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Nana Ampadu and the Sung Tale as Metaphor for Protest Discourse

Nana Ampadu and the Sung Tale as Metaphor for Protest Discourse KWESI Y ANKAH Nana Ampadu and the Sung Tale as Metaphor for Protest Discourse Every subordinate group creates, out of its ordeal, a hidden transcript that represents a critique of power spoken behind the back of the dominant [ ... ]. Domination generates a hegemonic public conduct and a backstage dis­ course consisting of what cannot be spoken in the face of power. I HIS PAPER SEEKS TO ARTICULATE the resilience and efficacy of the folktale as a hidden political text and to examine the thematic and literary under- T currents that have made it a rallying force for protest in Ghana's contem­ porary political history. It is largely informed by the voice of a master narrator whose songs, spanning a quarter of a century, have virtually become a political charter, defining power relationships, lampooning political aberration, and advocat­ ing the restoration of ideal political values. Noted for their skills in indirection, the Akan of Ghana would rather "speak to the wind" than directly speak to the Supreme Being. The construction of protest dis­ course under the surveillance of state and political authority could become a in power-laden situations. Prudence would require the deploy­ hazardous enterprise ment of revokable http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Matatu Brill

Nana Ampadu and the Sung Tale as Metaphor for Protest Discourse

Matatu , Volume 21 (1): 19 – Apr 26, 2000

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0932-9714
eISSN
1875-7421
DOI
10.1163/18757421-90000313
Publisher site
See Article on Publisher Site

Abstract

KWESI Y ANKAH Nana Ampadu and the Sung Tale as Metaphor for Protest Discourse Every subordinate group creates, out of its ordeal, a hidden transcript that represents a critique of power spoken behind the back of the dominant [ ... ]. Domination generates a hegemonic public conduct and a backstage dis­ course consisting of what cannot be spoken in the face of power. I HIS PAPER SEEKS TO ARTICULATE the resilience and efficacy of the folktale as a hidden political text and to examine the thematic and literary under- T currents that have made it a rallying force for protest in Ghana's contem­ porary political history. It is largely informed by the voice of a master narrator whose songs, spanning a quarter of a century, have virtually become a political charter, defining power relationships, lampooning political aberration, and advocat­ ing the restoration of ideal political values. Noted for their skills in indirection, the Akan of Ghana would rather "speak to the wind" than directly speak to the Supreme Being. The construction of protest dis­ course under the surveillance of state and political authority could become a in power-laden situations. Prudence would require the deploy­ hazardous enterprise ment of revokable

Journal

MatatuBrill

Published: Apr 26, 2000

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