This article considers humour at the international border between Kinshasa (DR Congo) and Brazzaville (Republic of Congo) as a means through which ordinary people navigate between fulfilling the values of individual opportunism and interpersonal responsibility. Kinshasa's border zone, nicknamed Rome, often echoes with laughter as people who engage in unregulated livelihood strategies (Romains) engage in two genres of humour: verbal irony, expressed in nicknames for people, places and activities; and interpersonal joking, expressed in playful teasing. Laughter and jokes are a prevailing mode of interaction at the border, and the ways in which humour is constructed and experienced reveal much about social and moral life. The jokes define membership of a community of Romains distinct from other urban citizens, while making further distinctions between physically disabled people, who dominate trade as intermediaries, and others by playing with hierarchical social relationships in which disabled people are expected to be subordinate. Ultimately, the humour that shapes the community allows for a critical voice on values within it. This article argues that the inconsistencies pinpointed by humour reflect and shape the instability of social relationships and contradictory values that Romains aspire to fulfil. Humour is a means of navigating critical commentary on the conflicting values of individual aspiration and responsibility towards others.

Across Africa there has been a growth in medium-sized farms, including in Zimbabwe following the land reform of 2000. What are the prospects of such farms driving new forms of agricultural commercialization? In this article we seek to learn lessons from the past by examining the experience of ‘native purchase areas’, which were established from the 1930s in Zimbabwe. Through a detailed historical study of Mushagashe small-scale commercial farming area in Masvingo Province, the article explores the changing fortunes of farms over time. Historical information is complemented by a survey of twenty-six randomly selected farms, examining patterns of production, asset ownership and accumulation. In-depth interviews explore life histories and changes in social arrangements that have influenced agrarian change. Four broad farm types are identified, including those that are commercialized, projectized, villagized, and held or abandoned. These categories are not static, however, and the article emphasizes non-linear patterns of change. Following Sara Berry, we show how pathways of commercialization are diverse and unpredictable, influenced by interlocking conjunctures of social dynamics, generational changes and political-economic conditions. Commercialization outcomes are dependent on the intersection of relational dynamics and more structural, political economy factors. Bursts of commercialization on these farms are contingent on access to employment by farm owners, labour (hired, squatters and offspring) and, perhaps above all, money to invest. The much-hyped policy vision of a new medium-scale commercial farm sector emerging in Africa therefore must be qualified, and divergent outcomes recognized.

In this article, I describe the belief system at the centre of Mau and Dan mask spirit performances and some implications of these beliefs in practice, and I suggest an ontological framework for interpreting the ambiguous agency embodied in such performances. I ground my discussion of this ontological framework by juxtaposing ethnographic material about non-commercial, community-based mask spirit belief and practice with details of the career of an international ‘star’ mask spirit performer, Vado Diomande. I propose that the ambiguous agency at the heart of these performances is best understood using a performance framework that locates being in process. My interlocutors’ discourse about and practices of these performances suggest that, rather than looking for ontology in performance, we understand ontology as performance – or perhaps better yet, performance as ontology. Such a framework illuminates both the challenges and the strategic advantages that ontological ambiguity presents to mask spirit performers in immigrant settings in the US. This framework also provides a philosophical grounding for theories positing African art as process, and sheds light on the ways in which mask spirit performers manoeuvre in the interstices of display and disguise, addressing both belief and market demand.

By considering the lifespan of a garden, this article investigates the myriad spatial practices of forgetting and remembering the colonial and postcolonial pasts that people apply to their urban surroundings in Mahajanga, Madagascar. In the heart of an ancient residential and commercial neighbourhood in this multi-ethnic Indian Ocean port city sits the Jardin Ralaimongo. Drawing on ethnographic and archival research, I explore the trajectory of the garden to elucidate the ways in which different socio-political groups have drawn on this site to negotiate differences, frame collective memories, and stake their claims to the urban landscape. I show how, as city inhabitants have reworked the spaces of the garden, so too has the park itself – its layout, material artefacts and location within the city – constrained the possibilities of what can be remembered and silenced, and who can be bound to one another, in contemporary times. Over its hundred-year history, this site has been founded, forgotten and reincarnated as a memorial to a succession of revered leaders, thus serving as a kind of spatial register of the historical socio-political changes that have given rise to the city. This article suggests that the deterioration of colonial-era architectural forms through long-standing neglect and abandonment may be understood as an active spatial practice of effacing some dimensions of the past, while the subsequent recuperation of deserted public spaces by certain groups is an effort to position themselves as legitimate residents and express their attachment to the city.

Research on the significance of the mobile phone and internet in transnational family relationships shows that these media provide direct platforms for negotiating remittances. My interest in this article is not so much in how they are used to coordinate and channel money home as in their appropriation to meet expectations of reciprocity. The article draws from field narratives collected among Cameroonians in Germany and in Cameroon to reveal contestations over what can be described as legitimate consumption within the Cameroonian transnational social sphere. Underlying the arguments in this article is my observation that direct communication within the Cameroonian transnational sphere is beset by so much mistrust, discontent and uncertainty that remitters must specify what they are remitting money for. Healthcare in Cameroon is considered an expenditure that is worthy of migrants' financial support.

Understanding masquerade performance is a difficult challenge because so many dimensions of expressive culture come together. There are questions of performer ambiguity and secret expertise, the confounding relationships between secular and spiritual, the many aspects of secrecy, and the involvement of higher powers. There is also the basic question of what a performance is supposed to accomplish, and the most fundamental issue of individual identity and agency.

Nigerian newspapers, like newspapers elsewhere, are often established as part of the apparatus for the extension of personal or group interests, to mobilize and contest meaning in the overall project of constructing hegemony in an ethnically fractious polity. In this article, I trace the emergence of Alaroye, the best-known Yoruba-language newspaper today, by identifying its survival strategies and stabilization against the changing circumstances of a hostile environment. The article aims to demonstrate that, in challenging the oppressive activities of a military dictatorship led by the Hausa-Fulani and a media market dominated by English-language newspapers, Alaroye has been able to negotiate its existence within the contested space that is Yorubaland in particular and Nigeria at large. In this state of contestation and fierce competition, tabloidization has been central to Alaroye’s success, making it a leader whose example is being closely emulated by other Yoruba-language newspapers. Following from this, the article discusses the genres of Alaroye and the newspaper's genre-blurring innovations, including its oral written style, all of which point to its transformation into a tabloid, against the background of its initial failure at the newsstand and the factors responsible for its revitalization and stabilization after three failed attempts.

There is a long history of migration among low-income families in sub-Saharan Africa, in which (usually young, often male) members leave home to seek their fortune in what are perceived to be more favourable locations. While the physical and virtual mobility practices of such stretched families are often complex and contingent, maintaining contact with distantly located close kin is frequently of crucial importance for the maintenance of emotional (and possibly material) well-being, both for those who have left home and for those who remain. This article explores the ways in which these connections are being reshaped by increasing access to mobile phones in three sub-Saharan countries – Ghana, Malawi and South Africa – drawing on interdisciplinary, mixed-methods research from twenty-four sites, ranging from poor urban neighbourhoods to remote rural hamlets. Stories collected from both ends of stretched families present a world in which the connectivities now offered by the mobile phone bring a different kind of closeness and knowing, as instant sociality introduces a potential substitute for letters, cassettes and face-to-face visits, while the rapid resource mobilization opportunities identified by those still at home impose increasing pressures on migrant kin.