A Discursive Contextualisation of Hustling in Nigerian Hip-Hop

One of the endearing qualities of the Hip-Hop genre is its penchant for crass materialism where artistes lyrically brag about their successes while unabashedly flaunting the ostentatious proceeds of their newfound fame. This resonates with the contemporary constructs of individualism and self-realisation in line with social expectations. However, beyond the photo ops, these artistes indeed go the extra mile in achieving success. In this article, the portraiture of hustling, which indexes survival in any form, is explored. Fifteen purposively selected songs by Nigerian Hip-Hop artistes constitute the data. For one, many of the popular Hip-Hoppers defied the stranglehold of poverty before recording personal successes. They thus reference the street as a domain of hustling and recount their experiences. Different contextual or social orientations of hustling in Nigeria are discursively constructed by the artists. It is framed as a prerequisite for achieving success (regardless of how!); as a necessity to meet familial responsibility; and as combat with perceived enemies. Additionally, Nigerian Hip-Hop artistes annex hustling as a psychological/mental activity as well as a metaphor for God’s blessings. The study concludes that hustling typifies the underground economy and the almost limitless extent to which Nigerian Hip-Hoppers work for their successes.

African Spectral Pasts and Their Presences on the Malabar Coast

In the coastal regions of Kochi in Kerala, memories of forced African migration to India are preserved through shrines dedicated to African or Kappiri spirits, belief in their mischievous acts, and their intercessory powers. Shrines for African spirits are eclectic and modest, and they operate as indexical reminders of the troubled African pasts during the colonial occupation of Kerala. For most local people, Kappiri is a spectral deity, figureless and seemingly abstract, and a pervasive spirit who inhabits the coastal landscape. By studying vernacular histories, tales of spirit sightings, and worship practices surrounding the spectral figure of Kappiri, I have analysed how African spirits manifest their phantom presences and channel their spectral powers to those who seek to believe in their histories, which otherwise are obliterated from institutional discourses. Focussing on different material and intangible manifestations of African spirits, I discuss how different recollective practices—ritualistic, creative, and secular—offer alternative discursive exegesis on Afro-Indian connections.

The Indian Freedom Struggle and the Kenyan Diaspora

The connections between the Indian Freedom movement and the Kenyan Indian diaspora after the First World War led to the involvement of the Indian National Congress and Gandhi in the struggle of the Kenyan Indians for equality and equal treatment with the British white settlers in Kenya. The Congress considered that the success of the equality struggle in Kenya would also lead to equal treatment of Indians in India itself. This was consistent with the prevailing political goal of the freedom movement in India in 1919, which was self-rule through Dominion Status under the British Crown. But when the struggle of the Kenya Indians failed and equality was denied to them by the famous Devonshire Declaration in 1923, there the Indian freedom movement realized that this signalled unequal status and a denial of self-rule to India itself. Historic consequences followed. This was the turning point and over the years immediately after the Kenyan decision (1923–1929), the Indian National Congress changed its political aim from Dominion Status to Full Independence as a Republic, realized over the 17 years to 1947.

Afrasian Aesthetics in M.G. Vassanji’s The Magic of Saida

The Magic of Saida by M.G. Vassanji (2012) centres on the central figure of the novel’s story, Kamal. He is the son of an African mother and an Asian (read Indian) father, who grows up in Tanzania and then relocates to Canada where he becomes an established doctor. The novel tackles themes of African-Asian (read Afrasian) racial identity, belonging, and the effects of the past on the present. Kamal identifies mainly as an African when residing with his mother in Kilwa during his childhood; he is then urged to embrace an Indian identity when he is sent to live with his uncle in Dar es Salaam in his early adolescence. Decades after moving to Edmonton, Canada, Kamal decides to come back to Kilwa. This paper explores the tension and ambiguity in Kamal’s identity by analyzing the way he defines himself—or is defined—in Kilwa and Dar es Salaam, and then investigating, through an eclectic psychochriticism lens, how that in turn affects him as he ages and drives him to return in seach of what it means to be both an Asian and an African in the context of East African cultural landscapes.

History at Sea

This article invites readers to rethink the work that routes can do in world history by braiding together the spatial and historical imaginaries of an itinerant community: the dhow captains (nakhodas) of Kuwait. Through a close reading of two genres of nakhoda writings, logbooks and nautical manuals, it explores the deliberate process by which they constructed their movement across the sea. It suggests that for dhows, travel across the Indian Ocean was a voyage through world history itself—a route along a recent and distant past, entangled with an imperial present. Through these materials historians can move towards a sense of space and time that foregrounds the imaginative processes that produce the Indian Ocean as an historical arena on the part of those who spent their lives traversing it.

An Afrasian Entanglement

The establishment of the Phoenix Settlement and the Gandhi Development Trust (GDT) in South Africa was an experiment in self-sufficient communal living and the promotion of the values and principles of Mahatma Gandhi and South Africa’s democratic Constitution, respectively. While both entities are the result of Gandhi’s South African connection, they serve to embody, through the Mahatma, an Afrasian Entanglement. Gandhi’s time in South Africa made a remarkable impact on him and the country, transforming his political and social positions and influencing its struggle for freedom. In post-apartheid South Africa, the shared mission of both organisations is to advance a culture of nonviolence, peace and social responsibility through a range of transformative programmes. This article details Gandhi’s South African journey, his evolving ideas of passive resistance and social reconstruction there, and the resultant legacy programmes that resonate with the spirit of Ubuntu and the South African Constitution to reinforce democracy.

Afrasia at War

Memories of global wars are often anything but global: counterfactual notions of a “white man’s war” continue to present a one-sided account of World War II centred on Europe and North America that sidelines the contributions and sacrifices of millions of soldiers from all over the world and negates their manifold agendas and forms of agency. This is particularly true of the “Afrasian” war experiences of tens of thousands of African soldiers who fought in Asia which are the subject of Biyi Bandele’s novel Burma Boy. The following essay highlights how Bandele’s text counteracts Eurocentric accounts of World War II, explores the complex motivations of African soldiers and their equally complex encounters with Asians in Burma, and draws on transregional imaginaries to produce a challenging non-heroic account of “Afrasia at war.”

Afrasian Entanglements and Generic Ambiguities in Sultan Somjee’s Bead Bai

This article looks at Sultan Somjee’s Bead Bai (2012) which focuses on Sakina, a member of the Satpanth Ismaili community living in mid-twentieth century Kenya. Based on nine years of research and interviews with Khoja women who now reside in Western Europe and North America, Bead Bai is generally described as a “historical novel” or an “ethnographic fiction,” yet it also can be thought of as pertaining to the genre of what Brett Smith et al. (2015) call “ethnographic creative nonfiction.” I discuss the ways in which the ‘genre-bending’ aspects of Bead Bai participate in retracing the little-known history of Afrasian entanglements for Asian African women who sorted out, arranged and looked after ethnic beads during colonial times in East Africa. More specifically, I will suggest that, by toying with the boundary between fiction and ethnography, Somjee opens new gendered avenues for reinserting the category of the imaginary at the heart of Afrasian entanglements.