In the long-standing conversation on ethical communication for development, one of the populations that has directly affected by demeaning and patronizing narratives are countries in Africa. Humorous humanitarian digilantism has become a popular and trending tool to combat these narratives and decolonize existing representations of Africa in the global north. A major hub for these campaigns is found across social media platforms and have aroused global interest and introspection. Seminars and conferences could be great ways to enhance the attempt at engaging key media professionals, but the wide wings of social media remain uncontested in recent times. With millions of daily users, social media platforms like TikTok, Instagram, Facebook, and Youtube have become sprouting grounds for counternarrative digilantism.
Edward Ademolu, in his 2024 article published in the Journal of International Development, highlights What’s Up Africa (WUA) and Radi-Aid on YouTube, Humanitarians of Tinder on Tumblr and Barbie Savior on Instagram, as channels that have effectively added their voice to what is known as counternarrative “digilantism”. Counternarrative digilantism is described as efforts made by individuals to “secure justice online” (Jane, 2017). These channels that promote grassroots digilantism often use satire to counter problematic representations of Africa in the global media.
Why is humor an effective tool?
“the strategic use of comedy and parodic playfulness is discernible in the humanitarian aid industry as it reconciles with the capriciousness of its public engagement with the aforementioned issues”- Edward Ademolu
Though underestimated, humor is a powerful and creative way of countering misconceptions because it presents a nuanced conversation about problematic developmental narratives in a relaxed, relatable, and non-confrontational way. Satirical skits, such as the ones portrayed by Nigerian British comedian Ikenna Azuike on What’s Up Africa and the Barbie Savior’s Instagram posts, mocking Western media’s fixation on “poverty porn” in Africa can highlight these problematic issues without alienating those who might unknowingly perpetuate them.
According to Edward Ademolu, “the humour lies in the networked laughter and judgement from virtual audiences, who mock users’ questionable decisions and supposed moral superiority. This socially sanctioned ridicule serves as a playful critique, encouraging better judgement among those involved”. While disarming the audience and decreasing their resistance to new ideas, internet humor engages its audience without making them feel attacked. This creates a safe space for introspection, reflection, and open-mindedness.
Also, the use of satire is effective because it breaks down complex ideas about development communication and makes it accessible and digestible for many. Additionally, it provides an avenue for Africans to reclaim agency in controlling the narrative and exposing absurd stereotypes and misconceptions about the continent. A typical example is the work of Charity Ekezie, an award-winning digital creator who has amassed over 4 million followers across social media platforms.
She uses satire to deconstruct narratives about Africa and Africans. In her videos, she appears to be reiterating and accepting popular myths or misconceptions about Africa, however with a careful look at her surroundings, which is strategically positioned to debunk the said misconception, she deconstructs narratives without directly addressing it. An example is this video in which she speaks about transportation in Africa. She begins by explaining that animals are used as the mode of transportation in Africa even though she’s seated right infront of a car. This draws the attention of the audience to their incorrect beliefs and enables them to reflect on the existing representations they have of Africa and transform them.
Though the need to deconstruct problematic narratives is a critical and serious topic, the use of satire and light-hearted entertainment is an indispensable technique to reach a wider audience, especially the rising generation in the global north. Entertainment encourages conversations in communities on humanitarian practices and how development is communicated while providing a space for ridicule and a safer platform for deeper reflection.
By: Anita Esi Otoo
Hi Anita,
I really enjoyed reading your post. The use of humor is indeed a creative and effective way to counter hegemonic ways of thinking about communities and their stereotypical representations. In India too humor is being used by gender activists, youth, women comedians, and filmmakers (especially those from vulnerable communities like Dalit and tribal people) to mock and eventually disrupt narratives that portray them as voiceless or as passive victims who need to be spoken for by educated elites.
Hi Anita! I was drawn to your post because of the picture you chose, and then I really enjoyed reading your post! I never heard of the term counternarrative digilantism, but it’s a phenomenon that I’ve for sure noticed grow more and more on social media. In Romania too we use a lot of humour to cope and address social issues (Radu Jude, one of my favorite Romanian directors, is a pro at it!). Nevertheless, I enjoyed learning about Charity Ekezie and her work. Thank you for sharing your insight on this topic!