306 i n de x
Myamba, Emmanuel, 165, 168
Mzungu K ichaa (Crazy W hite Man; Es-
pen Sørensen), 26, 229–232, 235, 276n8
(chap. 8); A frican identity of, 241–243,
242; albino insinuation and, 243, 277n12;
collaborations with other artists, 236,
237, 242, 248; cosmopolitanism and,
255, 257, 258; European audiences and,
247–249; exotic whiteness of, 276n6
(chap. 8); fans and critics of, 245–246;
sameness and difference performed by,
235–236; social media and, 251–254
Naipaul, V. S., 278n2
Nairobi, Kenya, 59
Nam flava (Namibian pop music), 26, 230,
248, 254. See also Kwaito music
Nama people, German colonial war on, 250
Namailaya, Gado, 33–34
Namibia, 20, 26, 232–233, 236; German
colony of Southwest A frica, 249–250,
255; social media in, 251, 252
nationalism, 11, 77, 268
Nava, Mica, 255
New Film Azania (magazine), 78
Niasse, Ibrahim, 193
Niger, 20, 31, 35, 53; European colonial de-
parture from, 45; Hausaphone societies
of, 39; labor migration to Ghana from,
45; military regimes in, 52, 54; peasants’
passive resistance to French, 37; spirit
possession in French colonial 1920s,
32–35
Nigeria, 21, 26, 53, 56, 255; bori spirits in
1990s, 46–52; British colonizers’ de-
parture from, 46; corruption during oil
boom years, 203; cyber scamming asso-
ciated with, 201–204; Fourth Republic,
176; Hausaphone societies of, 39; Islamic
revitalization in north of, 23; military
regimes in, 46–47, 51–52, 54, 179; Move-
ment of the People party, 245; National
Youth Service Corps, 233, 245, 256; pop
music in, 236; social media in, 251, 252;
spirit possession in, 13; transition from
military to civilian rule, 122; Yoruba
traveling theater, 78
Nigerian Council of Islamic Scholars,
176–177
“Nilichojifunza Nolly wood!” series
(Selles), 163
9/11 (September 11, 2001, terrorist attacks),
24, 172, 176; “calendars” or “almanacs”
depicting, 180–181; “catch images” of,
176, 177, 181
Nnaji, Genevieve, 159
Nolly wood (Nigerian film industry), 22,
24, 261; Bongo movies and, 163; “Nolly-
woodish” video film stars of Tanzania,
27; pacesetting role of, 78; photo novels
and, 57, 78, 80; in Tanzania, 150–151,
170–171, 268; as world’s third largest film
industry, 270
Noor, Farish, 198
nostalgia, 74
Nouah, Ramsey, Jr., 159
Nsyuka (Tanzanian film), 163, 274n4
(chap. 5)
Nuhu, A hmed S., 87, 93, 128
Nuhu, A li, 126, 130
Nwoko, Chinedu, 169
Nwude, Emmanuel, 206
Nyasho Kwaya, 104, 105, 106, 109, 117. See
also Kamunyonge Seventh-day Adven-
tist choir
Nyerere, Julius, 75, 97
Nyerere, Rose, 75Obasanjo, Olusegun, 54, 176, 195
Obi, Chijioke, 182
Of Mimicry and Man: The Ambivalence of
Colonial Discourse (Bhabha), 11
Ogedegbe, Femi, 167, 169, 274n5 (chap. 5)
Ogunde, Hubert, 78
Ogunmola, Kola, 78
Ojetade, Balogun, 82–83
Okeke, Nancy, 167, 168
Olivier de Sardan, Jean-Pierre, 35, 37, 46, 52
Olupohunda, Bayo, 223
Omereme (photo novel), 154–158, 156
On the Mimetic Faculty (Benjamin), 12
Ong, Walter, 160–161, 162
Onitsha market literature, 22, 85
“open source” creation, 18