Indigenous Heritage in African Literature.

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Cover; Title page; Copyright page; Contents; Introduction -- Indigenous Heritage in African Literature; Chapter 1 -- Storytelling and Human Development; African Storytelling and Human Development; The Wise King; Development Values of Storytelling; The Storyteller as a Developer; Stage and Environment in African Storytelling; Chapter 2 -- Female Bonding in Black Literature; Chapter 3 -- Insigamigani (Heroic) Traditions; Heroism in Rwandan Mythology; Heroic Models in Rwandese Insigamigani texts; The Symbolism and Imagery of Insigamigami Texts; The Ethic of Insigamigani Texts.

Chapter 4 -- Rumuji Women's DanceWomen in Colonial / Post-Colonial Period; Women's Voice in Pre-Colonial Communities; The Dance: Origin / Nomenclature; Rumuji Dance Performance; Chapter 5 -- Time and the Traditional Palimpsest; The ""Black Hole"" in Africa History and Literature; Palimpsestic Time as Anti Post-colonialism; Images of Slave Trade and the African Sentiment; Chapter 6 -- Poetics of African Naming; Naming and Collective Consciousness; Parodying Transformations; Chapter 7 -- Proverbs in Ojaide's Contexts; Chapter 8 -- Igbo traditional Morality; Tradition and Morality.

Crime and PunishmentIgbo Moral Philosophy; Traditional vs Western Penal Systems; Chapter 9 -- Naming in Esanland; Chapter 10 -- Rhythms: in Honour of Achebe; Notes and Bibliography; Back cover.

This edition commits to the depths of black identities in modern black texts. The cultural reclamation of an African origin and/or roots as tied to the solemn remembrance of the Ancestor has demanded the intense attention of enlightened black writers for the social and psychic revaluation of their generation and others that follow. In this series we further examine the status of the oral performer in African traditional societies which encouraged a wide range of human expression to create identity for members of the community Africa -and we have proposed a challenge to sustain the methods of creative transmission through the continuing presence of these African performers who are living proofs of the survival of her oral traditions, especially in the propulsion of communicative action and the communicative strength of men, women and children in the community.

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