This edited volume brings together scholars from across disciplines to examine the relationship between religion and alcohol. It examines the historical, social, ritual, economic, political, and cultural relationship between religion and alcohol across time periods and around the world. Twelve chapters are tied together by two major themes: first, gender identity, and its intersection with religion and alcohol; second, identity construction in religious communities, demonstrating how alcohol can be used as a distinguishing factor for religious, ethnic, and national identity. A key focus of the volume is how alcohol can bridge and divide the point at which the sacred and secular meet. With its interdisciplinary approach and engaging style, this book is an essential resource for undergraduate and graduate students in religion departments and appeals to scholars of material culture, food, and alcohol. Additionally, the book is of interest to professionals in the alcohol industry, particularly those involved in microbrewing and winemaking, who are interested in understanding the historical and cultural contexts of their craft.

This volume examines how African indigenous popular music is deployed in democracy, politics and for social crusades by African artists. Exploring the role of indigenous African popular music in environmental health communication and gender empowerment, it subsequently focuses on how the music portrays the African future, its use by African youths, and how it is affected by advanced broadcast technologies and the digital media. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which can only be unraveled by the knowledge of myriad cultural backgrounds from which its genres originate. With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores how, during the colonial period and post-independence dispensation, indigenous African music genres and their artists were mainstreamed in order to tackle emerging issues, to sensitise Africans about the affairs of their respective nations and to warn African leaders who have failed and are failing African citizenry about the plight of the people. At the same time, indigenous African popular music genres have served as a beacon to the teeming African youths to express their dreams, frustrations about their environments and to represent themselves. This volume explores how, through the advent of new media technologies, indigenous African popular musicians have been working relentlessly for indigenous production, becoming champions of good governance, marginalised population, and repositories of indigenous cultural traditions and cosmologies.

This book serves as a drive and medium for constructive analysis, critical thinking, and informed change in the broad area of cultural heritage studies. In Africa, how to overturn the gory effects and reverse the wholesale obnoxious and unpardonable losses suffered from the excruciating experience of colonialism in a manner that empowers the present and future generations, remains a burning question. Colonial and liberation war heritage have received insignificant attention. The relevance, nature, and politics at play when it comes to the role of memory and colonial heritage in view of nation-building and sustainability on the continent is yet to receive careful practical and theoretical attention and scrutiny from both heritage scholars and governments. Yet, colonial heritage has vast potentials that if harnessed could reverse the gargantuan losses of colonialism and promote sustainable development in Africa. The book critically reflects on the opportunities, constraints, and challenges of colonial heritage across Africa. It draws empirical evidence from its focus on Zimbabwe, South Africa, Nigeria, Ghana, Zambia, and Mozambique, to advance the thesis that cultural heritage in Africa, and in particular colonial heritage, faces challenges of epic proportions that require urgent attention.

Drawing on examples from across the continent, this volume examines socially significant aspects of contemporary African popular culture—including music cultures, fandoms, and community, mass, and digital media—to demonstrate how neoliberal politics and market forces shape the cultural landscape and vice versa. Contributors investigate the role that the media, politicians, and corporate interests play in shaping that landscape, highlight the crucial role of the African people in the production and circulation of popular culture more broadly, and, furthermore, demonstrate how popular culture can be used as a tool to resist oppressive regimes and challenge power structures in the African context. Scholars of political communication, cultural studies, and African studies will find this book particularly useful.

This volume is produced in commemoration of the official retirement of Professor Kay Williamson from the Department of Linguistics and Communication Studies, University of Port Harcourt, Nigeria. The contributing essayists cover five main generations of Nigerian linguists. The collection is divided into six sections: Language, history and Society; Applied Linguistics and Orthography Design; Gender and Communication Studies; Stylistics and Literature; Pragmatics, Discourse Analysis and Translation; and Formal Linguistics. Some of the contributors include: Ayo Bamgbose, Okon Essie, Ben Elugbe, P.A. Nwachukwu, E.N. Emenanjo, P. Anagbogu, Chinyere Ohiri-Aniche, O.M. Ndimele, O.G. Harry, Levi Igwe, C.U. Omego, O. Ojukwu, A.U. Weje, O.N. Anyanwu and A. Idafuro.