Pub Date : 2023-09-12DOI: 10.1163/18757421-bja00007
Izuu Nwankwọ, Samuel O. Chukwu-Okoronkwo
Abstract Intermediality, a conflation of different artistic media into one event, is typically considered to have developed in the West. In this paper, we argue that intermediality existed in pre-colonial performance traditions across Africa, where various modes of artistic enactments merged into one were preferred to enactments partitioned into different generic categories. This study identifies multiple artistic genres inherent in Nigerian stand-up art, with specific reference to various sets of Ayo Makun’s AY Live wherein we identify the blending of joke-telling, theatre, cinema, song performance and dance within each show. We trace indigenous origins of this conflation of forms by illustrating how delineations between “types” of play, as seen in AY Live , did not exist in indigenous performances. This paper thus, extends research on intermediality and African popular culture by detailing the ways in which Nigerian stand-up enactments are packaged as total entertainment in the manner of pre-existing indigenous performances.
{"title":"The Indigenous Origin of Intermediality in Nigerian Stand-up Comedy","authors":"Izuu Nwankwọ, Samuel O. Chukwu-Okoronkwo","doi":"10.1163/18757421-bja00007","DOIUrl":"https://doi.org/10.1163/18757421-bja00007","url":null,"abstract":"Abstract Intermediality, a conflation of different artistic media into one event, is typically considered to have developed in the West. In this paper, we argue that intermediality existed in pre-colonial performance traditions across Africa, where various modes of artistic enactments merged into one were preferred to enactments partitioned into different generic categories. This study identifies multiple artistic genres inherent in Nigerian stand-up art, with specific reference to various sets of Ayo Makun’s AY Live wherein we identify the blending of joke-telling, theatre, cinema, song performance and dance within each show. We trace indigenous origins of this conflation of forms by illustrating how delineations between “types” of play, as seen in AY Live , did not exist in indigenous performances. This paper thus, extends research on intermediality and African popular culture by detailing the ways in which Nigerian stand-up enactments are packaged as total entertainment in the manner of pre-existing indigenous performances.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135886475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-30DOI: 10.1163/18757421-bja00006
Lobna Ben Salem
In Postcolonial literature, magic realism and science fiction are two sub-genres that have worked diligently to contest realism as a western novelistic tradition. In the South African context, the fantastic initiates a process of psychic liberation from old (White) world narrative domination and its cognitive codes. It recapitulates problems of historical consciousness in (post)apartheid cultures and interrogates inherited notions of imperial history. This paper reads two “fantastic” texts that belong to a similar post-colonial culture—South Africa—and strives to explain the ways in which these texts recapitulate, in both their narrative discourse and their thematic content, the “real” social and historical context in which (post)apartheid South African culture existed and thrived. Zakes Mda’s Ways of Dying and Lauren Beukes’ Zoo City use magic realism and science fiction respectively to re-view and debunk inherited literary modes of colonial discourse and to work towards more authentic yet challenging “codes of recognition”. By so doing, they offer positive and liberating responses to new emerging cultural forms.
{"title":"South African Literature and the “Strange Seductiveness” of the Fantastic","authors":"Lobna Ben Salem","doi":"10.1163/18757421-bja00006","DOIUrl":"https://doi.org/10.1163/18757421-bja00006","url":null,"abstract":"\u0000 In Postcolonial literature, magic realism and science fiction are two sub-genres that have worked diligently to contest realism as a western novelistic tradition. In the South African context, the fantastic initiates a process of psychic liberation from old (White) world narrative domination and its cognitive codes. It recapitulates problems of historical consciousness in (post)apartheid cultures and interrogates inherited notions of imperial history. This paper reads two “fantastic” texts that belong to a similar post-colonial culture—South Africa—and strives to explain the ways in which these texts recapitulate, in both their narrative discourse and their thematic content, the “real” social and historical context in which (post)apartheid South African culture existed and thrived. Zakes Mda’s Ways of Dying and Lauren Beukes’ Zoo City use magic realism and science fiction respectively to re-view and debunk inherited literary modes of colonial discourse and to work towards more authentic yet challenging “codes of recognition”. By so doing, they offer positive and liberating responses to new emerging cultural forms.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"181 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80264139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-23DOI: 10.1163/18757421-bja00005
Chekwube Anyaegbunam
This article reviews the incongruity, the superiority, and the relief theories of humour. Challenging the dominant notion of humour as a coping mechanism, it explores humour’s potential for positive transformation. It investigates the uses of humour in Nigeria, including its social and even unsuspected psychological functions. It also inquires into the problem of a seeming rising incidence of unhappiness among Nigerians despite their much-vaunted humorous nature and despite the relief theory of humour being the dominant perspective in humour studies. By spotlighting the synergy of activism and art in humour, subliminal tendencies, and Nigerians’ distinct comic intelligence, the article attempts a nuanced analysis of the production and consumption of humour, with an accent on the growing activist-oriented humour on social media platforms, particularly Twitter. In contrast to traditional stand-up comedy, this activist-oriented humour is found to be generally geared towards real-time impact through a combined deployment of words and actions. The research puts forward illustrative examples of how social media humour has surpassed other more orthodox comedic practices and thereby engendered remarkable social and political impacts in Nigeria.
{"title":"Othering the Laughable","authors":"Chekwube Anyaegbunam","doi":"10.1163/18757421-bja00005","DOIUrl":"https://doi.org/10.1163/18757421-bja00005","url":null,"abstract":"\u0000 This article reviews the incongruity, the superiority, and the relief theories of humour. Challenging the dominant notion of humour as a coping mechanism, it explores humour’s potential for positive transformation. It investigates the uses of humour in Nigeria, including its social and even unsuspected psychological functions. It also inquires into the problem of a seeming rising incidence of unhappiness among Nigerians despite their much-vaunted humorous nature and despite the relief theory of humour being the dominant perspective in humour studies. By spotlighting the synergy of activism and art in humour, subliminal tendencies, and Nigerians’ distinct comic intelligence, the article attempts a nuanced analysis of the production and consumption of humour, with an accent on the growing activist-oriented humour on social media platforms, particularly Twitter. In contrast to traditional stand-up comedy, this activist-oriented humour is found to be generally geared towards real-time impact through a combined deployment of words and actions. The research puts forward illustrative examples of how social media humour has surpassed other more orthodox comedic practices and thereby engendered remarkable social and political impacts in Nigeria.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80952792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-23DOI: 10.1163/18757421-bja00004
Emma Duncan, T. Ennin
Francis Selormey’s The Narrow Path and Asare Konadu’s A Woman in Her Prime are two novels that add to the rich Ghanaian literary tradition through their exploration of human relationships and the roles men play in these relationships. Despite gaining a cult readership, these texts have largely been ignored by scholars. This paper examines the men in these texts to reveal the images of masculinities presented and show whether or not they follow society’s hegemonic model or create their own paths. This paper argues that the societies presented by these novels do not allow for a rejection of hegemony, and the male characters in these novels unknowingly follow society’s ideal masculine values. By using the theory of masculinities as a character study tool, the differences in the gender performance of the male characters in the pre-colonial and colonial eras are made clear and control is established as an ideology of the colonial era.
Francis Selormey的《狭路》和Asare Konadu的《盛年的女人》这两部小说通过对人际关系和男人在这些关系中所扮演角色的探索，为加纳丰富的文学传统增添了新的色彩。尽管获得了狂热的读者群，但这些文本在很大程度上被学者们所忽视。本文对这些文本中的男性进行考察，揭示其所呈现的男子气概形象，并揭示他们是遵循社会的霸权模式还是创造自己的道路。本文认为，这些小说所呈现的社会不允许对霸权的拒绝，这些小说中的男性角色在不知不觉中遵循了社会理想的男性价值观。以男性气质理论作为人物研究工具，厘清前殖民时代与殖民时代男性人物性别表现的差异，确立控制作为殖民时代的意识形态。
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Pub Date : 2023-07-31DOI: 10.1163/18757421-bja00003
Isaac Muhando
Contemporary globalisation and urbanisation continue to play a significant role in how the youths (re)create and (re)define urban spaces in Africa. Major cities across the continent are becoming active sites for social and cultural transformation. With the economic slowdown and increased rate of unemployment, youths are seeking ways to adapt to these realities while at the same time staying true to their urban identity. The present study uses participatory observation to examine two of the emerging youth practices in Nairobi, which are, the baze and gengetone music, to underscore how the youths in Nairobi Eastlands engage these practices both as sites for bolstering their urban identity and as alternative spaces for earning a livelihood. The study reveals that both the baze and gengetone music are available platforms which city youths use to construct their urban identities while dealing with local social challenges such as alcoholism, drug abuse and negative ethnicity, as well as harsh economic realities such as unemployment and a high cost of living. Further examination shows that discourse spaces created by these practices afford them a chance to participate in matters of national interest where they can contest and challenge social orders that are oppressive.
{"title":"“The baze is our workstation, we report here every day”—Understanding the Role of Youth Practices in Urban Subculture","authors":"Isaac Muhando","doi":"10.1163/18757421-bja00003","DOIUrl":"https://doi.org/10.1163/18757421-bja00003","url":null,"abstract":"\u0000 Contemporary globalisation and urbanisation continue to play a significant role in how the youths (re)create and (re)define urban spaces in Africa. Major cities across the continent are becoming active sites for social and cultural transformation. With the economic slowdown and increased rate of unemployment, youths are seeking ways to adapt to these realities while at the same time staying true to their urban identity. The present study uses participatory observation to examine two of the emerging youth practices in Nairobi, which are, the baze and gengetone music, to underscore how the youths in Nairobi Eastlands engage these practices both as sites for bolstering their urban identity and as alternative spaces for earning a livelihood. The study reveals that both the baze and gengetone music are available platforms which city youths use to construct their urban identities while dealing with local social challenges such as alcoholism, drug abuse and negative ethnicity, as well as harsh economic realities such as unemployment and a high cost of living. Further examination shows that discourse spaces created by these practices afford them a chance to participate in matters of national interest where they can contest and challenge social orders that are oppressive.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87279930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.1163/18757421-bja00002
Frank Marcon
Kuduro is a style of dance and electronic music that emerged in Angola in the nineties, in a peculiar social context. Initially consumed and produced by young people from the periphery of the city of Luanda, it became a means of expression, entertainment, socialization and subsistence, through which they became autonomous and symbolically transformed their realities of scarcity. With access to communication technologies and movements of global dispersion of people and information, kuduro also spread to other countries and gained other meanings. Here, I analyze the characteristics of its context of origin, the conditions and implications of such dispersal, and disputes over the meanings of style.
{"title":"Kuduro, Digital Music and Lifestyle in Diaspora","authors":"Frank Marcon","doi":"10.1163/18757421-bja00002","DOIUrl":"https://doi.org/10.1163/18757421-bja00002","url":null,"abstract":"Kuduro is a style of dance and electronic music that emerged in Angola in the nineties, in a peculiar social context. Initially consumed and produced by young people from the periphery of the city of Luanda, it became a means of expression, entertainment, socialization and subsistence, through which they became autonomous and symbolically transformed their realities of scarcity. With access to communication technologies and movements of global dispersion of people and information, kuduro also spread to other countries and gained other meanings. Here, I analyze the characteristics of its context of origin, the conditions and implications of such dispersal, and disputes over the meanings of style.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91331527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.1163/18757421-bja00001
Adeshina Afolayan
Knowledge and knowledge production play a significant role in the postcolonial project of de-traumatization and self-realization. However, such knowledge has often been couched within a Eurocentric epistemological framework. The postcolony is caught firmly within the orthodox which translates positivistic knowledge into the very definition of worldly progress—the idea of how a state attends to the welfare and well-being of its citizens through a development agenda. This essay engages the question: What might constitute an autonomous framework that could assist Africa and her thinkers and scholars in the development and validation of local forms of knowledge for social transformation? In this regard, I will examine the claims of Otto Neurath’s postpositivism and the dynamic pluralism of the Ifá sacred corpus of the Yorùbá, both within the framework of the epistemology of the South project. Both of these epistemological frameworks outline a pluralistic understanding of knowledge that could enable the reconfiguring of knowledge production in Africa.
{"title":"On Postcolonial Knowledge","authors":"Adeshina Afolayan","doi":"10.1163/18757421-bja00001","DOIUrl":"https://doi.org/10.1163/18757421-bja00001","url":null,"abstract":"\u0000 Knowledge and knowledge production play a significant role in the postcolonial project of de-traumatization and self-realization. However, such knowledge has often been couched within a Eurocentric epistemological framework. The postcolony is caught firmly within the orthodox which translates positivistic knowledge into the very definition of worldly progress—the idea of how a state attends to the welfare and well-being of its citizens through a development agenda. This essay engages the question: What might constitute an autonomous framework that could assist Africa and her thinkers and scholars in the development and validation of local forms of knowledge for social transformation? In this regard, I will examine the claims of Otto Neurath’s postpositivism and the dynamic pluralism of the Ifá sacred corpus of the Yorùbá, both within the framework of the epistemology of the South project. Both of these epistemological frameworks outline a pluralistic understanding of knowledge that could enable the reconfiguring of knowledge production in Africa.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81697078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-20DOI: 10.1163/18757421-05202004
Valentine Chimenem Owhorodu
This paper explores and queries the reliance on postmodernist doctrines that continue to flood the Nigerian cultural and intellectual spaces. Essentially, postmodernism undermines established religious, cultural and political metanarratives that guide the sense of morality, order and decorum that are characteristic of many African societies. To examine the infiltration of the postmodernist philosophy into the Nigerian ideological space, a significant place to begin is the country’s literary productions. Ebinyo Ogbowei’s marsh boy & other poems is a compelling commentary on the author’s appropriation of postmodern creeds to counter long-established metanarratives which have allegedly abetted the fractured political and economic climate of many countries. The poet adopts revolutionary aesthetics, intertextuality, eclecticism, nihilism and pessimism, pornography and playfulness and ruptures linguistic and grammatical conventions to affirm his philosophy of progressive emancipation through revolutionary, nihilistic, and subversive acts. In the end, his postmodernist strategies fail because they plunge his fictional society into deeper chaos and lack of finality and closure, while he embraces coital diversion as an escape hatch from the vagaries of life. This places a huge question mark on the viability of postmodern protocols, especially as it concerns the undermining of religious and cultural metanarratives that have so far provided humanity guidelines for social and political decorum.
{"title":"Postmodern Doctrines and Poetic Vision in G’Ebinyo Ogbowei’s marsh boy & other poems","authors":"Valentine Chimenem Owhorodu","doi":"10.1163/18757421-05202004","DOIUrl":"https://doi.org/10.1163/18757421-05202004","url":null,"abstract":"\u0000 This paper explores and queries the reliance on postmodernist doctrines that continue to flood the Nigerian cultural and intellectual spaces. Essentially, postmodernism undermines established religious, cultural and political metanarratives that guide the sense of morality, order and decorum that are characteristic of many African societies. To examine the infiltration of the postmodernist philosophy into the Nigerian ideological space, a significant place to begin is the country’s literary productions. Ebinyo Ogbowei’s marsh boy & other poems is a compelling commentary on the author’s appropriation of postmodern creeds to counter long-established metanarratives which have allegedly abetted the fractured political and economic climate of many countries. The poet adopts revolutionary aesthetics, intertextuality, eclecticism, nihilism and pessimism, pornography and playfulness and ruptures linguistic and grammatical conventions to affirm his philosophy of progressive emancipation through revolutionary, nihilistic, and subversive acts. In the end, his postmodernist strategies fail because they plunge his fictional society into deeper chaos and lack of finality and closure, while he embraces coital diversion as an escape hatch from the vagaries of life. This places a huge question mark on the viability of postmodern protocols, especially as it concerns the undermining of religious and cultural metanarratives that have so far provided humanity guidelines for social and political decorum.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"50 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74740322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-20DOI: 10.1163/18757421-05202007
Dina Yerima-Avazi, Chinonye Ekwueme-Ugwu
This paper interrogates location as a fulcrum for hybrid identity creation for African characters in Africa, African Americans and African characters in the Diaspora. Over time, identity has been negotiated on the basis of race, ethnicity and religion. These are often linked to a specific place and find expression in definitions of culture, suggesting location as a necessary component of culture and, by extension, a major influence on identity. Conceptual notions of diaspora and hybridity, as explored within the postcolonial theory, serve as the framework which research uses to comparatively query the negotiation of hybrid identity as given in Roots by Alex Haley and Homegoing by Yaa Gyasi. These two texts represent African American and African characters’ experiences, respectively. The study aims to reveal that regardless of regional difference and other nuances in the experiences of African American and African characters, hybrid identity creation for both African American and African characters, is tied to location—which, in this case, is Africa.
{"title":"Negotiating Black Identity","authors":"Dina Yerima-Avazi, Chinonye Ekwueme-Ugwu","doi":"10.1163/18757421-05202007","DOIUrl":"https://doi.org/10.1163/18757421-05202007","url":null,"abstract":"\u0000 This paper interrogates location as a fulcrum for hybrid identity creation for African characters in Africa, African Americans and African characters in the Diaspora. Over time, identity has been negotiated on the basis of race, ethnicity and religion. These are often linked to a specific place and find expression in definitions of culture, suggesting location as a necessary component of culture and, by extension, a major influence on identity. Conceptual notions of diaspora and hybridity, as explored within the postcolonial theory, serve as the framework which research uses to comparatively query the negotiation of hybrid identity as given in Roots by Alex Haley and Homegoing by Yaa Gyasi. These two texts represent African American and African characters’ experiences, respectively. The study aims to reveal that regardless of regional difference and other nuances in the experiences of African American and African characters, hybrid identity creation for both African American and African characters, is tied to location—which, in this case, is Africa.","PeriodicalId":35183,"journal":{"name":"Matatu","volume":"144 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86639565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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