Jesse Weaver Shipley is Associate Professor of Anthropology at Haverford College. He is author of Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music and has produced a documentary film with the same title.
Jesse Weaver Shipley is Associate Professor of Anthropology at Haverford College. He is author of Living the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music and has produced a documentary film with the same title.
Introduction: Poetics of Uncertainty Part I. History and Mediations in Making Theatre 1. Making Culture: Race, History, and a Theory of Performance in the Gold Coast Colony 2. The National Theatre Movement: Urban Art Infrastructures and a Contested National Culture in Independence-Era Accra 3. Revolutionary Storytelling: Pan-African Theatre and Remaking Lost Futures in 1980s Ghana 4. A Man of the People: Mohammed Ben Abdallah as Artist-Politician Part II. Stagings in Millennial Ghana 5. Total African Theatre: Language, Reflexivity, and Ambiguity in The Witch of Mopti 6. "The Best Tradition Goes On": Audience, Consumption, and the Structural Transformation of Concert Party Popular Theatre 7. Fake Pastors and Real Comedians: Doubling and Parody in Miraculous, Charismatic Performance 8. Copying Independence: Backstage at the Fiftieth-Anniversary Reenactment of Nkrumah's Independence Speech Conclusion: Unfreedom as Critical Theory Notes Bibliography Index
Introduction: Poetics of Uncertainty Part I. History and Mediations in Making Theatre 1. Making Culture: Race, History, and a Theory of Performance in the Gold Coast Colony 2. The National Theatre Movement: Urban Art Infrastructures and a Contested National Culture in Independence-Era Accra 3. Revolutionary Storytelling: Pan-African Theatre and Remaking Lost Futures in 1980s Ghana 4. A Man of the People: Mohammed Ben Abdallah as Artist-Politician Part II. Stagings in Millennial Ghana 5. Total African Theatre: Language, Reflexivity, and Ambiguity in The Witch of Mopti 6. "The Best Tradition Goes On": Audience, Consumption, and the Structural Transformation of Concert Party Popular Theatre 7. Fake Pastors and Real Comedians: Doubling and Parody in Miraculous, Charismatic Performance 8. Copying Independence: Backstage at the Fiftieth-Anniversary Reenactment of Nkrumah's Independence Speech Conclusion: Unfreedom as Critical Theory Notes Bibliography Index
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