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dc.contributor.authorAvorgbedor, Daniel K.eng
dc.date.issued1994-03eng
dc.descriptionAbstract The experience of performance as a social process and the blending of genres are two important characteristics identifying performance in Africa, as confirmed by Margaret Drewal in her review of performance studies in Africa (1991:64). However, work in these two areas is incipient. It is, therefore, the purpose of this essay to further our understanding of performance by exploring the unique ways in which the halo of the Anlo-Ewe not only exhibits social conditions but also structures and qualifies them. In this study the multidimensional aspect of halo will be highlighted and explained both as an aesthetic strategy and as an integral component in constructing the social significance of halo performance. In order to achieve this dual end, the study will focus on selective musico-artistic and social elements that distinguish the performance from other Anlo-Ewe musical or performance types, with focus on performance as a medium for generating and escalating social violence. Finally, the study will summarize halo performance as celebration and affirmation of life, and as a social experience that draws on artistic framing in the consummation of social reality. This approach will thus increase our awareness of the ontological and symbiotic relationships between performance and its sociocultural environment.eng
dc.descriptionIssue title; "African Oral Traditions."eng
dc.format.extent30 pageseng
dc.identifier.citationOral Tradition, 9/1 (1994): 83-112.eng
dc.identifier.urihttps://hdl.handle.net/10355/64636
dc.languageEnglisheng
dc.rightsOpenAccess.eng
dc.rights.licenseThis work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License.eng
dc.titleFreedom to sing, license to insult : the influence of halo performance on the social violence among the Anlo Eweeng
dc.typeArticleeng


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