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Igbo Names In The Nominal Roll Of Amelié, An Early 19th Century Slave Ship From Martinique: Reconstructions, Interpretations And Inferences, Chukwuma Azuonye
Igbo Names In The Nominal Roll Of Amelié, An Early 19th Century Slave Ship From Martinique: Reconstructions, Interpretations And Inferences, Chukwuma Azuonye
Chukwuma Azuonye
The names discussed in the present paper come from the nominal roll of “212 Africans, all Ibos, who constituted the clandestine freight of Amelié, a slave-ship commissioned at Saint-Pierre, Martinique, and captured by the royal corvettee, Sapho, on February 8, 1822, in the Caribbean Sea.” The list was forwarded to me as far back as 1985 through Abiola Irele (then of the University of Ibadan), at the instance of the great Martinique cultural nationalist poet, Aimé Cesaire (1913–2008), by Mme Thesée, a French scholar who was then completing a study of the secret passage of this particular group of slaves. …
Kaalu Igirigiri, An Ohafia Igbo Singer Of Tales (Chapter 2), Chukwuma Azuonye
Kaalu Igirigiri, An Ohafia Igbo Singer Of Tales (Chapter 2), Chukwuma Azuonye
Chukwuma Azuonye
A study of the art and performance of an Ohafia Igbo singer of oral epic songs, Kaalu Igirigiri of Okon, in the light of four aesthetic principles (functionality, authenticity, variety and clarity) voiced by listeners at performances and articulated by means of specialized critical vocabulary by connoisseurs, critics, other singers and Kaalu Igirigiri himself. The essay demonstrates the preeminence of oral literary criticism in the the elucidation of the form, meaning and significance of oral traditional art.