Abstract
AbstractGuinea’s postindependence state (1958-84) discouraged ethnic identification in favor of national solidarity. In the decades since, ethnic groups have increasingly been mobilized as political interest groups in Guinea, a phenomenon that has been especially visible in recent multiparty elections. At the same time as ethnicity resurfaced as an explicit political force, young performing artists in Guinea’s capital city Conakry were inventing genres of dance and urban ceremony that de-emphasize ethnicity as a marker of belonging. Cohen engages with an interdisciplinary literature on publics to describe how the aesthetic practices of non-elite African youth constitute a crucial form of political engagement.
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