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dc.contributor.authorAdejunmobi, Moradewuneng
dc.date.issued2011-03eng
dc.descriptionWhy would any verbal artists bother to strongly identify themselves as writers when their own works circulate exclusively in a performative mode? Why would they bother to identify with writing in settings where literacy levels are low, traditional orality remains widespread, and electronically mediated forms of orality are fairly accessible? In short, what kind of significance could writing have for composers of creative texts as electronically mediated performance becomes more widespread? These are the questions that I wish to address in this article.eng
dc.descriptionNoteeng
dc.format.extent24 pageseng
dc.identifier.citationOral Tradition, 26/1 (2011): 3-26.eng
dc.identifier.urihttps://hdl.handle.net/10355/65228
dc.languageEnglisheng
dc.rightsOpenAccess.eng
dc.rights.licenseThis work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License.
dc.titleRevenge of the spoken word? : Writing, performance, and new media in urban West Africaeng
dc.typeArticleeng


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