The Ohio State University
Department of African American and African Studies
Spring Semester 2015
AFRICAN POPULAR CULTURE
AAAS 7760
Wednesday, 12‐2:45pm
Journalism Building, 0291
Instructor:
Office:
Email:
Phone:
Office Hours:
Ryan Skinner
Hughes 101c
skinner.176@osu.edu
(614) 292‐9441
TBA
DESCRIPTION
This course focuses on the rich variety of African popular culture as a way of elucidating
the politics and poetics of urban social life in the modern African world. By referring to
the “African world,” we recognize that the popular culture of urban Africa takes shape
within a dynamic array of local, regional, and global communities, through which media,
technology, capital, ideas, and people circulate with greater and greater frequency. The
modernity of this world is evidenced by its extensive engagement with, contributions to,
and contestations of the nation‐state, the global economy, and the transnational circuits
of culture from the hinterlands of the Global South. The term “popular” turns our
attention to the sub‐cultural, counter‐public, and frequently youth‐driven social and
aesthetic trends cultivated in cities, within particular contexts of labor, politics, leisure,
ritual, and consumer capitalism. The “culture” to which we refer encompasses a great
variety of expressive forms, including music, dance, visual art, literature, theatre, and
cinema. This culture is African to the extent that the post‐colonial and trans‐ (and
increasingly post‐) national crises, struggles, accomplishments, and aspirations reveal
common interests, concerns, and solutions emergent from the continent, its cities, and
diasporas. By reading, listening, and looking deeply into the urban popular culture of the
African world, this course will make a strong case for the significance of the popular
performing and visual arts to the study of Africa in the social sciences and humanities,
attesting to the vital place of such expression in the world today.
OBJECTIVES
This course seeks to: 1) critically interrogate conceptions of “the popular” and “popular
culture” – and the idea of “Africa” that qualifies these concepts – from a variety of
disciplinary perspectives (cultural studies, performance studies, anthropology,
ethnomusicology, dance studies, history, etc.); 2) situate our study of African popular
culture within well‐established theoretical paradigms on popular culture, public culture,
Ryan T. Skinner 2015
1
the carnivalesque, art worlds, and the urban production of space; 3) survey a variety of
expressive cultural forms within urban African popular/public culture, including film,
music, dance, literature, textiles, and visual art.
REQUIREMENTS
Work for this course consists of intensive reading and regular and thoughtful writing.
When applicable, listening and viewing assignments may be added to supplement the
readings. Each week, all students will submit a short 1‐page response paper (single
spaced, 12 pt. font), which should directly address the assigned texts, and prepare a
series of questions and comments to be discussed in class. These papers are due no
later that midnight on Tuesday night and should be uploaded to the appropriate Carmen
dropbox folder. I will also ask one or two students to present the chosen material for
each session (except the first) and lead the class discussion with a 10‐15 minute
introductory statement, followed by questions (prepared in your response papers),
criticisms, and commentaries. Students should be prepared to present twice during the
term. It goes without saying that students should be present at every class meeting,
have read the assigned texts in their entirety, and be prepared to engage in thoughtful
discussion on the selected topics of the day. A 10‐15‐page paper will be due at the end
of the semester on a topic of the student’s choice. On Wednesday 25 February,
students should submit a 250‐word abstract of their final paper, along with a
substantive annotated bibliography. Short 10‐15 minute presentations of final paper
projects will take place on Wednesday 22 April. The final paper is due at 11:59pm on
Friday 1 May.
REQUIRED TEXTS
Required texts should either be purchased from an online vendor or requested from the
library system. Other texts (articles, book chapters, class notes, etc.) can be accessed
through the library course reserves, online databases, or the course website.
1. Abouet, Marguerite and Clément Oubrerie. 2012. Aya: Life in Yop City (Drawn
and Quarterly)
2. Boateng, Boatema. 2011. The Copyright Thing Doesn’t Work Here (University of
Minnesota Press)
3. Castaldi, Francesca. 2006. Choreographies of African Identities: Négritude,
Dance, and the National Ballet of Senegal (University of Illinois Press)
4. Fabian, Johannes. 1998. Moments of Freedom: Anthropology and Popular Culture
(The University Press of Virginia)
5. Jaji, Tsitsi Ella. 2014. Africa in Stereo: Modernism, Music, and Pan‐African
Solidarity (Oxford University Press)
6. Larkin, Brian. 2008. Signal and Noise: Media, Infrastructure, and Urban Culture in
Nigeria (Duke University Press)
7. Mann, Gregory. 2015. From Empires to NGOs in the West African Sahel: The Road
to Nongovernmentality (Cambridge University Press)
Ryan T. Skinner 2015
2
8. Perullo, Alex. 2011. Live from Dar es Salaam: Popular Music and Tanzania’s
Music Economy (Indiana University Press)
9. Piot, Charles. 2010. Nostalgia for the Future: West Africa after the Cold War
(Duke University Press)
ASSESSMENT
20% Class Presentations and Participation
30% Weekly Response Papers
20% Abstract and Bibliography
30% Term Paper
GRADING SCALE
A = Excellent
B = Good
C = Fair
D = Poor
F = Failing
Minuses and Pluses will reflect incremental adjustments (e.g. B+ = Very Good)
ACADEMIC MISCONDUCT
It is the responsibility of the Committee on Academic Misconduct to investigate or
establish procedures for the investigation of all reported cases of student academic
misconduct. The term “academic misconduct” includes all forms of student academic
misconduct wherever committed; illustrated by, but not limited to, cases of plagiarism
and dishonest practices in connection with examinations. Instructors shall report all
instances of alleged academic misconduct to the committee (Faculty Rule 3335‐5‐487).
For
additional
information,
see
the
Code
of
Student
Conduct
(http://studentaffairs.osu.edu/resource_csc.asp).
DISABILITY SERVICES
Students with disabilities that have been certified by the Office of
Disability Services will be appropriately accommodated, and
should inform the instructor as soon as possible of their needs.
The Office of Disability Services is located in 150 Pomerene Hall,
1760 Neil Avenue; telephone: 292‐3307, TDD: 292‐0901;
http://www.ods.ohio‐state.edu/
Ryan T. Skinner 2015
3
COURSE CALENDAR
I. Theorizing Popular and Public Culture in Urban Africa
Week One: Popular Culture in (and out of) Africa (1/14)
1. Stuart Hall, “Notes on Deconstructing the Popular” (1981) and “What is this
‘black’ in black popular culture?” (1993)
2. Johannes Fabian, “Popular Culture in Africa: Findings and Conjectures” (1978)
3. Karin Barber, “Popular Arts in Africa” (1987)
4. AbdouMaliq Simone, “Some Reflections on Making Popular Culture in Africa”
(2008)
5. Nadine Dolby, “Popular Culture and Public Space in Africa: The Possibilities of
Cultural Citizenship” (2006)
Week Two: Popular Culture or Public Culture? (1/21)
1. Michael Warner, “Publics and Counterpublics” (2002)
2. Arjun Appadurai and Carol Breckenridge, “Why Public Culture?” (1988)
3. Mamdou Diouf, “Engaging Postcolonial Cultures: African Youth and Public Space”
(2003)
4. AbdouMaliq Simone, “Straddling the Divides: Remaking Associational Life in the
Informal African City” (2001)
5. Birgit Meyer, “Popular Cinema and Pentecostalite Style in Ghana’s New Public
Sphere” (2004)
6. Andrew Eisenberg, “Hip Hop and Cultural Citizenship on Kenya’s Swahili Coast”
(2012)
Week Three: Bakhtin’s Carnival and Mbembe’s Postcolony (1/28)
1. Mikhail Bakhtin, Rabelais and His World (Introduction and Chapters 2, 3, and 5)
2. Achille Mbembe, “The Banality of Power and the Aesthetics of Vulgarity in the
Postcolony” (1992)
3. Achille Mbembe, “Variations on the Beautiful in Congolese Worlds of Sound”
(2006)
Week Four: Living, Conceiving, and Perceiving Urban Space (2/4)
Readings:
1. Henri Lefebvre, The Production of Space (1992) (part of ch1 and chapters 2 & 3)
2. Thomas Blom Hansen, “Sounds of Freedom: Music, Taxis, and Racial Imagination
in Urban South Africa” (2006)
3. Caroline Melly, “Inside‐Out Houses: Urban Belonging and Imaging Futures in
Dakar, Senegal” (2010)
Ryan T. Skinner 2015
4
4. Federico Caprotti, “Visuality, Hybridity, and Colonialism: Imagining Ethiopia
Through Colonial Aviation, 1935‐1940” (2011)
Week Five: Popular Cultural Anthropology (2/11)
1. Johannes Fabian, Moments of Freedom: Anthropology and Popular Culture
(1998)
2. Sarah Nuttall, “Rethinking Beauty” (2006)
Week Six: Public Culture and Nongovernmentality after the Cold War (2/18)
1. Charles Piot, Nostalgia for the Future: West Africa after the Cold War (2010)
Week Seven: Public Culture and Nongovernmentality in the Postcolony (2/25)
1. Gregory Mann, From Empires to NGOs in the West African Sahel: The Road to
Nongovernmentality (2015)
ABSTRACT AND ANNOTED BIBLIOGRAPHY DUE
II. Representing the Popular in Urban Africa
Week Eight: Cinema (3/4)
1. Brian Larkin, Signal and Noise: Media, Infrastructure, and Urban Culture in
Nigeria (2008)
Week Nine: Dance (3/11)
1. Francesca Castaldi, Choreographies of African Identities: Négritude, Dance, and
the National Ballet of Senegal (2006)
SPRING BREAK: 14‐22 MARCH
Week Ten: Music (3/25)
1. Alex Perullo, Live from Dar es Salaam: Popular Music and Tanzania’s Music
Economy (2011)
Week Eleven: Textiles (4/1)
1. Boatema Boateng, The Copyright Thing Doesn’t Work Here: Adinkra and Kente
Cloth and Intellectual Property in Ghana (2011)
Ryan T. Skinner 2015
5
Week Twelve: Literature (4/8)
1. Tsitsi Ella Jaji, Africa in Stereo: Modernism, Music, and Pan‐African Solidarity
(2014)
Week Thirteen: Graphic Novel (4/15)
1. Marguerite Abouet and Clément Oubrerie, Aya: Life in Yop City (2012)
Week Fourteen: Paper Presentations (4/22)
Student Presentations of Final Paper Topics
FINAL PAPERS DUE ON FRIDAY MAY 1ST
Ryan T. Skinner 2015
6