Yabbing and Wording: The artistry of Nigerian stand-up comedy is a long-overdue academic interrogation of the novel stand-up practice in Nigeria as performance. 'Yabbing' comes from the Nigerian Pidgin English verb, 'yab', which means a satirical jibe thrown at individuals, groups or institutions. Nigeria's Fela Anikulapo-Kuti used this effectively in his recorded and live music performances against successive military regimes. 'Wording' derives from the English term 'word' and refers to a game in which parties exchange insults. It is a modern-day coinage for traditional forms of joking that existed across Nigeria and elsewhere in precolonial times. In this book, Nwankw? identifies 'yabbing' and 'wording' as outstanding indigenous elements within contemporary stand-up practice in Nigeria. On the one hand, these local joking patterns inform how comedians fashion their narratives. On the other, they mitigate offence and how the audience responds to ridicule in joke performance venues. The book's strength is its academic perspective and the inclusion of as many examples of stand-up and comedians as possible, to give a panoramic view of the practice. It also traces the historical path of the development of professional stand-up comedy in Nigeria. Its closing chapters detail the global outreach of Nigerian stand-up while also anticipating its future developments.

African cultural productions of humour have increased even in the face of myriad economic foibles and social upheavals. For instance, from the 1990s, stand-up comedy emerged across the continent and has maintained a pervasive presence since then. Its specificities are related to contemporary economic and political contexts and are also drawn from its pre-colonial history, that of joking forms and relationships, and orality. Izuu Nwankwọ's fascinating collected volume offers a transnational appraisal of this unique art form spanning different nations of the continent and its diasporas. The book engages variously with jokesters, their materials, the mediums of dissemination, and the cultural value(s) and relevance of their stage work, encompassing the form and content of the practice. Its ruling theoretical perspective comes from theatre and performance, cultural studies, linguistics, and literary studies.

Analyses of humour often focus primarily on the Global North, with little consideration for examples and practices from elsewhere. This book provides a vital contribution to humour theory by developing a Global South perspective. Taking a wide-ranging view across the whole of the continent, the book examines the relationship between humour and politics in Africa. It considers the context of the production and reception of humour in African contexts and argues that humour is more than just symbolic. Moving beyond the idea of humour as a mode of resistance, the book investigates the ‘political work’ that humour does and explores the complex entanglements in which the politics, practices and performances of humour are located.

This book explores the “battles” of words, songs, poetry, and performance in Africa and the African Diaspora. These are usually highly competitive, artistic contests in which rival parties duel for supremacy in poetry composition and/or its performance. This volume covers the history of this battle tradition, from its origins in Africa, especially the udje and halo of the Urhobo and Ewe respectively, to its transportation to the Americas and the Caribbean region during the Atlantic slave trade period, and its modern and contemporary manifestations as battle rap or other forms of popular music in Africa. Almost everywhere there are contemporary manifestations of the more traditional, older genres. The book is thus made up of studies of contests in which rivals duel for supremacy in verbal arts, song-poetry, and performance as they display their wit, sense of humor, and poetic expertise.

Australia's English raises many questions among experts and the general public. What is it like? How has English changed by being transplanted to other parts of the world? Does the rise of AusE and other varieties endanger the role of English as a world language? Past studies have often been selective, focusing on the esoteric and non-typical, and ignoring the contact situation in which Australian English has developed. This book and its companion, Australia's Many Voices. Ethnic Englishes, Indigenous and Migrant Languages. Policy and Education, develop and apply a comprehensive and integrative approach that anchors English in the entire 'habitat' of Australia's languages that it both upset and transformed. Based on a wide range of data and on the assumption that all manifestations of Australian English must cohere as a system, this book retraces the social, psycholinguistic and linguistic history of the language. It locates the contact with indigenous and migrant languages and with American English in the appropriate sociohistorical context and shows how several layers of migration have shaped it. As it stratified, it was gradually accepted and developed into a fully-fledged national variety or epicentre of English that could be raised to the status of national language. Implications on educational policy and attempts to reach out into the Asia-Pacific region have followed logically from national status. The study is of interest for specialists of English and Australian Studies as well as a range of other disciplines. Its discursive, non-technical style and presentation makes it accessible to non-specialists with no background in linguistics.

Develops a comprehensive, descriptive, and sociohistorical view of mainstream Australian English and of the social processes that have made it possible for it to become the national language of Australia reaching out into the Asia-Pacific region.

I had a perfect life, I had the perfect boyfriend who told me, "even if we are not mated, I will be with you forever." I believed him, every word that came from his mouth, I believed it. Until one day, my world came crumbling when the truth was revealed. So I left him without shedding a tear, I was determined to be the strong Cassie from that day onward. Two years later, I came back with another man. Not too long, my ex fell on his knees realizing how much he loved me.