African Popular Culture Paper 8 Pages Double space MLA format with in-text citation. The assignment has 2 section, each section should be 4 pages . Keep

African Popular Culture Paper 8 Pages Double space MLA format with in-text citation.

The assignment has 2 section, each section should be 4 pages .

Keep your answers clear, concise and analytical. Avoided pointless summaries of texts.

Address your responses to the specific demands of each question.

Make sure you use the textbook at least 6 times for each essay. Show that you have read the textbook well. (I’ll mark out the key reading for you , see below)

Illustrate your answers with pertinent references. So find more sources other than textbook to support your ideas, but make sure they are academic.

Make sure you cite everything you use and use your own words.

Choose ONLY ONE in section B

Text book link

https://drive.google.com/file/d/1C3DfVHWy0-HksE55h… NC: Carolina Academic Press, 2016.
CLASS SCHEDULE & ASSIGNED READINGS
WEEK 1/Oct. 01-03: CONTEXTS, CONTOURS AND COMPLEXITIES
Read: Fabian, pgs. 315-334; Guseh, pgs. 159-171; Omenugha, Uzuegbunam & Ndolo, pgs. 200-
216.
WEEK 2/Oct. 08-10: MUSIC, GENRES AND SOCIAL RELATIONS
Read: Osumare, pgs. 187-209; Adedeji, pgs. 1-18; Pietilä, pgs. 143-161.
WEEK 3/Oct. 15-17: URBANITY, STREET STYLES AND LIFESTYLES
Read: Gondola, pgs. 23-24; Wrong, pgs. 18-31; Howell & Vincent, pgs. 60-77, Hurst, pgs. 244-
257.
WEEK 4/Oct. 22-24: FASHION, CULTURAL FORMS AND MARKERS
Read: Jennings, pgs. 44-53; Jennings, pgs. 1-24; Farber, pgs. 128-167.
WEEK 5/Oct. 29-31: SEXUALITY, SUBCULTURES AND SPHERES
Read: McAllister, pgs. 88-101; Gaudio, pgs. 60-69; Ferguson, pgs. 245-265.
WEEK 6/Nov. 05-07: COMICS, CARTOONS AND CRITICAL COMMENTARIES
Read: Repetti, pgs. 16-35; Willems, pgs. 126-145; Dodds, pgs. 113-131.
WEEK 7/Nov. 12-14: SPORTS, LEISURE AND FAN CULTURES
Read: Akindes, pgs. 2176-2190; Fletcher, pgs. 176-191; Chiweshe, pgs. 211-222.
WEEK 8/Nov. 19-21: REALITY TELEVISION, REFLECTIONS AND THE EVERYDAY
Read: Dolby, pgs. 31-47; Jacobs, pgs. 851-868; Harding, pgs. 69-84.
WEEK 9/Nov. 26-28: PHOTOGRAPHY, EDGES AND ENTANGLEMENTS
Read: Paoletti & Biro, pgs. 182-199; Lamuniere, Sidibe & Brozaga, pgs. 175-187; Röschenthaler,
pgs.697-721.
WEEK 10/Dec. 03-05: DIGITAL STREAMS, BRIDGES AND NETWORKS
Read: Ligaga, pgs. 1-16; Bisschoff & Overbergh, pgs. 112-127: Abah, pgs. 731-748.
Your answer scripts must
QUESTIONS:
SECTION A
1) Analyze, with subtleties, the cultural, social, institutional, and political networks fundamental
to understanding the relationship between new media technologies and African popular culture.
SECTION B
2) Drawing upon relevant scholarship and popular’ sources, discuss how pervasive patterns of
leisure create critical fields, with respect to gender and class, in soccer fan cultures in Africa.
3) Examine how Big Brother Africa, in negotiating tensions between transnational spheres, raise
issues about ‘entertainment, shared experiences and contemporary African cultural formations.
4) Noting the historical and aesthetic frameworks, explore how the evolution of African studio
photography open unique spaces for art, the projection of identities, realities and social dynamics.
5) With attention to the unique social worlds evoked, analyze the complex interplay between the
‘political and the popular’ in contemporary African cartoons and comic strips.
Willems, Wendy & Winston Mano. Everyday Media Culture in Africa. New York & London:
Routledge, 2016.
SAMPLE SUGGESTED READING:
Agawu, Kofi. The African Imagination in Music. Oxford, UK: Oxford University Press, 2016.
Allman, Jean. Fashioning Africa: Power and the Politics of Dress. Bloomington and
Indianapolis: Indiana University Press, 2004.
Barber, Karin (ed). Readings in African Popular Culture. Bloomington and Indianapolis: Indiana
University Press, 2007.
Charry, Eric. Hip Hop Africa: New African Music in a Globalizing World. Bloomington and
Indianapolis: Indiana University Press, 2012.
Fabian, Johannes. Moments of Freedom: Anthropology and Popular Culture. Charlottesville and
London: University Press of Virginia, 1998.
Falola, Toyin and Augustine Agwuele (eds.). Africans and the Politics of Popular Culture.
Durham, NC: University of Rochester Press, 2009.
Falola, Toyin and Tyler Fleming (eds.). Music, Performance and African Identities. New York &
London: Routledge, 2011.
Gott, Suzanne and Kristyne Loughran (eds.) Contemporary African Fashion. Bloomington and
Indianapolis: Indiana University Press, 2010.
Haynes, Jonathan. Nollywood: The Creation of Nigerian Film Genres. Chicago: University of
Chicago Press, 2016.
Hebdige, Dick. Subculture: The Meaning of Style. New York & London: Routledge, 1979.
Madison, D. Soyini and Karen Tranberg Hansen (eds.) African Dress: Fashion, Agency,
Performance. East Lansing, MI: Bloomsbury Academic Press, 2013.
Mudimbe, V. Y. (ed). Contemporary African Cultural Productions. Dakar, Senegal: Codesria,
2012.
Newell, Stephanie (ed). Readings in African Popular Fiction. Bloomington and Indianapolis:
Indiana University Press, 2002.
Newell, Stephanie. Ghanaian Popular Fiction. Oxford: James Currey, 2000.
Ntarangwi, Mwenda. The Street Is My Pulpit: Hip Hop and Christianity in Kenya. Champaign,
IL: University of Illinois Press, 2016.
Ntarangwi, Mwenda. East African Hip Hop: Youth Culture and Globalization. Champaign, IL:
University of Illinois Press, 2009.
Obiechina, Emmanuel. An African Popular Literature: A Study of Onitsha Market Pamphlets.
Cambridge, UK. Cambridge University Press, 1973.
Pettersson, Per-Anders et al. African Catwalk. Germany: Kehrere Verlag, 2016.
Plageman, Nathan. Highlife Saturday Night: Popular Music and Social Change in Urban Ghana.
Bloomington and Indianapolis: Indiana University Press, 2012.
Rovine, Victoria L. Rovine. African Fashion, Global Style: Histories, Innovations, and Ideas You
Can Wear. Bloomington and Indianapolis: Indiana University Press, 2015.
Shipley, Jesse Weaver. Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular
Music. Durham, NC: Duke University Press, 2013.
Steingo, Gavin. Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa.
Chicago, IL: University of Chicago Press, 2016.
OUTLINE: Examination of contemporary African cultural production as a dynamic field where,
through fashion, photography, music, film, television, politics, fiction, magazines, art,
advertisement, sports, religion, and new media, issues of class, identity, gender, agency,
community, heritage, subcultures, transformation, globalization, among others, converge.
FORMAT: Overall, through weekly lectures, media clips, and incisive discussions, the course
aims at fostering an enriching learning experience that will engender requisite insights into the
subtleties of African popular culture. In this, the dynamics and complexities of African cultural
production, their multilayered connections to indigenous cultural forms and networks of
exchanges with global cultural flows, the ‘everyday’, variegated experiences, social realities, the
interplay between vibrant mix of elements and eclectic currents that constitute African popular
culture would be key. As such, the course will map shifts in contemporary African social milieus
and popular art forms, through an interdisciplinary framework. From this framework, distinctive
features will emerge to illuminate certain contexts, conventions and configurations, their
intrinsically heterogeneous and robust features, as well as ever-widening creative capacities and
canvasses.
EXAM GRADING CRITERIA
‘A’ GRADE RANGE = 90%-100%
* Answered all aspects of the questions.
Cogent application of lectures and readings.
* Cited other relevant materials appropriately.
* Identified characters, directors and situations aptly.
* Clear, engaging and scholarly analyses.
* Avoided pointless summaries of films.
Hardly any spelling or grammatical errors.
* No colloquialisms (slangs and informal language).
Kept responses within specified page limits.
No attempts to “stretch’ paper, unduly (through creative pagination, font sizes, etc)
*
**

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