From 1950 to 1963, a columnist named ‘Kadebona’ (The Experienced One) published regular pieces in Izwi lama Swazi (The Voice of the Swazi), the vernacular newspaper of the British protectorate of Swaziland (now named Eswatini). Although lacking definitive evidence, it is probable that Kadebona was John J. Nquku, a leading political figure of colonial Eswatini. Kadebona’s 300-plus columns positioned themselves as meeting places for the embryonic Swati nation. In contrast to the closed-door discussions of those in power, Kadebona’s columns styled themselves as transparent platforms for a give-and-take debate among emaSwati (as residents of Eswatini were called). Kadebona not only ‘spoke’ via his columns; he also expected replies on the part of the nation. His column was a space available to all, ‘where the rich and the poor, and where leaders and their followers, all meet’. In a period of debate over the future of the independent Swati nation, Kadebona’s columns encouraged all emaSwati to shape their country, and allowed all perspectives audibility via the column and ‘Letters to the Editor’. At the same time, however, there were distinct limits to the egalitarian public summoned through these articles. While Kadebona encouraged all emaSwati regardless of rank or class to speak up, he was far less welcoming towards other voices, including women and youths. This article provides an introduction to these fraught columns, a small sample of which are presented here, both in their isiZulu original and in English translation (siSwati – the language spoken by emaSwati – had no authorized written form well into the 1960s; instead, the South African isiZulu was used for written communication). In what follows, I provide Izwi lama Swazi’s history, discuss the emergence of Kadebona as a columnist in the 1950s, and comment on some of his key concerns.

In the 1630s, a young traveller by the name of Ṣägga Krәstos (1616–38) crisscrossed Italy and France, claiming to be the heir of the late Ethiopian Emperor Yaʿǝqob and pledging to return to Ethiopia at the helm of a Catholic mission. While in Rome, intent on convincing the papacy of his identity, he authored a lengthy autobiographical statement that included a precise dynastic claim, an account of his father’s rise and demise, and an itinerary of his own journey from Ethiopia to Rome. Later, as he continued his journey, Ṣägga Krәstos shared his statement with his European acquaintances; once in Paris, he published it, dedicating it to Anne of Austria, Queen of France. This article sketches the contours of Ṣägga Krәstos’s journey and identity and offers a comprehensive genealogy of the autobiographical statement’s many extant versions. It also discusses the transfiguration that both his reputation and statement underwent after his death. Ṣägga Krәstos’s is the earliest known autobiography voluntarily written and published in Europe by an African-born author. Following this article is a complete annotated translation – the first in the English language – of what is likely to be the earliest extant version of the statement, followed by excerpts from later versions. A complete transcription of the source is available with the online supplementary materials published with this article.

‘Chronicles of Bailundo’ is a fragmentary account of life in Bailundo, Central Angola. The manuscript, whose authorship and exact date are unknown, is available at the archives of the American Board of Commissioners for Foreign Missions (ABCFM) at Houghton Library, Harvard University. It was written in Umbundu, the vernacular spoken in Bailundo, by North American Congregational missionaries between 1903 and the 1930s. Although the source mentions no dates, it refers roughly to the period between the seventeenth century and the gradual establishment of Portuguese colonial rule and Christian missions in the late nineteenth and early twentieth centuries. It gives access to both the Umbundu then spoken in Bailundo and the perspective of Umbundu-speaking subjects on what it was like to live in this polity. The source addresses socio-cultural, political and economic aspects of life in Bailundo as well as significant historical events, such as the Bailundo War (1902–03). The text in Umbundu, published as supplementary material with this article, has been transcribed, translated into Portuguese and English, and annotated. The version published following the main introduction of the article presents an annotated sample of the source in English. The full version, published as supplementary material, comprises the complete original in Umbundu, its complete annotated translation into English, and a complete annotated translation into Portuguese. The article addresses the authorship, contents, form and context of production of the source.

Slam poets in Africa are part of an emerging social movement. In this article, the focus is on women in this upcoming slam movement in francophone Africa. For these women, slam has meant a change in their lives as they have found words to describe difficult experiences that were previously shrouded in silence. Their words, performances and engaged actions are developing into a body of popular knowledge that questions the status quo and relates to the ‘emerging consciousness’ in many African urban societies of unequal, often gendered, power relations. The women who engage in slam have thus become a voice for the emancipation of women in general.

By the early 2010s, a number of Malawian poets in their twenties had begun to substitute the elliptical expression of earlier generations with a language that resonated with popular idioms. As poetry directed at ‘the people’, its medium is spoken word rather than print, performed to live audiences and distributed through CDs, radio programmes and the internet. Crafted predominantly in Chichewa, the poems also address topics of popular interest. The selection of poetry presented here comes from a female and a male poet, who, unbeknown to each other, prepared poems sharply critical of homosexuality and what they regarded as its foreign and local advocacy. The same poets have also gained success for their love poems, which have depicted intimate desires in remarkably compatible ways for both women and men. The poets who performed ‘homophobic’ verse went against popular gender stereotypes in their depictions of romantic love and female and male desires. This introductory essay, as a contribution to Africa's Local Intellectuals series, discusses the aesthetic challenges that the new poets have launched in the context of Malawi's modern poetry. With regard to gender relations in their love poems, the introduction also considers the poets’ possible countercultural contribution despite their avowed commitment to perform for ‘the people’.

The excerpts below are from two of the sixteen chapters in B. S. Gadzekpo's radio memoir. In ‘Battles at the microphone’, Gadzekpo describes the diverse ways in which he and other Vernacular Announcers made their mark on wartime programming during World War Two, including how they carefully selected what could be aired as news and rallied local support for the war effort. The chapter ‘The music talent hunt’ details his tireless efforts at identifying and recording indigenous music to play on air in order to keep local audiences glued to the radio, especially after the war. The full text of the manuscript is available with the supplementary material published with Audrey Gadzekpo's article introducing this work at <https://doi.org/10.1017/S0001972021000012>.

This article introduces a personalized account of the early years of radio in Ghana based on an unpublished manuscript by one of its pioneering broadcasters – Bernard Senedzi (B. S.) Gadzekpo. An accomplished writer who produced manuscripts in both English and the Eʋe language, Gadzekpo's radio memoir is written from the vantage point of someone who worked in both the colonial and postcolonial broadcast service for nearly thirty years. It foregrounds African broadcasters in the history of radio and offers insights into the complex realities of Africa's mutable encounter with radio and the strategic role played by local intellectuals in fulfilling its modernization mission during and after the colonial period.

This article explores the innovative and hybrid intellectual project of Christopher Azaare Anabila. Since 1976, Azaare has been documenting the histories of the Gurensi and Boosi people of northern Ghana and has crafted genealogical maps of whole villages and clans. He has written manuscripts on taboos, totems, proverbs, missionary activities, cultural institutions and anti-colonial resistance. Because of this work, people have begun to refer to Azaare as Agurumyela, which in Gurene means ‘a person who digs into people's past’. Central to this lifelong endeavour is the museum of Gurensi culture that Azaare has been building in Gowrie. I present Azaare's views of this wide-ranging process of collection and re-casting and reflect on his motivation to reclaim history and curating authority from professional academics. I argue that Azaare's project allows us to recognize the ubiquitous existence of a vibrant strand of African intellectual creativity that combines multiple repertoires and draws on overlapping and diverse productions in different modes and media. Next, I turn to Azaare's manuscript on the institution of tindaanaship (earth custodians). I explore his genealogical method as an art of connection that highlights his role as an engaged community intellectual, weaving extensive networks between Gurensi communities, officials and academics.

Admittedly though the Gurensi and Boosi, and for that matter the Frafras, living in the Bolgatanga and Bongo District Council Area have flourished for nearly over five hundred (500) years, their history and traditions have for these centuries laid almost buried and forgotten. Their history has in fact been relatively neglected by comparison with the period of the Mamprusi, Gonja, and Dagomba histories. The works of early researchers, ethnologists and so forth on the Gurene and Bone speaking peoples such as Allan Wolsey Cardinall (1921), R. S. Rattray (1932), T. E. Hilton (1956, 1959) and Dr Ludwig Rapp (1967) are devoid of the oral traditions and history of these people at the local level. In the case of R. S. Rattray and A. W. Cardinall, their works are not only brief, but they appear in a rather unusual sequence.

Professor Bukheti Swalehe Kilonzo, born 1949: joined Amani in 1968 as a Scientific Assistant. Studied microbiology and parasitology in London; PhD in plague epidemiology from Dar es Salaam in 1984. Left Amani in 1982 as Research Scientist and became professor at Sokoine University.

The ‘Africanization’ of science after decolonization was replete with dreams. Claims to Africa's place in the high-modern world, expectations of national technological and economic progress, and individual dreams of scientific discovery, professional development and fulfilled careers drove scientific work and lives. The term Africanization, coined by the colonizers, reproduced colonial notions of race but also stimulated the imagination of mid-twentieth-century African scientists, who hotly debated and enthusiastically embraced it. Half a century later, some dreams have failed, but many more remain unfulfilled. This article examines two reunions of Tanzanian and European science workers – in Amani in 2015 and in Cambridge in 2013 – who had worked together in the decades after Tanzania's independence at Amani Hill Research Station, then one of Africa's foremost laboratories for research on malaria and other tropical diseases. It explores ideas of good science and experiences of social differentiation, divergent dreams and persistent tensions – and the role of joking in remembering these.

This article examines the works of one of the earliest Yoruba poets, Denrele Adetimikan Ọbasa (1879–1945), a member of the local intelligentsia in colonial Nigeria. In my assessment of the poet as a culture activist and local intellectual, I draw on biographical information, extensive archival research and relevant textual illustration. The central argument of the article is that Ọbasa exploits Yoruba communal oral resources for ideas, themes and other linguistic influences in his poetry. Therefore, the essay explores the creative ability of Ọbasa to preserve different forms of oral literary material in his poetic composition and how he uses the folkloric materials as instruments for raising the social consciousness of his readers. At this level, the article argues, Ọbasa transforms oral traditions into metaphorical and symbolic language that best articulates his political or philosophical positions. Thus, orality is not static, but dynamic, flexible and adaptable to change. The main article offers translations of excerpts from Ọbasa's poetry, while the online supplementary material offers more complete samples of Ọbasa's poems.

Many words in Yoruba frustrate trans-lingual transportation by the sheer complexity of their polysemic range. Such words are so culture-bound that they do not translate easily to English, especially when their metaphysical polyvalence in Yoruba has no equivalent in English. Therefore, my translation of Ọbasa's poems in the appendices below yields place to mediation, as I am constrained to try out or devise a series of strategies of transposition and transference, which in the words of Ọṣundare leads to ‘kiss and quarrel’ between the concerned languages. According to him, when two languages meet, they achieve a tacit understanding on the common grounds of similarity and convergence, then negotiate, often through strident rivalry and self-preserving altercations, their areas of dissimilarity and divergence.

The pamphlet Kenya: Twendapi? (Kenya: Where are we heading?) is a text often referred to but rarely read or analysed. Abdilatif Abdalla wrote it as a twenty-two-year-old political activist of the KPU opposition as a critique of the dictatorial tendencies of Jomo Kenyatta and his KANU government in 1968, and consequently suffered three years of isolation in prison. Many (at least on the East African political and literary scene) know about Kenya: Twendapi? but few seem to have read it – indeed, it seems almost unavailable to read. This contribution to Africa's Local Intellectuals series provides a summary reconstruction of its main points and arguments, and a contextual discussion of the text. This is combined with the first published English translation (overseen by Abdalla himself) and a reprint of the original Swahili text, an important but almost inaccessible document. The article proceeds with a perspective first on the political context in Kenya at the time – an early turning point in postcolonial politics – and second on the work and life of its author, Abdilatif Abdalla who had been trained as a Swahili poet by elder family members who were poets. As most students of Swahili literature know, Abdalla's collection of poetry Sauti ya Dhiki (1973) originated in the prison cell but they know little about the pamphlet Kenya: Twendapi?, nor the circumstances of its authorship. Part of my wider point for discussion is that Abdalla, as an engaged poet and political activist, can be usefully understood as a local intellectual who transcended the local from early on – topically and through global references and comparisons, but also through his experience in prison and exile. Concerns about Kenyan politics and Swahili literature have remained central to his life. This reflects Abdalla's continued and overarching connectedness to the Swahili-speaking region. Abdalla wrote in Swahili and was deeply familar with local Swahili genres and discursive conventions, language and verbal specifications (of critique, of emotions, of reflections) that use the whole range and depth of Kimvita, the Mombasan dialect of Kiswahili, as a reservoir of expression.

The publication of a new translation of Akiga Sai's History ofthe Tiv invites reappraisal of Akiga himself as a localintellectual. This essay presents a biographical account of this early Tivconvert to Christianity, locating his celebrated History in itssocial, cultural, ethnic and historical contexts, and presents a provisionalnarrative of his career subsequent to the publication ofAkiga's Story, the version of theHistory edited by Rupert East. As such, it is intended asan invitation to a full biography. The essay reconstructs, insofar as sourcespermit, the complex relationship between Akiga, East, the Dutch Reformed ChurchMission and the International African Institute that led to the publication ofAkiga's Story in the form known until now,comparing that version with the complete translation. Akiga'sHistory emerges from this re-examination as a compellinglycontemporary narrative engaged with the lived experience of ethnicidentification under colonial rule.

This article introduces a new translation of Akiga Sai's History of the Tiv, a manuscript completed in Tiv by Akiga in 1935. Portions of Akiga's text, translated and annotated by Rupert East, were first published in English by the International African Institute in 1939 as Akiga's Story. But the new translation, available in the online version of the journal, is the first complete one: no section of the Tiv manuscript has been omitted, and the order of the material has been left as originally written by Akiga. This article tells the story of how Harold Bergsma, when working as a secondary school principal in Nigeria, rescued the Tiv typescript from the rubbish bin and deposited it in the University of Ibadan library; and how, some forty-five years later, he assembled a team of Tiv intellectuals to undertake the task of translation. It reflects on some of the linguistic challenges presented by the Tiv text, and draws attention to the rich and varied information the work contains – on clans, genealogies, plant and animal names, food preparation, marriage customs, the religious practices of the Tiv, and Akiga's own experiences of childhood, family, and encounters with akombo and witchcraft. The article is complemented by selections from Chapters 8 and 9 of the new translation, chosen and annotated by Richard Fardon.

This article pays tribute to Akiga Sai (1898–1959) and his iconic status as the first great Tiv writer who recorded Tiv history, customs, beliefs and experiences during the turbulence unleashed by colonization and missionary intervention in the early twentieth century. It offers an appreciation of Akiga's vivid writing style and his achievements as both a historian and a recorder of his people's way of life, which was fast changing. The article presents the perspective of a younger Tiv generation who encountered Akiga Sai's work in the course of their education. Akiga, from this viewpoint, is not only an individual pioneer and creative genius, but also the representative of a better era, after which moral decay and a decline in communal health and well-being set in.

Government College, Umuahia is known as the alma mater of eight important Nigerian writers: Chinua Achebe, Elechi Amadi, Gabriel Okara, Chike Momah, I. N. C. Aniebo, Chukwuemeka Ike, Ken Saro-Wiwa and Christopher Okigbo. Many illustrious Nigerian scientists, intellectuals and public leaders passed through the college in its prime, and in West Africa the name of the school evokes an astounding range of success stories. But Umuahia's legend as ‘the Eton of the East’ and the primus inter pares of Nigeria's elite colonial institutions obscures its present reality: nothing remains of its past but its extensive grounds, landmark buildings, and the glittering roll call of dignitaries who once studied within its walls. In 1979, prompted by the many signs of impending doom, a group of old boys joined hands in a historicizing venture, The Umuahian: a golden jubilee publication – the commemorative booklet compiled by the school's most famous alumnus, Chinua Achebe, to mark the college's golden jubilee. The booklet conjured up the school's founding ideals and glorious past in order to lay the ground for its rehabilitation. This introductory essay explains why The Umuahian is an indispensable source for the literary, cultural and educational history of West Africa, contextualizing its singular construction of colonial educational heritage. Sample and hitherto unpublished texts from the booklet by Achebe, his editorial to The Umuahian and its coda, ‘Continuity and change in Nigerian education: a jubilee essay’, are included with the main article. While the contributors to The Umuahian pertain to elite circles, and the volume had a world-class literary figure as its editor, the volume itself was produced for a local occasion and rarefied local audience, had a very limited distribution, and subsequently fell into obscurity. It is in the spirit of the historical and academic retrieval of such locally published and little-known materials by African thinkers and writers that this work appears in the Local Intellectuals strand.