalised and deeply stigmatised (Azuah, 2020, p. 100). Her memoir illustrates the layered struggles of negotiating sexual identity within the confines of patriarchal and religious dogma. Apparently, the comparative discourse on the selected literary texts foregrounds the importance of intersectionality in shaping the representation of lesbian identity within literature. Black Bull, Ancestors and Me: My Life as a Lesbian Sangoma emphasises the intersections of spirituality, culture, and sexuality in the protagonist's journey of self-discovery, and portrays the unique challenges and triumphs of navigating multiple marginalised identities. On the other hand, Embracing My Shadow: Growing up Lesbian in Nigeria foregrounds the intersections of sexuality and gender, exploring the protagonist's experiences of self-acceptance and empowerment within the context of feminist consciousness and gender identity.

Conclusion

The exploration of the lesbian-self through the lens of intersectionality reveals the complexity and fluidity of lesbian identities in African contexts, where multiple layers of oppression and resilience intersect. Drawing on Queer theory with specific emphasis on Kimberlé Crenshaw's concept of intersectionality, this paper has shown how African lesbian identities are shaped by the interconnected forces of colonial histories, religious dogma, cultural traditions, gender expectations, and economic realities. The narratives of Nkabinde and Azuah serve as critical examples of how these forces are negotiated, contested and resisted. In Nkunzi's case, the convergence of spirituality and sexuality provides a path to self-acceptance and cultural reclamation, while Unoma's journey demonstrates the psychological and emotional complexities of navigating lesbian identity within a religiously conservative Nigerian context. Both authors illustrate the transformative power of reclaiming space within these intersecting structures, providing valuable insights into how African lesbians carve out their existence despite societal rejection.Ultimately, the lesbian-self, as a conceptual entity, is not merely defined by sexual orientation but is a product of the intersection of various identities that shape and inform the experiences of African lesbians. Intersectionality provides a critical framework for understanding the diverse realities of these individuals, emphasising the need for an inclusive and multi-faceted discussions within African queer studies. The continued marginalisation of lesbian voices and experiences in both academic and socio-political spheres calls for ongoing resistance and affirmation, making it essential to foreground intersectional approaches that embrace the diversity and complexity of African lesbian identities. As the works of Nkabinde and Azuah demonstrate, the lesbian-self is not simply a site of oppression but a dynamic space of agency, resilience, and resistance.

References

Adichie, C. N. (2009). The Danger of a Single Story. TED Global. Amadiume, I. (1997). Reinventing Africa: Matriarchy, Religion, and Culture. Zed Books. Arondekar, A. (2009). For the Record: On Sexuality and the Colonial Archive. Duke University Press. Azuah, U. (2020). Embracing My Shadow: Growing up Lesbian in Nigeria. Beaten Track Publishing. Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. Routledge. Crenshaw, K. (1989). “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory, and Antiracist Politics”. University of Chicago Legal Forum, 1989(1), 139–167. Crenshaw, K. (1991). “Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color”. Stanford Law Review, 43(6), 1241–1299. Ekine, S., & Abbas, H. (Eds.). (2013). Queer African Reader. Pambazuka Press. Epprecht, M. (2008). Heterosexual Africa? The History of an Idea from the Age of Explorationto the Age of AIDS. Ohio UP. Gqola, P. D. (2015). Rape: A South African Nightmare. MF Books. Ogoke, I. C. (2024). “Sexuality and Sensuality in Chimamanda Ngozi Adichie's Half of a Yellow Sun” Akshara, vol. 16, May. 2024, pp. 38-46, https://www.akshara.org/archive/volume-16-may-2024/innocent-chima-ogoke/. _________. (2025). “Lesbian Identity and Bildungsroman Journey of Self-discovery in Nkabinde's Black Bull, Ancestors and Me: My Life as a Lesbian Sangoma andAzuah'sEmbracing My Shadow: Growing up Lesbian in Nigeria” Ars Artium, vol. 13, Jan. 2025, pp. 70-89, https://www.arsartium.org/archive/volume 13-january-2025/innocent-chima-ogoke/. Linton, S. (1998). Claiming Disability: Knowledge and Identity. New York UP. Murray, S. O., & Roscoe, W. (Eds.). (1998). Boy-Wives and Female Husbands: Studies of African Homosexualities. Palgrave. Nkabinde, N. Z. (2008). Black Bull, Ancestors and Me: My life as a Lesbian Sangoma. Fanele. Oyěwùmí, O. (1997). The Invention of Women: Making an African Sense of Western Gender Discourses. University of Minnesota Press. Rich, A. (1980). “Compulsory Heterosexuality and Lesbian Existence”. Signs: Journal of Women in Culture and Society, 5(4), 631–660. Tamale, S. (2011). African Sexualities: A Reader. Pambazuka Press. van Klinken, A. (2019). Kenyan, Christian, Queer: Religion, LGBT Activism, and Arts of Resistance in Africa. Penn State UP

Authors: Titilope Oluwaseun Oriola

Email: alake.titi@gmail.com

Abstract

They that make the wish possess the command- The African concept of Alá'bálólàse as derived from the belief in the potency of words is borne out of the science of language that allows for mere proclamation to result in the enactment of things in the real world. The semiotic evidence of the ingenuity of African science as evinced in the literary narrative of “Igbo Olodumare” shows that Africans have a long-standing innovative ingenuity in technology which includes medicine and artificial science even before the advent of colonialism. Addressing this lacuna, essential in mapping the place of African ingenuity in st the 21 century, the paper draws upon the theory of J.L Austin's Speech Act theory, scrutinising the literary narrative of “Igbo Olodumare” - offering a deep dive into the technological ingenuity it encapsulates. The findings show that Africans use words in form of declaration as a major condiment for activating their technological innovations. Unlike modern technology, Africans have a dynamic-specific process that is based on three stages of involvement, declaration and enactment. It compellingly argues that the African technological enactment unlike those of modern technology have a dynamic declarative specific process.

Keywords

Declaration, Afri-craft, Alá'bálólàse, Speech Sequencing, Polylogy

Introduction

Emeagwali and Shizha (2014) distinguish between African and Western science in their literature. They explain that African science serves as a basic reference point for reckonings of the potentials of secret African knowledge and skills. For them, African science occupies a place alongside the miracles of the Scripture and magic, of what is usually referred to as Western or White science in its ability to transform the world in mysterious ways. Emeagwali and Shizha (2014) aver that African science and White Western science constitute two distinct aspects of human power to understand and shape the world. Living in a world where the “technological miracles” of computers, the remote control, mobile telephones are everyday realities, and where images of nuclear explosions and space travel are commonplace, no one doubts the power of Western science to effect action at a distance and transform the world. And all who live in it because of the physical existence of science laboratories attest to this. The African science though has such untagged laboratories such as the alcoves of herbal permutations by the medicine men and the workshops of intense iron and metal experimentations (metallurgy) by the blacksmiths. The story of African development especially in terms of modern technology has been a debate amongst scholars. Heidegger (1977) differentiates between indigenous and modern technology by asserting that indigenous technology uses extensive human hand for operation while the modern technology uses the power of machine. Rodney (2022) argues that what is known as the modern European technology is an off-shoot of indigenous technology. He clarifies that the 15th century European technology was not totally superior to that of other parts of the world, including Africa.

Content

Martin (1935) in his work titled, “Culture Areas of Nigeria” averred that the invention of iron work, one of the earliest metallurgy innovations discovered in Africa, was originated in West Africa. Childs and Killick (1993) assert that the West only became aware of the technology of metallurgy after looting the Benin archives in the 1940s (page). Mawere (2014) rightly posited that Africans are endowed with indigenous materials and technologies that if harnessed could relieve the continent of its environmental, political and socio-economic related problems and advance development. Oluwole (1992) concentrated on the Yoruba Ifa oral tradition, situating the superiority of the Yoruba indigenous knowledge encoded by Orunmila as against the western philosophy pioneered by Socrates. Through her research, she discovered compelling evidence of ancient knowledge pertaining to modern computer science and particle physics. These further reveal that the Africans had their ingenuity and means of development even before the advent of the colonial masters. For her, development is not defined in terms of modernity but as an improvement in a country's economic and social conditions. Her argument was that any people that have the basic things they need to live and the means of ingenuity that allows the rights to make choices of improvement are developed. The current study examines the indigenous African technologies and the belief that Africans have always had their ingenuity before the arrival of the colonial masters as evinced in the selected work of D.O. Fagunwa's Igbo Olodumare. To do a critical exploration, aspects of J.L. Austin's Speech Act theory and an aspect of Dopamu's religious-concept of Alá'bálólàse (2003) are explored. Aspects of descriptive design are used to handle the qualitative nature of the research. Its usage allows the research to identify categories of acts and allopracts, characterise declarations that result into actions and their functional meanings in the data. Few studies have devoted their investigations to the power of the spoken word and its hidden symbolic and inexplicable implications or importations of the utterance of which can itself produce the desired effect without the use of magical objects or apparatuses. After the World Health Organisation's (WHO) declaration in 2002 that African traditional medicine is the most potent globally, there was a renewed interest in not only the field of African medicine, but also a wide range of other fields where the African ingenuity can be applied. Linguists such as Odebunmi (2003), Faleke (2005), Adepoju (2005), Odugbemi (2006), Igoli (2005), Egunyomi (2005), Jegede (2010), Nunn (1996) Olagunju (2012), Jegede (2021) and Abimbola (1976) have investigated the role of language in the practice of Yoruba tradition, considering the two main structures of polylogical and dialogical transmissions; Fadipe (1970) examined the use of spell and curse, considering ohun (word) as a major condiment of traditional preparation (p127), Bocoum (2004) looked at the origin of iron metallurgy in Africa as a pointer to Antiquity in West and Central Africa.

Conclusion

The work has demonstrated that Africans have always had their means of scientific ingenuity which involves three stages of: proclamation, enactment and involvement. This shows the power of the Yoruba belief in proclamation which has a direct semblance to an aspect of the theory of Speech Act that deals with declaration – a situation where something that is not in existence is made to be by merely declaring them. Our findings' reflection on afro-craft conventions: technological sequencing in Igbo Olodumare bears semblance to Adegbindin (2017) on the phronesis and the universality of Ifa in African philosophy; Azenabor (2007) on the golden rule of African ethics and coordination; Ferguson (2002) on African philosophy and tradition; Oluwole (1992) on the craft of witchcraft as an essential technology in Africa and Adegbite (1991 &; 1995) on the role of language in the practice of traditional medical discourse. The study explores the afro-craft conventions and speech act sequencing in Igbo Olodumare. It reveals their sequencing through the processes of proclamation, enactment and evolvement. J. L. Austin's Speech Act Theory and Dopamu's (2003) Alá'bálólàse cater for these sequencing. The study reveals that, among other things, words in form of proclamation are germane in evoking technological development in African science.

References

Fagunwa D.O. (1949). Igbo Olodumare. Nelson Publishers Limited. Abimbola, Kola 2006. Yoruba Culture: A Philosophical Account. Birmingham: Iroko Academic Publishers. Abah, J., Mashebe, P., & Denuga, D. D. (2015). “Prospect of Integrating African Indigenous Knowledge Systems into the Teaching of Sciences in Africa.” American Journal of Educational Research, 3 (6), 668–673. Adegbindin, O. (2017). “Sophia, Phronesis, and the University of Ifa in African Philosophy.” Eds: Afolayan, Adeshina and Falola, Toyin. The Palgrave Handbook of African Philosophy. Newyork: Palgrave Macmillan. Adegbite, A. (1993). 'Some Features of Language Use in Yoruba Traditional Medicine.' African Languages and Cultures. 6 (1), 1-10. Adegbite, W. (1995). 'The Structure of Texts from Herbalist-Client Encounters in Yoruba Traditional Medicine'. Text and Talk. 15 (2): 271-297. Allen, J. (2005). 'The Art of Medicine in Ancient Egypt.' New York: Metropolitan Museum of Art. Austin, J. 1962. How to Do Things with Words. 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African Indigenous Knowledge and the Disciplines. Rotterdam: Sense Publishers. Shizha, E. (2014). 'Indigenous Knowledge Systems and the Curriculum.' G. Emeagwali & G. J. S. Dei (Eds.). African Indigenous Knowledge and the Disciplines. Rotterdam: Sense Publishers, 113-128. Ezeabasili, N. (1977). African Science: Myth or Reality? New York: Vantage Press. Fagunwa D.O. (1949). Igbo Olodumare. Ibadan. Nelson Publishers Limited. Ferguson, G.J. (2002). 'African Philosophy and Tradition: Not yet postcolonial.' Philosophia Africana. 5(1), 43-53. Frazer, J.G. (1978). The Illustrated Golden Bough. London George Rainbird Limited. Heidegger, M. (1977). The Question Concerning Technology and other Essays. New York: Harper & Row, Publishers, Inc. Humphrey, J. W. (2006). Ancient Technology. Greenwood: Press Westport. Idowu, E.B. 1962. Olodumare: God in Yoruba Belief. London: Longman. Idowu, E. B. (1973). African Traditional Religion: A Definition. London: SCM. Martin B. (1935). 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(2022). Development in Decolonisation. Cambridge: Cambridge University Press. Sibanda, N. (2009). The Relationship between Migration and Development in Africa.” Accessed November 24, 2010. (https://afriissues.blogspot.com/2009/10/relationship-betweenmigrationand.html).

Authors: Burabari Sunday Deezia

Email: burabari.deezia@iaue.edu.ng

Phone: +2347068015113

Abstract

The philosophy of civil liberties and democracy in Nigeria represents a dynamic interplay between universal moral principles and the country's cultural realities. Grounded in ideals such as human dignity, freedom of speech, the right to a fair trial, freedom of assembly, and the right to privacy—core components of any democratic society—the Nigerian experience reveals the challenges of fully implementing these rights in a diverse and often divided nation. As a result, violations of these rights remain persistent, impeding the country's democratic progress and societal development. This paper employs a descriptive method to explore the Ziibalogzii philosophy as a potential solution to the enduring challenges facing civil liberties and democratic governance in Nigeria. Ziibalogzii, literally translated as "the state of being in an interconnected web," emphasises interconnectedness, communal harmony, and ethical leadership. The study argues that Ziibalogzii provides a framework to address systemic issues such as political corruption, human rights violations and weak democratic institutions. By examining the principles of Ziibalogzii in relation to Nigeria's socio-political landscape, this research underscores its relevance as a guiding philosophy for fostering inclusive governance, reconciliation, and respect for human dignity. Adopting a Ziibalogzii-based approach could encourage Nigerian authorities to prioritise dialogue over repression, ensuring that dissenting voices are heard and respected. In turn, empathy and mutual understanding could help cultivate a culture where human rights are upheld and inviolable.

Keywords

Civil Liberties, Democracy, Human Rights, Ziibalogzii

Introduction

Civil liberties are the cornerstone of any democratic society, ensuring that individuals can live with dignity, freedom, and equality. These liberties, which include freedom of speech, the right to a fair trial, freedom of assembly, and the right to privacy, form the foundation for democratic governance and social justice (Kanu & Ndubuisi, 2020, p. 45). They empower citizens to participate in the political process, hold authorities accountable and safeguard personal autonomy. Civil liberties are guarantees and freedoms that governments commit not to abridge, either by constitution legislation, , or judicial interpretation due process. Though the scope of the term differs between countries, civil liberties may include the without freedom of conscience freedom of press freedom of religion freedom of expression freedom of assembly the right to security and privacy, the right to equal treatment under the law, liberty freedom of speech, the right to and due process, the right to a fair trial, and the right to life. Other civil liberties include the defend oneself, and the right to bodily integrity. right to own property the right to

Content

Rooted in Mill's utilitarianism, the marketplace of ideas argument defends civil liberties like free speech as essential for truth-seeking (Peschke, 2004, p. 15). The unrestricted exchange of ideas allows societies to challenge errors and refine their understanding, fostering intellectual and moral progress. Civil liberties are integral to democracy, enabling participation, dissent, and accountability. Philosophers such as Jürgen Habermas emphasise the role of communicative action in protecting these rights, arguing that open dialogue and public reasoning are vital for democratic legitimacy (Popkin and Stroll, 2009, p. 105). Aristotle's concept of eudaimonia (human flourishing) provides a foundational argument for civil liberties. Freedom of thought, expression, and association are seen as prerequisites for realising one's potential and contributing to the common good (Popkin and Stroll, 2009, p. 106). Postcolonial philosophers, such as Frantz Fanon, critique the imposition of Western civil liberties on non-Western societies (Deezia and Kilani, 2023, p. 265), arguing that these frameworks often ignore indigenous values and histories. They advocate indigenous understandings of freedom that reflect communal and cultural priorities.

Conclusion

The thrust of this paper is the attention it has drawn to the problem of civil liberties and democracy in Nigeria, highlighting the key challenges that undermine democratic consolidation and the protection of human rights. The philosophy of civil liberties in Nigeria is a dynamic interplay between universal moral principles and local cultural realities. While grounded in the ideals of human dignity, freedom, and equality, the Nigerian experience highlights the challenges of implementing these liberties in a diverse and often divided society. Instances of police brutality, media suppression, electoral fraud, human rights abuses by the military, ethnic and religious violence and gender inequality are just some of the ways in which civil liberties have been violated in the country. These challenges threaten not only the protection of individual rights but also the democratic fabric of Nigeria. Ziibalogzii provides more than just a philosophical ideal; it offers a practical roadmap for addressing Nigeria's civil liberties and democratic challenges. The study proposed that that Ziibalogzii philosophy offers a holistic, ethical framework that can address many of the problems facing Nigeria today, particularly in relation to civil liberties and democracy. Its emphasis on interconnectedness, mutual respect, and collective responsibility provides a foundation for more inclusive governance, social justice, and the protection of human rights. By adopting Ziibalogzii, Nigeria can create a society where civil liberties are respected, democracy is strengthened, and the welfare of all citizens is prioritised. In other words, Ziibalogzii provides a rich and nuanced perspective on civil liberty, highlighting the interconnectedness of individual rights and communal responsibilities. By framing civil liberties within a context of mutual respect, dignity, and collective well-being, Ziibalogzii offers a holistic approach that can enrich contemporary discussions on human rights. It challenges us to view freedom not as individual autonomy alone, but as a shared endeavour that uplifts the entire community, fostering a more just and compassionate society. Adopting Ziibalogzii's principles can help Nigeria build a society where civil liberties are not only protected but also understood as essential for collective f lourishing. By embracing this African philosophical framework, Nigeria can chart a path toward justice, equality, and peace. While the integration of Ziibalogzii into democratic practices offers significant promise, it requires a cultural shift that emphasises collective well-being over individualism. Societies must balance traditional values with modern governance systems, ensuring that the principles of Ziibalogzii do not undermine individual rights or lead to groupthink.

References

Ahmed, A. (2024, August 1). #EndBadGovernance protests begin across Nigerian cities. News Central TV. https://www.newscentral.africa/endbadgovernance-protests-begin across-nigerian-cities/ Amaechi, N. C. (2018). The mass media as a veritable instrument of kerygma: An educational psychologist's approach. In I. S. Nwanaju & S. O. Anyanwu (Eds.), Religion and the media: Religious conflicts and dialogue initiatives in Nigeria (pp. 153–166). Abakaliki: Ginika Graphics & Press. Amnesty International. (2015, August. 5). Nigeria: Still no accountability for human rights v i o l a t i o n s ( M a r c h 2 0 1 5 https://www.amnesty.org/en/documents/afr44/1230/2015/en/ R e p o r t ) . Annan, K. (1999, October 10). Global integrity in a changing world. Message to the 9th International Anti-Corruption Conference, Durban, South Africa, pp. 2-15. Asemah, K. S. (2011). Selected mass media themes. Jos University Press. Deezia, B. S. (2018). Media and religious censorship: A philosophical re-definition of the dividing line. In I. S. Nwanaju & S. O. Anyanwu (Eds.), Religion and the media: Religious conflicts and dialogue initiatives in Nigeria (pp. 167–192). Abakaliki: Ginika Graphics & Press. Deezia, B. S. (2023a). The philosopher king and leadership in contemporary Nigeria: Towards a new space of philosophical thought. In A. Epelle, D. Harry, & P. I. Kalagbor (Eds.), Leadership, public service and administration of tertiary institution in Nigeria: Festschrift in honour of Dr. Samuel Bererememamn Kalagbor (pp. 101–116). Port Harcourt: C. W. Gbekee Ventures Deezia, B. S. (2023b). Ziibalogzii: Towards the interconnected humaneness – Ogoni African philosophy. In B. O. Igboin (Ed.), Religion and everyday life in Nigeria: A festschrift for Professor Olu E. Alana. Germany: Galda Verlag. Deezia, B. S., & Kilani, A. O. (2023). Artificial intelligence and the implication for a Ziibalogzii's worldview: The contentions and alternatives. Jos Journal of Religion and Philosophy, 4(2), 262–279. Deezia, B. S. (2024). Ethico-cultural implications of artificial intelligence and the question of human agency for Ogoni society (PhD thesis). University of Port Harcourt, Department of Religious and Cultural Studies, pp. 170-205. Deflem, M., & McDonough, S. (2015). The fear of counterterrorism: Surveillance and civil liberties since 9/11. Society, 52(1), 70–79. https://doi.org/10.1007/s12115-014-9850 0

Authors: Samuel Friday Akpabio, Ndifreke Bills Ene, Joyce Effiong Ukpabio

Email: sf.akpabio@gmail.com

Phone: +2347064657219

Abstract

This paper analyses opaque interactions in the Anaan language. The study set out to identify the cases of opacity in Anaan in order to examine the constraints that condition opacity in the language. Data for this study which were phrases and associative constructions were obtained by competent speakers of the language from Ika, Abak and Ukanafun Local Government Areas, who were carefully selected with regard to theirage, gender, level of education, and their years of residing in their speech community. The study adopted constraints in optimality theory propounded by Alan Prince and Paul Smolensky as explanatory device to examine the constraints that condition opacity in the language. It was discovered from analysis that a back vowel at morpheme boundary position and a front vowel determine which vowel to be deleted, of which, a back vowel is often susceptible to deletion.The back vowel /ͻ̀/ at morpheme boundary position with the N. CV syllable structure, occurring with the front vowel /e/ is opaque to deletion, thus, conditioning opacity in the language. Normally, the occurrence of a stop in intervocalic position often results in the weakening of the sound flanked by two vowels. On the contrary, the result of this study showed that a stop can be flanked by two vowels in intervocalic position without it being weakened in the process of partial reduplication of verbs. This morpho-phonological process conditions opacity in the weakening of reduplicant morphemes. This paper concludes that the Anaa𝑛̅ language is affected by other opaque processes, calling for more studies.

Keywords

Opacity, Non-application, Environment, Optimality theory (OT), Constraint.

Introduction

Phonology, a term in linguistics, refers, according to Adrian Akmajian, Richard Demers, Ann Farmer, and Robert Harnish (2010, p.109), to ‘the description of sounds of a particular language and the rules governing the distribution of those sounds.’ In addition, they also define phonology as ‘that part of general theory of human language that is concerned with the universal properties of natural language sound systems’. The main task of phonology, in the words of Philip Anagbogu, B. M. Mbah, and Cecilia Eme (2010, p. 96), is ‘to understand and describe how a sequence of sounds and the accompanying prosodic features can convey meaning in language’. In understanding and describing sounds, their function, behaviour and organisation as linguistic items, as opposed to phonetics which is rather a more ‘neutral’ study of the sounds themselves, phonology establishes procedures or processes available in the phonology of any language (cf. Ayo Osisanwo, (2009, p. pp 13-15). In effect, it is based on a theory of what every speaker of a language unconsciously knows about the sound patterns of that language.

Content

Imelda Udoh (2003, p.32) defines ‘phonological processes as the transformation of one representation into another under certain conditions.’ Some of these processes include: deletion, assimilation, weakening and harmony insertion.Some of these processes may or may not apply in a language, thereby creating opaque interactions in the language. The aforementioned properties of phonological processes establish what is termed phonological opacity. Phonological opacity is a condition whereby a phonological rule or process fails to apply in a given context. According to John McCarthy (2002), a phonological rule B of the form A→B/C__Dis opaque if there are surface structures with either of the following characteristics: (i) instances of A in the environment C___D (ii) instances derived by B that occur in environments other than C___D. He further states that a phonological rule B is opaque when the applicability or application of B is (somehow) obscured on the surface. Phonological opacity deals with under-application and over-application of a rule. These opaque interactions result from counter-feeding and counter-bleeding.

Conclusion

So far, opaque interactions have been identified in Anaañ through vowel deletion and weakening in the process of partial reduplication process. This confirms that opacity in any natural language may be discovered in any phonological processes that pervades natural language. Results from the present study with insights from OT tables show that the process of deletion may be opaque as a result of the N.CV syllable structure, of which, the back vowel /ᴐ/ cannot be deleted at morpheme boundary.However, the case of opacity in vowel deletion may vary in other languages. Thus, with insights from optimality theory framework, this study has revealed a case where a phonological rule fails to apply (opacity) even when the environment satisfies its conditions. Findings also revealed that opacity applies on weakening in Anaañ. Weakening is a phonological process which occurswhena stop is flanked by two vowels in an intervocalic position. On the contrary, the process of partial reduplication also has a stop in an intervocalic position and satisfies the requirements of the environment and is not weakened, therefore, conditions opacity in weakening in Anaañ. These findings support the hypotheses: what are the opaque interactions in the language and what are the constraints that condition opacity in the language?

References

Akmajian, A. Demers, R. A., Farmer, A. K and Harnish, R. M. (2010). Linguistics: An Introduction to Language and Communication. Cambridge, MIT Press. Akpabio, S. (2020). Improve your oral English fluency: A practical approach. Planeyo Publishers, Uyo, 123p. Anagbogu, P. N., Mbah, B. M. and Eme, B. M. (2010). Introduction to linguistics. Amaka Dreams Ltd, Akwa, 245p. Bakovic, E. (2005). Antigemination, assimilation and the determination of identity. ´ Phonology 22(3):279–315. Bakovic, E. (2007). A revised typology of opaque generalisations. Phonology 24(2):217–259. Chomsky, N., & Halle, M. (1968). The sound pattern of English. New York: Harper and Row. (Reprinted: MIT Press, 1991.) Eka, D. (1979) Phonological foundations: English.Scholars Press (Nig.) Ltd, Uyo, 153p. Essien, O. (1990). A grammar of the Ibibio language. University Press PLC, Ibadan, 171p. Greenberg, J.H. (1963). The languages of Africa, The Hague, Mouton & Co. Goldsmith, J. A. (1990/2010). Autosegmental and metrical phonology. Oxford: Blackwell. Hall, E. Jurgec, P. and Kawahara, S. (2012). Opaque allomorph selection in Japanese and Harmonic Serialism: A reply to Kurisu (2012): https://www.researchgate.net/publication/319059646_Opaque_allomorph_selection_in Japanese_and_Harmonic_Serialism_A_reply_to_Kurisu_2012 [accessed Feb 01 2025]. Ito, J. (1986/1988). Syllable theory in prosodic phonology. New York: Garland. Ito, J. (1989). A prosodic theory of epenthesis. Natural Language and Linguistic Theory 7:217 Ito, J. and Armin, M. (1998). Markedness and word structure: OCP effects in Japanese. Ms. Available on Rutgers Optimality Archive, ROA 255, http://roa.rutgers.edu. [accessed Feb 01, 2025] Kurisu, K. (2012) Fell-swoop onset deletion. Linguistic Inquiry 43: 309–321. Kiparsky, P. and Pajusalu, K. (2000/2003). Towards a typology of disharmony. The linguistic review 20:217-241. McCarthy, J. 2002. A thematic guide to optimality theory. Cambridge University Press. Osisanwo, A. (2009). Fundamentals of English Phonetics and Phonology. Lagos, Femolus-Fetop Publishers Prince, A. and Smolenskly,P. (1993). Optimality theory: Constraint interaction in generative grammar. Manuscript, Rutgers University and Johns Hopkins. Published in 2004 with Wiley-Blackwell, 304p. Sasaki, K. (2006). Non-surface-apparent opacity in Standard Japanese Morphology. In Experimental phonetics & General Linguistics, Tokyodo, 348–360. Sasaki, Kan (2008) Hardening alternation in the Mitsukaido dial Smolensky, P. (1993). Harmony, Markedness, and Phonological Activity. Ms., University of Colorado, Boulder. (available as ROA-87 from the Rutgers Optimality Archive). Smolensky, P. (1995). ‘On the Internal Structure of the Constraint Component Con of UG’, handout of talk presented at UCLA, April 7, 1995. Smolensky, P. (1997). ‘Constraint Interaction in Generative Grammar II: Local Conjunction (or, Random Rules in Universal Grammar)’, paper presented at the Hopkins Optimality Theory Workshop, University of Maryland Mayfest. Baltimore. Udoh, I. (2003). An Introduction to Phonemic Analysis.Fruities’ Publication, Uyo, 136p. Udondata, J. (2006). A Grammar of Anaañ language. Joe Graph Publications, Ikot Ekpene, 142p. Urua, E. (2000). Ibibio Phonetics andPhonology. M & J Grand Orbit Communications Ltd, Port Harcourt, 218p. ____(1996)b. ‘Languages or Dialects? The Linguistic Situation in Akwa Ibom State.’Journal of Humaities Vol.4, 50-65.

Authors: Fatahi Owolabi Hamzat, Lateef Adekunle Adelakun, Ambassador Birkins

Email: fhamzat@noun.edu.ng

Abstract

Philosophy has been perceived as the quest for knowledge that makes the man go out of his way to unravel the world around him. Philosophy differs across different cultures because culture is an inseparable aspect of it. Therefore, this research is motivated by how Yoruba philosophy, a subset of African philosophy, is projected in Nigerian Hip-hop music. The study is focused on identifying the components of African philosophy in the data as a way of indicating the presence of African philosophy in the selected data. Using purposive sampling technique, the study selected two of Olamide’s tracks for analysis. Qualitative approach to data analysis was adopted to explain the various philosophical tropes embedded in the songs. Anchoring the discussions on Makinde’s (2010) theoretical proposition, the study found that the most dominant philosophical trope in the tracks is the belief in and reverence for Olodumare (the Supreme Being). Others are philosophies of Ori (destiny), Omoluabi (good character) and time. It also found that the singer appeals to Olodumare through his Ori to help him in the journey of life so that the enemies would not overcome him. Additionally, there are instances of answered prayers where Olodumare has blessed the singer and his group. In conclusion, the study submits that considering African philosophy from the perspective of Nigerian Hip-hop music underscores the fact that the philosophy can be projected through as many modes as possible. It thus suggests that African philosophers and scholars in Cultural and Media studies pay critical attention to this neglected area.

Keywords

African philosophy, Nigerian Hip-hop music, Yoruba philosophy, Ori, Olodumare

Introduction

The incursion of western civilisation, which has superimposed itself on African mentality and worldview is a sad reality that Africans have lived with for several decades. According to Oguejiofor and Ezenwa-Ohaeto (2015, p. 4-5), “To justify colonialism and cultural subjugation, Africa was presented as a continent without history, without geography, literature, culture, civilization and of course, philosophy. The degrading effect of slavery was therefore reinforced by colonialism”. With this subjugation, Africans have been erroneously perceived as a people without their own philosophy. To worsen the matter, some African scholars, to their own detriment and to the glorification of western ideals and values, also reason along this line by supporting the Eurocentric claims. However, a group of other African scholars who are Afrocentric in approach have not only believed in the existence of African philosophy, but have also sought every opportunity to project it and advance the African ideals and values.

Content

As a result of the superimposition of western philosophy over African philosophy, there has been a manifestation of western values in most facets of African lives. This ranges from wedding to naming ceremonies, from gender roles to dressing patterns, from architectural designs to artistic creativities and even entertainment through the mass media. This last angle– entertainment– is the crux of this present research. It is predicated upon the obvious notion that there has been a replacement of African musical culture with that of the West. In other words, music and artistry in African societies have gradually lost their African expressive forms while gradually putting on the vestiges of foreign music and Artistic forms

Conclusion

In conclusion, this study has explored how philosophy can be effectively communicated through diverse mediums, with a specific focus on the African philosophical insights embedded in Nigerian hip-hop music, particularly that of Olamide. Through his music, Olamide provides a rich tapestry of African values and systems, offering philosophical reflections that resonate with contemporary societal issues. This study reveals that Olamide's music does not merely entertain but also serves as a conduit for the dissemination of African philosophy, addressing themes such as identity, resilience, and socio-political struggles. The widespread popularity of Nigerian hip hop, amplified by mass and social media, positions it as a powerful tool for philosophical engagement, particularly with the youth. By blending entertainment and philosophical teachings, Olamide’s music embodies a modern approach to African philosophy that makes it accessible, relevant, and impactful. Therefore, this study underscores the importance of recognizing and further exploring the philosophical dimensions of Nigerian hip-hop as a means of preserving and propagating African thought in the contemporary world.

References

Anthony, K.I. (2014). ‘The Meaning and Nature of African Philosophy in a Globalising World.’ International Journal of Humanities Social Sciences and Education (IJHSSE) 1 (7), 86– 94. Asiegbu, M.F. (2016). Contemporary African Philosophy: Emergent Issues and Challenges. Ogirisi: A New Journal of African Studies. Vol. 12, 1– 24. Balogun, O.A. (2007). ‘The Concepts of Ori and Human Destiny in Traditional Yoruba Thought: A Soft Deterministic Interpretation.’ Nordic Journal of African Studies. 16 (1), 116–130. Balogun, O.A. (2011). ‘Philosophy: What Social Relevance.’ Filosofia Africana, 11(2), 103 116. Balogun, O.A. (2013). Philosophy in an African Culture: A Light in the Darkness. Ago-Iwoye: Olabisi Onabanjo University Mass Communication Press. Egbunu, F. E. (2014). Language Problem in African Philosophy: The Igala Case.’ Journal of Educational and Social Research. 4 (3), 363-371. Fadahunsi, A. (2002). ‘The Social Foundation of Philosophical Development.’ Babcock Journal of Management and Social Sciences. 1 (1), 164-169. Gbenga, F. (2008). ‘African Philosophy and the Method of Ordinary Language Philosophy. African Journal of Political Science and International Relations. 2 (4), 085– 090. Hwang, K. (2012). ‘Western Philosophy’s Concepts of Person and Paradigm Shifts.’ International and Cultural Psychology. Vol. (1). 41– 68. Ibkwe, E.U. (2020). ‘Philosophy of African Music as Oral Literature.’ Awka Journal of Research in Music and the Arts. Vol. 9, 33-45. Kanu, I.A. (2018). ‘African Philosophy as an Ontologico-existential Hermeneutics.’ Nnamdi Azikiwe Journal of Philosophy. 10 (2), 1–9. Kanu, I.A. & Onebunne, J.I. (2022). African Music and African Philosophy: Dialogue on African Philosophy and Development. 2022, 10:30 Levy-Bruhl, L. (1923). Primitive Mentality. New York: The Macmillan. Luthans, F.R.; Wyk, V. & Walumbwa, F.O. (2004). ‘Recognition and Development of Hope for South Africa Organizational Development Leaders.’ The Leadership and Organizational Journal. 25 (6), 512– 527. Makinde, M.A. (2010). African philosophy: The Demise of a Controversy. 2nd Ed. Ile-Ife: Obafemi Awolowo University Press. Mbiti, J.S. (1969). African Religions and Philosophy. London: Heinemann Educational Books Ltd. Negedu, I.A. (2014). ‘Beyond the Four Categories of African Philosophy. International Journal of African Society Cultures and Traditions. 2 (3), 10-19. Oguejiofor, J.O. & Ezenwa-Ohaeto, N. (2015). ‘Contemporary African Philosophy, Identity and the Question of African Languages.’ OGIRISI: A New Journal of African Studies. (11), 1-18. Oguejiofor, O. J. (2009). ‘Negritude as Hermeneutics: A Reinterpretation of Leopold Sedar Senghor’s Philosophy.’ American Catholic Philosophical Quarterly. 83 (1), 79-94. Oladipo, O. (1992). ‘The Yoruba Concept of a Person: An Analytico-Philosophical Study.’ International Studies in Philosophy. 34 (3), 15–6. Olanipekun, O.V. (2017). ‘Omoluabi: Re-thinking the Concept of Virtue in Yoruba Culture and Moral System.’ Africology: The Journal of Pan African Studies. 10 (9), 217– 231. Olapade, J. (2019). ‘A Musical and Textual Analysis of Olamide’s “Science Student.” OJOMAJournal of Music and Aesthetics. Vol. 4, 1–10. Oyeshile, O.A. (2006). ‘The Physical and Non-physical in Yoruba Concept of the Person. Philosophia De Sellentt. 35 (2), 157–166. Rocoeur, P. (1992). Oneself as Another. Chicago: University of Chicago Press.

Authors: Barnabas Dick

Email: barnabasdick@gmail.com

Phone: +2348125048420

Abstract

This paper studies Niyi Osundare's 'My Lord, Where Do I Keep Your Bribe?' and Joe Ushie's 'Yawns and Belches' to unveil the power interplay and dynamics between leaders and their subjects and how such hegemony has led to the fragmented nature of the subjects by their leaders at different times and periods. This is literary research which purposively selects Osundare’s ‘My Lord, Where Do I Keep Your Bribe?’ and Ushie’s ‘Yawns and Belches’ to for analysis, as the two poems depict the socio-political realities in Nigeria. The study adopts New Historicism as its theoretical framework because the theory emphasises how events, places and culture affect or shape literature. Findings show that corruption has eaten deep into the fabrics of the Nigerian society so much so that at different times of writing, these two writers capture the menace with remarkable similarities. The study concludes that consistent discussions, criticism and a total reawakening by subjects can help mitigate the exigencies of political leaders and power abuse.

Keywords

Socio-political, Dynamics, Power Interplay, Hegemony, Leadership Problem

Introduction

Nigeria has continued to witness diverse political and socio-economic problems which have hampered the development of the nation. Social happenings and creative literature have always shared a lot in common. Ngugi Thiong’O believes that the writer and the politician both trade with words. Both are created by the same reality of the world around us, their activities having the same subject and object: human beings, human relationships and human welfares (Ngugi wa Thiong’O, 1981, p.71). The nexus between creative arts, socio-economic and political development cannot be overemphasised. It is from the environment that the writer draws materials from and therefore becomes preoccupied. Nigeria has a rich literary tradition that predates colonialism. Clement Chirman posits that in pre-colonial Nigerian society, oral poetry and songs were dominant features of communal activity employed as occupational songs, dirges and ballads (Chirman, 2008, p.23). Most of these songs addressed political issues like justice and equality.

Content

In light of these oratories, folktale, oral poetry, drama, proverbs or wise sayings or any other form of oral poetry had the performer being seen as the conscience of their societies. This means that the writer draws its raw materials from the society which he is a part of and so it agrees with Thiong’O’s position that literature is not written in a vacuum (Thiong’O, 1981, p.6). Social happenings and events go a long way to shaping what comes out of the society as literature. Many creative writers like Chinua Achebe, J.P. Clark, Wole Soyinka and Ola Rotimi, among others, have mirrored the society they live in through their creative works. Niyi Osundare and Joe Ushie, among other writers, have also followed such a path. In following such path, these authors have brought a revolution into the Nigerian poetic tradition. They have championed and redefined a new tradition in Modern African Poetry popularly known as ‘Alter-Native’ Tradition in African Poetry. This means that they not only prefer to talk about socio-political issues but they break the stringent poetic tradition and use satire to paint the situations.

Conclusion

This paper has examined power interplay and dynamics between political leaders and their subjects. Osundare and Ushie as third generation and contemporary writers, respectively, have aptly depicted the level of decay within the Nigerian judicial system and its polity at large which highlights corruption, greed, and bribery among others. While Ushie has shown the dichotomy between the lives of political leaders and the masses, Osundare has depicted through the lens of the court clerk what goes on in top governmental places like the revered sanctuary where justice is supposed to prevail. If this can happen in a place where justice is sought for, one can only wonder what becomes of other parastatals. These have resulted not only in loss of hope but in total despair. Writers then have resorted to use writing as a tool to interrogate these issues in order to mitigate its exigencies.

References

Abrams M.H. & Harpham, G. 2009. A Glossary of Literary Terms (9th edition): New York: Wadsworth and Cengage. Adebanwi, W. 2014. “The Writer as Social Thinker”. Journal of Contemporary African Studies. 32 (4):405-420. Online: https://doi.org/10.1080/02589001.2014.978556. Retrieved 23 May, 2024. Alu, N. 2008. “Style and the New Poetic Revolution in Niyi Osundare’s Poetry”. African Research Review. ISSN2070-0083http/ www.Amazon.com. Retrieved 23rd October, 2024. Amali, I. 2000. Generals without War. Lagos: Malthouse, 2000. Amali. I. 2014. Effega: The War of Ants. Ibadan: Kraft Books. Childs, P. & Fowler, R. 2006. The Routledge Dictionary of Literary Terms. New York & Oxon: Routledge. Chirman, C. 2008. “Social and Political Satire in Tarok Cultural Songs of Abwa and Isur”. A PhD Thesis of the Department of English, University of Jos. Collette, J. 2012. ‘New Historicism and Hamlet by William Shakespeare.’ https://prezi.com/tyo4n221ko1k/new-historicism-and-hamlet-by-william Shakespeare. Retrieved 26 April, 2024. (4): 405420.https://doi.org/10.1080/02589001.2014.978556. Retrieved 4 May, 2024. Ebekozien, A. 2020. ‘Corrupt Acts in the Nigerian Construction Industry: Is the Ruling Party Fighting Corruption? Journal of Contemporary African Studies 1-19. https://doi.org/10/108002589001.175804. Retrieved 10 June, 2024 http/www.Amazon. com. Retrieved on 4th April, 2024. Eke, G. 2016.Corruption in the Civil Service: Dearth of Effective Service Delivery. International Journal of Arts and Humanities 5 (2): 284-294. https//de.doi.org/10.4314/ijah.v5i.237. Retrieved 8 June, 2024. Lyu, X. 2021. ‘An Introduction to New Historicism.’ Advances in Social Sciences, Education and Humanities Research. 543, 1075-1078. NBS Report.proshare.ng.com 2019 NBS Publishes Corruption in Nigeria survey report. 3 September 2020. Retrieved 13 May, 2024. Ngugi T. 1981. Writers in Politics. London: Heinemann. Nwosu, O. & Adeshina A. 2021. ‘Corruption in Contemporary Nigerian Poetry: A New Historicist Perspective. Journal of Literary Studies. Vol 37. Online: https//colab.ws.article. Retrieved 15 May, 2024. Nzeogwu, C. 1966. Radio Broadcast by Major Chukwuma Kaduna Nzeogwu –Announcing Nigeria’s First Military Coupe on Radio Nigeria Kaduna on January 15, 1966. http:www.vanguard.com/2010/09/radio-broadcast-by-major-chukwuma-kaduna-nzeogwu 10 July 2020. Retrieved 14 May, 2024. Obasanjo, O. 2006. ‘Foreword’. The Servicom Book. Abuja: National Press Centre. Oni, S. & Obe, E. 2017. “Leadership and Good Governance: The Nigerian Experience". https://eprints.covenantuniversity.edu.ng/9223/,2017. Retrieved 3rd May, 2024. Osundare, N. 1983. Song of the Market Place. Ibadan: New Horn Press. Osundare, N. 2004. ‘My Lord, Where Do I Keep Your Bribe’. Online: https//www.Thenewsnigeria.com. Oxford: Routledge. Petruszynski, P. 2006. “Early Modern Texts, Postmodernism Students: An Analytical and Pedagogical Perspective on Using New Historicism in Today’s Classroom”. PhD Thesis, Illinois University. Tanzi, V. 1998. “Corruption Around the World: Causes, Consequences, Scope and Cures”. IMF Staff Papers 45 (4), 1-39. Ushie, J. 2018. Yawns and Belches. Ibadan: Kraftgriots.

Authors: Uman Ita Uman

Email: umananderson11@gmail.com

Phone: +2348122571631

Abstract

This study examines lexical innovation in Nigerian English usage. The study is hinged on the theory of generative lexicon propounded by Pusejovsky (1995) which argues that language cannot simply be characterised as a list of items with only syntactic and minimal semantic information, but that words assume new senses in new contexts that can be used creatively. Data for analysis are got from secondary school students in Uyo metropolis of varied linguistic and socio-economic backgrounds selected by a random sampling technique and are grouped under coinages, semantic extension and shift, euphemism, clipping, idiom and slang. Data were collected through oral interviews. Ten students from each school were interviewed from June to November 2024 and their responses recorded through writing. The reason for the choice of secondary school students is that they creatively use expressions to converse when they want to exclude adults or other people from their conversation. The study adopts a qualitative context analysis; a process designed to condense raw data into categories or themes based on valid inference and interpretation. It reveals the preponderance of lexical innovation in Nigerian English as used by its speakers to address concepts, situations and events. The study concludes that innovations observed in Nigerian English show that it is an authentic communication tool which undergo changes in a bid to serve the need of the users.

Keywords

Lexical-innovation, Generative Lexicon, Nigerian English, Pusejovsky, Context Analysis

Introduction

The documentation of the various features of world Englishes has continued to attract the attention of the linguists. Like other varieties of non-native Englishes, West African English (WAE) has received considerable attention. Researches into the creative linguistic features of Nigerian (NE), which is a part of WAE, have established the variety (NE) as one cited within the Braj Kachru's outer circle of Englishes (Braj Kachru, 1992) which is most often described in the literature by the term ‘New Englishes’. Hybridised innovations constitute systematic divergences in the vocabularies of educated Nigerians in their day-to-day use of English. This further attests to the fact that English in Nigeria has taken a new shape and, therefore, its unique ways of usage must continually be described up to the point where a self-contained linguistic system of NE is visible. It is only at this point of visibility that standard NE might become apparent and can be recognised as a valid model for teaching and learning in classroom. Beyond British English and American English, there are a number of standard Englishes, for there are several English speaking countries in each of which there is a Standard English peculiar to that country.

Content

The Nigerian variety of English, like other non-native Englishes, serves the communicative and communal needs of its users, thereby allowing users to express themselves in creative ways that reflect their own unique socio-cultural norms. This social reality is attested to by David Crystal in his observation that “English in Nigeria is fostering an internal standard of educated usage which has a status and dynamic of its own” (Crystal 2003, p. 359). West African countries, including Nigeria, were colonised by Britain and France. It is that interaction of West African countries with their colonial masters that gave rise to West African English. The use of the term West African English does not imply that all these countries speak exactly the same way; rather they show very similar features and exhibit a predominantly hegemonic variety identifiable with it. Language is indisputably dynamic even within a socio-cultural environment. English Language in Nigeria, in particular, and West Africa, at large, has undergone several changes that can be traced to what Eric Anchimbe (2006, p.26) calls “local taste of the people and the contact of English with native African languages” . Users of English in Nigeria from all walks of life and different educational levels and backgrounds endeavour to communicate through different varieties determined by formal and informal situations and occasions. Innovation explains how language is used to break away from the norm as well as from what is recognised as correct. It is an intelligent ability to represent tasks or concepts in a relevant way. It refers to renewing, changing or creating more effective processes, products or ways of doing things. Innovation and improvement differ. While innovation is the notion of doing something different, improvement refers to doing the same thing better. The creation of certain terms to reflect certain concepts, processes or situations by Nigerians accounts for innovation in Nigerian English usage.

Conclusion

This study has revealed lexical innovations in the usage of Nigerian English by secondary school students. The spread of innovation depends on communicability of these linguistic innovations which can only be achieved if the lexical items are standardised. One way of standardisation is the printing of dictionaries by language planners to inform the public. The study reveals that the complexity of these innovations impede acceptance especially where lexical cohesion has not been scientifically determined. The study asserts that the innovations, though not universally accepted, are understood by many Nigerian English users. Today, English language in Nigeria has been able to “roll along” with the culture, thus becoming domesticated and nativised. The study concludes that the innovations in NE vocabularies and usage show that this variety of English (NE), is an authentic vibrant communicative tool, which undergo variations and changes in the bid to serve the needs of the users. Further researches should be carried out to substantiate or dispel the claims.

References

Aitcheson, J. (1991). Language Change: Progress or Decay? Cambridge: Cambridge University Press. Bamgbose, A. (1995). “English in the Nigerian Environment.” New Englishes: A West African Perspective. A Bamgbose, A. Banyo and A. Andrews (Eds). Ibadan: Mosuro Publishers and Booksellers, 9-26. Bamiro, E. (1994). ‘Syntactic Variation in West African English”. World Englishes. 17 (1), 189 204. Bemigho, D. and Olateju, M (2006). “The lexico-semantic Features of Nigerian English in Kegites’ Discourse: The OAU Example.” Olateju, M. Taiwo, R; and Fakoya, A. (Eds) Towards the Understanding of Discourse Strategies. Ago-Iwoye: Olabisi Onabanjo University Press, 159-170. Bouillon, P. (1997). “Polymorphie et semantique lexicale : le cas adjectifs’’, Ph.D.,VIII , Université de Montreal, 18-24. Busa, F. (1996). Compositionality and the Semantics of Nominals, Ph.D Dessertation, Brandeis University, 206-209. Crystal, D. (2003). The Cambridge Encyclopedia of the English Language. 2nd ed. Cambridge University. Jega, A. (2020). “A Pragmatic Analysis of Lexical Creativity in the Use of Nigerian English”. Annals of Language and Literature. Vol. 4. Issue 3, 2020, 27-34. Jowitt, D. (1991). Nigerian English Usage: An introduction. Nigeria: Longman Nigeria. Mckay, S. and Hornberger, N.H. (1996). Sociolinguistic and Language Teaching. New York: Cambridge. Mgbemena, J. (2015). “Language Variations or Language Change? Lexical Innovation Processes in Nigerian English.” International Journal on Studies in English Language and Literature (IJSELL). Vol. 3 Issue 8, 2015, 37-50. Mowarin, M (2010). “Some Lexico-semantic Processes in Nigeria. Proceedings of the “Conference on Nigerian Pidgin”. University of Ibadan, Nigeria 8-9 July, 2009. Odebunmi, A. (2006). Meaning in English: An Introduction. Ogbomoso: Critical sphere. Planeyo Journal of Arts and Humanities (PLANJAH). Maiden Edition. Volume 1, Number 1, 2024. 131 Pusejovsky, J. and Boguraev, B. (1993). Lexical Knowledge Representation and Natural Languages Processing in Artificial Intelligence, Volume 63, Issues 1-2, October 1993. 193–223. Pusejovsky, J. (1995). The Generative Lexicon. Cambridge: The MIT Press. Redmond, W. (2005). “Slang.” Microsoft Encarta 2006. (CD) Redmond, W. A Microsoft Corporation, 2005. Robert, E. (2017). “Lexical Creativity in Ghanaian and Nigerian Englishes”. Eyoh, L. and Udoudom, J. (Eds). West African Varieties of English, Literature, Pidgin and Creoles: A Festschrift for Professor Inyang Udofot. Development Universal Consortia, 411-425. Udom, M. (2007). “Lexical Innovation in Nigerian English Usage.” Ph.D Dissertation, University of Uyo, Uyo. Pp28-36.

Authors: Lucy Louis Okolie, Monica Udoette

Email: Okolielauren@gmail.com

Phone: +2348080838106

Abstract

There have been concerns that parental negligence has paved way for the sexual molestation of the girl-child in most families and, this has been represented in some African literary works. However, these representations have been limited to attitudes and actions of parents alone in the upbringing of children. This paper, through an assessment of Yejide Kilanko’s Daughters Who Walk this Path, interrogates explicit effects of absentee and insensitive parenthood on the psyche of the girl-child and how the longings for parental care approximates to the desire for sisterhood bonding. The paper adopts a qualitative research method and relies on textual analysis of some loci points in the novel relevant to Cathy Caruth’s Trauma theory. A close reading of the text reveals that sisterhood bonding and relations are viable mechanisms in coping and recovering from the trauma of parental negligence. The paper concludes that although the actions and inactions of the members of the family might give rise to situations which could adversely affect the girl-child’s psyche, redeeming opportunities do exist through sisterhood and the solace it brings.

Keywords

Children and Trauma, Parental Negligence in Literature, Sisterhood and Bonding, Sexual Victimisation, Yejide Kilanko.

Introduction

The family is the building block of society and prides itself as the first institution the child is exposed to. It is the primary agent of socialisation which is vested with the responsibility of bringing up and catering for the child. This is where the child learns to discover his/her abilities, strengths and weaknesses. Usually, the family is expected to provide warmth, love and support to the child. All these are only made possible through ties and relationships between the child and other members of the family. These relationships go a long way in shaping the psyche of the child. According to Charles Zubrick, relationships within the family are associated with members’ well being, particularly for children (Zubrick, 1965, p.3). Suffice to say, therefore, that the importance and relevance of the family in child-raising cannot be underestimated. Therefore, whatever experience the child faces in the family tends to shape his/her psyche and worldview. Hence, the onerous task of members of the family becomes an attempt at being cautious in utterances, treatments and actions to the children as these mostly constitute their psychological make-up and account for their behaviour later on.

Content

Discussions around the girl-child are one of contemporary society’s construct. The girl-child was one of the twelve crucial areas of concern raised in the Beijing Declaration and Platform for Action in 1995. It concluded in nine strategic objectives framed as a means of holding governments accountable for the welfare of the girl-child (Adeleke, 2012, p.21). This critical welfare includes protection from physical and sexual exploitation, eradication of discrimination in the field of education and increased awareness on the struggles being faced by girls today. Governments all around the world have devised various educational, economic, political and social policies to adequately better the lot of the girl-child and one can categorically admit that life for the girl-child is steadily improving. The newly elevated status of importance conferred on the girl-child dismantles the erstwhile status quo of her dehumanising condition(s) in the society. However, in spite of these measures on the part of the government, many girls are still subjected to horrific experiences and discriminations which take place right within the home. These experiences range from sexual abuse by brothers, cousins, domestic staff and even (step) fathers in some cases, discrimination in home chores among others.

Conclusion

In Daughters Who Walk This Path, Yejide Kilanko intricately weaves a narrative that explores trauma, parental negligence, and the resilience required to overcome these adversities. Through Morayo's journey, the novel vividly portrays the devastating impact of trauma and the silence that often surrounds it. This paper, therefore, presents the prominence of the role of family relationships in the upbringing of the child. Literature has proved to be a viable tool for showcasing family relationships and its adverse effects on the (girl) child. In Daughters Who Walk This Path, the author portrays how the relationship between parents, siblings and the girl-child can contribute to her psychological make-up. Through the characters of Morayo and Morenikeji, the reader is presented with the story of survivors who have had firsthand experiences of sexual abuse and molestation within the same families that should have been spaces for their protection. However, Kilanko does not merely dwell on the pain; she offers a path toward healing and resilience through Morayo’s eventual confrontation with her past and her commitment to breaking cycles of silence and shame. The paper, therefore, showcases the trauma which they have to battle as the aftermath of this abuse and concludes that female bonding and political participation are practical mechanisms for combating this trauma. The novel does not only proffer hope of redemption to the survivors through sisterhood relations but sheds light on the lasting scars of parental negligence and trauma; offering a blueprint for resilience, while urging readers to create spaces where pain can be discussed, shame dismantled and resilience nurtured.

References

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