A Fascinating Look into the 4th Industrial Revolution in Africa

On Thursday, April 18, the Center for African Studies hosted a dinner and talks for the event “Coffee, Tea, and IP”. (The event was co-sponsored in part by the International & Area Studies Library.) The theme of the two presentations, by Dr. Boatema Boateng and Dr. Chidi Oguamanam, was “Indigenous Knowledge, Intellectual Property, and the Fourth Industrial Revolution: Challenges and Opportunities for Africa”. The event began with a delicious catered meal and warm discussion, and the attendees gathered with their food to listen to the two speakers.

Adeyinka Alasafe, the Outreach Coordinator with the Center for African Studies, began her introduction with the inequality of the agriculture industries in Africa, explaining that while coffee from Ethiopia is renowned worldwide for its excellence and sells for expensive prices, hardly any of this money and acclaim goes back to the actual coffee growers. The cultivation of tea has followed a similar historical path, being a part of the reason for the establishment of the Silk Road, as well as colonial tea plantations in places such as East Africa and South Carolina. These crops are staples across the globe, but Western imperial powers and modern industries have subjected the indigenous peoples who grow it and cherish it as a part of their cultural heritages and medicinal practices to the “colonization of agriculture”. Considering this past, and the present inequalities that continue to harm indigenous peoples and communities, we must consider: what does colonial agriculture look like under modern capitalism? And as what place could and should African indigenous knowledge and intellectual property take in the current Fourth Industrial Revolution?

Dr. Boatema Boateng explored this history and the modern state of African economies in her presentation, beginning with a deep-dive into IP and patent law. She noted that previous to World War II, the United States was far more likely to disregard or break the IP policies of other nations rather than respect them. Scholars have put forth the idea that piracy is a stage of the United States’ economic development. The United States’ history of piracy should not be ignored or dismissed as we move forward into new economic waters and discussions of IP rights, because this pattern continues to the present day.

In the First Industrial Revolution, Africans and Africa were treated as resources. Slavery was a strong economic establishment, and colonization and the “Scramble for Africa” cut up the continent and her peoples in waves of genocide and imperial evil. This era was characterized by the widespread theft of raw materials from Africa and African peoples.

The Second Industrial Revolution marked a shift to electrical power the transition to democracy. In Africa there were high hopes and ambitions, but also many severe challenges as a result of centuries of subjugation and restriction from economic sovereignty. In what Dr. Boateng called a “sinister turn”, African nations turned away from attempts to reach self-sufficiency in favor of “competitive advantage” and the exportation of raw materials. The dependence of African nations on Western purchase of raw materials has carried through subsequent revolutions to the present day.

The Third Industrial Revolution centered on the emergence of digital technology as the most important industry, and information as the greatest commodity. New questions for IP and patent law arose alongside the Internet, and the adoption of digital banking and mobile money apps characterized new economic flows in Africa and beyond. In thinking about these changes, Dr. Boateng asks us: Who designs the technology? Who has the power and control? How are white, colonial, male, privileged perspectives and biases built into technology and our economic reality?

Dr. Boateng points to both global inequality and the failure of African political leaders to plan for the future as Africa’s great obstacles to economic development. She noted that others have states that, for example, “Ghana is back to the Gold Coast” — meaning that Ghana has returned to economic dependency upon exporting raw materials to Western nations. In addition to exporting valuable materials, African nations have become dumping grounds for the toxic waste of global industries, such as with fast fashion and electronics.

Due to this historical and current cycle of economic disruption and dependence, Dr. Boateng expressed apprehension about the opportunities of the Fourth Industrial Revolution for African nations. She sees the same potential for harm to indigenous peoples and knowledges as in previous “revolutions”, and wonders whether we can break this pattern and inequality. She posits that in order for Africans and African nations to push their ambition, they must innovate with indigenous knowledge, take control over their data sovereignty, and protect their intellectual heritage.

Dr. Chidi Oguamanam focused more on the technological and scientific sides of the Fourth Industrial Revolution in his presentation, framing the “4IR” as a time of rapid and destructive transformations that focus on a digital revolution. This revolution is one that we are watching unfold in real time, with massive developments in computing possibilities, data science, and AI and machine learning. These technologies are marked by the “melding of knowledge and disciplinary boundaries”, as digital tech fuses with music, art, theater, food, sciences, and other fields to create new knowledge. This development presents the scary potential for “massive decimation” of traditional knowledge through cultural appropriation.

He also explored more closely the concept of “virualization” and papers that have been written about data and traditional knowledge, as well as Africa’s STI (Science, Technology, and Innovation) Framework. He notes that when building this framework, the faith in Western technology was so strong that African nations did not consider the possibilities of innovation with traditional knowledge. Now, the African Union still focuses on Western strategies and indigenous knowledge is “at most, peripheral”. In addition, only a few nations even have official STI and/or 4IR policies.

Dr. Oguamanam also dicussed the fascinating concept of the “bioeconomy” or “biotechonomy”, which is the intersection of life sciences and traditional knowledge in areas such as climate change, food, genetics, et cetera. In this biotechonomy, data has become the “new oil”, as the raw material for the intersection of science and tech. Data is a vastly valuable commodity and contested resource. When you are collecting data about people, communities, or climates, who owns that data? Who profits from it? Who is excluded from the profits? A central concern for indigenous communities must be the ability and legal right to control their own data.

Dr. Oguamanam also discussed the complexities of digitizing traditional knowledge, including asking the question: how do you digitize sacred and secret knowledge? Should it be digitized? Digitization efforts can be, according to Dr. Oguamanam, a “landmine for appropriation”, and present unique difficulties. From even the basic perspective of cost and infrastructure, the actual digitization process meets barriers at every turn. Who is paying for it, with what equipment, and who is doing the work? From a logistical standpoint, it is unclear where even to start with Africa’s vast number of cultures, traditions, and knowledge systems.

Dr. Oguamanam narrowed down his expansive presentation to a central point: It is imperative to rethink STI strategy in Africa across all fields and focus on TK in medicine, science, arts and music, etc. For Africa to compete in the 4IR, there is a lot of work and innovation to be done, and a shift in perspective is necessary.

In the following discussion session, Drs. Boateng and Oguamanam delved more deeply into questions on sustainability, ambition vs. “potential”, infrastructure, and education. It was a fascinating conclusion to a wonderful event!

If you would like to learn more about this topic, try checking out these resources:

Library Books

Landry Signé. 2023. Africa’s Fourth Industrial Revolution. (Online resource).

Wilma Viviers, Ali Parry, and Susara J. Jansen Van Rensburg, editors. 2021. Africa’s Digital Future: from theory to action. (Online resource).

David Mhlanga and Emmanuel Ndhlovu. 2023. The Fourth Industrial Revolution in Africa: Exploring the Development Implications of Smart Technologies in Africa. (Online resource).

Everisto Benyera. 2021. The Fourth Industrial Revolution and the Recolonisation of Africa: the coloniality of data. (Online resource).

Library Articles

Alabi, Adefunke O., and Stephen M. Mutula. 2022. “Human Development for the Fourth Industrial Revolution: Which Way for Sub-Saharan Africa?” Development Southern Africa 39 (4): 528–42. doi:10.1080/0376835X.2022.2098090.

Magagula, M.M., and O.A. Awodiji. 2024. “The Implications of the Fourth Industrial Revolution on Technical and Vocational Education and Training in South Africa.” Social Sciences and Humanities Open 10 (January). doi:10.1016/j.ssaho.2024.100896.

Malapane, Tshepo Alex. 2019. “An Application of Data Mining in the Fourth Industrial Revolution – A Case of South Africa.” 2019 Systems and Information Engineering Design Symposium (SIEDS), Systems and Information Engineering Design Symposium (SIEDS), 2019, April, 1–6. doi:10.1109/SIEDS.2019.8735627.

Metu, Amaka Getrude, Chekwube Vitus Madichie, Chris Ulua Kalu, and Geraldine Ejiaka Nzeribe. 2020. “The Fourth Industrial Revolution and Employment in Sub-Saharan Africa: The Role of Education.” Journal of African Development 21 (1): 116–37. doi:10.5325/jafrideve.21.1.0116.

Nwosu, Lilian Ifunanya, Makuena Clementina Bereng, Tlotlo Segotso, and Ngozi Blessing Enebe. 2023. “Fourth Industrial Revolution Tools to Enhance the Growth and Development of Teaching and Learning in Higher Education Institutions: A Systematic Literature Review in South Africa.” Research in Social Sciences and Technology 8 (1): 51–62.

Oki, Olukayode Ayodele, Chinaza Uleanya, and Sesona Fikisi. 2024. “Adaptation to the Fourth Industrial Revolution among Generation Y in Rural Africa.” Africa Review 16 (2): 136–55. doi:10.1163/09744061-bja10088.

Ssekitoleko, Patrick, and Shepherd Dhliwayo. 2023. “Elevating South Africa’s Entrepreneurial Activity in the Fourth Industrial Revolution Era.” Administrative Sciences (2076-3387) 13 (9): 195. doi:10.3390/admsci13090195.

van Vuuren, J.C Jansen, and A Jansen van Vuuren. 2022. “Preparing for the Fourth Industrial Revolution : Recommendations to Adapt Cyber Security Governance and Skills in South Africa.” Journal of Information Warfare 21 (1): 71–90.

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Crowdfunded Comics: A Unique UIUC Collection

By Jason Larsen

Cover of "The Girl Who Married a Skull and Other African Stories" crowdfunded comic

You probably already know that the University Library houses an expansive comic collection which is always available for checkout to take home and read. You probably also know that we have an electronic comics application called ComicsPlus that offers free access to over 20,000 comics from over 80 publishers right at your fingertips. You may be surprised to learn, however, that the library has a truly unique collection of crowdfunded comics, many of which are only available through the UIUC library.

Over the last several years, the library has been collecting crowdfunded comics. For those unfamiliar with the term, crowdfunded comics are created via the backing of donors through sites like Kickstarter. Many of these books come from BIPOC and/or LGBTQ+ creators that rely on crowdfunding to have a presence in the comic space. Until now, there have been no academic libraries collecting these comics in significant quantity. To try and help ensure these materials are seen and discoverable, we have acquired to date 188 different crowdfunded comic projects and are actively adding them to our collection.

The library is excited to be able to share this unique and growing collection with you. And to celebrate both Black History Month and this unique collection, February’s selections will primarily, though not exclusively, focus on some of the different crowdfunded comics we have acquired from Black creators. If you see something you like, make sure to check it out, and hopefully discover something new and unique to enjoy!

Comics Available on the Shelf

The Girl Who Married a Skull and Other African Stories (Various)

This modern anthology series comes from Iron Circus, one of the pioneering publishers of crowdfunded comics. The book takes classic African folklore and updates them with modern twists and takes. While the book may seem more suited for juvenile readers, many fables and folklore stories have been the basis for connecting people of all ages to other cultures as well as our own pasts.

The Lunatic, The Lover, & The Poet (Brian Hawkins and Marcio Loerzer)

The comic is a horror mystery series that feels like a slasher movie set against a Shakespearean backdrop. It is the story of a playwright who has big Broadway ambition yet is stuck working on a small-town rendition of A Midsummer Night’s Dream. And if that wasn’t challenging enough, he then finds himself wrapped up in a murder plot that ripples through the town. After their lead star is murdered, can he change the script of this drama before anyone else becomes a victim?

The Nekros (D.C. Burton and Olumide Emmanuel)

A demon is stalking the citizens of a small village. When this mythical monster takes the lead character’s father in one of its raids, it sets in motion a quest to put an end to its reign of terror. The series is set in a dark fantasy world where our mythology influences which gods and monsters we see. As the series progresses, the hero and his party find themselves placed in situations that their training never prepared them for, but the hero always wins in the end…right?

Black Spartans (Brandon Calloway)

In this manga series, we follow a novice magical bounty hunter as he begins his career hunting all sorts of magical and mythical nuisances. Along the way, he meets a female bounty hunter who will either be a great partner or…a bitter rival? Will these two become the heroes everyone needs when great evils have started to be freed from captivity? Or will they decide the world is too full of darkness and corruption to be worth salvation? The creator’s love of Shonen manga really shines through as he world-builds around the two protagonists.

Image from Ennead - The Rule of Nine Kickstarter project page

Ennead – The Rule of Nine (J.L. Johnson, Luke Horseman, and Edward Lilly)

This expansive high fantasy series (currently on its sixth issue) follows four different characters as they grapple with their destinies. The story around each of the four characters is different, yet the tales overlap as they are all traveling in the same land. Whether you are following the soldier running from his past, the young queen struggling to take control of the reins of power, the old king trying to change the history of the world by ending generations of war, or the spy trying to prevent the world itself from burning, you will find yourself likely enthralled with what happens next in the land of Amashik.

Real Hero Shit (Kendra Wells)

Real Hero Shit is another selection from crowdfunding publisher Iron Circus, and you won’t want to miss reading this one! Real Hero Shit is set in a Dungeons & Dragon style world that breaks down the boundaries of traditional fantasy to include queer representation. A rogue is tasked with rescuing villagers but finds his options slim. To aid him in this quest, he gathers a mismatched group of fellow adventurers, including a local prince who is more about partying than adventuring. The group, especially the prince, is about to receive a hard lesson about the system and what being a real hero means.

Toddlerhood! (George Gant)

Crowdfunded comics cover a wide variety of topics and interests. And Chicago-based creator George Gant’s collection of comic strips about the hilariously absurd task of raising a toddler, is a great example. The series was originally published as a webcomic on the Webtoon application before King Features Syndicate picked it up in mid-2022 and now publishes the series through their website.

Cover of Ruca by Kayden Phoenix, Amanda Julina Gonzalez, and Alexis Lopez

Ruca (Kayden Phoenix, Amanda Julina Gonzalez, and Alexis Lopez)

Kayden Phoenix is a third-generation Chicana creator who has been creating her own Latina superhero universe via crowdfunding. This book has an all-Chicana creative team, with one of their stated goals to create superhero characters that are true representations of Latinas by challenging stereotypes about them and other marginalized Americans. The book is the origin story for the character as she discovers her powers, and along the way delves into the world of child kidnapping and trafficking.

Zufan (Beserat Debebe and Stanley Obende)

Zufan is an Afrofuturistic series inspired by the attempted Italian invasion of Ethiopia in 1896. It takes the core of its story from the historical unification of the various and highly fractured Ethiopian provinces to repel the Italians, and in so doing, being the only African country to retain its independence during what is known as the Scramble for Africa era in the late 1800s. The creators apply this historical event to an alien invasion of Earth where instead of provinces, the country of Africa must find a way to unite in a Pan-African alliance to survive.

Comics Available Through ComicsPlus

Cover of Farmhand by Taylor Wells and Rob Guillory

Farmhand (Taylor Wells and Rob Guillory)

Farmhand is an exploration of the life of Jedidiah Jenkins, the world’s most unique farmer. You see his farm doesn’t produce crops but instead produces body parts! After years of amazing business, the truth about the root of Jenkins’ success bubbles up from below the surface. When his estranged son returns home, will this spell doom for everyone or will it save the family from a greater evil? Find out in this new horror/comedy series from creator Rob Guillory, who won fans the world over with his run on the Image series Chew.

While the above comics are some of our favorites, there are many more to choose from in the catalog. The easiest way to locate the crowdfunded comics material is to type “Kickstarter” in the catalog search box. You can then filter the results list using the Subject topics on the left-hand navigation pane such as Comic Books Strips Etc. and Comics Graphic Works among others.

And if you are unfamiliar with the ComicsPlus application where Farmhand can be found, check out the video links below as they provide additional details on the application.

Welcome to ComicsPlus

How to Locate and Access ComicsPlus

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‘Black Panther’: A Realistic Africa within a Fictitious Wakanda

Black Panther theatrical poster

Post by Ashley Adams

For months now, people have been raving about Marvel’s Black Panther movie. It has received some criticism, but also overwhelming support and love from people all over the world.

Marvel produces superhero movies that are fascinating to watch, and sometimes have brief historical and realistic components, but this is the first time when fiction and reality combine in this specific way. Not only is this movie a first of its kind, with an almost entirely black cast, but it sets out to provide its viewers with a connection. For the first time, there is a black superhero who takes center stage. And although this story is based in fantasy, the filmmakers took the opportunity to fuse fantasy with real African concepts, cultures, and histories.

Wakanda is a fictitious Central East African nation that has not yet been discovered, let alone exploited by outside colonizers. It directly counters many common perceptions of Africa as being a dark, poor continent. Chimamanda Ngozi Adichie, a Nigerian author, comes to mind when considering this perception and “the danger of a single story”. In reality, however, Africa is so much more. It is a continent rich in so many ways, and equally rich in diversity. This movie provides some insight into the diversity that is present throughout the continent, while it can also be seen as promoting a sense of identity, a sense of pan-Africanism.

A map of regions in Africa

One of the most visually exciting components of this movie is the fashion. Ruth E. Carter was the costume designer for the film, and she created a combination of traditional African attire with hi-tech Afropunk influences. Carter had the goal of creating attire for a fictional African nation that was completely original, but that also represented and honored both African history and African-American history. She took several trips to Africa and drew inspiration from those visits. Some of her specific inspiration came from the Dogon people of West Africa, the Turkana people in East Africa, the Hemba people in Congo, the Suri tribe in Ethiopia, the Tuareg people in Western and Northern Africa, along with several others, totaling over 10 different tribes and groups of people from throughout the continent (Giles, 2018). She combined these inspirations with an Afro-futuristic edge to create the original attire for the film. Check out a brief red carpet interview with Carter here when she talks about some of her favorite inspirations:

Throughout the film, characters are sometimes seen speaking to each other in another language. What is even more interesting, however, is the fact that this is a real African language. The filmmakers decided to incorporate isiXhosa, a South African language with over eight million native speakers, into the story line (Eligon, 2018). This language was not chosen at random, but was suggested by one of the actors in the film. John Kani, who plays T’Chaka, the father of T’Challa, in the film, is a native of the Eastern Cape in South Africa, and a native isiXhosa speaker. He suggested that the directors should incorporate some isiXhosa into the film’s dialogue to increase the African authenticity of the film. The filmmakers loved the idea, and the film’s director, Ryan Coogler, “wanted to make it a priority to use Xhosa as much as possible” throughout the film (Eligon, 2018). The usage of isiXhosa, however, was not random or sporadic throughout the film, but rather was strategically used during what would be considered natural or authentic situations. An example of this would be when two Wakandan characters wanted to discuss something privately but were in the presence of an outsider. The language itself is very difficult to learn, and because none of the cast were native speakers of isiXhosa, the filmmakers hired several dialect coaches, including Mr. Kani and his son. If you’re interested in hearing a bit about the pronunciation of isiXhosa, check out this video:

This film has definitely paved the way for new narratives about Africa. It has inspired viewers to consider more than a single story, and has increased pride for African culture, language, and history.

For more information on African Studies resources, visit the International and Area Studies Library’s African Studies Collections & Services page, or contact:

Atoma Batoma, PhD
African Studies Bibliographer
323 Library
batoma@illinois.edu

Search for African language resources: https://www.library.illinois.edu/ias/languageresources/

News Sources:

Eligon, John. (2018, February 16). Wakanda Is a Fake Country, but the African Language in ‘Black Panther’ Is Real. The New York Times. Retrieved from: https://www.nytimes.com/2018/02/16/us/wakanda-black-panther.html.

Giles, Chris. (2018, February 19). A journey into Wakanda: How we made Black Panther. CNN. Retrieved from https://www.cnn.com/2018/02/16/africa/black-panther-behind-the-scenes-marvel/index.html.

Ashley M Adams
MS in Community Health Candidate, MA in African Studies Candidate
Department of Kinesiology and Community Health
University of Illinois Urbana-Champaign

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Dreaming of Djembes in Chambana: Midwest Mandeng 2016

Image of the flyer advertising Midwest Mandeng 2016.

Flyer advertising Midwest Mandeng 2016.

Every fall, for one weekend, some of the most renowned West African drummers and dancers come to Champaign-Urbana for a full weekend of workshops, demonstrations, community-building, and general merriment. The annual festival, called Midwest Mandeng, was first held in 2014 and is organized by a dedicated group of volunteers including me, Mara Thacker, the South Asian Studies Librarian at the International and Area Studies (IAS) Library. A promotional video produced for the first Midwest Mandeng in 2014 explains what it’s all about:

This year, the festival will be October 7th, 8th, and 9th on the University of Illinois campus and downtown Urbana. Be sure to check the full schedule to see all the details on locations and timings.

The IAS Library and the Center for Global Studies are getting in on the action this year by co-sponsoring a special performance with master djembefola, Bolokada Conde, one of the most celebrated master drummers in the world.  Originally from Guinea, West Africa, Conde was the lead soloist of Les Percussions de Guinée, a group sponsored by the Guinean government that presents traditional music and dance, especially from the Guinean highlands. For over a decade, he has taught workshops worldwide to beginning and advanced students. While he currently lives in South Carolina, he taught at the University of Illinois at Urbana-Champaign as a visiting professor from 2008-2011, leading Mande drumming, rhythms, and songs.

Bolokada plays djembe at a demonstration at the Urbana Free Library at Midwest Mandeng 2015.

Bolokada plays djembe at a demonstration at the Urbana Free Library at Midwest Mandeng 2015.

On Friday, October 7, 2016, from 4:00-5:00 p.m., Bolokada will visit the IAS Library to share his stories and experiences touring and performing all over the world, and showcase some of the Malinke rhythms that he has mastered over the years. This event is free and open to the public.

If you feel inspired by the event, check out some of the drum and dance workshops held in the studio rehearsal space in the Krannert Center for the Performing Arts. All of the workshops are open to all experience levels and drums can be borrowed free of charge on a first-come, first-served basis. Check out the event website for more information, or contact Mara Thacker at midwestmandeng@gmail.com.

To find out more about West African drumming and dancing, the IAS Library and the Music and Performing Arts Library have a few options for you. Check out some of our visiting artist’s, Bolokada Conde’s, recordings in CD format: Morowaya, Sankaran, and Rhythm Manding.

Bolokada Conde's "Rhythm Manding" CD.

Bolokada Conde’s “Rhythm Manding” CD.

For visuals to accompany the audio, YouTube has a number of recordings available of Guinea’s national dance company, Les Ballets Africains. Also, some of the company’s amazing past productions are on on YouTube. One particularly inspiring piece is a clip of the troupe performing the rhythm dundunba, which is the dance of the strong man and also one of the de facto party dances in celebrations in Guinea.

There will be a community dundunba party as part of Midwest Mandeng where you can try out some dance moves or hear the rhythm in person. Check out the Facebook event page and join in on the fun!

If you want to get meta, check out George Worlasi Kwasi Dor’s 2014 book, West African Drumming and Dance in North American Universities: An Ethnomusicological Perspective. There is also a fascinating thesis on “Performance, Politics, and Identity in African Dance Communities in the United States” written in 2012 by Sarah Sandri at the University of Oregon which is freely available online.

We hope to see you in IAS on the 7th for Bolokada Conde’s free performance!

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“The Fairer Sex” Writes

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What writers would you highlight to commemorate Women’s History Month? Comment below!

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Image Source: suggestive celine (via Flickr)

March is Women’s History Month and an appropriate time to highlight some of the women’s voices that represent world literature. After all,

  • American Hillary Clinton, who is an author of five books, is running for the U.S. presidency,
  • Nigerian Chimamanda Ngozi Adichie, who is an author of five books, has a TED Talk that opens our courses concerned with social justice,
  • and Pakistani Malala Yousafzai, author of one book, continues to fight for the equal education of girls and boys.

Check out these literary works from across the globe that engage discourses of women’s and gender rights in ways that are frequently subversive, occasionally confrontational, and always powerful.

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Mahasweta Devi. Image Source: TopNews

Draupadi” by Mahasweta Devi (1978)

Tags: India, South Asia, Bengali, short story

In a poor, post-colonial town in India, rumor has it that an infamous young woman, “Dopdi,” who has yet to reach the age of 30, has become a menace to local authorities. Fighting for labor rights and attacking officials without warning, she presents a dangerous local figure. Yet no one can identify her with any certainty. While the police have laid traps to draw her out of hiding in the forest, Dopdi continues to evade capture. In the end, what is meant to be Dopdi’s undoing invigorates her spirit and renders her an even more powerful threat. The best reading of this story is dependent on minimal research into the South Asian mythical epic of the Mahabharata. Themes of gender, sexual violence, and classism are strong threads in this short and powerful work. To continue the conversation addressing sexual violence as a world phenomenon and its prevalence in South Asia, attend the April 5th evening screening of India’s Daughter at the Spurlock Museum.

More Like This: Gayatri Spivak’s essay Can the Subaltern Speak? (India and postcolonial nations), most any title by Jhumpa Lahiri (India & the USA)

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Gayatri Spivak. Image Source: Rosa Luxemburg-Stiftung on Flickr

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Jhumpa Lahiri. Image Source: Il Circollo del lettori on Flickr

Nervous Conditions by Tsitsi Dangarembga (1988)

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Tsitsi Dangarembga. Image Source: Pan American Center on Flickr

Tags: Zimbabwe, Africa, English, novel

In this novel, “Tambu” is a young girl living in a country then known as Rhodesia in the 1960s. Because she is female, her ambition for academic study is not well supported by her community—that is, until her older brother suddenly dies and someone must take on a role of leadership and status to save her family from economic ruin. As Tambu is introduced to a new world of privilege, knowledge, and experience, readers examine what she leaves behind and what these sacrifices mean in shaping a new, hybrid identity. This bildungsroman succeeds in taking on the ambitious goal of engaging discourses of gender, colonialism, and competing cultures in a work deemed one of the most important to have come out of Africa. If you are a current University of Illinois student and interested in these themes and this novel in particular, consider taking a course taught by Dr. Manisha Babb. She teaches a cross-listed course called Modern African Literature offered in the English, African Studies, Comparative World Literature, and French departments, respectively as ENG 470, AFST 410, CW 410, and FR 410.

More Like This: Mariama Bâ’s Une si longue lettre (Senegal), Maria Nsué’s Ekomo (Equatorial Guinea)

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Mariama Bâ. Image Source: Wikipedia

A photo of Maria Nsue. Image Source: escritores.org

Maria Nsué. Image Source: escritores.org

Emails from Scheherazad (2003) by Mohja Kahf

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Mohja Kahf. Image Source: Aslan Media on Flickr

Tags: Syria, the Middle Eastern Diaspora, poetry

Do you remember Scheherazad(e)? She was the sole wife and queen to King Shahryar who eluded death by telling tales within tales that never ended? The stories of Aladdin, Sinbad, and Ali Baba all stem from this famous text. Mohja Kahf, a poet of Syrian descent, revisits this legacy in her compilation of poems. Emails from Scheherazad. Her bi-cultural identity informs and enriches her work, as seen in the poem “My Grandmother Washes Her Feet in the Sink of the Bathroom at Sears.” In it she describes being the product of both a Middle Eastern and an American culture. She regularly contradicts the widely held notion that being a Muslim and a woman is synonymous with being oppressed and her poems allude to globally recognizable female characters who face adversity—Eve, Malinche, Hagar, and more—suggesting a shared history and resilience. To get more connected to the local Muslim community on University campus, check out the United Muslims and Minority Advocates (UMMA) on Facebook.

More Like This: Arabian Nights/One Thousand and One Nights, Mona Eltahawy’s Headscarves and Hymens (Egypt & the USA), Ghada Abdel Aal’s I Want to Get Married (Egypt)

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Mona Eltahawy. Image Source: Aspen Institute (via Flickr)

 

A photo of Ghada Abdel Aal. Image Source Christopher Rose on Flickr

Ghada Abdel Aal. Image Source: Christopher Rose (via Flickr)

Yentl, the Yeshiva Boy by Isaac Bashevis Singer (1983)

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Barbara Streisand as Yentl. Image Source: Ziegfeld Girl on Flickr

Tags: Poland & the Jewish Diaspora, Yiddish, short story

This text is actually written by a man. Because it inherently engages questions of genders and their roles in society, and also features a female protagonist, it remains relevant to global literature that tackles issues concerning women’s lives. The main character in this work, Yentl, has been spoiled by her father as a child by being allowed to study sacred rabbinical texts, an activity strictly reserved for men in her community. When her father dies, not wanting to abandon her religious learning, she makes a plan to hide her sex and continue on her path of erudition. However, there are some unanticipated expectations associated with her new role as a male. The cinematic adaptation of Yentl starring Barbara Streisand is inextricably linked to this literary work. If you’re an enrolled student and interested in this area, seek out the Program in Jewish Culture & Society for more about works written in Yiddish and on the Jewish diaspora. A selection of the program’s courses can be found on the program’s website.

More Like This: Anne Frank, The Diary of Anne Frank, Deborah Feldman’s Unorthodox: The Scandalous Rejection of My Hasidic Roots 

A photo of Anne Frank. Image Source: Wikimedia Commons.

Anne Frank. Image Source: Wikimedia Commons

A photo of Deborah Feldman. Image Source: Zimbio

Deborah Feldman. Image Source: Zimbio

Kinsey Report” by Rosario Castellanos

An image of Rosario Castellanos. Image Source: Milagros Mata Gil on Flickr

Rosario Castellanos. Image Source: Milagros Mata Gil (via Flickr)

Tags: Mexico, Latin America, Spanish, poetry

The title of this poem refers to American sexologist Alfred Kinsey, whose published works on human sexual behavior became well known in the mid to late 20th century. While this poem makes for a quick read, it remains in the reader’s memory indefinitely. It features six different feminine voices that expound on the condition of their gender. One woman reports on her marriage which has become a hollow and juridical union of self-sacrifice and anxiety; another fears being deemed a prude for lack of sexual activity or a whore for any carnal intimacy engaged outside of marriage; a third wistfully awaits a Prince Charming who will whisk her away from any care she might have. All of the voices problematize notions of female gender and show how societal expectations and traditional roles can, to say the very least, be limiting. For ways to find more Latin American literature, see this lib guide.

More Like This: All titles by Sor Juana Inés de la Cruz (Mexico), all titles by Clarice Lispector (Brazil), Sabina Berman’s (Mexico) Entre Villa y una mujer desnuda

A drawing of Sor Juana Inés de la Cruz. Image Source: Wikipedia

A drawing of Sor Juana Inés de la Cruz. Image Source: Wikipedia

A photo of Clarice Lispector. Image source: ana.claudia on Flickr

Clarice Lispector. Image source: ana.claudia (via Flickr)

Happy reading, sharing, and happy Women’s History Month! Let us know what additional authors you would add to this conversation. Also drop by the Main Library’s Marshall Gallery (first floor, east side of the building ) to see an exhibit curated by Leanna Barcelona highlighting women’s history at the University of Illinois. If you want even more titles, visit the Undergraduate Library’s post to commemorate Women’s History Month last year.

For more posts like these, make sure to like our Facebook page, where we share a new Glocal Notes article every week of the semester.

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