This edited work explores how literature and film interact with political, economic and social life in Africa.

ALT 36 turns a queer eye on Africa, offering provocative (re-)readings of texts to position formerly erased sexualities and contemporary sexual expression among Africans on the continent, and abroad.

This edited work explores how literature and film interact with political, economic and social life in Africa.

The profound effects of colonialism and its legacies on African cultures have led postcolonial scholars of recent African literature to characterize contemporary African novels as, first and foremost, responses to colonial domination by the West. In Africa Writes Back to Self, Evan Maina Mwangi argues instead that the novels are primarily engaged in conversation with each other, particularly over emergent gender issues such as the representation of homosexuality and the disenfranchisement of women by male-dominated governments. He covers the work of canonical novelists Nadine Gordimer, Chinua Achebe, NguÅgiÅ wa Thiong'o, and J. M. Coetzee, as well as popular writers such as Grace Ogot, David Maillu, Promise Okekwe, and Rebeka Njau. Mwangi examines the novels' self-reflexive fictional strategies and their potential to refigure the dynamics of gender and sexuality in Africa and demote the West as the reference point for cultures of the Global South.

Contains reflections on body, sexuality, and gender in African literary texts. While the sections 'Gifted Bodies' and 'Queered Bodies' show new developments in viewing body and sexuality as creative powers, the sections 'Tainted Bodies' and 'Violated Bodies' comprise essays that investigate the exposure of the body to physical aggression and other traumatic experiences.

Fills a gap in the international literature by offering new insights into the heterogeneous ways in which African men are performing, negotiating and experiencing masculinity. Through their analysis of the depictions in film and literature of masculinities in colonial, independent and post-independent Africa, the contributors open some key African texts to a more obviously politicized set of meanings. Collectively, the essays provide space for rethinking current theory on gender and masculinity: - how only some of the most popular theories in masculinity studies in the West hold true in African contexts; - howWestern masculinities react with indigenous masculinities on the continent; - how masculinity and femininity in Africa seem to reside more on a continuum of cultural practices than on absolutely opposite planes; - andhow generation often functions as a more potent metaphor than gender. Lahoucine Ouzgane is Associate Professor of English & Film Studies, University of Alberta, Canada.

This dissertation calls attention to three important contemporary texts from West Africa that resist the tacit cultural taboo around questions of sexuality to imagine empowering images of female sexuality. Using postcolonial feminist approaches, queer theory, and cultural studies, I analyze two novels and a film by T. Obinkaram Echewa, Frieda Ekotto, and film director Jean Pierre Bekolo to retrieve moments in which women characters turn the tables on denigrating views of their sexuality and marshal its power in the service of resistance. I show how in these texts, women bare their nether parts, wield menstrual cloths, enjoy same-sex erotic acts, sit on men's faces, and engage in many other stigmatized practices in a display of what I call "genital powers." These powers are both traditional to the cultures analyzed here and called into new forms by the pressures of decolonization and globalization. Through more complex representations of female sexuality, these texts chart a tradition in which stale binaries of victims and oppressors, the body as an exclusive site of female subjugation or as a site of eternal female power are blurred, allowing a deeper understanding of women's lived experiences and what it means to be a resisting subject in the postcolonial space. By broadly recovering women's powers and subjectivities, centering on sexuality and the body, I also examine the ways in which this mode of female subjectivity has thus far escaped comprehensive theorization. In this way, my project responds to Gayatri Spivak's call to postcolonial intellectuals to unlearn privileged forms of resistance in the recognition of subjectivity, and to develop tools that would allow us to "listen" to the voices of disenfranchised women - those removed from the channels of knowledge production. However, my study cautions that the recognition of genital powers should not be conflated with the romanticized celebration of female bodies and sexuality, since West African women continue to struggle against cultural, political, existential, and physical assaults.

Women in African Cinema: Beyond the Body Politic showcases the very prolific but often marginalised presence of women in African cinema, both on the screen and behind the camera. This book provides the first in-depth and sustained examination of women in African cinema. Films by women from different geographical regions are discussed in case studies that are framed by feminist theoretical and historical themes, and seen through an anti-colonial, philosophical, political and socio-cultural cinematic lens. A historical and theoretical introduction provides the context for thematic chapters exploring topics ranging from female identities, female friendships, women in revolutionary cinema, motherhood and daughterhood, women’s bodies, sexuality, and spirituality. Each chapter serves up a theoretical-historical discussion of the chosen theme, followed by two in-depth case studies that provide contextual and transnational readings of the films as well as outlining production, distribution and exhibition contexts. This book contributes to the feminist anti-racist revision of the canon by placing African women filmmakers squarely at the centre of African film culture. Demonstrating the depth and diversity of the feminine or female aesthetic in African cinema, this book will be of great interest to students and scholars of African cinema, media studies and African studies.

A groundbreaking book, accessible but scholarly, by African activists. It uses research, life stories, and artistic expression--including essays, case studies, poetry, news clips, songs, fiction, memoirs, letters, interviews, short film scripts, and photographs--to examine dominant and deviant sexualities and investigate the intersections between sex, power, masculinities, and femininities. It also opens a space, particularly for young people, to think about African sexualities in different ways.

"Dazzling... the tone is hopeful, resilient and accepting. Marked by the diversity of experiences shared, the wealth of intimate details, and the total lack of sensationalism, this is an astonishing report on the quest for sexual liberation." —Publishers Weekly, Starred Review "Touching, joyful, defiant -- and honest." —The Economist, a best book of the year Celebrate African women’s unique journeys toward sexual pleasure and liberation in this empowering, subversive collection of intimate stories. In these confessional pages, women control their own bodies and desires, work toward healing their painful pasts, and learn to assert their sexual power. Weaving a rich tapestry of experiences with a sex positive outlook, The Sex Lives of African Women is an empowering, subversive book that celebrates the liberation, individuality, and joy of African women's multifaceted sexuality. From a queer community in Egypt, to polyamorous life in Senegal, and a reflection on the intersection of religion and pleasure in Cameroon, feminist author Nana Darkoa Sekyiamah explores the many layers of love and desire, its expression, and how it defines who we are. Sekyiamah has spent decades talking openly and intimately to African women around the world about sex for her blog, “Adventures from the Bedrooms of African Women.” For this book she spoke to over 30 African women across the globe while chronicling her own journey toward sexual freedom.