A History Of African Popular Culture

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

Explores the instrumentalization of various aspects of popular culture in Africa.

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.

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.

'Despite the overwhelming reality of economic decline; despite unimaginable poverty; despite wars, malnutrition, disease and political instability, African cultural productivity grows apace: popular literatures, oral narrative and poetry, dance, drama, music and visual art all thrive.' - Kwame Anthony Appiah, In My Father's House This collection of essays examines the way in which African popular culture has moved centre stage since the early 1980s. The emphasis is on the verbal rather than the visual, and topics covered include the oral tradition, and women in popular culture. KARIN BARBER is Professor of African Cultural Anthropology at the University of Birmingham Published in association with the International African Institute North America: Indiana University Press

" . . . a ground-breaking contribution to the field of African literature . . . " —Research in African Literatures "Anyone with the slightest interest in West African cultures, performance or theatre should immediately rush out and buy this book." —Leeds African Studies Bulletin "A seminal contribution to the fields of performance studies, cultural studies, and popular culture. " —Margaret Drewal "A fine book. The play texts are treasures." —Richard Bauman African popular culture is an arena where the tensions and transformations of colonial and post-colonial society are played out, offering us a glimpse of the view from below in Africa. This book offers a comparative overview of the history, social context, and style of three major West African popular theatre genres: the concert party of Ghana, the concert party of Togo, and the traveling popular theatre of western Nigeria.

This volume is an authoritative introduction to the history of African Americans in US popular culture, examining its development from the early nineteenth century to the present. Kevern Verney examines: * the role and significance of race in all major forms of popular culture, including sport, film, television, radio and music * how the entertainment industry has encouraged racism through misrepresentations and caricatured images of African Americans. African Americans have made a unique contribution to the richness and diversity of US popular culture. Rooted in African society and traditions, black slaves in America created a dynamic culture which continues to evolve. Present day hip-hop and rap music are still shaped by the historical experience of slavery and the ongoing will to oppose oppression and racism. Any student of African-American history or cultural studies will find this a fascinating and highly useful book.

Johannes Fabian was one of the first anthropologists to introduce the concept of popular culture into the study of contemporary Africa. Drawing on his research in the Shaba region of Zaire (now the Democratic Republic of Congo), he has been writing for thirty years about the practices, beliefs, and objects that make up popular culture in an urban African setting: labor and language, religious movements, theater and storytelling, music and painting, grassroots literacy and historiography. In Moments of Freedom Fabian reflects on anthropological uses of the concept of popular culture. He retraces how his explorations of popular culture in this urban-industrial setting showed that classiclal culture theory did not account for large aspects of contemporary African life. Popular culture draws on various genres of representation and performance, and Fabian explores the notion of genre itself as it applies to Shaba religious discourse, painting, and the theater. He also addresses the element of time and how spatial thinking about culture, ethnicity, and globalization acts as an obstacle to appreciating the contemporaneity of African popular culture. The volume ends with a discussion of contestation in light of current calls for democratization. In Moments of Freedom, Johannes Fabian takes stock of decades of anthropological work on popular culture and examines the development of his own thought over time. Throughout the volume, he makes eloquent connections to other firelds such as history, folklore studies, and cultural studies, suggesting areas for further research in each.