Cartooning Nigerian Anticolonial Nationalism

Ọláníyan, Tejúmólá

doi:10.1525/california/9780520229488.003.0005

Cited by 20 publications

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“…Ruger (2009), for example, makes the interesting observation that sometimes 1 An important exception here is cartoons. See for instance Olaniyan (2002). 2 Alan Dundes would go so far as to suggest that 'it usually is essential that the joke's meaning not be crystal clear.'…”

Section: 'The Best Medicine…'mentioning

confidence: 99%

State of Travesty: Jokes and the Logic of Socio-Cultural Improvisation in Africa

Obadare

2010

Critical African Studies

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What can humour accomplish when faced with unbending state power in a continent ravaged by the most horrendous fatalities? If comics cannot remove sit-tight despots, of what use are they? How does one manage to laugh in the roiling pool of kindred blood?These and other important dilemmas have framed scholarly debates on the efficacy of jokes as capacitors of social change. Using these dilemmas as an analytic pivot, the article ponders the utility of humour as a means of socio-cultural improvisation in Africa.With Nigeria as immediate backdrop, the article accounts for both the emergence of the humour industry in the context of recent socio-political liberalisation, and the historicity of jokes themselves as 'coping strategies' and symbolic instruments of social transgression. I suggest that, ultimately, humour's essence can be captured only in relation to specific social referents. Thus, in Africa, humour must be seen as integral to a reality in which the postcolonial subject is condemned to endless improvising.

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Section: 'The Best Medicine…'mentioning

confidence: 99%

State of Travesty: Jokes and the Logic of Socio-Cultural Improvisation in Africa

Obadare

2010

Critical African Studies

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“…Using imagery, metaphor, symbolism and others rhetorical devices, the cartoonist defines political situations and attempts to interpret them visually in a way that is both amusing and thought-provoking. The exploits of Akinola Lasekan with his editorial cartoons in the West African Pilot in the 1940 and 1950s reflected colonial life, and also depicted the struggle for nationhood which later culminated in Nigeria's independence in 1960 (Olaniyan, 2002).…”

Section: Introductionmentioning

confidence: 99%

Artistic and Communicative Connections between Newspaper Cartooning and Epa Festival in Ijagun Community, Ogun State, Nigeria

Oriola¹,

Tiamiyu²

2021

J Relig. Human Rel.

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Newspaper cartoons and Epa masks worn by Epa masquerades are similar in their humorous appearances and communicative values. This study examined the artistic and communicative connections between newspaper cartooning and Epa festival in Ijagun community, Ogun State, Nigeria. Descriptive questionnaire survey was conducted on 20literate indigenous Epa adherents in the community. Findings revealed that Epa festival and newspaper cartooning were related in their significant artistic connection through humour and entertainment, and communication of cultural values through exposure of social vices in the community. The study recommended the preservation of such festivals as Epa for awareness creation, entertainment and security.

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The politics of portrait photographs in southern Nigerian newspapers, 1945–1954

Kunstmann

2014

Social Dynamics

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Cartooning Nigerian Anticolonial Nationalism

Cited by 20 publications

References 0 publications

State of Travesty: Jokes and the Logic of Socio-Cultural Improvisation in Africa

State of Travesty: Jokes and the Logic of Socio-Cultural Improvisation in Africa

Artistic and Communicative Connections between Newspaper Cartooning and Epa Festival in Ijagun Community, Ogun State, Nigeria

The politics of portrait photographs in southern Nigerian newspapers, 1945–1954

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