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{SPEAKER name="Mildred Hill-Lubin"}

He has a chapter in which, uh, there is the confrontation with the white man. He has the chapter on education and so on.


So, if you look at the way the book is organized you will even see some of the various points that I have done. The same is true in Achebe, his book is not divided quite in the same way, but he does deal with practically all of these, uh, topics, the headings that I have mentioned.


One of the interesting points about it in particularity if you want to understand that ritual drama that I spoke of, uh, if you read this section in there where he talks about the yam festival, then you will see that interrelated-ness.


And, uh, one of the important aspects of, uh, of understanding this drama is that it does say a great deal, I think, about the African's way of looking at the world. And uh, his-- his-- his-- world, the African world view that I tend to think of.


In it, there is, uh, no separation between the sacred and the secular and that's very obvious because the-- the writer points out, Achebe points out in this festival that it is both religious as well as secular and that the people do dancing, they have sports, wrestling, they have um, uh, eating, and you have all of these interrelated activities.


Now, why this particular chapter's quite important because it does say a great deal about what I think is African creativity, it gives us a very good clue to how our creativ--tivity is promoted and enhanced.


Uh, it involves a great deal of of communal participation, uh particular with the audience. And what we do get here, many people will say that African people are not competitive enough.


But if you begin to look at this process you will see that there is a great deal of competition. But the competition is not in terms of achieving a product but it is in

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