In the year of his death, Patrick Chabal, a leading scholar of modern African history, politics, and literature, wrote the forward to this edited volume, which celebrates the everyday resilience, strength, and global consciousness of the continent’s citizenry. His contribution is a testament to the work’s scholarly importance as a beacon of interdisciplinary synergy that promotes ongoing dialogue and understanding by paving empirical pathways that lead to the facts about African resistances. Chabal praised the book’s scope—“the myriad ways ordinary people cope with and undermine the politics of hegemony pursued by the political elite” (xv)—as well as its approach: “It is because the exercise of power in Africa is largely informal, that we need to turn to the informal if we are to understand what resistance means” (xvi).Obadare and Willems bring together eleven chapters that each draw on critical theory to bridge the humanities and social sciences by reimagining “resistance by tracking its ‘parallel infrastructures’, i.e. the subtle ways in which it is mobilised, plotted and enacted” (2). They abandon the dichotomous trope of domination and resistance often enacted in the scholarly debates about structural violence. Instead, through a selection of interdisciplinary, contextually grounded case studies from South Africa (Bettina von Lieres, Innocentia J. Mhlambi, Grace A. Musila, and Daniel Hammett), Angola (Bettina von Lieres), Kenya (Ilda Lindell and Markus Ihalainen), Nigeria (Basile Ndjio and Jendele Hungbo), Cameroon (Ndjio), Rwanda (Susan Thomson), and Mali (Dorothea Schulz), the editors and contributors bring to light “informal modes of civic agency” that illuminate how everyday political action in Africa Works (4–5).1 Not only are the people in these cases studied outside institutional settings, with attention being paid to everyday lives rather than formal civil society, but the nation-state is also decentered and deconstructed as the object of resistance; the chapter authors oppose power in many forms, what the editors label “fractured sovereignty” (6–7).The chapters in Civic Agency in Africa exemplify this social action in a number of creative ways. Sabelo J. Ndlovu-Gatsheni, for example, engages “coloniality as a global power structure that dilutes, truncates and influences the direction of resistance away from direct confrontation with global imperial designs” (28). Postcolonial Africa is rife with tensions or latent resistance that has the potential to manifest outwardly as direct resistance, as seen in the Arab Spring. Von Lieres discusses “mediated forms of citizen action” in both Angola and South Africa as a way to mobilize society or “deepen democracy” (50, 52).2 Lindell and Ihalainen’s chapter explores the logic of subaltern urban hawkers in Nairobi, Kenya, to show the processual and emergent nature of “space-making from below” (66). Ndjio’s study focuses on Nigerian and Cameroonian conmen who refashioned the conventions of global capitalism, supplanting Weber’s Protestant-based ethics with new forms of African capitalism.3Thomson’s chapter exposes an undercurrent of dissatisfaction with the Rwandan state’s handling of reconciliation after the genocide. She presents various opportunities for resistance that instill political consciousness, such as one of her interviewee’s ability to speak out and inspire the voiceless because she is classified as abasazi (foolish). In her words, “In Rwanda, everyone is broken so no-one pays attention to people like me” (116). Mhlambi’s, Musila’s, and Hammet’s chapters discuss “Cultural sites of opinion-making” in South Africa (127), analyzing, respectively, how neoliberal commercialization has stunted satire, how comedic ambivalence has created spaces for social commentary on race and sexuality, and how controversial political cartoons have been used as a form of dysphemism to re-engage public dialogue and debate. In his chapter, Hungbo offers a compelling argument about African music’s contribution to a popular ideological struggle through interpretive textual analysis. Finally, Schulz surveys the proliferation of local radio programs in Mali that attempt to establish imagined communities.4 Schulz employs the concept of “resonance” to elucidate “the working of the ‘forming forms’ of music broadcasts, that is, how they inform listeners’ recognition, and contestations of certain broadcasts as their ‘truly own’ tradition” (198).Critically, Chabal points out that “agency is usually understood as directed, meaningful, intentional and self-reflective social or political action” (xv). But he suggests that “it is not just the reflex opposition, a mere ‘re-action’ to the actions of the agents of the state” (xv–xvi). The reader must ask if the “arts of resistance” presented in this volume are embodied conscious choices or reflections of an already extant and embedded structural system of violence.5 Only the former has implications toward real societal transformation.6
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