China, Unaona Mkono Yangu Ama Una-nini
The Wedding Engagement between Kenya and China in theChurchill Comedy Show
Datos Bibliográficos
| ID | 2173294 |
|---|---|
| Autores | Mingqing Yuan (0000-0002-5601-5055, University of Bayreuth, autor de correspondencia), Yuning Shen (0000-0001-7234-1136, Universität Hamburg) |
| Año | 2022 |
| Volumen | 34 |
| Número | 2 |
| Páginas | 157-172 |
| Fecha de publicación | 2022-04-03 |
| Peer Reviewed | Sí |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | Journal of African Cultural Studies (JOURNAL) |
| Identificadores de la revista | ISSN: 1369-6815 • E-ISSN: 1469-9346 |
| Editorial | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/13696815.2021.1940886 |
| OpenAlex | W3206288165 |
| Idioma | EN |
| Citas recibidas | 3 |
| Referencias citadas | 41 |
Comedy shows are an acute barometer of social contexts as they are embedded in power relations and often constructed as a space of resistance. With the increasing presence of China in Kenya, China has been a recurring theme in one of the most popular Kenyan stand-up comedies, the Churchill Comedy Show. In 2018, a clip circulated widely of a Chinese female comedian on stage with Churchill and Sleepy. In the clip they discuss the debt issue between Kenya and China through romantic metaphors of an "engagement" ceremony before the wedding, including both expressions of love and bargaining about bride price. This article argues that humour and laughter help in carving out a space for open discussions and critical reflections on the debt issue within Kenya–China relations. It inserts agency and expresses resistance and moral critique of Chinese engagements in Kenya, especially from socio-economically marginalised publics. At the same time, the humour jointly generated through a reiteration of tropes of nationhood, separation of languages and gendered expressions runs the risk of taking interpersonal relations back to rigidly divided national, ethnic and gendered categorisations and representations
Art · China · Comedy · Literature · Political science · African history and culture studies · African studies and sociopolitical issues · Global Maritime and Colonial Histories · History · Law
Development, Modernism and Modernity in Africa
The Rise of Kenyan Political Animation
Domination and the Arts of Resistance
A History of African Popular Culture
Joke-Performance in Africa
Our World through Our Words
A literary approach to Afro-Sino relations
The foreign and the familiar
Popular Media in Kenyan History
The Art of Criticism
The Myth of Zheng He
The ‘Redykyulass Generation‘S’ intellectual interventions in Kenyan public life
Political Strictures and Latex Caricatures in Kenya
The Bag Is My Home”
Breaking Discipline, Integrating Literature
Covering Ebola
Provisional notes on the postcolony
Narratives of Contemporary Africa on China Global Television Network’s Documentary Series Faces of Africa
The Uses of Ridicule
China's second continent
Visions of China
Thinking China from Africa
Making space for emotions
Visual representations in South Africa of China and the Chinese people
Representing 'otherness' in African popular media
Watching Hong Kong martial arts film under apartheid
Perspectives of Zimbabwe-China relations in Wallace Chirumiko's 'Made in China' (2012) and NoViolet Bulawayo'sWe Need New Names(2013)
Cyber Siren
Symbol of Wealth and Prestige
| Obras citantes distintas | 3 |
|---|---|
| Citas por año | 0,75 |
| Intervalo de citas | 2022 - 2025 (4) |
| Velocidad de citación | recent |
| Altamente citado | No |
| Tipos de cita | Neutras: 3 |