Yorùbá-Nigerians in Toronto: Transnational Practices and Experiences

Adeyanju, Charles Temitọopẹ; Genova, Ann; Falọla, Toyin

doi:10.1017/upo9781580466622.014

Cited by 3 publications

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“…Analyzing the spate of the historically changing nature of time and space within the premise of pattern and scale of social organization, the stages of development from the past to present within the modern pattern of social control, the idea of political sovereignty under conditions of globalised economy, finance and information, the cultural consequences of the transformations in globalization present itself. Adeyanju (2006) noted that state territoriality is being reconfigured by issues of globalised capital market operations, the integrated system of production and consumption, international labour mobility, diminishing state control of flows across its boundaries, among other issues( ibid:141-142).…”

Section: By the 16th Century Many Parts Of Nigeria Were Growing Cottmentioning

confidence: 99%

Textile Industry In Yorubaland: Indigenous Knowledge And Modernity In The Era Of Globalisation.

Adu

Ajayi

Aremu

2018

ASSRJ

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Globalization it is accepted has made nonsense of state boarders. Issues that are local have become notable international concerns. Indigenous knowledge systems have not only been impacted by this phenomenon but have impacted other civilizations through the wildfire use of technology made available by globalization impacts. Modernity, by producing more refined and better accepted usable have brought indigenous knowledge of civilizations to the awareness of other civilizations ,cross weaving technologies to produce a new and modern conception that is better acceptable and more widely distributed. The traditional Yoruba aso oke is a product with such impact, having experienced a stage of modernization resulting from technological innovations made available from other nations through the benefits of globalization. Machines of various varieties such as tread making machines, industrial weaving machines, embroidery machines amongst others, have brought modernization to the Yoruba traditional weaving industry. This has not only created a smoother and better accepted version but also an increased distribution to provide a source of livelihood for a growing population of the citizens who engage in production and distribution in Nigeria and outside. This paper argues that the Yoruba weaving industry has been positively impacted by the globalization advantage to produce a more acceptable quality that has furthered the economic interest of the industry and internationalized the awareness of a growing traditional weaving textile industry that can further be exploited for national development.

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Section: By the 16th Century Many Parts Of Nigeria Were Growing Cottmentioning

confidence: 99%

Textile Industry In Yorubaland: Indigenous Knowledge And Modernity In The Era Of Globalisation.

Adu

Ajayi

Aremu

2018

ASSRJ

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“…That sense of ìtàn as story and/or narrative and history is clear in Harlem Duet, in which Sears addresses the issue of racism by showing how Black people respond to its political and emotional dimensions in different ways through the story of Billie and Othello's failed relationship, and in Afrika Solo where she narrates her own personal experience of xenophobia. In his study of diasporic Yoruba living in Toronto, Adeyanju (2006) discovers how the people use local lores, history, tradition, mores, and cultural complexities (all of which are categories under the label of ìtàn) in order to combat racism (pp. 257-58).…”

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confidence: 99%

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

Balogun

2018

Genealogy

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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.

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“…Yet insights from a transnational perspective synthesize macro and micro situations of international migration. African migrants, for example, can be both "victims" of the unequal global economic system and social agents who transform their individual and communal material conditions in both ancestral or former and current or host societies simultaneously (Adeyanju, 2006;Riccio, 2001). In contradistinction to early focus of research on the push-pull model of explaining migration from the underdeveloped economies of Africa to the developed economies of Europe and North America, contemporary voluntary African migrants have been conceived by researchers as preagentic, proactive, strategic, and aware of the implications and consequences of their decisions to move.…”

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confidence: 99%

Colonialism and Contemporary African Migration: A Phenomenological Approach

Adeyanju

Oriola

2011

Journal of Black Studies

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Scholars of international migration have paid scant attention to the phenomenon of bifurcated social identity of African migrants and their efforts to reinvent or re- and deconstruct a certain image of self in their everyday life. This article aims to offer a more nuanced approach to studying the phenomenon of Africans’ involvement in voluntary migration to the West. Drawing on Goffman’s idea of “dramaturgy,” the article enunciates ways that African immigrants and migrants manage their impression and represent themselves to their peers and social groups in home societies. Using selected cases of African immigrants and migrants in the West, the article enunciates, first, how African migrants (re) present their myriad of experiences to their peers and social groups in home societies as well as the effect of those representations on prospective migrants and, second, why African migrants construe themselves in a particular way to their peers and social groups in home societies. A speculative application of phenomenology to existing qualitative data on African immigration and migration is offered to explicate the lifeworld of African migrants in their oscillation between ancestral and current societies and their seemingly insatiable desire for Euro-American countries.

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Yorùbá-Nigerians in Toronto: Transnational Practices and Experiences

Cited by 3 publications

References 0 publications

Textile Industry In Yorubaland: Indigenous Knowledge And Modernity In The Era Of Globalisation.

Textile Industry In Yorubaland: Indigenous Knowledge And Modernity In The Era Of Globalisation.

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

Colonialism and Contemporary African Migration: A Phenomenological Approach

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