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Ghanaian popular theater: A historic...

Cole, Catherine M.

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Ghanaian popular theater: A historical ethnography of the concert party, 1895 to 1965.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Ghanaian popular theater: A historical ethnography of the concert party, 1895 to 1965./
作者:	Cole, Catherine M.
面頁冊數:	310 p.
附註:	Director: Margaret Thompson Drewal.
Contained By:	Dissertation Abstracts International57-11A.
標題:	History, African. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9714570
ISBN:	0591224119

Ghanaian popular theater: A historical ethnography of the concert party, 1895 to 1965.
Cole, Catherine M.

Ghanaian popular theater: A historical ethnography of the concert party, 1895 to 1965. - 310 p.

Director: Margaret Thompson Drewal.

Thesis (Ph.D.)--Northwestern University, 1996.

The Ghanaian concert party is a form of traveling popular theatre that is a tradition of twentieth-century West Africa. Beginning under colonial rule, concert practitioners trekked the length and breadth of what was then the British Gold Coast colony. They performed comic variety shows that combined an eclectic array of cultural influences, from American movie characters and British popular ballads, to Ghanaian storytelling traditions and highlife songs. Actors wore minstrel makeup inspired by Al Jolson and played a trickster similar to the famous Ananse character of Ghanaian folklore.

ISBN: 0591224119Subjects--Topical Terms:

1017555
History, African.

Ghanaian popular theater: A historical ethnography of the concert party, 1895 to 1965.
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245 1 0 $a Ghanaian popular theater: A historical ethnography of the concert party, 1895 to 1965.
300 $a 310 p.
500 $a Director: Margaret Thompson Drewal.
500 $a Source: Dissertation Abstracts International, Volume: 57-11, Section: A, page: 4598.
502 $a Thesis (Ph.D.)--Northwestern University, 1996.
520 $a The Ghanaian concert party is a form of traveling popular theatre that is a tradition of twentieth-century West Africa. Beginning under colonial rule, concert practitioners trekked the length and breadth of what was then the British Gold Coast colony. They performed comic variety shows that combined an eclectic array of cultural influences, from American movie characters and British popular ballads, to Ghanaian storytelling traditions and highlife songs. Actors wore minstrel makeup inspired by Al Jolson and played a trickster similar to the famous Ananse character of Ghanaian folklore.
520 $a Throughout its history, concert parties have dramatized the aspirations, experiences, and frustrations of a large constituency of Ghanaians. Out of the social tumult that colonialism and modernity unleashed, actors fashioned comedies. As social roles, class stratification, and regional divisions rapidly shifted throughout the colonial period and the early years of independence, concert party practitioners demonstrated a remarkable ability to adapt to changing circumstances, new technologies, and volatile political climates. An itinerant performance form that responded quickly to subtle changes in the social fabric of Ghana, the concert party provides a unique perspective on the complex experience of British domination, the quest for national identity, and the processes of cultural appropriation and social change.
520 $a This project is simultaneously a cultural history of a performance form and a social history of the people who created and consumed it. Using the methodologies of oral history, ethnography, archival research, and literary analysis, this study traces the shifting styles, form, and content of concert parties in relation to larger social and cultural conditions from 1895 to 1965. A unique application of postcolonial literary theory to use interdisciplinary methods to analyze a culturally and historically specific case study, this work will be of interest to scholars of postcolonial literature, theatre and performance studies, African studies, popular culture, and cultural studies.
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