A fresh and interdisciplinary study of faith and social culture in Nigeria, Abimbola A. Adelakun uses extensive archival material, interviews and fieldwork to explore how Nigerian Pentecostals use performance to mark their self-distinction as a people of power. Available as Open Access on Cambridge Core.

A fresh and interdisciplinary study of faith and social culture in Nigeria, Abimbola A. Adelakun uses extensive archival material, interviews and fieldwork to explore how Nigerian Pentecostals use performance to mark their self-distinction as a people of power.

For decades, Pentecostalism has been one of the most powerful socio-cultural and socio-political movements in Africa. The Pentecostal modes of constructing the world by using their performative agencies to embed their rites in social processes have imbued them with immense cultural power to contour the character of their societies. Performing Power in Nigeria explores how Nigerian Pentecostals mark their self-distinction as a people of power within a social milieu that affirmed and contested their desires for being. Their faith, and the various performances that inform it, imbue the social matrix with saliences that also facilitate their identity of power. Using extensive archival material, interviews and fieldwork, Abimbola A. Adelakun questions the histories, desires, knowledge, tools, and innate divergences of this form of identity, and its interactions with the other ideological elements that make up the society. Analysing the important developments in contemporary Nigerian Pentecostalism, she demonstrates how the social environment is being transformed by the Pentecostal performance of their identity as the people of power.

Throughout its history, Nigeria has been plagued by religious divisions. Tensions have only intensified since the restoration of democracy in 1999, with the divide between Christian south and Muslim north playing a central role in the country’s electoral politics, as well as manifesting itself in the religious warfare waged by Boko Haram. Through the lens of Christian–Muslim struggles for supremacy, Ebenezer Obadare charts the turbulent course of democracy in the Nigerian Fourth Republic, exploring the key role religion has played in ordering society. He argues the rise of Pentecostalism is a force focused on appropriating state power, transforming the dynamics of the country and acting to demobilize civil society, further providing a trigger for Muslim revivalism. Covering events of recent decades to the election of Buhari, Pentecostal Republic shows that religio-political contestations have become integral to Nigeria’s democratic process, and are fundamental to understanding its future.

How does social media activism in Nigeria intersect with online popular forms—from GIFs to memes to videos—and become shaped by the repressive postcolonial state that propels resistance to dominant articulations of power? James Yékú proposes the concept of "cultural netizenship"—internet citizenship and its aesthetico-cultural dimensions—as a way of being on the social web and articulating counter-hegemonic self-presentations through viral popular images. Yékú explores the cultural politics of protest selfies, Nollywood-derived memes and GIFs, hashtags, and political cartoons as visual texts for postcolonial studies, and he examines how digital subjects in Nigeria, a nation with one of the most vibrant digital spheres in Africa, deconstruct state power through performed popular culture on social media. As a rubric for the new digital genres of popular and visual expressions on social media, cultural netizenship indexes the digital everyday through the affordances of the participatory web. A fascinating look at the intersection of social media and popular culture performance, Cultural Netizenship reveals the logic of remediation that is central to both the internet's remix culture and the generative materialism of African popular arts.

Nigeria, Africa’s most populous and biggest democracy, celebrates her fiftieth year as an independent nation in October 2010. As the cliché states, ‘As Nigeria goes, so goes Africa’. This book frames the socio-historical and political trajectory of Nigeria while examining the many dimensions of the critical choices that she has made as an independent nation. How does the social composition of interest and power illuminate the actualities and narratives of the Nigerian crisis? How have the choices made by Nigerian leaders structured, and/or have been structured by, the character of the Nigerian state and state-society relations? In what ways is Nigeria’s mono-product, debt-ridden, dependent economy fed by ‘the politics of plunder’? And what are the implications of these questions for the structural relationships of production, reproduction and consumption? This book confronts these questions by making state-centric approaches to understanding African countries speak to relevant social theories that pluralize and complicate our understanding of the specific challenges of a prototypical postcolonial state. This book was published as a special issue of the Journal of Contemporary African Studies.

This book demonstrates that there is sufficient evidence on the Nigerian economy and society to inform many policy issues, and reveals the current problems and policy options that a democratic Nigeria will need to debate and resolve. It presents an agenda of reform as unfinished business.

When Nigeria hosted the Second World Black and African Festival of Arts and Culture (FESTAC) in 1977, it celebrated a global vision of black nationhood and citizenship animated by the exuberance of its recent oil boom. Andrew Apter's The Pan-African Nation tells the full story of this cultural extravaganza, from Nigeria's spectacular rebirth as a rapidly developing petro-state to its dramatic demise when the boom went bust. According to Apter, FESTAC expanded the horizons of blackness in Nigeria to mirror the global circuits of its economy. By showcasing masks, dances, images, and souvenirs from its many diverse ethnic groups, Nigeria forged a new national culture. In the grandeur of this oil-fed confidence, the nation subsumed all black and African cultures within its empire of cultural signs and erased its colonial legacies from collective memory. As the oil economy collapsed, however, cultural signs became unstable, contributing to rampant violence and dissimulation. The Pan-African Nation unpacks FESTAC as a historically situated mirror of production in Nigeria. More broadly, it points towards a critique of the political economy of the sign in postcolonial Africa.

Six chapters include: A General Overview of Professional Ethics; The Legal Profession and the Kenyan System; Advocate-Client Relationship; Unqualified Persons Acting as Advocates; Remuneration of Advocates; Professional Misconduct and offenses by Advocates.