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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.
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. The book considers the pervasive phenomenon of jokes and their performance across Africa.
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.
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.
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.
This handbook brings together an international team of scholars from different disciplines to reflect on African popular cultural imaginaries. These imaginaries – in the sense of cultural productions, contexts, consumers, producers, platforms, and the material, affective and discursive resources they circulate – are influential in shaping African realities. Collectively, the chapters assembled in this handbook index the genres, methods, mediums, questions and encounters that preoccupy producers, consumers and scholars of African popular cultural forms across a range of geohistorical and temporal contexts. Drawing on forms such as newspaper columns, televised English Premier League football, speculative arts, romance fiction, comedy, cinema, music and digital genres, the contributors explore the possibilities and ambiguities unleashed by the production, circulation, consumption, remediation and critique of these forms. Among the questions explored across these essays are the freedoms and constraints of popular genres; the forms of self-making, pleasure and harm that these imaginaries enable; the negotiations of multiple moral regimes in everyday life; and, inevitably, the fecund terrain of contradictions definitive of many popular forms, which variously enable and undermine world-making. An authoritative scholarly resource on popular culture in Africa, this handbook is an essential read for students and scholars of African culture, society and media.
Written by an international team of experts, this is the first work of its kind to offer comprehensive coverage of folklore throughout the African continent. Over 300 entries provide in-depth examinations of individual African countries, ethnic groups, religious practices, artistic genres, and numerous other concepts related to folklore. Featuring original field photographs, a comprehensive index, and thorough cross-references, African Folklore: An Encyclopedia is an indispensable resource for any library's folklore or African studies collection. Also includes seven maps.
At least fifty years of projects aimed at the rural poor in Africa have had very little impact. Up to half of the children of these countries are still suffering from stunting and malnutrition. Soil degradation and poor crop yields are ubiquitous. Projects are almost always aimed at helping local people to solve their problems by growing for the market. In some countries, projects link poor villagers into cooperatives to produce a commercial output. In other countries, projects target more competent entrepreneurial villagers. Almost all these projects fail after several years. Even those that are successful make few inroads into the problems. While the slogan 'feeding the farmers first' comes from the Philippines, it is particularly applicable to much of Africa, where household food security can come from household production. This book explains how projects can be designed that increase food security through subsistence production. Focusing on particular people and projects, it gives a sociological analysis of why this is so difficult to manage. This book challenges the models promoted by academics in the field of development studies and argues against the strategies adopted by most donor organizations and government bodies.It explains why commercial projects have been so ubiquitous even though they rarely work. It gives practical tips on how to set up villages and farms to achieve sustainable solutions that also provide plenty of nutritious food. The book is written to be accessible and engaging. For anyone planning to work in the rural areas of Africa, this book is required reading.
Ubuntu is the African idea of personhood: persons depend on other persons in order to be. This is summarised in the expression: umuntu ngumuntu ngabantu, that is, a person is a person through persons. This edited collection illustrates the power of fictionalised representation in reporting research conducted on Ubuntu in Southern Africa. The chapters insert the concept of Ubuntu within the broad intellectual debate of self and community, to demonstrate its intellectual and philosophical value and theoretical grounding in known practices emanating from the African continent, and indeed how it works to unsettle some of our received notions of the self.
News coverage on Africa is closely connected not only with how Western audiences see the continent, but also with how a wide Western audience builds its opinion on issues that carry consequences for the public's and governments' support and policy towards development aid. The Western media reinforce a picture of a continent that drowns in chaos, is dominated by conflicts, diseases, corruption and failed democratisation. Whose interests lie behind that? How does foreign news on sub-Saharan Africa emerge, which actors are relevant in its making, and on the basis of what interests do these actors shape the coverage that is then presented as 'neutral information' to a broad international audience? Closely examining the relationship between foreign correspondents of international news media and humanitarian organisations, Lena von Naso shows how the aid and media sectors cooperate in Africa in a unique way. Based on more than 70 interviews with foreign correspondents and aid workers operating across Africa, the book argues that the changing nature of foreign news and of aid is forcing them to form a deep co-dependency that is having a serious and largely unnoticed effect on Western news coverage. This comprehensive examination of a new paradigm will interest students and scholars of media and journalism, African studies, development and humanitarian studies and the aid and media communities operating across Africa.