‘Chronicles of Bailundo’ is a fragmentary account of life in Bailundo, Central Angola. The manuscript, whose authorship and exact date are unknown, is available at the archives of the American Board of Commissioners for Foreign Missions (ABCFM) at Houghton Library, Harvard University. It was written in Umbundu, the vernacular spoken in Bailundo, by North American Congregational missionaries between 1903 and the 1930s. Although the source mentions no dates, it refers roughly to the period between the seventeenth century and the gradual establishment of Portuguese colonial rule and Christian missions in the late nineteenth and early twentieth centuries. It gives access to both the Umbundu then spoken in Bailundo and the perspective of Umbundu-speaking subjects on what it was like to live in this polity. The source addresses socio-cultural, political and economic aspects of life in Bailundo as well as significant historical events, such as the Bailundo War (1902–03). The text in Umbundu, published as supplementary material with this article, has been transcribed, translated into Portuguese and English, and annotated. The version published following the main introduction of the article presents an annotated sample of the source in English. The full version, published as supplementary material, comprises the complete original in Umbundu, its complete annotated translation into English, and a complete annotated translation into Portuguese. The article addresses the authorship, contents, form and context of production of the source.

This article introduces a personalized account of the early years of radio in Ghana based on an unpublished manuscript by one of its pioneering broadcasters – Bernard Senedzi (B. S.) Gadzekpo. An accomplished writer who produced manuscripts in both English and the Eʋe language, Gadzekpo's radio memoir is written from the vantage point of someone who worked in both the colonial and postcolonial broadcast service for nearly thirty years. It foregrounds African broadcasters in the history of radio and offers insights into the complex realities of Africa's mutable encounter with radio and the strategic role played by local intellectuals in fulfilling its modernization mission during and after the colonial period.

By the early 2010s, a number of Malawian poets in their twenties had begun to substitute the elliptical expression of earlier generations with a language that resonated with popular idioms. As poetry directed at ‘the people’, its medium is spoken word rather than print, performed to live audiences and distributed through CDs, radio programmes and the internet. Crafted predominantly in Chichewa, the poems also address topics of popular interest. The selection of poetry presented here comes from a female and a male poet, who, unbeknown to each other, prepared poems sharply critical of homosexuality and what they regarded as its foreign and local advocacy. The same poets have also gained success for their love poems, which have depicted intimate desires in remarkably compatible ways for both women and men. The poets who performed ‘homophobic’ verse went against popular gender stereotypes in their depictions of romantic love and female and male desires. This introductory essay, as a contribution to Africa's Local Intellectuals series, discusses the aesthetic challenges that the new poets have launched in the context of Malawi's modern poetry. With regard to gender relations in their love poems, the introduction also considers the poets’ possible countercultural contribution despite their avowed commitment to perform for ‘the people’.

This part issue of the journal Africa broadly explores the idea of frontiers and pioneers in the study of queer African lives. We envisage frontiers as exploring new openings in the study of sexuality by putting forward the practices and experiences of people across the African continent. We propose to study queerness as part of broader quotidian realities so as to further theorize the study of sexualities and queerness. We propose the term ‘pioneer’ for the interlocutors in our studies: (self-identifying) women, men and queerying persons who courageously explore contradictory paths in their various contexts. As such, we encourage an imaginative employment of queer as indicating a horizon of curiosity and imprecision. In making queerness not an object of study but rather a subject of its own theorization based on everyday experience, this special journal issue explicitly and deliberately asserts the vernacular and the mundane as a locus of knowledge. One implication is especially pertinent: knowledge on queerness cannot be prefabricated or preassembled in theoretical laboratories with the aim of merely applying it to an African context. By doing so, Africa functions – as it always has – only as a variable in the study of cultural difference, one that is different from, by implication, a Euro-American centre. ‘Or, as is happening too often, queer African voices and experiences will be absorbed as “data” or “evidence,” not as modes of theory or as challenges to the conceptual assumptions that drive queer studies’ (Macharia 2016: 185). Foregrounding the mundane rather than the urbane (as in ‘suave’, for which queer theory has a strong penchant), we are not trying to ‘define’ African queer sexualities; rather, we seek to provoke conversations about the terms and agencies of their expansion through the prism of frontiers and pioneers.

Slam poets in Africa are part of an emerging social movement. In this article, the focus is on women in this upcoming slam movement in francophone Africa. For these women, slam has meant a change in their lives as they have found words to describe difficult experiences that were previously shrouded in silence. Their words, performances and engaged actions are developing into a body of popular knowledge that questions the status quo and relates to the ‘emerging consciousness’ in many African urban societies of unequal, often gendered, power relations. The women who engage in slam have thus become a voice for the emancipation of women in general.

Those who populate the productive frontiers of capitalism are often targets of violence by groups and institutions aiming to poach, control and regulate their economic practices. This article draws on years of ethnographic research conducted with informal transport operators in Nairobi who drive, conduct and own the minibus taxis called matatu. In order to navigate the city, this workforce engages in a coordinated but tense economic dance along the dangerous and shifting lines between illegality, work and reciprocity. The article aims to situate the more dangerous and morally ambiguous aspects of the ‘hustle economy’ ethnographically, within the generative and ultimately mobile location of urban transportation infrastructures of the matatu sector. Building on the conceptualizations of social infrastructure of AbdouMaliq Simone and Janet Roitman's study of fiscal disobedience, whereby the legitimacy of regulatory authority is questioned and undermined, matatu workers as infrastructure challenge multiple levels of state and non-state regulation through a variety of practices that blend danger, violence and control with solidarity, reciprocity and redistribution. This article evaluates and analyses distinctive features of ‘hustling’ in Nairobi through the ethnographic lens of matatu transportation operators as they navigate dangerous negotiations with the state, the police and vigilante gangs.

The excerpts below are from two of the sixteen chapters in B. S. Gadzekpo's radio memoir. In ‘Battles at the microphone’, Gadzekpo describes the diverse ways in which he and other Vernacular Announcers made their mark on wartime programming during World War Two, including how they carefully selected what could be aired as news and rallied local support for the war effort. The chapter ‘The music talent hunt’ details his tireless efforts at identifying and recording indigenous music to play on air in order to keep local audiences glued to the radio, especially after the war. The full text of the manuscript is available with the supplementary material published with Audrey Gadzekpo's article introducing this work at <https://doi.org/10.1017/S0001972021000012>.

The history of archival management in Uganda reveals the foundational relationship between austerity and colonial archival institutions. This article discusses how impoverishment and self-interested editing were central to the bureaucratization of colonial archives at their founding. Extreme austerity in the wake of structural adjustment in the 1980s accelerated archival decay while adding new uncertainties to archivists’ work. Postcolonial archivists’ strategies of risk management and repair work have helped to preserve archives from potentially nefarious editing by partisan officials and publics. However, neglect and decay have also constrained the circulation of archives in public life and have reinforced colonial institutional violence. These conditions of postcolonial institutions require continuous hazardous labour from individuals embedded in the margins of state bureaucracy. This article emphasizes the backstage of archival labour and the risks that archivists navigate in preserving – and managing the public life of – relics of contentious pasts.

This article examines the temporalities and terrains of the home-grown hustle economy of Mathare, one of the oldest and largest informal settlements in Nairobi. It builds on my previous work mobilizing the notion of ‘hustle’ to ground the narratives of struggle, opportunity and place-making expressed by youth whose livelihood strategies have centred around neighbourhood-based informal waste labour in order to assert claims to their local environment. Drawing on three ethnographic portraits and over a decade of longitudinal ethnographic research, the article shows how hustling connects to and evolves with particular generational and gendered identities, revealing the shifting demands on ‘older’ versus ‘younger’ youth. As everyday lives are mired in constant uncertainty, youth occupy a ‘precarious present’, caught in a state of suspension but also well versed in adapting to adversity and shaping local politics of provisioning in the absence of formal structures of support. The article sheds light on local logics of wealth redistribution among youth who belong to the same neighbourhood but whose claims to particular resources shift over time. The article demonstrates how hustling in Mathare sits at the nexus of agentive economic, environmental, political and social struggles, as youth on the urban periphery manage waste in their neighbourhoods to negotiate their place but also their time in the city.

In modern social thinking, norms are generally thought of in opposition to a space of freedom that is more or less curtailed by and through processes of normalization. ‘Transgression’ thereby becomes an implicit or explicit act of resistance against the norm. This is particularly clear in Western Queer Theory, where a political and analytical investment in anti-normativity has – paradoxically – become a field-defining norm. Yet such strong anti-normativity can become a liability when trying to do justice to actually existing queer dynamics in past and present African realities. Drawing from ethnographic fieldwork among sexually dissident young men who call themselves ‘fioto’ in urban Democratic Republic of Congo, this article shifts the always already oppositional relationship between queerness and normativity – not by arguing that queer is normal too or by showing that queer lives produce their own norms alongside heteronormativity, but by suggesting that queerness is a potential of normativity, rather than an opposition to it. It specifically thinks with two groups of fioto friends in Kisangani to show how and why norms generated their own queerness – as something that was already there as an inherent dimension of their own dynamism and multiplicity.

Emmanuel Olympus Moore (aka Ajiṣafẹ) (c.1875/79–1940) was a pioneer of Nigerian Yorùbá literature and popular music. Ajiṣafẹ was one of the most significant Nigerian popular cultural figures of his generation. Written during the amalgamation of Nigeria, his History of Abẹokuta (1916) (Iwe Itan Abẹokuta, 1924) is a seminal text for our understanding of Abẹokuta and the Ẹgba kingdom. This article examines the bilingual passages of the History in which Ajiṣafẹ invokes oral history to construct a religious ethnography of the early Ẹgba polity. Self-translation enabled vernacular authors to mediate constituencies. The English and Yorùbá texts of the History differ in their engagement with Yorùbá cosmology. Ajiṣafẹ's texts converge in his defence of the Odùduwà dynasty; Abẹokuta, in a constitutional Yorùbá united kingdom, would be the seat of ecclesiastical power. Civil authority in Nigeria could be stabilized through an Abrahamic renegotiation of divine kingship. To establish his treatise within a genealogy of world Christianity, Ajiṣafẹ utilized self-translation as a rhetorical device to reconcile the working of providence in precolonial and colonial African history. Ajiṣafẹ's History, ultimately, is an Abrahamic exposition of the role of God's providence in bringing about the complete unification of Nigeria in September 1914.

Translated from the Portuguese expression arquivo morto, the dead archive is a site where files that have lost their procedural validity are stored for a determined number of years before they are destroyed or are sent to permanent archives. In Mozambique, where awareness and institutional capacity for proper archival procedures are still being developed, a common feature of the dead archive is the way in which files are untidily piled up with old typewriters, furniture, spare parts and other material debris of bureaucratic work and administration. In these archives, more than forty years of institutional and public memory lie ignored in leaky, damp basements across the country and in serious danger of irreparable damage. Drawing from various stints of historical and anthropological field research conducted between 2009 and 2016 in Maputo, Niassa and Inhambane provinces, this article examines the dead archive in order to explore the relationship between institutional memory and governance during the long period of austerity in Mozambique. Based on our investigation of the multiple layers of the dead archive, we argue that the Mozambican post-socialist government has sought to control institutional memory as a way to keep the ruling party in power in the context of multiparty politics. While the public sector has experienced conditions of austerity since independence, we show how, during the socialist period (1975–90) of single-party rule, the state's relationship with institutional memory was more progressive, with transparent and communicative archival practices. In contrast, despite the combination of public sector reforms and progressive legislation regarding the right to information, the multiparty democratic period (1990 to the present) has seen an exacerbation of administrative secrecy leading to less transparent and communicative archival practices.

This article examines the history of voluntary death on the Gold Coast in present-day Ghana. Its focus is the suicide of a young woman named Adwoa Amissa (or Adumissa), who took her own life in dramatic fashion in the town of Cape Coast in the early nineteenth century. Adumissa killed herself in response to the earlier suicide of a thwarted suitor, who declared his own self-destruction to be ‘on her head’, thereby transferring the responsibility to her. These events, which were recorded by Sarah Bowdich, an English resident of Cape Coast in 1816–18, made Adumissa a legendary figure in the Fante region of the Gold Coast and beyond. Despite the interpretive complexities of Bowdich's text, two aspects of the episode reveal themselves as central to an understanding of its cultural context: the impact of the spoken word and the practice of aggressive ‘revenge suicide’ among the Akan and their neighbours. It is within this culturally meaningful and contingent framework that questions about Adumissa's emotional impulses, motivations and agency must be situated.

Hustling as a concept has travelled through the global soundscapes of impoverished, neglected, racialized and otherwise marginalized urban settings. The widespread rearticulation of the term ‘hustling’ in a broad range of urban languages reveals that its use in particular forms of Black Atlantic music cultures speaks to shared experiences worldwide. Simultaneously, it shows the flexibility of this term to acquire new and unfolding meanings. This article focuses on the modes in which poor young men in Nairobi (re)deploy, translate and practise hustling to fit immediate circumstances and imagine possible futures, and on the meanings these men produce in the process. I argue that interrogating hustling as a practice provides insights into gendered experiences of urban life worlds in the underserved and highly policed areas of Nairobi, which may tentatively resonate with young men in comparable positions worldwide. I specifically examine how positions of (junior) manhood are configured by localized hustling practices to elucidate how navigating fear and hope, while facing extreme uncertainty, simultaneously defines and undermines their sense of manhood.

Demonization is a widespread aspect of political discourse. We are familiar with the demonization of Brussels bureaucrats as a tool for pursuing the British exit from the European Union, and we take stories about the compulsory straightening of bananas with a pinch of salt, however frustrating it might be that some disaffected voters choose to accept these canards as true. But somehow, stories about the demonic in Africa have been accorded much greater ontological respect, not only by colonial powers keen to boost their own legitimacy through claims to a civilizing mission, but also by anthropologists anxious to understand their informants’ imaginative concerns, perhaps without fully appreciating the political craft or guile with which these discourses are invested. In seeking to void the charge of delusion, an empathetic reading of demonization risks missing the strategic significance of mythic interventions intended to extract political advantage. This article examines an instance of mythic creativity in the politics of late nineteenth-century interior Sierra Leone as an example of the stagecraft sometimes implicit in African public authority. The case is that of the human leopard, an avatar of commercially compromised chieftaincy. The article asks whether the alleged activities of these leopards were the straight bananas of a certain form of anti-colonial political resistance. In a concluding discussion, some consequences for understanding current forms and practices of local public authority are inferred.

This article provides a case study of a Nigerian community day celebration as a constellation of power dynamics in which kingship, chieftaincy and local politics are intertwined. Complementing the interpretations of the community day as a festival and a community development initiative, this research approaches Oka Day as an institution of powers that is invoked by the king but also incorporates chiefs, social groups, invited guests from beyond Oka and local audiences. Indebted to geographies of powers, we take nuanced power practices seriously, illustrated as twisted spatialities of powers embodied in architecture, rituals and oral history narratives. The new framing of powers makes two contributions to the existing interpretations of chieftaincy in Africa: it sheds light on chiefs’ subtle and strategic practices in response to the ‘powers of reach’ exercised by the king and through the organizational institution of Oka Day; and it also demonstrates how actors beyond the locality, including politicians, social clubs and diasporic groups, are drawn into the institution of Oka Day while mediating the powers of reach. Drawing from an analysis of spatialities of powers, we suggest that a spatial thinking facilitates our understandings of the ‘microphysics’ of kingship and chieftaincy in contemporary Yorubaland.

This article examines She Called Me Woman, a 2018 anthology of and by twenty-five queer Nigerian women. The text focuses on a variety of narratives by women as a way to challenge the confinement of queer Nigeria to the narratives of gay men. The article demonstrates how the multifarious queer(ying) experiences of women in different geographical and social contexts within Nigeria help to further contextualize the trope of what we understand to be queer in Africa. The stories in this anthology reflect the complex ways in which queer women in Nigeria negotiate their everyday lives against the backdrop of the frontier imposed by both anti-homosexuality law in Nigeria and global LGBT+ discourse. In examining the complexities of these women, this article argues that queer frontiers in Africa must necessarily be discussed elliptically, as a compendium of the known, the unknown, and perhaps the unknowable. The idea of queerness is taken up as a frontier of thought, imagination and modes of being: that is, an embodiment of identities at the crossroads of a complex convergence of the old, the new and the yet to be known.

This article explores the history of two Tanzanian publishing houses and the remarkable life and career of Walter Bgoya, former general manager of Tanzania Publishing House (1972–90) and managing director of Mkuki na Nyota, which he founded in 1991. Using the lens of microhistory, and drawing from extensive interviews with Bgoya and conversations with two colleagues and three authors, the article first chronicles his early life and ideological formation and what influenced his career in book publishing. It then examines the key achievements and challenges faced by these publishing houses in different times of austerity (e.g. Structural Adjustment Programmes, foreign investment with conditionalities, declining state support and high printing costs), along with the complex ways in which Bgoya has navigated the shifting, often uncertain, political, financial and legislative landscapes, while retaining his intellectual freedom and core Pan-Africanist beliefs. Constraints have not hampered Bgoya's pursuit of ambitious projects or his commitment to publishing relevant and progressive books, either written by African authors or on African matters. I suggest that reducing the scale and identifying how specific conditions of austerity have affected the choices made by a publisher over time can yield insights into the ways in which cultural institutions have contributed to knowledge production and dissemination in postcolonial Africa.