Humour And Politics In Africa

Analyses of humour often focus primarily on the Global North, with little consideration for examples and practices from elsewhere. This book provides a vital contribution to humour theory by developing a Global South perspective. Taking a wide-ranging view across the whole of the continent, the book examines the relationship between humour and politics in Africa. It considers the context of the production and reception of humour in African contexts and argues that humour is more than just symbolic. Moving beyond the idea of humour as a mode of resistance, the book investigates the ‘political work’ that humour does and explores the complex entanglements in which the politics, practices and performances of humour are located.

African cultural productions of humour have increased even in the face of myriad economic foibles and social upheavals. For instance, from the 1990s, stand-up comedy emerged across the continent and has maintained a pervasive presence since then. Its specificities are related to contemporary economic and political contexts and are also drawn from its pre-colonial history, that of joking forms and relationships, and orality. Izuu Nwankwọ's fascinating collected volume offers a transnational appraisal of this unique art form spanning different nations of the continent and its diasporas. The book engages variously with jokesters, their materials, the mediums of dissemination, and the cultural value(s) and relevance of their stage work, encompassing the form and content of the practice. Its ruling theoretical perspective comes from theatre and performance, cultural studies, linguistics, and literary studies.

Jokes have always been part of African culture, but never have they been so blended with the strains and gains of the contemporary African world as today. Joke-Performance in Africa describes and analyses the diverse aesthetics, forms, and media of jokes and their performance and shows how African jokes embody the anxieties of the time and space in which they are enacted. The book considers the pervasive phenomenon of jokes and their performance across Africa in such forms as local jests, street jokes, cartoons, mchongoano, ewhe-eje, stand-up comedy, internet sex jokes, and ‘comicast’ transmitted via modern technology media such as the TV, CDs, DVDs, the internet platforms of YouTube, Facebook, and other social arenas, as well as live performances. Countries represented are Egypt, Kenya, Malawi, Morocco, Nigeria, and Zambia, covering the North, West, East and Southern Africa. The book explores the description of the joke form from various perspectives, ranging from critical discourse analysis, interviews, humour theories, psychoanalysis, the postcolony and technauriture, to the interactive dramaturgy of joke-performances, irrespective of media and modes of performance. Containing insightful contributions from leading African scholars, the book acquaints readers with detailed descriptions of the diverse aesthetics of contemporary African jokes, thereby contributing to the current understanding of joke-performance in Africa. It will appeal to students and scholars of African studies, popular culture, theatre, performance studies and literary studies.

Analyses of humour often focus primarily on the Global North, with little consideration for examples and practices from elsewhere. This book provides a vital contribution to humour theory by developing a Global South perspective. Taking a wide-ranging view across the whole of the continent, the book examines the relationship between humour and politics in Africa. It considers the context of the production and reception of humour in African contexts and argues that humour is more than just symbolic. Moving beyond the idea of humour as a mode of resistance, the book investigates the ‘political work’ that humour does and explores the complex entanglements in which the politics, practices and performances of humour are located.

What Makes Africans Laugh? is a critique of the African's attitude towards indigenous craftsmanship, knowledge and culture, especially in the post-independence era. It is woven around the life of James Tumusiime, who has been a campaigner for African self-reliance in the cultural industry - humour, media and historiography. Although Tumusiime draws many of his examples from Uganda and Kenya, the story is familiar to most people in Africa. This book brings out the practical experiences of a civil servant, the challenges of a cartoonist in a politically sensitive environment, and the struggles to localise humour to a cynical industry. It narrates the drama in starting a media house - the New Vision, a book publishing house - Fountain Publishers, a local-language radio station ñ Radio West, and a museum - Igongo Cultural Centre, all coming amidst lukewarm political support and a sceptical audience.

This book examines the types, discourse modes, and effects of sex jokes in different African contexts, in a range of different cultural forms, from the internet to music, books, films, advertising, and images, thus filling the existing void in literature on the subject. Arguing that sex jokes are used to perform a number of functions in African society, the contributors show how they can be used to perpetuate violence against women, construct spaces, resist oppression, create conformity, build affiliations, and subvert morality. They consider jokes from Egypt, Ghana, Nigeria, Kenya, and Zambia in a range of forms including queer sex jokes, rape jokes, performed sex jokes, gendered humour, and resistance sex humour. The book places particular emphasis on the impact of new media platforms and the anonymity they provide. Providing an important analysis of this tabooed but culturally important facet of everyday life, this book will be of interest to scholars of African culture and society from a range of disciplines, including anthropology, gender studies, literary studies, and sociology.

Written in the Orwellian tradition of Animal Farm, Angry Laughter is one of the most biting political satires to come out of Africa. In this tale of dark political intrigue and betrayal, Baba Jallow ridicules the absurd antics of an inept and corrupt civilian government and its removal and replacement by a group of semi-illiterate military saviors', who turn out to be far more absurd, corrupt and brutal than their predecessors. While exceedingly funny and often lighthearted, Angry Laughter awakens us to the cruel excesses of Africa's power-crazed despots, the sorry plight of her oppressed peoples, the very real dangers of civil war and the continent's nauseating politics of brutality. This book is essential reading for anyone interested in the nature and dynamics of contemporary African politics and why, in particular, the continent is riddled with bloody civil wars.

"An original and sophisticated collection on laughter and ridicule in the global south in the age of digital media. This is a hard headed take which is as much about the robust ridiculing of the pretensions of postcolonial regimes, as about the dangers of the accelerated dispersion of prejudice and stereotype. A timely and exigent intervention". - Dilip M Menon, Mellon Chair in Indian Studies, Director Centre for Indian Studies in Africa "This is a superb volume of essays on the subject of laughter and ridicule as it is deployed to mock and put pressure on rogue postcolonial regimes by concerned citizens, with social media tapped into as a rich reservoir of political struggles and contestations between the powerful and the powerless! In this volume, laughter and ridicule emerge as a method and indeed a discourse of speaking truth to power." - Sabelo J. Ndlovu-Gatsheni, Professor and Chair of Epistemologies of the Global South & member of the Africa Multiple Cluster of Excellence, University of Bayreuth, Germany The Politics of Laughter in the Social Media Age: Perspectives from the Global South brings to critical and intellectual attention the role of humour in the digital era in the Global South. Many citizens of the Global South live disempowered and precarious lives. Digital media and humour, as chapters in the volume demonstrate, have empowered these citizens through engagement with power and their peers, enabling a pursuit of a better future. Contributors to the volume, while alive to challenges associated with the digital divide, highlight the potentials of social media and humour to engage and seek redress on issues such as corruption, human rights violations, racism and sexism. Contributors expertly analyse memes, videos, cartoons and other social media texts to demonstrate how citizens mimic, disrupt, ridicule and challenge status quo. This book caters for academics and students in media and communication studies, political studies, sociology and Global South studies. Shepherd Mpofu is Associate Professor in Media and Communications at the University of Limpopo, South Africa. He is an African Humanities Programme Fellow. He is co-editor of Mediating Xenophobia in Africa (Palgrave, 2020). He regularly publishes in academic journals on themes such as media and identity, media and protests, gender and race.

Contains writings of people known as writers of English-language humour in South Africa.

For each copy of this book sold 2% goes to the Saint Awards Educational Project for the African Child AK-47 in a Wild Why World is a collection of thoughtful provocative essays, short stories and poetry that take on the political and socio-economic problems of modern Africa and plain Idiot's guide solution on how to salvage the deteriorating economies and lost pride of the African continent and its people. The book done in plain, sometimes blunt language, addresses issues of social neglect, religious and political abuse, cultural and economic mistakes and failures, and common human depravities such as greed, ignorance and hypocrisy. For these ills, the author offers what he called 'an Idiot's guide' strategies of positive solutions based on purpose and action. The author argues about an unknown fear trapped in the heart of every black African who struggles with the reality of a life wasted under economic hardship he calls "nothing less than a fear of hell", a hell of poverty and misery created by ignorance, greed and a crass illiteracy of ideas. To run away from this fear is to invite chaos that m