Youth And Popular Culture In Africa

"The edited collection focuses on the links between young people and African popular culture. It explores popular culture produced and consumed by young people in contemporary Africa. And by "culture," we mean all kinds of texts or representations-visual, oral, written, performative, fictional, social, and virtual-created by African youth, mostly about their lives and their immediate societies, and for themselves, but also consumed by the larger public, and shared locally and globally. We proceed from the premise that cultural texts not only function as "social facts" as Karin Barber argues, but that they double as "commentaries upon, and interpretations of, social facts. They are part of social reality, but they also take up an attitude to social reality" (2007, 04). So, the work focuses specifically on what African youth produce as popular culture, under what conditions or contexts they produce such work, how they produce those texts, why they produce them, the aesthetic dimensions of these texts as cultural artifacts, and why these textual practices matter as social facts, as interpretive acts, and as cultural symbols of the general cultural activism of young people in a rapidly changing world, a world where the global cultural economy is the prime terrain for the relentless struggles over the meanings that come to shape political-economic and social systems"--

This book explores how African youth are depicted in contemporary literature and popular culture, and discusses the different ways by which they attempt to construct personal and cultural identities through popular culture and social media outlets. The contributors approach the subject from an interdisciplinary perspective, looking at images in children’s and adolescent literature from Africa, and the African diaspora, from Nollywood and Hollywood movies, from popular magazines, and from youth cultures encountered directly through field experiences. The findings reveal that there are many stereotypes about Africa, African youth and black cultures, and that African youth are aware of these. Since they juggle multiple identities shaped by their ethnicities, race and religion, it is often a challenge for them to define themselves. As they also share a global youth culture that transcends these cultural markers, some take advantage of media outlets to voice their concerns and participate in political struggles. Others simply use these to promote their personal interests. Contributors ponder the challenges involved in constructing unique identities, offering ideas on how African youth are doing so successfully or not in different parts of the continent and the African diaspora, and thus offer new possibilities for youth studies.

This volume marks the 25th anniversary of Karin Barber’s ground-breaking article, "Popular Arts in Africa", which stimulated new debates about African popular culture and its defining categories. Focusing on performances, audiences, social contexts and texts, contributors ask how African popular cultures contribute to the formation of an episteme. With chapters on theater, Nollywood films, blogging, and music and sports discourses, as well as on popular art forms, urban and youth cultures, and gender and sexuality, the book highlights the dynamism and complexity of contemporary popular cultures in sub-Saharan Africa. Focusing on the streets of Africa, especially city streets where different cultures and cultural personalities meet, the book asks how the category of "the people" is identified and interpreted by African culture-producers, politicians, religious leaders, and by "the people" themselves. The book offers a nuanced, strongly historicized perspective in which African popular cultures are regarded as vehicles through which we can document ordinary people’s vitality and responsiveness to political and social transformations.

A journey through the history of African popular culture from the seventeenth century to the present day.

This volume marks the 25th anniversary of Karin Barber’s ground-breaking article, "Popular Arts in Africa", which stimulated new debates about African popular culture and its defining categories. Focusing on performances, audiences, social contexts and texts, contributors ask how African popular cultures contribute to the formation of an episteme. With chapters on theater, Nollywood films, blogging, and music and sports discourses, as well as on popular art forms, urban and youth cultures, and gender and sexuality, the book highlights the dynamism and complexity of contemporary popular cultures in sub-Saharan Africa. Focusing on the streets of Africa, especially city streets where different cultures and cultural personalities meet, the book asks how the category of "the people" is identified and interpreted by African culture-producers, politicians, religious leaders, and by "the people" themselves. The book offers a nuanced, strongly historicized perspective in which African popular cultures are regarded as vehicles through which we can document ordinary people’s vitality and responsiveness to political and social transformations.

Hip hop music that empowers and engages youth in East Africa

All over the world, there is growing concern about the ramifications of globalization, late-modernity and general global social and economic restructuring on the lives and futures of young people. Bringing together a wide body of research to reflect on youth responses to social change in Africa, this volume shows that while young people in the region face extraordinary social challenges in their everyday lives, they also continue to devise unique ways to reinvent their difficult circumstances and prosper in the midst of seismic global and local social changes.

The Outcast Majority invites policymakers, practitioners, academics, students, and others to think about three commanding contemporary issues—war, development, and youth—in new ways. The starting point is the following irony: while African youth are demographically dominant, most see themselves as members of an outcast minority. The irony directly informs young people’s lives in war-affected Africa, where differences separating the priorities of youth and those of international agencies are especially prominent. Drawing on interviews with development experts and young people, Marc Sommers shines a light on this gap and offers guidance on how to close it. He begins with a comprehensive consideration of forces that shape and propel the lives of African youth today, particularly those experiencing or emerging from war. They are contrasted with forces that influence and constrain the international development aid enterprise. The book concludes with a framework for making development policies and practices significantly more relevant and effective for youth in areas affected by African wars and other places where vast and vibrant youth populations reside.

All over the world, there is growing concern about the ramifications of globalization, late-modernity and general global social and economic restructuring on the lives and futures of young people. Bringing together a wide body of research to reflect on youth responses to social change in Africa, this volume shows that while young people in the region face extraordinary social challenges in their everyday lives, they also continue to devise unique ways to reinvent their difficult circumstances and prosper in the midst of seismic global and local social changes. Contributors from Africa and around the world cover a wide range of topics on African youth cultures, exploring the lives of young people not necessarily as victims, but as active social players in the face of a shifting, late-modernist civilization. With empirical cases and varied theoretical approaches, the book offers a timely scholarly contribution to debates around globalization and its implications and impacts for Africa's youth.

Hip Hop Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of contributors look carefully at youth culture and the explosion of hip hop in Africa, the embrace of other contemporary genres, including reggae, ragga, and gospel music, and the continued vitality of drumming. Covering Senegal, Mali, Côte d'Ivoire, Ghana, Nigeria, Kenya, Tanzania, Malawi, and South Africa, this volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture.