Dancehall City

Zongo Identity and Jamaican Rude Performance in Ghanaian Popular Culture

Datos Bibliográficos

ID2098545
AutoresOsei Alleyne (0000-0002-7065-2827, autor de correspondencia)
Año2022
Volumen65
Número1
Páginas211-233
Fecha de publicación2022-03-01
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaAfrican Studies Review (JOURNAL)
Identificadores de la revistaISSN: 0002-0206 • E-ISSN: 1555-2462
EditorialCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/asr.2021.147
OpenAlexW4224250634
IdiomaEN
Referencias citadas17

The explosion of Ghanaian Reggae-Dancehall reflects the influence of Jamaican-inspired popular culture in Ghana today. This subculture is championed by local Rastafarians and by youth from the zongos (internal migrant, largely Islamic, unplanned neighborhoods). Suffering social alienation, many zongo artists have adopted postures similar to their Jamaican counterparts-mirroring Rasta and rude identities as counter-hegemonic resistance. Alleyne explores several artists variously located between the zongo, the Reggae diaspora, and the Ghanaian state, examining how subjects rework Jamaican tropes and voice their aspirations within a globalizing Ghana and rethinking the zongo as space of rousing diasporic consciousness

Aesthetics · Alienation · Art · Consciousness · Diaspora · Hegemony · Identity (music · Media studies · Mirroring · Political science · Popular culture · Resistance (ecology · Sociology · Subculture (biology · Youth culture · Caribbean history, culture, and politics · Gender Studies · Law · Microfinance and Financial Inclusion · Psychology · Race, History, and American Society