Pub Date : 2022-04-03DOI: 10.1080/13696815.2022.2060193
M. Ibrahim
ABSTRACT “Being Muslim” is a complex identity formation process that involves negotiating what is considered “Islamic” or “non-Islamic” selves in various localized and globalized contexts. At the crossroad of Islam and popular culture, divergent Muslim cultural producers influence how contemporary Muslim cultures and identities are produced and negotiated in both normative and disruptive ways. Using “celebrity” as a cultural formation with a social function, this article examines shifting dynamics, contradictions, tensions, and negotiation processes within the Muslim cultural production fields (both physical and virtual) that involve “dominant” popular Islamic preachers in northern Nigeria and “emerging” Muslim superstars in the Kannywood entertainment industry. By examining how some popular Islamic preachers (who are opposed to Kannywood celebrity culture) have transformed into religious celebrities themselves, and how Kannywood superstars crafted their identities as Muslim celebrities, the article shows that an assertion of one’s Muslim identity in a cultural setting dominated by Islamist movements does not necessarily indicate an endorsement of those movements’ reform agendas. Instead, it can challenge those movements’ interpretations of Islam through alternative ways of being Muslim in subtle ways – a dynamic that reveals processes at work in the reconstruction of “being Muslim” in the contemporary world.
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Pub Date : 2022-04-03DOI: 10.1080/13696815.2022.2072819
S. Kasembeli
ABSTRACT The Churchill Show is a weekly live and recorded comedy show, originally staged at the Carnivore Grounds in Kenya’s capital, Nairobi, and later hosted in various parts of the country. The live recordings were disseminated on Kenya’s NTV television network and published on YouTube by Laugh Industry Limited and NTV Kenya. The Churchill Show’s theme song includes a reference to bringing Kenyans back together, and the so-called ethnic jokes in the show are presented as a celebration of Kenyan multiculturalism and as a counter to what is popularly known as negative ethnicity. I show in this article that these negative ethnic narratives are situated in colonial and postcolonial archives such as harambee, nyayo philosophy, patriotism and tujenge Kenya ideologies that have been imposed on citizens, as a way of shifting the burden of nation-building onto ordinary Kenyans. I use selected stand-up comedians’ performances that were uploaded on YouTube and TV interviews to explain the prominence of the show in the country, how the humour in the show borrows from historical archives of the country, and how the ethnic-themed humour inadvertently re-constructs negative stereotypes.
摘要丘吉尔秀是一个每周现场录制的喜剧节目，最初在肯尼亚首都内罗毕的食肉动物场上演，后来在全国各地举办。现场录音在肯尼亚NTV电视网上传播，并由Laugh Industry Limited和NTV Kenya在YouTube上发布。《丘吉尔秀》的主题曲提到了将肯尼亚人重新团结在一起，节目中所谓的种族笑话是为了庆祝肯尼亚多元文化，也是为了对抗人们普遍认为的负面种族。我在这篇文章中表明，这些负面的种族叙事存在于殖民地和后殖民地的档案中，如强加给公民的哈兰贝、尼亚约哲学、爱国主义和图詹格肯尼亚意识形态，以此将国家建设的负担转移到普通肯尼亚人身上。我用上传到YouTube上的精选单口相声演员的表演和电视采访来解释该剧在该国的突出地位，该剧中的幽默是如何借鉴该国的历史档案的，以及种族主题的幽默如何无意中重新构建负面刻板印象。
{"title":"Stereotypes and the Ambiguities of Humour in Kenya: The Churchill Show","authors":"S. Kasembeli","doi":"10.1080/13696815.2022.2072819","DOIUrl":"https://doi.org/10.1080/13696815.2022.2072819","url":null,"abstract":"ABSTRACT\u0000 The Churchill Show is a weekly live and recorded comedy show, originally staged at the Carnivore Grounds in Kenya’s capital, Nairobi, and later hosted in various parts of the country. The live recordings were disseminated on Kenya’s NTV television network and published on YouTube by Laugh Industry Limited and NTV Kenya. The Churchill Show’s theme song includes a reference to bringing Kenyans back together, and the so-called ethnic jokes in the show are presented as a celebration of Kenyan multiculturalism and as a counter to what is popularly known as negative ethnicity. I show in this article that these negative ethnic narratives are situated in colonial and postcolonial archives such as harambee, nyayo philosophy, patriotism and tujenge Kenya ideologies that have been imposed on citizens, as a way of shifting the burden of nation-building onto ordinary Kenyans. I use selected stand-up comedians’ performances that were uploaded on YouTube and TV interviews to explain the prominence of the show in the country, how the humour in the show borrows from historical archives of the country, and how the ethnic-themed humour inadvertently re-constructs negative stereotypes.","PeriodicalId":45196,"journal":{"name":"Journal of African Cultural Studies","volume":"34 1","pages":"173 - 185"},"PeriodicalIF":1.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43941163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-18DOI: 10.1080/13696815.2022.2045476
Laura S. Martin
ABSTRACT The West African Ebola epidemic of 2013 to 2016 resulted in a long-term state of emergency and dramatic changes to everyday life. Despite it being a challenging period, humor was still part of social interactions and exchanges. Periods of crisis can lend themselves well to humor due to the fact that both crisis and humor find their foundations in absurdity. This article seeks to build on existing work by looking at humor as a form of production, focusing on how it functioned in different, simultaneous and contradictory terms in social and political life during the Ebola epidemic in Sierra Leone. Drawing on fieldwork from Sierra Leone between 2014 and 2020, this article traces how humor worked in practice in relation to social cohesion, as a way of negotiating uncertainty, and analyses the symbolic role it played in interactions between survivors and non-survivors. Finally, it analyses how humor has helped re-frame experiences since the epidemic ended. I argue that humor plays multiple and tangible roles, and can shape social relations during and after times of crisis.
{"title":"Laughing off Ebola in Sierra Leone: Humor in Times of Crisis","authors":"Laura S. Martin","doi":"10.1080/13696815.2022.2045476","DOIUrl":"https://doi.org/10.1080/13696815.2022.2045476","url":null,"abstract":"ABSTRACT The West African Ebola epidemic of 2013 to 2016 resulted in a long-term state of emergency and dramatic changes to everyday life. Despite it being a challenging period, humor was still part of social interactions and exchanges. Periods of crisis can lend themselves well to humor due to the fact that both crisis and humor find their foundations in absurdity. This article seeks to build on existing work by looking at humor as a form of production, focusing on how it functioned in different, simultaneous and contradictory terms in social and political life during the Ebola epidemic in Sierra Leone. Drawing on fieldwork from Sierra Leone between 2014 and 2020, this article traces how humor worked in practice in relation to social cohesion, as a way of negotiating uncertainty, and analyses the symbolic role it played in interactions between survivors and non-survivors. Finally, it analyses how humor has helped re-frame experiences since the epidemic ended. I argue that humor plays multiple and tangible roles, and can shape social relations during and after times of crisis.","PeriodicalId":45196,"journal":{"name":"Journal of African Cultural Studies","volume":"34 1","pages":"143 - 156"},"PeriodicalIF":1.0,"publicationDate":"2022-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47078338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-01DOI: 10.1080/13696815.2022.2032618
Eve Nabulya
ABSTRACT This article reflects on an alternative mode of anthropocentrism emergent from representations of human–nonhuman relations in a selection of Ganda folktales. In particular, it addresses some major claims against anthropocentrism: the failure to recognise the importance of holism; the overlooking of the intrinsic value of nonhuman elements; and the undue emphasis on the ontological divide between humans and other entities. The article is based on a descriptive qualitative study utilising data from folktales as repositories of both the ancient and experiential wisdom of the Baganda. It focuses on five carefully selected stories, recorded during live performances in Mpigi District of Uganda in 2019, on the theme of human–nonhuman relations. The article argues that while the Ganda folktales selected in this study would generally be considered as advancing anthropocentrism, they exhibit a commitment to environmental sustainability in ways that interrogate the anthropocentrism–ecocentrism dichotomy. Through a blend of thematic and structural narrative analysis of the folktales, the study reveals that a communitarian social setup could promote a balanced stance in human relations with the nonhuman. This study, thus, challenges the blanket disparagement of anthropocentrism in contemporary environmental scholarship.
{"title":"Rethinking Human-Centredness and Eco-Sustainability in an African Setting: Insights from Luganda Folktales","authors":"Eve Nabulya","doi":"10.1080/13696815.2022.2032618","DOIUrl":"https://doi.org/10.1080/13696815.2022.2032618","url":null,"abstract":"ABSTRACT This article reflects on an alternative mode of anthropocentrism emergent from representations of human–nonhuman relations in a selection of Ganda folktales. In particular, it addresses some major claims against anthropocentrism: the failure to recognise the importance of holism; the overlooking of the intrinsic value of nonhuman elements; and the undue emphasis on the ontological divide between humans and other entities. The article is based on a descriptive qualitative study utilising data from folktales as repositories of both the ancient and experiential wisdom of the Baganda. It focuses on five carefully selected stories, recorded during live performances in Mpigi District of Uganda in 2019, on the theme of human–nonhuman relations. The article argues that while the Ganda folktales selected in this study would generally be considered as advancing anthropocentrism, they exhibit a commitment to environmental sustainability in ways that interrogate the anthropocentrism–ecocentrism dichotomy. Through a blend of thematic and structural narrative analysis of the folktales, the study reveals that a communitarian social setup could promote a balanced stance in human relations with the nonhuman. This study, thus, challenges the blanket disparagement of anthropocentrism in contemporary environmental scholarship.","PeriodicalId":45196,"journal":{"name":"Journal of African Cultural Studies","volume":"34 1","pages":"308 - 324"},"PeriodicalIF":1.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59754984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-01DOI: 10.1080/13696815.2022.2027231
E. Burton
ABSTRACT For a global history of development, Swahili poems from the German colonial period are valuable sources as they help to question the diffusionist view of development discourses as colonial import. This article analyses how concepts of development (maendeleo) and civilisation (ustaarabu) figured in poems written by Swahili authors between 1888 and 1907. Going beyond a reading of these texts as pro- or anti-colonial, it shows the importance poets attached to urban infrastructural improvement. Poems were also informed by the self-image of the superior, urban, Muslim strata of coastal society (waungwana) in contrast to inferior non-Muslim inland societies (washenzi). Several poets suggested that inland societies should be disciplined, yet differences to coastal Swahili society were usually not couched in terms of temporality nor in terms of a civilising mission. Poets had to come to terms, however, with new power relations as a result of German conquest. While some authors openly criticised colonial violence, others also embraced colonial interventions in infrastructural and economic aspects – but still expressed nostalgia for the past. In sum, the poems constitute a transitional space in Swahili discourses on development, showing that these were not merely colonial imports but grew from multiple roots.
{"title":"Civilisation under Colonial Conditions: Development, Difference and Violence in Swahili Poems, 1888–1907","authors":"E. Burton","doi":"10.1080/13696815.2022.2027231","DOIUrl":"https://doi.org/10.1080/13696815.2022.2027231","url":null,"abstract":"ABSTRACT For a global history of development, Swahili poems from the German colonial period are valuable sources as they help to question the diffusionist view of development discourses as colonial import. This article analyses how concepts of development (maendeleo) and civilisation (ustaarabu) figured in poems written by Swahili authors between 1888 and 1907. Going beyond a reading of these texts as pro- or anti-colonial, it shows the importance poets attached to urban infrastructural improvement. Poems were also informed by the self-image of the superior, urban, Muslim strata of coastal society (waungwana) in contrast to inferior non-Muslim inland societies (washenzi). Several poets suggested that inland societies should be disciplined, yet differences to coastal Swahili society were usually not couched in terms of temporality nor in terms of a civilising mission. Poets had to come to terms, however, with new power relations as a result of German conquest. While some authors openly criticised colonial violence, others also embraced colonial interventions in infrastructural and economic aspects – but still expressed nostalgia for the past. In sum, the poems constitute a transitional space in Swahili discourses on development, showing that these were not merely colonial imports but grew from multiple roots.","PeriodicalId":45196,"journal":{"name":"Journal of African Cultural Studies","volume":"34 1","pages":"244 - 261"},"PeriodicalIF":1.0,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45268252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/13696815.2022.2039101
C. Coetzee, S. Kasembeli, Sandra Manuel
{"title":"Slow Research and Peer Support: An Alternative Model of Networking","authors":"C. Coetzee, S. Kasembeli, Sandra Manuel","doi":"10.1080/13696815.2022.2039101","DOIUrl":"https://doi.org/10.1080/13696815.2022.2039101","url":null,"abstract":"","PeriodicalId":45196,"journal":{"name":"Journal of African Cultural Studies","volume":"34 1","pages":"1 - 3"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45958259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/13696815.2021.2020086
Pauline Mateveke
ABSTRACT The dominant narrative within Zimbabwean popular cultural scholarship largely focuses on the Zimbabwean socio-economic and political crisis at the expense of alternative ideologies, identities and practices. I advocate for the urgency of expansive and wide-ranging epistemological attention to alternative sexual identities as part of a cultural studies research agenda. I argue that, although Zimbabwean homophobia has generally silenced alternative voices, popular culture offers channels through which to engage publicly with that which is generally loathed and feared. I discuss three Zimbabwean popular cultural archives to make the argument that it is through every day cultural practices that Zimbabwean alternative sexual identities can meaningfully be debated and conceptualised. I discuss a Zimbabwean dancehall song titled “Kumba Kwedu” (In Our Home) by the artist named Bazooker, the reception of Facebook activist Tatelicious Karigambe-Sandberg, and Tracy Kadungure’s novel Tanaka Chronicles: The Sexual Awakening. Through the selected popular cultural texts, I show how some Zimbabwean popular cultural expressions of alternative sexualities cleverly undermine heteronormative official values by constantly challenging the assumed heterosexual norm.
{"title":"Zimbabwean Popular Cultural Expressions of Alternative Sexual Identities","authors":"Pauline Mateveke","doi":"10.1080/13696815.2021.2020086","DOIUrl":"https://doi.org/10.1080/13696815.2021.2020086","url":null,"abstract":"ABSTRACT The dominant narrative within Zimbabwean popular cultural scholarship largely focuses on the Zimbabwean socio-economic and political crisis at the expense of alternative ideologies, identities and practices. I advocate for the urgency of expansive and wide-ranging epistemological attention to alternative sexual identities as part of a cultural studies research agenda. I argue that, although Zimbabwean homophobia has generally silenced alternative voices, popular culture offers channels through which to engage publicly with that which is generally loathed and feared. I discuss three Zimbabwean popular cultural archives to make the argument that it is through every day cultural practices that Zimbabwean alternative sexual identities can meaningfully be debated and conceptualised. I discuss a Zimbabwean dancehall song titled “Kumba Kwedu” (In Our Home) by the artist named Bazooker, the reception of Facebook activist Tatelicious Karigambe-Sandberg, and Tracy Kadungure’s novel Tanaka Chronicles: The Sexual Awakening. Through the selected popular cultural texts, I show how some Zimbabwean popular cultural expressions of alternative sexualities cleverly undermine heteronormative official values by constantly challenging the assumed heterosexual norm.","PeriodicalId":45196,"journal":{"name":"Journal of African Cultural Studies","volume":"34 1","pages":"32 - 47"},"PeriodicalIF":1.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46624758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-16DOI: 10.1080/13696815.2021.2002683
K. Osei-Poku
ABSTRACT This article analyses issues regarding identity and ideology in an African authored travelogue, “Jeep Road to Victory: African Engineers Carve a Way into Burma”, by Sgt. F. S. Arkhurst, which was published in The West African Review magazine in 1945. Sgt. Arkhurst was an officer in the Gold Coast Regiment of the Royal West African Frontier Forces in World War II. The focal points of this travelogue are the representations of the efforts of African soldiers in navigating the treacherous terrains of the South East Asia World War II battle grounds ranging from India/Bangladesh to the Kaladan Valley of Burma during the 1944 Burma Campaign. The article asks how African authored travel writing might bring new perspectives on how African soldiers contributed to the success of the war fighting on the side of allied forces.
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Pub Date : 2021-11-12DOI: 10.1080/13696815.2021.1989671
Betty J. Okot
ABSTRACT Women’s land rights remain a highly contentious issue across much of contemporary Africa. Often, social infrastructures, namely the law, culture and patriarchy, are impugned for excluding women from the land. While sometimes culture sustains social injustices, it also paradoxically provides the scale of justice. With reference to post-war Acholi society, I question the role of patriarchy in buttressing the temporariness of women on the land by anchoring my discussion in three Acholi cultural expressions. First, the metaphor that lutino anyira turu obiya, girl children are speargrass blossoms which indicates that girls are considered as ephemeral in natal lands since they emigrate in marriage and gain land rights in their nuptial lands. Second, the metaphor of lutino awobe okutu lang’oo – boy children are cordia africana thorn bushes, which is a plant associated with permanency and territoriality. Third, the proverb gang ber ki mon, the home is good with women. The femininisation of home-making in this proverb indicates how gender dynamism in Acholi utilises femininity as an organising principle and that patriarchy safeguards land rights through marriage, ancestry and kinship.
摘要：在当代非洲的大部分地区，妇女的土地权利仍然是一个极具争议的问题。社会基础设施，即法律、文化和父权制，往往因将妇女排斥在土地之外而受到指责。虽然有时文化维持着社会的不公正，但矛盾的是，它也提供了正义的尺度。关于战后的阿乔利社会，我通过将我的讨论锚定在三种阿乔利文化表达中，质疑父权制在支持妇女在土地上的临时性方面的作用。首先，鲁蒂诺·安伊拉·图鲁·奥比亚（lutino anyira turu obiya）的比喻是，女孩是矛草花，这表明女孩在出生地被认为是短暂的，因为她们在婚姻中移民并在结婚地获得土地权。其次，lutino awobe okutu lang'oo的比喻——男孩的孩子是非洲堇属荆棘丛，这是一种与永久性和属地性相关的植物。第三，俗话说，家里有女人好。这句谚语中的家务女性化表明，阿乔利的性别活力是如何利用女性气质作为组织原则的，父权制通过婚姻、祖先和亲属关系来保障土地权利。
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Pub Date : 2021-11-12DOI: 10.1080/13696815.2021.1989286
Shepherd Mpofu
ABSTRACT This article analyses the concept of booty power, objectification and consumption of the female body in popular culture. Booty power is used here to refer to discourses around the Stocko Sama2K, initially a group of five women who were caught on camera dancing the “John Vul’ igate” song and dance challenge, and their sexualized dance routines. I draw on digital ethnography and interviews to argue that objectification presents us with complexities, and conclude that it is a multi-dimensional maze shaped by different socio-cultural agents. The article casts light on how women’s bodies are used as a source of conversations on decency, morality, power and culture. Objectification theory is used to demonstrate the power of objectification by others and also by the self. The research concludes that objectification and self-objectification worked in both directions, as disempowering and empowering, especially to women, given the conflicting socio-cultural elements at play.
{"title":"Booty Power Politics: The Social-mediated Consumption of Black Female Bodies in Popular Culture","authors":"Shepherd Mpofu","doi":"10.1080/13696815.2021.1989286","DOIUrl":"https://doi.org/10.1080/13696815.2021.1989286","url":null,"abstract":"ABSTRACT This article analyses the concept of booty power, objectification and consumption of the female body in popular culture. Booty power is used here to refer to discourses around the Stocko Sama2K, initially a group of five women who were caught on camera dancing the “John Vul’ igate” song and dance challenge, and their sexualized dance routines. I draw on digital ethnography and interviews to argue that objectification presents us with complexities, and conclude that it is a multi-dimensional maze shaped by different socio-cultural agents. The article casts light on how women’s bodies are used as a source of conversations on decency, morality, power and culture. Objectification theory is used to demonstrate the power of objectification by others and also by the self. The research concludes that objectification and self-objectification worked in both directions, as disempowering and empowering, especially to women, given the conflicting socio-cultural elements at play.","PeriodicalId":45196,"journal":{"name":"Journal of African Cultural Studies","volume":"34 1","pages":"186 - 204"},"PeriodicalIF":1.0,"publicationDate":"2021-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49248050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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