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Annalisa Oboe
and
Elisa Bordin
to shoulder an essentialised identity politics, Abani selects for the Nigerian ‘imagined self’ a trait that speaks of strategic mimicry, of performativity (a feature that is further evidenced in Frame 9 with reference to the local theatre tradition), and fluid acceptance of difference. He presses this point by referring to the way in which great Hollywood productions, Blaxploitation films, Bollywood, and the Hong Kong Martial Arts industry have been taken up and used by Nigerians as if they were their own, as happens also
in
Chris Abani