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by Catherine M. Cole
Download Ghana's Concert Party Theatre: fb2
Performing Arts
  • Author:
    Catherine M. Cole
  • ISBN:
    025321436X
  • ISBN13:
    978-0253214362
  • Genre:
  • Publisher:
    Indiana University Press (June 1, 2001)
  • Pages:
    256 pages
  • Subcategory:
    Performing Arts
  • Language:
  • FB2 format
    1359 kb
  • ePUB format
    1709 kb
  • DJVU format
    1357 kb
  • Rating:
    4.8
  • Votes:
    765
  • Formats:
    mbr lrf azw mobi


Ghana's Concert Party TheatreCatherine M. ColeAn engaging history of Ghana's enormously popular . Catherine M. Cole is Assistant Professor in the Department of Dramatic Art at the University of California, Santa Barbara.

Ghana's Concert Party TheatreCatherine M. ColeAn engaging history of Ghana's enormously popular concert party theatre. succeeds in conveying the exciting and fascinating character of the concert party genre, as well as showing clearly how this material can be used to rethink a number of contemporary theoretical themes and issues. Karin BarberUnder colonial rule, the first concert party practitioners brought their comic variety shows to audiences throughout what was then the British Gold Coast colony.

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Ghana's Concert Party Theatre more. Under colonial rule, the first concert party practitioners brought their comic variety shows to audiences throughout what was then the British Gold Coast colony.

the concert party of Ghana, a twentieth-century traveling popular theatre, a comic variety show that combined an eclectic array of cultural influences, including, but not limited to, Al Jolson, American movies, Anansesem (Ghanaian spider stories ), highlife music, African-American.

the concert party of Ghana, a twentieth-century traveling popular theatre, a comic variety show that combined an eclectic array of cultural influences, including, but not limited to, Al Jolson, American movies, Anansesem (Ghanaian spider stories ), highlife music, African-American spirituals, and others in which there is no literary text but there is most definitely a performance text?

Catherine M. Cole, Professor of Drama and Divisional Dean of the Arts at the University of Washington, is the author of Performing South Africa’s Truth Commission: Stages of Transition (2010), Ghana’s Concert Party Theatre (2001), and Performance and the Afterlives of Injustice.

Catherine M. Cole, Professor of Drama and Divisional Dean of the Arts at the University of Washington, is the author of Performing South Africa’s Truth Commission: Stages of Transition (2010), Ghana’s Concert Party Theatre (2001), and Performance and the Afterlives of Injustice (forthcoming 2020).

Ghana's Concert Party Theatre. Professor Catherine M Cole. As social and political circumstances shifted through the colonial period and early years of Ghanaian independence, concert party actors demonstrated a remarkable responsiveness to changing social roles and volatile political situations as they continued to stage this extremely popular form of entertainment. Cole is Professor in the Department of Theater, Dance, and Performance Studies . More books by Catherine M. Cole. Cole is Professor in the Department of Theater, Dance, and Performance Studies at the University of California, Berkeley.

The National Theatre was opened in 1992 to spearhead the Theatre movement in Ghana by providing a multi-functional venue for concerts, dance, drama and musical performances, screen plays, exhibitions and special events. In Ghana, theatre as an artistic form has existed for centuries in the traditional dramatic expressions of society,however, the National Theatre Movement (NTM) was conceived around the time of Ghana’s independence in 1957 to help remold the new nation’s cultural identity.

Discover Book Depository's huge selection of Catherine M Cole books online. Free delivery worldwide on over 20 million titles. Ghana's Concert Party Theatre.

... succeeds in conveying the exciting and fascinating character of the concert party genre, as well as showing clearly how this material can be used to rethink a number of contemporary theoretical themes and issues." ―Karin Barber

Under colonial rule, the first concert party practitioners brought their comic variety shows to audiences throughout what was then the British Gold Coast colony. As social and political circumstances shifted through the colonial period and early years of Ghanaian independence, concert party actors demonstrated a remarkable responsiveness to changing social roles and volatile political situations as they continued to stage this extremely popular form of entertainment. Drawing on her participation as an actress in concert party performances, oral histories of performers, and archival research, Catherine M. Cole traces the history and development of Ghana’s concert party tradition. She shows how concert parties combined an eclectic array of cultural influences, adapting characters and songs from American movies, popular British ballads, and local story-telling traditions into a spirited blend of comedy and social commentary. Actors in blackface, inspired by Al Jolson, and female impersonators dramatized the aspirations, experiences, and frustrations of their audiences. Cole’s extensive and lively look into Ghana’s concert party provides a unique perspective on the complex experience of British colonial domination, the postcolonial quest for national identity, and the dynamic processes of cultural appropriation and social change. This book will be essential reading for scholars and students of African performance, theatre, and popular culture.


Hilarious Kangaroo
interesting book
wish there were more pictures
I am looking for anything film or recordings of the
Ghanaian comedian
called "Waterproof "
Qusserel
Cole's study of concert party, a traveling musical theater in Ghana, is nothing short of superb. Not only does she manage to show the history of these itinerant performers and the world they made and remade with every performance, but she uses her analysis of concert party as a way to talk about and problematize the theories and obsessions of our time that sometimes have overdetermined analyses of things African. That concert party performers imitated women, or wore blackface, all complicate our own academic ideas about the performance of gender, or of race, and how those might be different in Africa than in the US or Latin America. Cole's manuscript gives us a history of an African musical form in more detail than anything we have had before, and in so doing she gives us a history of class and culture in Ghana that I think will make a strong impact on African history. But it also challenges scholars to think anew about how to understand and interpret African cultural forms, and shows how limiting it is­for Africans and for academics­ to pidgeon-hole those cultural expressions into examples of buzz words and jargon. This is a book that doesn't just interrogate culture and pronounce it complicated. This is a book that looks the complications firmly in the eye and encourages them to stare right back­. Cole animates the complexities and contradictions of popular African culture to make us think more seriously, more carefully, about how race and gender take on meanings and shed connotations in societies increasingly aware of their place in the world.