African Modernities

In this book Walter Gam Nkwi documents the complexities and nuances embedded in African modernities and mobilities which have been overlooked in historical discourses in Africa and Cameroon. Using an ethnographic historical approach and drawing on the intricacies of what it has meant to be and belong in Kom an ethnic community in the Northwest Region of Cameroon since 1800, he explores the discourses and practices of kfaang as central to any understanding of mobility and modernity in Kom, Cameroon and Africa at large. The book unveils the emic understanding of modernity through the history and ethnography of kfaang and its technologies and illustrates how these terminologies were conceived and perceived by the Kom people in their social and physical mobilities. It documents and analyzes the historical processes involved in bringing about and making kfaang a defining feature of everyday life in Kom and among Kom subjects.

African cultures and politics remain significantly affected by precolonial and postcolonial configurations of modernity, as well as hegemonic global systems. This project explores Africa's conversation with itself and the rest of the world, critiquing universalist notions of democratization.

This book is a significant and original contribution to the ongoing conversation on modernity. It uses the creative and critical works of Nigerian playwright and novelist Femi Euba to demonstrate the place and function of African cultures in modernity and makes the case for the vibrancy of such cultures in the shaping and constitution of the modern world. In addition to a critique of Euba’s fifty-year artistic career, this book offers an account of Euba’s formative relationship with the 1986 Nobel Prize for Literature winner Wole Soyinka, during the promising days of the Nigerian theatre in the immediate post-independence period, and the effect of this relationship on Euba’s artistic choices and reflections. Euba contributes to our understanding of Africa’s negotiation of modernity in significant ways, especially in his sensitive reading of Esu, the Yoruba god of fate and chance, as an artistic consciousness whose historical and ideological mobility during New World slavery, during Africa’s colonial period, and in the manifestations in the black diaspora today emblematizes the process we call modernity. By using ritual, myth, and satire as avenues to the debate on modernity, Euba lays emphasis on the transformative possibilities at the crossroads of history. His works engage the psychological interconnections between old gods and new worlds and the dialogic relationship between tradition and modernity. Delineating the philosophical and literary debates that reject an easy division between a stereotypically traditional Africa and a modern West, the author shows how Euba’s plays and novel engage the entwined and intimate relationships between the modern and the traditional in contemporary Africa, and thereby she asserts the global resonance of Euba’s African, and specifically Yoruba, conception of the world. By meticulously collecting, cataloguing, and critiquing Euba’s works, Osagie models a new way of practicing African literary studies and invites us to glimpse narrative genius on the continent that she firmly believes African scholars should both promote and celebrate.

This is a collection of original studies investigating the multifaceted notion of African modernities. The authors examine ideas and practices of modernity as well as the implication of its meaning in current academic debate. Both perspectives are thoroughly interdependent, but they are often presented as distinct and opposed to each other. One of the main aims of this volume is to show just how they are related, and how they form a deeply entangled subject that continues to shape and affect the notion of modernity in Africa.

This anthology examines the "unfinished project of modernity" with respect to the unrealized potential for economic, social, and political development in Africa. It also shows how, facing the consequences of modernism, Africans in and out of the continent are responding to these unfinished projects drawing on (a) the customary, (b) the novelty of modernity, and (c) positive aspects of modernism, for the organization of their societies and the enrichment of their lives even as they contend with the negative aspects of modernity and modernism.

In this book Walter Gam Nkwi documents the complexities and nuances embedded in African modernities and mobilities which have been overlooked in historical discourses in Africa and Cameroon. Using an ethnographic historical approach and drawing on the intricacies of what it has meant to be and belong in Kom- an ethnic community in the Northwest Region of Cameroon - since 1800, he explores the discourses and practices of kfaang as central to any understanding of mobility and modernity in Kom, Cameroon and Africa at large. The book unveils the emic understanding of modernity through the history and ethnography of kfaang and its technologies and illustrates how these terminologies were conceived and perceived by the Kom people in their social and physical mobilities. It documents and analyzes the historical processes involved in bringing about and making kfaang a defining feature of everyday life in Kom and among Kom subjects.

This book offers a fresh look into the “languages of postcolonial modernity” in Africa and, to a lesser degree, its diaspora. It foregrounds the notion of postcolonial modernity in reference to modernization as experienced in the postcolony and its contemporary legacies, and investigates how African languages and literatures, both as means of communication and as instruments of cultural agency, have embodied and mediated modernity. Each chapter grapples with the literary or linguistic dimensions of postcolonial modernity as portrayed in African novels, film, poetry or popular music or as embodied in African and Afro-diasporic languages and dialects. The chapters also reveal how literature and language, respectively, document and embody discourses, phenomena, histories, ideologies, and beliefs that resulted from the legacies of colonialism.

Based on the idea that Africa was already becoming modern before being derailed by colonialism, the author insists that Africa can get back on track and advocates a renewed engagement with modernity. Tools toward shaping a positive future for Africa are immigration, capitalism, democracy, and globalization.