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This film industry has been coined Kannywood, after the city it originated in. According to statistics from the National Film and Video Censors Board, its movies make up about 30 percent of the films produced by the Nigerian-based film industry popularly called Nollywood, which is often portrayed as the third-largest in the world, after Hollywood and Bollywood. Kannywood even has its own TV channel, Africa Magic Hausa, showing Hausa-language movies on satellite TV.

stricter guidelines, such as the banning of married women from acting, while also requiring all women in the industry to have a male guardian who would be legally responsible if their ward broke the rules

Their tone is devoutly Muslim, though, and quite often the very last line of the end credits is "Glory be to God". Many of these movies also denounce the hypocrisy of the ruling classes who preach piousness in public while sinning in private.

"An order is hereby given restraining the respondents either by themselves or their agents from opening a chat forum on Facebook, Twitter, or any blog for the purpose of the debate on the amputation of Malam Buba Bello Jangebe."

The group told the BBC's Hausa service it would appeal against the ruling. The Sharia code runs alongside the secular state system in 12 of Nigeria's 36 states, and citizens can choose which system they deal with. It is not clear whether the Kaduna court has the authority to enforce the ruling, which analysts say is the first such judgement in Nigeria.

The broad experience of these programmes during the 1990s suggests that externally funded democracy-promotion projects are very good at creating institutions and structures, but less successful at producing sustainable, vibrant and engaged democratic constituencies and civil societies. In other words, they helped create a lot of NGOs, but not civil society.

oreign funding of civil-society groups led to a backlash against not only NGOs, but the very ideas of democracy and civil society. The ex-post-facto justification for the Iraq war as a form of democracy-promotion coupled with the perceptions of Washington’s “shadowy guiding hand” in the “colour revolutions” in Georgia (2003) and Ukraine (2004) intensified scepticism toward democracy and civil society in (among others) Russia, China, and Nigeria.

A project that has human goals at its nominal centre yet focuses on tools and technologies always runs the risk of technological determinism and indeed fetishism. Moreover, the prior history of “toolbox” approaches to political change (albeit before an era when the internet was widespread) enjoins caution over making the discovery and spread of successful technologies the key to achieving improvements in governance, development and human rights.It may be also that these technology-centred approaches tend to encourage a context-free and amnesiac attitude that ignores the experiences even of the very recent past. In any event, the extraordinary events in the middle east and north Africa fuel the liberation technologists’ euphoria.

Liao Liang's mission in the Kenyan capital is hardly confidential: As a senior editor of the China Global Television Network (CGTN), a subsidiary of Chinese state television, his task is that of shining a positive light on his country's ambitious activities -- particularly those in Africa, where China's reputation has suffered as its footprint has grown.

"It's an apartheid system," he says, with the Chinese at the top, then the whites, then the blacks and at the very bottom are the Kenyans. "We have to let the Chinese go first in the restrooms and we're only allowed to eat in the cafeteria after 1 p.m., after they have eaten. They treat us like their inferiors." Sometimes, James M. says, he only receives half of his contractual editor's salary of 2,000 euros per month. He says he is penalized 2,000 shillings - around 17 euros - for every mistake in his stories, including typos.

CGTN journalists aren't just there to ward off criticism of China's expansion in Africa but also to break the West's media dominance. The broadcaster has a similar mission in Africa as Russia's state broadcaster RT does in Europe.

Pop music in the region today truly represents the Westernization of classical Arabic music defined by traditional elements of improvisation (where songs often last as long as an hour), instruments native to the region like the oud, and maqam, which is a system of melodies and pitches native to Arabic music. Classical Arabic artists like Oum Kulthum and Asmahan thrived on this style and are considered icons of Arabic music because of their ability to evoke emotion through their artistry.But in conjunction with colonization, Arabic music began to shift from its classical roots with the Cairo Congress of Arab Music in 1932, organized by King Fuad of Egypt. This symposium brought together renowned composers and ethnomusicologists from the Middle East, North Africa, and Europe who created a set of proposals for the modernization and standardization of Arabic music, one of which was the incorporation of European instruments into Arabic ensembles because “such instruments possessed tremendously varied, expressive means and depictive powers.”The other notable event that pushed this modernization further was the introduction of the phonograph to the region. Phonographs could only play songs for a limited duration, making the traditional improvisation and hour-long running times of classical Arabic music nearly impossible.The final nail in the coffin was the burgeoning film industry in the 1950s and 1960s, particularly in Egypt, the cultural epicenter for creative output in the Middle East and North Africa. Movies were heavily Westernized at the time, forcing directors and producers to modify accompanying music to incorporate Western-style elements in their instruments and duration.

a new movement is rising in North Africa.Rappers and emcees from the region are boldly approaching hip-hop and the larger Arab music landscape by exploring taboo themes and proactively deconstructing societal markers of North African identity. They are experimenting with beat production and dialect as they go about creating a space for their music and for these conversations to be held in a public domain. This is not a knock on the Levantine or Khaleeji rap scenes; there are many artists who are doing this currently. But North African emcees are using their lyrical flows and melodic rhythms to grapple with the essential question of identity. The music sounds fresh and breathes new life into the pop-dominant Arabic music scene.

A vast majority of North African rappers primarily use their regional Arabic dialects and French in their music. But many artists, specifically North African artists based in Europe, also use Spanish, Dutch, and English on their albums. A few artists will even use all four languages in one song.

Although podcasting is growing in Africa, radio, a close cousin that has been around since the days of colonization, remains prevalent.

The largest podcasting markets in Africa include Nigeria, South Africa, and Kenya

the African podcasts that get exposure typically sound familiar with commercial appeal in terms of format, content, and tone

The fake account is part of a network promoting Russian president Vladimir Putin on Twitter, which used the hashtags #IStandWithPutin and #IStandWithRussia on 2 and 3 March. This led to trending topics in different regions - particularly in the global south, apparently showing support for the war, in countries including India, Pakistan, South Africa and Nigeria.

many other profiles appear to have been inauthentic. They retweeted messages in high quantities, produced few original messages, and were created very recently. "They were likely produced by bots, fake profiles or compromised accounts, artificially amplifying support for Putin in these countries," says Carl Miller, co-founder of CASM Technology, a company that researches online harms and disinformation.

The accounts tweet a mixture of criticism of Western countries, express solidarity between the so-called Brics countries (Brazil, Russia, India, China, South Africa), and offer direct support to Mr Putin. "We default to the idea that information campaigns will be directed to the West. Yet none of the accounts were addressing the West nor claimed to be from the West," says Mr Miller.