Pleasure in language arises from the creativity of everyday life. Africa’s historical and ethnographic record is full of striking examples of linguistic play. Three scenes of Yorùbá linguistic creativity illustrate this: praise poetry in a small town, a traveling popular theater, and early Yorùbá newspapers. Each yields distinctive pleasures, but central to all of these is the act of mutual recognition of forms of words and attunement to the linguistic production of others. Barber suggests that verbal arts bring to consciousness the fundamental processes by which sociality is constituted and may thus provide a potential starting point for social theory from “within.”

Sequels, spinoffs, serials, and other kinds of generic works are prevalent in Nollywood filmmaking and popular with fans. These spinoffs and other generic works are characterized by a degree of familiarity, made evident in their repetitive and or affiliative dimensions. According to Adejunmobi, familiarity as a mode of media engagement in Nollywood generates specific pleasures connected to the repetitive dimensions of the films and television shows. These highly repetitive works also sustain a type of leisure activity for viewers without dedicated leisure time who combine Nollywood viewing with everyday work. This form of leisure is identified as a leisure of concomitance.

What have been the meanings and meaningfulness of pleasure in Yorùbá thought, practice, and history over the past eight hundred years? Ogundiran draws from literary, archaeological, myth-historical, and ethnographic sources to answer this question in two parts. First, he examines the ontologies, materiality, and sociality of pleasure at the levels of ordinary experience and institutional culture. Second, he demonstrates how pleasurable experiences and things were used to construct social order, define social difference, and build community. Ogundiran concludes that pleasure is not an autonomous experience. Rather, it is embedded in other domains of social life.

Women’s social groups and gatherings in Malawi, whether physical or virtual, are often dismissed as something not to be taken seriously, as they are imagined to be places where nothing useful but chitchat and gossip will emerge. Nevertheless, these spaces, as sites of leisure where women can engage in macheza (play), continue to play an important role in how urban women variously experience pleasure. Mtenje considers social media groups for women and bridal showers not only as spaces where women are free from male interference, which, in itself, invokes pleasure, but also as spaces where patriarchal norms can be and often are reinforced.

Diabate examines images and news reports about rampant sexual permissiveness in Abidjan and its online environs. Attention to the visual dimension of this pleasure explosion highlights the presence of homines economici. Considering buyers of aphrodisiacs or butt/breast-enhancing products not as uninformed agents, but instead as rational actors who are sensitive to images leads makers and retailers to invest in branding and marketing. Thus, these images and products of pleasure have evolved in an economy of producing, promising, purchasing, and satisfying needs. Analyzing the entanglement of visuality and economic calculus enables a move beyond the moralizing tendency in discussions of pleasure.

Sudan’s decision to normalize relations with Israel sparked controversy about its reasons for doing so and the potential impact on the country’s fragile political transition. The decision was mostly attributed to American pressures, new regional alliances, and Sudan’s economic crisis. Tawfik offers a different perspective by linking Sudan’s normalization with Israel to domestic power rivalries, suggesting that Sudanese political actors at critical historical moments have sought Israeli patronage to strengthen their power positions and exploring the potential implications of normalization on civil-military relations. In addition to relying on secondary sources, Tawfik draws conclusions based on official documents and interviews with Sudanese officials published by various news outlets.

Studies of fake news have historically suffered from being primarily Western-centric and focusing on “news” emanating from formal media outlets. The Sahel has generated its own unique version of fake news, the authors refer to as Afrancaux News. Using nationwide public opinion surveys in Burkina Faso, Mali, and Niger, open-source online forum ethnographic research, and postcolonial epistemological predispositions, the authors suggest that although other historical instantiations exist, the most prominent contemporary example of Afrancaux News can be seen in the fake news stories related to the French counterterrorism presence in the Sahel.

In November 2016, Uganda’s armed forces raided the Rwenzururu kingdom palace in Kasese Municipality, arresting and detaining the king and other kingdom officials on treason and other charges. This was the climax to a puzzling wave of violence that was then unfolding in the Rwenzori Region. We consider this violence an unintended consequence of the deepening politics of fragmentation, which takes two forms: “kingdomization” and “districtization.” Through fragmentation, Uganda’s ruling elites seek to weaken subnational concentrations of power, resources, and legitimacy wielded by otherwise coalesced, potentially strong, subnational authority structures and sociopolitical groups. Fragmentation fractures preexisting intra-regional unity, generates new conflicts, and reopens old wounds, leading to violent encounters at the sub-national level, between regional sub-groups, and with the central state. This unfolding of violent encounters involving both state and non-state actors has important ramifications for managing national security within socially fragile contexts and a politically fragmented polity.

This Presidential Lecture explores the ways in which African orality provides the means for a sentimental education in an era of crisis. Quayson notes how the essentially polysemic character of the genres of orality have influenced the ways he understands both literature and the African city, two areas of keen interest. After tracing the texture of Accra’s trotro (passenger vehicle) slogans and the continuity of sentimental education from orality to social media, Quayson concludes by calling for a new interdisciplinary paradigm that would explore the polysemy of African orality alongside the hypertextual algorithms behind today’s social media and the internet.