The “tribal drum” and Literary Radio: The Postcolonial Poetics of the Transcription Centre’s Africa Abroad

 On June 1, 1963, J. P. Clark’s poem “Agbor Dancer” was recorded for the London-based Transcription Centre’s program Africa Abroad, an English-language radio magazine program distributed for broadcast on multiple African stations. Africa Abroad producer Lewis Nkosi praised the poem and recorded it in its entirety in his review of the anthology Poems from Black Africa, edited by Langston Hughes. In “Agbor Dancer,” the speaker watches a woman dance to drums and juxtaposes the dancer’s connection to “communal” identity through music and dance with the isolating effects of language and print. The poem, first published in print and then broadcast, describes West African aural and kinetic traditions while also using and referencing European literary traditions. What does it mean to take this poem, often read as a reflection on the alienating effects of print culture, and record it for radio broadcast instead of distributing it through print?

Sounding Irish Radio at Midcentury

Reading through these two excellent new volumes situated at the intersection of radio studies and modern Irish literature, one feels presented with two very different instantiations of the radio listener. On the one hand, we have the dial-twirling shortwave enthusiast, stationed in (perhaps) Cork, and tuning in to transmissions Irish in affiliation but emanating from Dublin, Addis Ababa, New York City, Belfast, Geneva, London, and Berlin—transmissions that dazzle by their variety and that impart an awareness of their connectedness in dispersal.