Rashida Resario
Biographic Data
| ID | 5437324 |
|---|---|
| NAME | Rashida Resario |
| GIVEN NAMES | Rashida |
| FAMILY NAME | Resario |
| SIGNATURE | RESARIO R |
| AFFILIATIONS | University of Ghana |
| ORCID | 0000-0002-2671-2466 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 18 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Maimouna Jallow, dir. Tales of the Accidental City. 2021. 54 minutes. English. Kenya. Positively African Productions. No Price Reported
Squeezing money out of a rock”: Diverse economies of contemporary theatre in Ghana
Ghana has a vibrant theatre tradition, and yet making theatre in Ghana is complex and theatre artists must grapple with the challenges posed by a lack of state support, limited access to formal funding and theatre venues, and a precarious labour market. This paper employs the perspective of diverse economies to explore how theatre artists make theatre. Rather than privileging formal institutions, capitalist enterprises, and waged labour, the dive…
Imaginaries of platform entrepreneurship in the creative industries: Techno-optimism and subversion in Ghanaian filmmaking
This article examines imaginaries of platform entrepreneurship in film industries in Ghana. To understand how these imaginaries are spatially shaped and locally defined, we carried out in-depth qualitative research with fifty filmmakers in four regions of Ghana. Digital and platform technologies have long been optimistically celebrated as a way for marginalized creative entrepreneurs, particularly in Africa, to break into global markets and reach…
Exploring everyday resilience in the creative industries through devised theatre: A case of performing arts students and recent graduates in Ghana
The concept of resilience has become widely used to account for how people respond both to acute crisis and, increasingly, to protracted precarity. Yet, cultural studies theorists have also vigorously critiqued resilience discourse as a tool of neoliberal governmentality. In this article, we turn from the discourse of resilience to the practice of resilience. We argue, through a case of theatre students and recent graduates in Ghana, that the pra…
When being obese is a good thing: Voices of Ghanaian participants in a dance reality TV show
The discussion on (mis)representations of black women's bodies often focuses on their hyper-corporeality and hyper-sexualisation, with little attention paid to the women thus represented and their views. Reality shows are roundly criticised for objectifying women, being unAfrican and offering little to Africans. This paper contests this perspective by drawing on interviews with 19 contestants in a dance reality show in Ghana. We demonstrate that …
The show must go on!’: Hustling through the compounded precarity of Covid-19 in the creative industries
The article offers a qualitative examination of compounded precarity in creative work during the Covid-19 pandemic. Drawing on repeated in-depth interviews with twelve creative workers operating in the creative industries in Ghana, we examine one of the most prevalent practices for navigating, coping with, and managing compounded precarity: that of hustling. We empirically identify and discuss three interrelated practices of hustling in creative …
Care in creative work: Exploring the ethics and aesthetics of care through arts-based methods
This article investigates creative work from an ex-centric perspective, bringing insights from experiences of work in the Ghanaian creative industries to bear on the understanding of creative work as a relational labour of care and caring. We argue that the ethics and aesthetics of care in creative work can best be captured and appreciated through the use of innovative arts-based methodologies that afford researchers the opportunity to explore ca…
Fat women, performance and subversive commodification on Ghanaian reality television
Critics of weight loss reality shows often present the contestants as victims of commodification and exploitation without any form of agency. This paper seeks to contest this one-sided view of such shows. It draws on interviews with the producers and 19 contestants in the first season of a dance reality show in Ghana, the Di Asa show, as well as recorded video performances online. We argue that indeed the show was organised in a manner that commo…
The show must go on!’: Hustling through the compounded precarity of Covid-19 in the creative industries
The article offers a qualitative examination of compounded precarity in creative work during the Covid-19 pandemic. Drawing on repeated in-depth interviews with twelve creative workers operating in the creative industries in Ghana, we examine one of the most prevalent practices for navigating, coping with, and managing compounded precarity: that of hustling. We empirically identify and discuss three interrelated practices of hustling in creative …
Care in creative work: Exploring the ethics and aesthetics of care through arts-based methods
This article investigates creative work from an ex-centric perspective, bringing insights from experiences of work in the Ghanaian creative industries to bear on the understanding of creative work as a relational labour of care and caring. We argue that the ethics and aesthetics of care in creative work can best be captured and appreciated through the use of innovative arts-based methodologies that afford researchers the opportunity to explore ca…
Exploring everyday resilience in the creative industries through devised theatre: A case of performing arts students and recent graduates in Ghana
The concept of resilience has become widely used to account for how people respond both to acute crisis and, increasingly, to protracted precarity. Yet, cultural studies theorists have also vigorously critiqued resilience discourse as a tool of neoliberal governmentality. In this article, we turn from the discourse of resilience to the practice of resilience. We argue, through a case of theatre students and recent graduates in Ghana, that the pra…
Fat women, performance and subversive commodification on Ghanaian reality television
Critics of weight loss reality shows often present the contestants as victims of commodification and exploitation without any form of agency. This paper seeks to contest this one-sided view of such shows. It draws on interviews with the producers and 19 contestants in the first season of a dance reality show in Ghana, the Di Asa show, as well as recorded video performances online. We argue that indeed the show was organised in a manner that commo…
Care in creative work: Exploring the ethics and aesthetics of care through arts-based methods
This article investigates creative work from an ex-centric perspective, bringing insights from experiences of work in the Ghanaian creative industries to bear on the understanding of creative work as a relational labour of care and caring. We argue that the ethics and aesthetics of care in creative work can best be captured and appreciated through the use of innovative arts-based methodologies that afford researchers the opportunity to explore ca…
Fat women, performance and subversive commodification on Ghanaian reality television
Critics of weight loss reality shows often present the contestants as victims of commodification and exploitation without any form of agency. This paper seeks to contest this one-sided view of such shows. It draws on interviews with the producers and 19 contestants in the first season of a dance reality show in Ghana, the Di Asa show, as well as recorded video performances online. We argue that indeed the show was organised in a manner that commo…
When being obese is a good thing: Voices of Ghanaian participants in a dance reality TV show
The discussion on (mis)representations of black women's bodies often focuses on their hyper-corporeality and hyper-sexualisation, with little attention paid to the women thus represented and their views. Reality shows are roundly criticised for objectifying women, being unAfrican and offering little to Africans. This paper contests this perspective by drawing on interviews with 19 contestants in a dance reality show in Ghana. We demonstrate that …
The show must go on!’: Hustling through the compounded precarity of Covid-19 in the creative industries
The article offers a qualitative examination of compounded precarity in creative work during the Covid-19 pandemic. Drawing on repeated in-depth interviews with twelve creative workers operating in the creative industries in Ghana, we examine one of the most prevalent practices for navigating, coping with, and managing compounded precarity: that of hustling. We empirically identify and discuss three interrelated practices of hustling in creative …
Imaginaries of platform entrepreneurship in the creative industries: Techno-optimism and subversion in Ghanaian filmmaking
This article examines imaginaries of platform entrepreneurship in film industries in Ghana. To understand how these imaginaries are spatially shaped and locally defined, we carried out in-depth qualitative research with fifty filmmakers in four regions of Ghana. Digital and platform technologies have long been optimistically celebrated as a way for marginalized creative entrepreneurs, particularly in Africa, to break into global markets and reach…
Exploring everyday resilience in the creative industries through devised theatre: A case of performing arts students and recent graduates in Ghana
The concept of resilience has become widely used to account for how people respond both to acute crisis and, increasingly, to protracted precarity. Yet, cultural studies theorists have also vigorously critiqued resilience discourse as a tool of neoliberal governmentality. In this article, we turn from the discourse of resilience to the practice of resilience. We argue, through a case of theatre students and recent graduates in Ghana, that the pra…
Maimouna Jallow, dir. Tales of the Accidental City. 2021. 54 minutes. English. Kenya. Positively African Productions. No Price Reported
Squeezing money out of a rock”: Diverse economies of contemporary theatre in Ghana
Ghana has a vibrant theatre tradition, and yet making theatre in Ghana is complex and theatre artists must grapple with the challenges posed by a lack of state support, limited access to formal funding and theatre venues, and a precarious labour market. This paper employs the perspective of diverse economies to explore how theatre artists make theatre. Rather than privileging formal institutions, capitalist enterprises, and waged labour, the dive…
Sociology (6 works) · Political science (5 works) · Aesthetics (4 works) · Social science (4 works) · Art (3 works) · Business (3 works) · Cultural Industries and Urban Development (3 works) · Gender Studies (3 works) · Gender Studies (3 works) · Law (3 works)