Description
Book SynopsisPresents innovative formulations for how African performance and the arts shape the narratives of cultural history and politics. This collection engages with a breadth of African countries and art forms, bringing together speech, hip hop, religious healing, theatre and social justice, opera, radio, protest songs, and migrant workers' dances.
Table of Contents
- Acknowledgments
- Introduction: “Performance and Politics in Africa: Approaches and Perspectives”
- The Play of Social and Political Roles in Everyday Life
- 1. “Performing Political Identities: Senegalese Speakers and Their Audiences” (Senegal)
- Judy T. Irvine, University of Michigan
- 2. “The Socio-poetics of Sanakuyaagal: Negotiating Joking Relationships in West Africa” (Senegal)
- Nikolas Sweet, University of Michigan
- 3. “Participation beyond Gratitude: ‘Sterling Greetings’ and the Mediation of Social Ties on Nigerian Radio” (Nigeria)
- Jendele Hungbo, Bowen University (Iwo, Nigeria)
- Expressions of Identity, Consciousness, and Migration
- 4. “The Phenomenology of Collapsing Worlds: isiShameni Dance and the Politics of Proximity in Jeppestown, Johannesburg” (South Africa)
- Thomas M. Pooley, University of South Africa
- 5. “African Heritage Revealed through Musical Encounters and Political Ideologies in Cameron White’s Ouanga! and Reuben Tholakele Caluza and Herbert Isaac Ernst Dhlomo’s Moshoeshoe” (South Africa)
- Innocentia Jabulisile Mhlambi, University of the Witwatersrand
- 6. “Angalia Ni Mimi: A Performance by Marthe Djilo Kamga” (Cameroon)
- Frieda Ekotto, University of Michigan
- Gendered Messages of Social Change
- 7. “Surviving Gender Violence: Activating Community Stories for Social Change” (South Africa)
- Anita Gonzales, University of Michigan
- 8. “Gangsters, Masculinity and Ethics: Underground Rapping in Dar es Salaam” (Tanzania)
- David Kerr, University of Birmingham and University of Johannesburg
- Songs of Protest and Activist Opera
- 9. “Seditious Songs: Spirituality as Performance and Political Action in Colonial-era Belgian Congo” (Democratic Republic of the Congo)
- Yolanda Covington-Ward, University of Pittsburgh
- 10. “Activist Operatic Spaces Depicting Reality: Puccini’s La BohÈme becomes Breathe Umphefumlo” (South Africa)
- Naomi AndrÉ, University of Michigan
- 11. “Intrinsic Power of Songs Sung During Protests at South African Institutions of Higher Learning” (South Africa)
- Nompumelelo Zondi, University of Pretoria
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- Contributors
