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Genealogy 2018, 2(2), 14;

Mythological Recuperation and Performance as Agency for Genealogical Return in Djanet Sears’s Afrika Solo

Department of Creative Arts, University of Lagos, Akoka 23401, Nigeria
Received: 17 December 2017 / Revised: 2 April 2018 / Accepted: 3 April 2018 / Published: 10 April 2018
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This paper is an examination of Djanet Sears’s Afrika Solo (1990) as a unique example of how Blacks in the global diaspora trace their genealogical roots back to Africa. Drawing from research in anthropology, cultural studies, and performance, the paper purports that Sears’s African-Canadian identity is underlined by her recuperation of a heritage, epistemes and performative aesthetics, and, real or imagined, practices that are not just Afrocentric but specifically Yoruba. Essentially, the paper examines Afrika Solo in the context of Black Aesthetic and more significantly as “text” in a Yoruba sense, which constitutes her own way of “going back to get it.” The paper is divided into two parts: the first part presents a general argument about Sears’s journey back to Africa and the culturally-rooted nature of the performance as opposed to feminist/gender readings of same, while the second part explores ways of understanding the play through the lens of Yoruba ritual and its aesthetics. View Full-Text
Keywords: culture; Ifá; ritual; Sankofa; Sears culture; Ifá; ritual; Sankofa; Sears
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. (CC BY 4.0).

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Balogun, L. Mythological Recuperation and Performance as Agency for Genealogical Return in Djanet Sears’s Afrika Solo. Genealogy 2018, 2, 14.

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