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By Handel Kashope Wright

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Additional info for A Prescience of African Cultural Studies: The Future of Literature in Africa Is Not What It Was (Counterpoints (New York, N.Y.), Vol. 40.)

Sample text

Surely nothing and nowhere could be colder than the inside of a freezer. I tune in to the teacher again while still watching the game. Numb were the beadsman’s fingers while He told his rosary... this patient, holy man. ” The teacher’s boisterous rendition of Keats is matched by his bouncy, business-like strides as he moves toward his desk. ” Yeah, but how cold is that? I continue to wonder about this as I watch the ball throw up a little puff of red dust each time it bounces on the bald, red soccer field.

Conversely, even though orality remains underutilized in western cultural studies, it is traditionally the most dominant and widespread form of African creative expression. Thus I assign to orality and drama as performance the role of being pivotal genres of African cultural studies. In terms of politics, groundedness, and pedagogy, my argument is that drama taught and studied as an element of African cultural studies ought to have a considerable emphasis on performance; and although imported plays can and should be studied, there should be an emphasis on addressing local issues.

In fact, I discovered that despite its empowering, expansive, and progressive politics, cultural studies was for the most part characterized as much as English studies is by an equally pervasive, taken-for-granted Eurocentrism. I therefore began to work on how an African cultural studies would be different from a received Eurocentric cultural studies. 13 Secondly, I began to consider how to articulate African cultural studies not as a separate discipline or a marginalized aspect of the anti-discipline of cultural studies but as an integral part of the conversation about what cultural studies is and how it should develop internationally.

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