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Dancehall Diaspora : = Roots, Routes and Reggae Music in Ghana.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Dancehall Diaspora :/
其他題名:	Roots, Routes and Reggae Music in Ghana.
作者:	Alleyne, Osei.
面頁冊數:	1 online resource (384 pages)
附註:	Source: Dissertations Abstracts International, Volume: 79-09, Section: A.
Contained By:	Dissertations Abstracts International79-09A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10635300click for full text (PQDT)
ISBN:	9780355618228

Dancehall Diaspora : = Roots, Routes and Reggae Music in Ghana.
Alleyne, Osei.

Dancehall Diaspora :Roots, Routes and Reggae Music in Ghana. - 1 online resource (384 pages)

Source: Dissertations Abstracts International, Volume: 79-09, Section: A.

Thesis (Ph.D.)--University of Pennsylvania, 2017.

Includes bibliographical references

The recent explosion of Ghanaian Reggae Dancehall reflects the longstanding and still growing influence of Jamaican-inspired popular culture in Ghana today. This emerging genre has been nurtured by local Rastafarian communities and championed by youth from the zongos-sprawling internal migrant and largely Islamic unplanned neighborhoods. Suffering similar forms of economic and political alienation from mainstream Ghanaian society, emerging Reggae Dancehall artists from these groups have adopted similar socio cultural and politically rebellious postures as their counterparts in Jamaica-mirroring Jamaican Patois, 'Dread Talk' and Rasta, 'rudebwoy' and 'rudegyal' identities as counter hegemonic ways of being and knowing in Ghana today. Neoliberal structural adjustment, patron-clientelism and state corruption follow histories of slavery and colonialism in both these spaces. Subject populations in these locations have now, largely through entertainment media and internet technology come to see similar plights in each other's experiences. Popular youth cultures in these locations have to come to mirror each other; resounding extant socio-linguistic and cultural retentions that tie African Jamaicans to Ghana through the Atlantic Slave Trade. Novel iterations of diaspora inhere in these processes. On the one hand Jamaican musicians hail 'Africa' as source of inspiration, site of return and escape from 'Babylon'. Across the Atlantic Ghanaian artists and audiences look to Rastafari, Reggae, and Dancehall for strategies in culturally, politically and commercially mobilizing their increasingly urban African identities. Drawing heavily on Jamaican pop tropes which themselves owe a debt to the continent, Ghanaian artists reclaim Reggae Dancehall as broadly African and hence legitimately their own; brushing off charges of mimicry as they endeavor to uniquely indigenize the art form.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9780355618228Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Cultural productionIndex Terms--Genre/Form:

542853
Electronic books.

Dancehall Diaspora : = Roots, Routes and Reggae Music in Ghana.
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520 $a The recent explosion of Ghanaian Reggae Dancehall reflects the longstanding and still growing influence of Jamaican-inspired popular culture in Ghana today. This emerging genre has been nurtured by local Rastafarian communities and championed by youth from the zongos-sprawling internal migrant and largely Islamic unplanned neighborhoods. Suffering similar forms of economic and political alienation from mainstream Ghanaian society, emerging Reggae Dancehall artists from these groups have adopted similar socio cultural and politically rebellious postures as their counterparts in Jamaica-mirroring Jamaican Patois, 'Dread Talk' and Rasta, 'rudebwoy' and 'rudegyal' identities as counter hegemonic ways of being and knowing in Ghana today. Neoliberal structural adjustment, patron-clientelism and state corruption follow histories of slavery and colonialism in both these spaces. Subject populations in these locations have now, largely through entertainment media and internet technology come to see similar plights in each other's experiences. Popular youth cultures in these locations have to come to mirror each other; resounding extant socio-linguistic and cultural retentions that tie African Jamaicans to Ghana through the Atlantic Slave Trade. Novel iterations of diaspora inhere in these processes. On the one hand Jamaican musicians hail 'Africa' as source of inspiration, site of return and escape from 'Babylon'. Across the Atlantic Ghanaian artists and audiences look to Rastafari, Reggae, and Dancehall for strategies in culturally, politically and commercially mobilizing their increasingly urban African identities. Drawing heavily on Jamaican pop tropes which themselves owe a debt to the continent, Ghanaian artists reclaim Reggae Dancehall as broadly African and hence legitimately their own; brushing off charges of mimicry as they endeavor to uniquely indigenize the art form.
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