Abdul-Rasheed Na'Allah – författare

This book traces Dàdàkúàdá’s history and artistic vision and discusses its vibrancy as the most popular traditional Yoruba oral art form in Islamic Africa.

Foregrounding the role of Dàdàkúàdá in Ilorin, and of Ilorin in Dàdàkúàdá the book covers the history, cultural identity, performance techniques, language, social life and relationship with Islam of the oral genre. The author examines Dàdàkúàdá’s relationship with Islam and discusses how the Dàdàkúàdá singers, through their songs and performances, are able to accommodate Islam in ways that have ensured their continued survival as a traditional African genre in a predominantly Muslim community.

This book will be of interest to scholars of traditional African culture, African art history, performance studies and Islam in Africa.

This book traces Dàdàkúàdá’s history and artistic vision and discusses its vibrancy as the most popular traditional Yoruba oral art form in Islamic Africa.

Foregrounding the role of Dàdàkúàdá in Ilorin, and of Ilorin in Dàdàkúàdá the book covers the history, cultural identity, performance techniques, language, social life and relationship with Islam of the oral genre. The author examines Dàdàkúàdá’s relationship with Islam and discusses how the Dàdàkúàdá singers, through their songs and performances, are able to accommodate Islam in ways that have ensured their continued survival as a traditional African genre in a predominantly Muslim community.

This book will be of interest to scholars of traditional African culture, African art history, performance studies and Islam in Africa.

Through an engaged analysis of writers such as Wole Soyinka, Ola Rotimi, Niyi Osundare, and Tanure Ojaide and of African traditional oral poets like Omoekee Amao Ilorin and Mamman Shata Katsina, Abdul-Rasheed Na''Allah develops an African indigenous discourse paradigm for interpreting and understanding literary and cultural materials. Na''Allah argues for the need for cultural diversity in critical theorizing in the twenty-first century. He highlights the critical issues facing scholars and students involved in criticism and translation of marginalized texts. By returning the African knowledge system back to its roots and placing it side by side with Western paradigms, Na''Allah has produced a text that will be required reading for scholars and students of African culture and literature. It is an important contribution to scholarship in the domain of mobility of African oral tradition, and on African literary, cultural and performance discourse.

Through an engaged analysis of writers such as Wole Soyinka, Ola Rotimi, Niyi Osundare, and Tanure Ojaide and of African traditional oral poets like Omoekee Amao Ilorin and Mamman Shata Katsina, Abdul-Rasheed Na''Allah develops an African indigenous discourse paradigm for interpreting and understanding literary and cultural materials. Na''Allah argues for the need for cultural diversity in critical theorizing in the twenty-first century. He highlights the critical issues facing scholars and students involved in criticism and translation of marginalized texts. By returning the African knowledge system back to its roots and placing it side by side with Western paradigms, Na''Allah has produced a text that will be required reading for scholars and students of African culture and literature. It is an important contribution to scholarship in the domain of mobility of African oral tradition, and on African literary, cultural and performance discourse.