Spiders of the Market

Ghanaian Trickster Performance in a Web of Neoliberalism

Nonfiction, Entertainment, Music, Theory & Criticism, Ethnomusicology, Theatre, Performing Arts
Cover of the book Spiders of the Market by David Afriyie Donkor, Indiana University Press
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Author: David Afriyie Donkor ISBN: 9780253021540
Publisher: Indiana University Press Publication: July 4, 2016
Imprint: Indiana University Press Language: English
Author: David Afriyie Donkor
ISBN: 9780253021540
Publisher: Indiana University Press
Publication: July 4, 2016
Imprint: Indiana University Press
Language: English

The Ghanaian trickster-spider, Ananse, is a deceptive figure full of comic delight who blurs the lines of class, politics, and morality. David Afriyie Donkor identifies social performance as a way to understand trickster behavior within the shifting process of political legitimization in Ghana, revealing stories that exploit the social ideologies of economic neoliberalism and political democratization. At the level of policy, neither ideology was completely successful, but Donkor shows how the Ghanaian government was crafty in selling the ideas to the people, adapting trickster-rooted performance techniques to reinterpret citizenship and the common good. Trickster performers rebelled against this takeover of their art and sought new ways to out trick the tricksters.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

The Ghanaian trickster-spider, Ananse, is a deceptive figure full of comic delight who blurs the lines of class, politics, and morality. David Afriyie Donkor identifies social performance as a way to understand trickster behavior within the shifting process of political legitimization in Ghana, revealing stories that exploit the social ideologies of economic neoliberalism and political democratization. At the level of policy, neither ideology was completely successful, but Donkor shows how the Ghanaian government was crafty in selling the ideas to the people, adapting trickster-rooted performance techniques to reinterpret citizenship and the common good. Trickster performers rebelled against this takeover of their art and sought new ways to out trick the tricksters.

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