Re-centering Cultural Performance and Orange Economy in Post-colonial Africa

Theme I: Culture and Policy.- Chapter 1 Introduction.- Chapter 2 Tunisia Music Culture Policy: Perspective/Challenges of a State's Project.- Chapter 3 Community Museum for National Integration in Nigeria, 1960-2000.- Chapter 4 La réhabilitation de la performance rituelle Melan pour une reconstruction de la spiritualité originelle du peuple Ekang.- Chapter 5 Pan Africanism and Cultural Policy Management: A Formative Evaluation of Nigeria and Ghana Cultural Policies.- Chapter 6 Ife Art School as a Centre of Decolonization and Decolonial Thinking in Nigerian Visual Art Practice.- Chapter 7 Body Tattoo and Social Communicative Value in Nigeria: A Study of Ogallala Studio of Arts and Tattooing.- Chapter 8 Cultural Policy and Creative Practice in Africa: Impact and Challenges.- Chapter 9 Dutch-Moroccan cultural cooperation? A discourse on network of cultural policy.- Theme II: Creative Practice, Soft power and Diplomacy.- Chapter 10 Rewriting Africa's Single-Story Narrative: Lessons from Darmasiswa.- Chapter 11 Something of Value: The Neo-colonial Impulse of Basketball in Africa in the Performance of Modernity.- Chapter 12 Orange Economy, Cultural Diplomacy and Soft Power: Prospects and Problems in Africa (2).- Chapter 13 Structural Violence in Post-colonial Kenya bing represented through the Film Nairobi Half Life (2012).- Chapter 14 Nigeria's Orange Economy and the Appropriation of Soft Power.- Chapter 15 Psychosocial Aesthetics of Contemporary Inflight Entertainment.- Chapter 16 Hunters, Fighters, and Blue- Blood: A Post-modern Reading of African Folktales and the Soft Will to Africanise.- Chapter 17 Beyond Entertainment: Power and Performance in two Urban Festivals in Nigér.- Chapter 18 The National Troupe of Nigeria Post-Ogunde: A Cultural Diplomacy Fad or Farce?.- Theme III: Cultural Performance and Sustainability.- Chapter 19 Tumaini Festival: Deconstructing Colonial Borders at Dzaleka Refugee Camp in Malawi.- Chapter 20 To Own, Benefit and

Taiwo Afolabi is an Assistant Professor at the University of Regina, Canada and a Research Associate at the University of Johannesburg, South Africa. He received his PhD from the University of Victoria, Canada. He is applied theatre practitioner with a decade of experience working across a variety of creative and community contexts in over dozen countries across four continents. His practice and research interests include cultural performance, decolonization, community-based and socially-engaged creative practice, and research ethics. He is the founding artistic director of Theatre Emissary International, Nigeria, and serves on the board of the International Federation Theatre Research (IFTR). 

Olusola OGUNNUBI is a Research Fellow at the University of the Free State and a Visiting Scholar with Carleton University, Ottawa. He received his PhD from the University of KwaZulu-Natal. His research interests include regional studies, comparative foreign policy, corruption in Africa, African regional power politics and soft power diplomacy.

Shadrach Teryila Ukuma, PhD, has been teaching and researching cultural performances at Benue State University, Makurdi, Nigeria for seven years now. His doctoral thesis focused on the utilitarian role of cultural performances in managing collective trauma amongst victims of farmer/herder conflicts in Benue State. Part of his research interests includes investigating how cultural performances could function to propagate issues in sustainable development and how tenets of sustainability could be entrenched through social practice. Dr. Ukuma currently directs the fast growing Kyegh Sha Shwa Cultural Festival in Benue State.