Izuu Nwankwọ – författare

This book takes a critical look at contemporary digital forms of African popular cultural production, examining how they articulate relationships between Africa and Europe, and between Africans and Europeans.The current state of African popular arts has been made possible by two major media transformations—mass media liberalisation and increased internet connectivity across the continent. With increased globalisation, encounters between Africa and Europe have become more dispersed, dynamic, persistent, and mutable. However, these emerging relationships are haunted by a difficult past, the harrowing systems of enslavement and colonialism, historically framed by false narratives. Through detailed analysis of cinema narration, video films, comedy skits, social media performances, and lip-sync impressions, the contributors reveal how African creators remix and revise European cultural forms whilst asserting their own agency and resistance. The collection demonstrates how digital platforms have become sites of counter-hegemonic cultural production, where African artists negotiate complex postcolonial relationships through creative appropriation and transformation.Essential reading for scholars of African studies, cultural studies, media studies, and postcolonial theory, this volume offers fresh insights into how contemporary African popular culture engages with European influences whilst maintaining distinctive African voices and perspectives. This book was originally published as a special issue of Journal of African Cultural 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.