Dan Ge Performance

Masks and Music in Contemporary Côte d'Ivoire

Nonfiction, History, Africa
Cover of the book Dan Ge Performance by Daniel B. Reed, Indiana University Press
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Author: Daniel B. Reed ISBN: 9780253028303
Publisher: Indiana University Press Publication: August 21, 2003
Imprint: Indiana University Press Language: English
Author: Daniel B. Reed
ISBN: 9780253028303
Publisher: Indiana University Press
Publication: August 21, 2003
Imprint: Indiana University Press
Language: English

Ge, formerly translated as "mask" or "masquerade," appears among the Dan people of Côte d’Ivoire as a dancing and musical embodiment of their social ideals and religious beliefs. In Dan Ge Performance, Daniel B. Reed sets out to discover what resides at the core of Ge. He finds that Ge is defined as part of a religious system, a form of entertainment, an industry, a political tool, an instrument of justice, and a form of resistance—and it can take on multiple roles simultaneously. He sees genu (pl.) dancing the latest dance steps, co-opting popular music, and acting in concert with Ivorian authorities to combat sorcery. Not only are the bounds of traditional performance stretched, but Ge performance becomes a strategy for helping the Dan to establish individual and community identity in a world that is becoming more religiously and ethnically diverse. Readers interested in all aspects of expressive culture in West Africa will find fascinating material in this rich and penetrating book.

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

Ge, formerly translated as "mask" or "masquerade," appears among the Dan people of Côte d’Ivoire as a dancing and musical embodiment of their social ideals and religious beliefs. In Dan Ge Performance, Daniel B. Reed sets out to discover what resides at the core of Ge. He finds that Ge is defined as part of a religious system, a form of entertainment, an industry, a political tool, an instrument of justice, and a form of resistance—and it can take on multiple roles simultaneously. He sees genu (pl.) dancing the latest dance steps, co-opting popular music, and acting in concert with Ivorian authorities to combat sorcery. Not only are the bounds of traditional performance stretched, but Ge performance becomes a strategy for helping the Dan to establish individual and community identity in a world that is becoming more religiously and ethnically diverse. Readers interested in all aspects of expressive culture in West Africa will find fascinating material in this rich and penetrating book.

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