Duniya Be Shiegukam Da Naara (Everything in the World Has an End)
The entire manuscript is available for download as a PDF file(s). Higher-resolution images are unavailable. Fieldwork Team: Karl J. Haas, PhD (Pricipal Investigator; Visiting Researcher, African Studies Center), Saeed Alhassan Dawuni (Field Researcher), and Fuseini Abdul-Fataw (Field Researcher). Technical Team: Professor Fallou Ngom (Project Director and former Director of the African Studies Center at Boston University), Eleni Castro (OpenBU Librarian, Boston University Libraries), and Eric J. Schmidt (Assistant Director, African Studies Center). This collection of Dagbanli Ajami materials is copied as part of the African Studies Center’s African Ajami Library. This project is partly funded by the BU African Studies Center and Middlebury College. Access Condition and Copyright: These materials are subject to copyright. Access is for research and educational purposes only, provided the original author and source are fully cited using the information below. For use, distribution or reproduction beyond these terms, contact Professor Fallou Ngom (email@example.com). Citation: Materials in this web edition should be cited as: Haas, Karl J., Dawuni, Saeed Alhassan, Abdul-Fatawu, Fuseini, Ngom, Fallou, Castro, Eleni & Schmidt, Eric J. (2019). African Ajami Library: Digital Preservation of Dagbanli Ajami and Arabic Manuscripts of Northern Ghana. Boston: Boston University Libraries: http://hdl.handle.net/2144/32937. For Inquiries: please contact Professor Fallou Ngom (firstname.lastname@example.org). For technical assistance, please contact email@example.com.Provenance / Custodial history: Afa Ajura intially gave the manuscript to a man identified as Afa Mumuni, who had been a student of Afa Ajura. Baba Issahak made a copy of the text in his own hand, and went to learn the singing from Afa Mohammed, who had been a student of Afa Ajura. Afa Mohammed was a teacher at the Anbariya Islamic Institute, established by Afa Ajura, and taught Baba Isshak how to sing Afa Ajura's songs. Afa Mohammed maintained a house in the Agric neighborhood in the northern part of Tamale, which is adjacent to the the Anbariya school.
Citation (published version)Haas, Karl J., Dawuni, Saeed Alhassan, Abdul-Fatawu, Fuseini, Ngom, Fallou, Castro, Eleni & Schmidt, Eric J. (2019). African Ajami Library: Digital Preservation of Dagbanli Ajami and Arabic Manuscripts of Northern Ghana. Boston: Boston University Libraries: http://hdl.handle.net/2144/32937
This is Afa Ajura's longest and most expansive piece, covering a wide range of topics, with the over-arching theme of morality as well as mortality. It references the history of the Dagbon Kingdom, African history, and world history; current events and events that were to come; proper behavior of children, women, and young men, and society more broadly. The title is taken from a common Dagbanli proverb, which notes that all things and people will pass away eventually. Afa Ajura lists off several great chiefs and warriors, asking "Where have they gone? They have passed, and so, too, will all of us." Portions of the piece predict future circumstances that Baba Issahak, Saeed Dawuni, and Fuseini Abdul-Fatawu agreed had come to pass in Dagbon, and which were decidedly negative developments: Afa Ajura speculated that there would come a time when young men would wear shorts below their anus, walk with their hands in their pockets while smoking marijuana or tobacco; and that the day would come when young women refused to marry, kept and decorated their own rooms, and will have men visit her in her room.
RightsThe materials are subject to copyright. Access is for research and educational purposes only. Materials are not to be reproduced without written permission.