As language increasingly becomes uncoupled from the nation state, transnational writers, transnational African writers, and African writers are using language to serve their own purposes and creating new literary aesthetics. This essay, first given as a keynote speech to the 2021 African Studies Association Annual Conference, examines some debates about the relationship between language and power and argues that these are being upended by writers who do not fit conventional categories, including transnational African writers. These writers are exploring the range of options presented by their own multilingualism and making unapologetic aesthetic claims upon the English language.

“Shortcut English” is a pidgin spoken between Zambians and Chinese migrants at a Chinese-operated mine in southern Zambia. Contrary to most historical contact languages, the symbolic valences of Shortcut English favor the Zambian laborers over the Chinese mine managers and owners. In the past, Zambians at Summers have categorized Chinese as bamukuwa/ “whites.” Haruyama analyzes how the racializing dynamics of the new pidgin Shortcut English increasingly result in Chinese being figured as machainizi, a denigrated racial other whom Zambians see as unfit to run the mine, which contributes to sometimes violent resistance.

Memory book projects encourage parents living with HIV to write workbooks for their children about their family background and life experiences, to guide the child in the parent’s future absence. In Uganda, site of the first memory book projects in Africa, most writers have been widows with agrarian background and limited schooling. Oike conducts a close literary textual analysis of an exceptionally intensive memory book written by a schoolteacher, examines how the book helped the author to represent her traumatic experiences of living with and dying of HIV, and explores the possibilities of memory books as a tool for grassroots writing.

La communication politique conventionnelle occulte l’usage des symboles culturels de l’apparence que sont les vêtements lors des campagnes électorales. Or le vêtement est incorporé à l’œuvre de conquête et de conservation du pouvoir politique du fait de son potentiel de séduction. En prenant pour site d’observation la campagne pour l’élection présidentielle camerounaise d’octobre 2018, cet article entreprend de rendre intelligible le comportement vestimentaire des candidats. Les données de cette étude sont issues d’une observation participante lors de meetings et de l’analyse des affiches de campagnes de cette élection. Il en ressort que le vêtement est un média de l’expression de la personnalité et des stratégies de séduction des candidats qui agit davantage comme un stimuli de la mobilisation que comme un déterminant du vote.

In order to reappraise discourses on the restitution vs. retention of Africa’s cultural heritage, Eyssette examines the Musée du Quai Branly (France), the AfricaMuseum (Belgium), the British Museum (UK), and the Humboldt Forum (Germany) as one representative spectrum for analysis showing the mutual imbrications of their changing strategies and practices. After detecting biases in retentionist arguments on security, accessibility, law, and ethics, Eyssette stresses symmetrical shortcomings in restitutionist discourses on provenance research and the instrumentalization of heritage for economic gains or post-colonial rebranding. The conclusion determines whether these four institutions are retentionists, rhetorical restitutionists, or truly reformed restitutionists.

Lagos is a recurrent theme in Nigerian music videos. Eromosele examines this phenomenon in relation to the objectives of the music video and the musician’s star image. Various studies involving emotion and forms of capital help to reveal how Lagos is appropriated into the iconography of music stars in ways that extend the city’s affective capital while serving the promotional aims of the music video. Capital is viewed chiefly as value accumulated through circulation and capable of being transubstantiated into different forms. The economic and political prominence of Lagos influences and is fed by the city’s affective power.

The COVID-19 pandemic struck when Uganda was in the middle of an acrimonious campaign season, in which longstanding president Yoweri Museveni was being challenged by Bobi Wine, a reggae singer turned politician. When Museveni imposed a strict lockdown, musicians sympathetic to Wine responded with songs about COVID-19 that challenged the government’s short-term, biopolitical demarcation of the national emergency. Pier and Mutagubya interpret a selection of Ugandan COVID-19 pop songs from 2020, considering in musical-historical perspective their various strategies for re-narrating the health crisis.

When Ugandan singer Geoffrey Oryema died in France in 2018 after forty-one years in exile, his wish was to be cremated, repatriated to Uganda, and dispersed on the wind. His wish implied improper burial and ignited a controversy due to varied meanings of the bush. The bush is a keyword with a painful past. Oryema’s experience and Acholi concepts of the bush suggest the bush is partly a discourse, inherited from one generation to the next, about the shifting space between home and wild. For this analysis, Lagace draws on songs, social media, Ugandan and French press, archives, scholarship, and correspondence with Ugandans.

In these three volumes, Ambreena Manji, Barbara Thomas, and Julie Zollman detail how poor people in Kenya navigate everyday struggles against restrictive social, economic, and political constraints to build livelihoods through their individual and collective efforts in order to access basic social services, land, markets, and employment, and to participate in the social, economic and political arenas. In the latest edition of her book, Politics, Participation and Poverty: Development Through Self-Help in Kenya, first published in 1985, Thomas chronicles innovative ways in which the rural poor in six locations in Eastern, Central, and Rift Valley Provinces have exploited the complex competitive web of Kenya’s electoral patron-client linkages at local and national levels to access scarce resources for community development projects. The trend of unequal development based on region, class, gender, and ethnicity that informed development through self-help in the 1970s and 80s persist to date, as elaborated in Zollman’s Living on Little: Navigating Financial Scarcity in Modern Kenya. While Manji, in The Struggle for Land & Justice in Kenya, focuses on struggles over land and justice from the colonial era to the present, Thomas and Zollman highlight continuing struggles by people living on little to access scarce essential services and land in their quest for personal and community development. While these titles fit into distinct disciplinary fields and use diverse methodological approaches, they meticulously weave profound narratives of the resilience of ordinary Kenyans building livelihoods, families, and communities with little resources.