AC KNOW LEDG MENTS
Th is book goes out to all the people who listened and talked, shook
their heads and smirked. I am grateful for the input and ideas of so
many diff erent people in multiple locales. Research for this book has
been generously funded and supported by Fulbright-iie; Wenner Gren
Foundation; University of Chicago; Bard College; Haverford College;
Museum for African Art in New York; Th ird World Newsreel; British
Council of Ghana; Carter G. Woodson Institute for African American
and African Studies at University of Virginia; School of Performing
Arts at University of Ghana, Legon; National Th eatre of Ghana; Inter-
national Centre for African Music and Dance (icamd); Bokoor African
Pop u lar Music Archives Foundation (bapmaf).
I must thank many people for countless contributions large and
small. I thank, in Chicago: Jean Comaroff , John Comaroff , Beth Povi-
nelli, Andrew Apter, Nancy Munn, Michael Silverstein, Susan Gal,
Ralph Austen, Liz Garland, Jen Higgins, Laurie Frederick, Barney Bate,
Jane Guyer, Paul Liff man, Anne Balay, Anne Chien. In Virginia: George
Mentore, Hanan Sabea, Wende Marshall, Jemima Pierre, Scott Saul,
Joseph Miller, Reginald Butler, and Michelle Kisliuk. In Annandale:
Chinua Achebe, Diana Brown, Mario Bick, Laura Kunreuther, Yuka Su-
zuki, Tom Keenan, John Ryle, Peter Hutton, Helon Habila, Patricia
Pforte, and Ali Feser. In Johannesburg: Jyoti Mistry, Dzino, Th uli
Skosana, Maria McCloy, Shizeeda Osman, Eric Worby, and Achille
Mbembe. In New Brunswick: Michael Warner, Brent Hayes Edwards,
and Sareeta Amrute. In Philadelphia: Laurie Hart, Maris Gillette, Zo-
lani Ngwane, John Jackson, Linda Gerstein, Kim Benston, Israel Bur-
shatin, Koffi Anyinefa, Susanna Wing, Andrew Friedman, Linda Bell,
and Kathy McGee. In circulation: Michael Hanchard, Tina Campt,
Marina Peterson, Alex Dent, Anne Maria Makhulu, Ruti Talmor, Hyl-
ton White, Binyavanga Wainaina, Tom Burke, Candice Lowe, Bayo
Holsey, Rosalind Morris, Jim Smith, Harvey Neptune, Kamari Clarke,
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