Viewing page 1 of 7


Transcription: [00:00:10]
[[african drums sounds]]
[[drums, whistling and low flute]]

The literary corner black writers of the world, a series of analyses and interpretations of black world literature.
Today an introduction to African English drama.

[[woman's voice]]
Give us money to satisfy our daily necessities, make you not forget those who day struggle daily. Those who beclerk today make them chief clerk tomorrow.

Those who are messenger today make them senior servants tomorrow.
Those who are petty traitor today make them big contractor tomorrow.
Those who day sweep today give them their own office tomorrow.
If we day walk with today give us our own bicycle tomorrow, and those who have bicycle today they will ride their own car tomorrow.
[[sound of a flute]]
[[a man's voice]]
You just heard an excerpt from the plays The trails of brother Jero written by Africa's most noted playwright, Wole Soyinka, of Nigeria in West Africa.
The trails of brother Jero was first produced in 1960 at the University of Ibadan in Nigeria, and was one of Soyinka's first successful short plays.
Since that time Soyinka has written The Lion and the Jewel City, he's written Jero's metamorphosis, a sequel to the Trials of Brother Jero.
He's written a dance of the forest and several more both short and full-length plays.
I selected the excerpt from Soyinka's the trials of brother Jero because the excerpt itself and the play and its entirety allow you to get a basic understanding of what has happened in African English drama.
Keep the excerpt you heard in mind and the excerpt, by the way, happens to be Jero the major character in the trials of brother Jero, he's praying and albeit a a comical and exaggerated, even Ludacris kind of prayer, uhh but keep that excerpt in mind.
As I go back now and explain how African English drama has developed, like all of the other genres in African English lit

Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact