Ama Ata Aidoo

Afrikanska kärleksberättelser – finns de? Ama Ata Aidoo skriver i sitt förord om hur afrikanska författare förväntas skriva om militärregimer, förlegade traditioner, hungersnöd. Så har föreställningen vunnit mark att det inte skrivs om kärlek i Afrika, både i västvärlden och bland de egna intellektuella. Kärlek x 21 visar tydligt att den afrikanska kärleksnovellen lever i vår samtid. Här skriver flera av kontinentens främsta kvinnliga författare om allt mellan födslosmärtor och begravningar; tonårens våndor och ålderdomens krämpor; samkönade relationer och förhållanden som drabbas av rasfördomar. Inte minst slår samlingen hål på myten om den afrikanska kvinnan som ett fattigt offer. Genom hela antologin bultar det mänskliga hjärtat: belägrat och blödande, oförskräckt och ibland triumferande. Närma dig novellerna en i sänder, då kan du höra kvinnornas inre röster var och en för sig.

Vores søster Killjoy er en kras-humoristisk undersøgelse af forholdet og de fortsatte konflikter mellem Afrika og Europa, mellem sort og hvid, og mellem mand og kvinde. Med vid og bid stiller forfatteren skarpt på såvel vestligt hykleri, som afrikansk selvfornægtelse, og tegner et portræt af to kontinenter, som endnu ikke ved, hvordan de skal forsone deres fælles fortid. Det er en roman, som på én gang er blid og forbitret, nøgtern og poetisk, uforstående og klarsynet. AMA ATA AIDOO hører til blandt Ghanas førende forfattere, og romandebuten Vores søster Killjoy er en klassiker i det afrikanske kontinents litteratur.

Join a young Ghanaian woman on her journey into Europe's heart of whiteness to meet the natives in this iconoclastic modern classic.'A wondrous discovery.' Chimamanda Ngozi Adichie'A treasure: one of the works that inspired my own literary journey.' Tsitsi Dangarembga'Aidoo has reaffirmed my faith in the power of the written word.' Alice Walker'Modest, lyrical, reflective and intelligent .. Deserves as wide an audience as it can get.' Angela Carter'Ver do you come from?' she asked Sissie. 'Ghana.' 'Is that near Canada?'Sissie is leaving Ghana for the first time. Arriving in Europe on a scholarship to experience the glories of a Western education, she plunges into this new continent's heart of whiteness, observing the strange customs of the natives. Drinking cocktails at the German Embassy, she cringes at her countrymen. In a Bavarian castle, she is seduced by the lonely mother of Little Adolf. In freezing London, she witnesses 'been-tos' sharing myths of an overseas idyll. In between continents, she writes a letter on the plane to her exiled former lover. But it is not sent. She will tell these tales back at home. Ama Ata Aidoo's landmark debut Our Sister Killjoy exploded into the world in 1977. With its blistering feminist satire of the West African diaspora, colonial legacies and toxic racism, expressed in a radical literary form - prose poetry, letter, manifesto - its provocative impact remains unmatched half a century on. Introduced by Ayesha Harruna Attah

This collection of short stories sees Ama Ata Aidoo, one of Africa’s leading feminist and postcolonial writers, exercise the powerful effect of oral storytelling in her moving tales of shifting identities and the paradoxes of womanhood. Written with vibrant candour and tenacity, No Sweetness Here tackles the challenges of postcolonial Ghana, with topics ranging from the politics of wigs to the fragile joy of motherhood. In this collection, tradition struggles against modernisation, convention against liberation and all the while, Aidoo invites the reader to confront life’s injustices with her characteristic humour and poise.'Even at her gravest, Aidoo writes with a sunny charm.' New York Times 'Beautifully written.' English Magazine

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. This volume in the Global Theatre Perspectives series presents a reconstructed ancient performance text, four one-act indigenous African plays and five modern dramas from various regions of Africa and the Caribbean Diaspora. Because these plays span centuries and are the work of artists from diverse cultures, readers can see elements that occur across time and space. Physicalized ritual, direct interaction with spectators, improvisation, music, drumming, and metaphorical animal characters help create the theatrical forms in multiple plays. Recurring themes include the establishment or challenging of political authority, the oppression or corruption of government, societal expectations based on gender, the complex and transformational nature of identity, and the power of dreams. Though each play is its own unique entity, reading them together allows readers to explore what theatrical elements and cultural concerns are perhaps essentially African. The Caribbean plays add further perspective to the questions of what values, theatrical and societal, are part of African drama, how these have influenced the Caribbean aesthetic, and what the relationships are between the old and new world. Among the creators of the pieces are two Nobel Laureates, those who have been exiled or jailed for the political nature of their work, and the author of his country’s first constitution. The volume can serve as the primary text for an intensive semester-long investigation of African drama and culture. But it is also possible to use this volume along with others in the series as texts for a single course on drama from around the world. The global perspectives approach, letting works from ancient, indigenous, and modern times resonate with each other, encourages thinking across boundaries and connective human understanding.

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. This volume in the Global Theatre Perspectives series presents a reconstructed ancient performance text, four one-act indigenous African plays and five modern dramas from various regions of Africa and the Caribbean Diaspora. Because these plays span centuries and are the work of artists from diverse cultures, readers can see elements that occur across time and space. Physicalized ritual, direct interaction with spectators, improvisation, music, drumming, and metaphorical animal characters help create the theatrical forms in multiple plays. Recurring themes include the establishment or challenging of political authority, the oppression or corruption of government, societal expectations based on gender, the complex and transformational nature of identity, and the power of dreams. Though each play is its own unique entity, reading them together allows readers to explore what theatrical elements and cultural concerns are perhaps essentially African. The Caribbean plays add further perspective to the questions of what values, theatrical and societal, are part of African drama, how these have influenced the Caribbean aesthetic, and what the relationships are between the old and new world. Among the creators of the pieces are two Nobel Laureates, those who have been exiled or jailed for the political nature of their work, and the author of his country’s first constitution. The volume can serve as the primary text for an intensive semester-long investigation of African drama and culture. But it is also possible to use this volume along with others in the series as texts for a single course on drama from around the world. The global perspectives approach, letting works from ancient, indigenous, and modern times resonate with each other, encourages thinking across boundaries and connective human understanding.

Ama Ata Aidoo is one of the best-known African writers today. Spanning three decades of work, the poems in this collection address themes of colonialism, independence, motherhood, and gender in intimate, personal ways alongside commentary on broader social issues. After the Ceremonies is arranged in three parts: new and uncollected poems, some of which Aidoo calls “misplaced or downright lost”; selections from Aidoo’s An Angry Letter in January and Other Poems; and selections from Someone Talking to Sometime. Although Aidoo is best known for her novels Changes: A Love Story and Our Sister Killjoy, which are widely read in women’s literature courses, and her plays The Dilemma of a Ghost and Anowa, which are read and performed all over the world, her prowess as a poet shines in this collection.

Muutoksia - eräs rakkaustarina on sekä koominen että liikuttava kertomus ghanalaisten ihmissuhteista. Esi on urbaani ja edistyksellinen tiedenainen, jonka mies ahdistuu vaimonsa itsenäisyydestä ja raiskaa hänet. Lujatahtoinen Esi ottaa avioeron ja päättää omistautua uralleen. Pian hän kuitenkin tapaa hurmaavan Alin, jolla on jo yksi vaimo. Kohtalon ironia on irvokasta - emansipoitunut Esi päätyy Alin kakkosvaimoksi. Ristiriitatilanteiden tragikomiikka kukkii korkeasti koulutettujen naisten ja vanhoihin rooleihinsa linnoittautuneiden miesten kohtaamisissa. Rakkaussuhteet ovat jatkuvasti tulilinjalla yhteiskunnallisissa myllerryksissä ja sukupuolten välisessä valtataistelussa. Ama Ata Aidoo on Ghanan tunnetuimpia kirjailijoita. Muutoksia - eräs rakkaustarina on hänen kuuluisin teoksensa.

The only current anthology to survey the rich variety of contemporary African drama The plays included in this volume are: Death and the King's Horseman by Wole Soyinka; Anowa by Ama Ata Aidoo; The Chattering and the Song by Femi Osofisan; The Rise and Shine of Comrade Fiasco by Andrew Whaley; Woza Albert! by Percy Mtwa, Mbongeni Ngema and Barney Simon; and The Other War by Alemseged Tesfai. Contemporary African Drama brings together some of the best writers writing from an African viewpoint today.

These two witty and perceptive social dramas are sympathetic and honest explorations of the conflicts between the individualism of westernised culture and the social traditions of Africa. Both plays have been performed throughout the world.