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Staging Ghana
The Ghana Dance Ensemble takes Ghana's national culture and interprets it in performance using authentic dance forms adapted for local or foreign audiences. Often, says Paul Schauert, the aims of the ensemble and the aims of the individual performers work in opposition. Schauert discusses the history of the dance troupe and its role in Ghana's post-independence nation-building strategy and illustrates how the nation's culture makes its way onto the stage. He argues that as dancers negotiate the terrain of what is or is not authentic, they also find ways to express their personal aspirations, discovering, within the framework of nationalism or collective identity, that there is considerable room to reform national ideals through individual virtuosity.
China, India and the Eastern World
Bernth Lindfors, Ira Aldridge: The Last Years, 1855-1867 -- Paul Schauert, Staging Ghana: Artistry & nationalism in state dance ensembles -- Maëline Le Lay, 'La parole construit le pays': Théâtre, langues et didactisme au Katanga (République Démocratique du Congo) -- Benita Brown, Dannabang Kuwabong & Christopher Olsen, Myth Performance in the African Diasporas: Ritual, theater, and dance -- S.A. Kafewo, T.J. Iorapuu & E.S. Dandaura (eds), Theatre Unbound: Reflections on Theatre for Development and Social Change - A festschrift in honour of Oga Steve Abah -- Hakeem Bello, The Interpreters: Ritual, Violence and Social Regeneration in the Writing of Wole Soyinka -- Five plays: Ekpe Inyang, The Swamps -- Augustine Brempong, The King's Wages -- Denja Abdullahi, Death and the King's Grey Hair and Other Plays -- Books received and noted
Seeing and Being Seen
The practice of morality and the formation of identity among an indigenous Latin American culture are framed in a pioneering ethnography of sight that attempts to reverse the trend of anthropological fieldwork and theory overshadowing one another. In this vital and richly detailed work, methodology and theory are treated as complementary partners as the author explores the dynamic Mayan customs of the Q'eqchi' people living in the cultural crossroads of Livingston, Guatemala. Here, Q'eqchi', Ladino, and Garifuna (Caribbean-coast Afro-Indians) societies interact among themselves and with others ranging from government officials to capitalists to contemporary tourists. The fieldwork explores t...
Abidjan USA
“Studies of four musicians . . . and a broader discussion about diaspora and migration provides an important study of African music in the United States.” —Alex Perullo, author of Live from Dar es Salaam Daniel B. Reed integrates individual stories with the study of performance to understand the forces of diaspora and mobility in the lives of musicians, dancers, and mask performers originally from Côte d’Ivoire who now live in the United States. Through the lives of four Ivorian performers, Reed finds that dance and music, being transportable media, serve as effective ways to understand individual migrants in the world today. As members of an immigrant community who are geographical...
Highlife Saturday Night
Highlife Saturday Night captures the vibrancy of Saturday nights in Ghana—when musicians took to the stage and dancers took to the floor—in this penetrating look at musical leisure during a time of social, political, and cultural change. Framing dance band "highlife" music as a central medium through which Ghanaians negotiated gendered and generational social relations, Nate Plageman shows how popular music was central to the rhythm of daily life in a West African nation. He traces the history of highlife in urban Ghana during much of the 20th century and documents a range of figures that fueled the music's emergence, evolution, and explosive popularity. This book is generously enhanced by audiovisual material on the Ethnomusicology Multimedia website.
Kakaamotobe
Kakaamotobe, meaning to scare, is known across southern Ghana, West Africa, as Fancy Dress performance. Masqueraders dress in colorful costumes and wear fancy and fierce masks; they dance energetically to drums or brass band music through the main streets of town during holidays, especially during Christmastime. Competitions held in two towns are intense annual events. This lively secular masquerade is a carnival form that has been practiced for well over a century primarily by coastal Fante people, and many additional ethnicities participate today. Kakaamotobe: Fancy Dress Carnival in Ghana explores the fascinating history, aesthetics, performance, and underlying messages of this masquerade...
Theory for Ethnomusicology
For courses in ethnomusicological theory. This book covers ethnomusicological theory, exploring some of the underpinnings of different approaches and analyzing differences and commonalities in these orientations. This text addresses how ethnomusicologists have used and applied these theories in ethnographic research.
Situated Narratives and Sacred Dance
Using storytelling and performance to explore shared religious expression across continents Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, Situated Narratives and Sacred Dance explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attribu...
The Embodiment and Transmission of Ghanaian Kete Royal Dance
The Kete dance form, once exclusive to royal courts, carries intricate movements, symbolic gestures, and rhythms that mirror Ghanaian history and values. It embodies storytelling, often depicting tales of bravery, unity, or significant historical events. These dances were traditionally reserved for specific occasions within the royal setting, symbolizing prestige, honor, and tradition. With the passage of time, the transmission of Kete royal dance has transcended its original palace context, finding its way into academic domains. Universities and cultural institutions now extend the legacies of this dance form and even act as custodians of this art form, where scholars, dancers, and enthusia...
West African Drumming and Dance in North American Universities
More than twenty universities and twenty other colleges in North America (USA and Canada) offer performance courses on West African ethnic dance drumming. Since its inception in 1964 at both UCLA and Columbia, West African drumming and dance has gradually developed into a vibrant campus subculture in North America. The dances most practiced in the American academy come from the ethnic groups Ewe, Akan, Ga, Dagbamba, Mande, and Wolof, thereby privileging dances mostly from Ghana, Togo, Benin, Senegal, Mali, Guinea, and Burkina Faso. This strong presence and practice of a world music ensemble in the diaspora has captured and engaged the interest of scholars, musicians, dancers, and audiences. ...
