This work is an important contribution to the civil society debate in Africa and to the global literature on dissent.

Throughout its history, Nigeria has been plagued by religious divisions. Tensions have only intensified since the restoration of democracy in 1999, with the divide between Christian south and Muslim north playing a central role in the country’s electoral politics, as well as manifesting itself in the religious warfare waged by Boko Haram. Through the lens of Christian–Muslim struggles for supremacy, Ebenezer Obadare charts the turbulent course of democracy in the Nigerian Fourth Republic, exploring the key role religion has played in ordering society. He argues the rise of Pentecostalism is a force focused on appropriating state power, transforming the dynamics of the country and acting to demobilize civil society, further providing a trigger for Muslim revivalism. Covering events of recent decades to the election of Buhari, Pentecostal Republic shows that religio-political contestations have become integral to Nigeria’s democratic process, and are fundamental to understanding its future.

Examines the variety of mostly unorganized and informal ways in which Africans exercise agency and resist state power in the 21st century, through citizen action and popular culture, and how the relationship between ruler and ruled is being reframed.

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.

Digital humour in the COVID-19 pandemic: Perspectives from the Global South offers a groundbreaking intervention on how digital media were used from below by ordinary citizens to negotiate the global pandemic humorously. This book considers the role played by digital media during the pandemic, and indeed in the socio-political life of the Global South, as indispensable and revolutionary to human communication. In many societies, humour not only signifies laughter and frivolity, but acts as an important echo that accompanies, critiques, questions, disrupts, agitates and comments on societal affairs and the human condition. This book analyses citizens’ use of social media and humour to mediate the pandemic in a diverse range of countries, including Brazil, India, Kenya, Nigeria, South Africa and Zimbabwe. The book will appeal to academics and students of media and communication studies, political studies, rhetoric, and to policy makers.

Non-governmental organizations (NGOs) have become ubiquitous in the development sector in Africa and attracting more academic attention. However, the fact that NGOs are an integral part of the everyday lives of men and women on the continent has been overlooked thus far. In Africa, NGOs are not remote, but familiar players, situated in the midst of cities and communities. By taking a radical empirical stance, this book studies NGOs as a vital part of the lifeworlds of Africans. Its contributions are immersed in the pasts, presents and futures of personal encounters, memories, decision-making and politics.

African cultural productions of humour have increased even in the face of myriad economic foibles and social upheavals. For instance, from the 1990s, stand-up comedy emerged across the continent and has maintained a pervasive presence since then. Its specificities are related to contemporary economic and political contexts and are also drawn from its pre-colonial history, that of joking forms and relationships, and orality. Izuu Nwankwọ's fascinating collected volume offers a transnational appraisal of this unique art form spanning different nations of the continent and its diasporas. The book engages variously with jokesters, their materials, the mediums of dissemination, and the cultural value(s) and relevance of their stage work, encompassing the form and content of the practice. Its ruling theoretical perspective comes from theatre and performance, cultural studies, linguistics, and literary studies.