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Based on profound experiences with Yor???b??? drumming and masquerading families begun over a decade ago, Debbie Klein deftly presents stories of fathers and sons following and breaking with tradition, of brothers fighting over status and funding joint enterprises, and of women as daughters and wives standing their ground with grace or fierceness. From an exquisitely-realized close ethnography of the lives of traveling performers, Klein pulls back to theorize global connections by expertly examining the discourses and politics of collaboration, placing Africa in the world in a way that no other ethnography does. Her work is rigorous and imaginative, critical and reflective. -Carolyn Martin Shaw, University of California, Santa Cruz & #8220; Klein& #8217; s writing is fresh and clear and she has a deft eye for detail. What makes her approach so compelling is the developing focus on the concrete relationships, performance genres, transactions, and elements of cultural style which bring together the global dimensions of the study. There is an ethnographic grounding here through which the theoretical debates are addressed and illustrated that is both rare and refreshing. This is a highly commendable book.& #8221; & #8212; Andrew Apter, University of California, Los Angeles & #8220; Notably, this work revitalizes the importance of anthropological research through careful attention to the quandaries& nbsp; surrounding anthropological collaborations. Rather than surrender under the weight of the most recent critiques of anthropology, Debra Klein perceptively builds from these challenges to offer a thoroughly engaging study of Nigerian Yor& #249; b& #225; performers and the social life of their art form within the grip of late capitalism. Her study is at once accessible to wide ranging audiences while at the same time it tackles many of the urgent concerns of cross-cultural research.& #8221; & #8212; Paulla Ebron, Stanford University & #8220; Based on profound experiences with Yor& #249; b& #225; drumming and masquerading families begun over a decade ago, Debbie Klein deftly presents stories of fathers and sons following and breaking with tradition, of brothers fighting over status and funding joint enterprises, and of women as daughters and wives standing their ground with grace or fierceness. From an exquisitely-realized close ethnography of the lives of traveling performers, Klein pulls back to theorize global connections by expertly examining the discourses and politics of collaboration, placing Africa in the world in a way that no other ethnography does. Her work is rigorous and imaginative, critical and reflective.& #8221; & #8212; Carolyn Martin Shaw, University of California, Santa Cruz Based on profound experiences with Yorb drumming and masquerading families begun over a decade ago, Debbie Klein deftly presents stories of fathers and sons following and breaking with tradition, of brothers fighting over status and funding joint enterprises, and of women as daughters and wives standing their ground with grace or fierceness. From an exquisitely-realized close ethnography of the lives of traveling performers, Klein pulls back to theorize global connections by expertly examining the discourses and politics of collaboration, placing Africa in the world in a way that no other ethnography does. Her work is rigorous and imaginative, critical and reflective. -Carolyn Martin Shaw, University of California, Santa Cruz ?Notably, this work revitalizes the importance of anthropological research through careful attention to the quandaries surrounding anthropological collaborations. Rather than surrender under the weight of the most recent critiques of anthropology, Debra Klein perceptively builds from these challenges to offer a thoroughly engaging study of Nigerian Yorb performers and the social life of their art form within the grip of late capitalism. Her study is at once accessible to wide ranging audiences while at the same time it tackles many of the urgent concerns of cross-cultural research. Paulla Ebron, Stanford University -- Paulla Ebron (06/08/2007) ?Based on profound experiences with Yorb drumming and masquerading families begun over a decade ago, Debbie Klein deftly presents stories of fathers and sons following and breaking with tradition, of brothers fighting over status and funding joint enterprises, and of women as daughters and wives standing their ground with grace or fierceness. From an exquisitely-realized close ethnography of the lives of traveling performers, Klein pulls back to theorize global connections by expertly examining the discourses and politics of collaboration, placing Africa in the world in a way that no other ethnography does. Her work is rigorous and imaginative, critical and reflective. Carolyn Martin Shaw, University of California, Santa Cruz -- Carolyn Martin Shaw (06/08/2007) ?Klein's writing is fresh and clear and she has a deft eye for detail. What makes her approach so compelling is the developing focus on the concrete relationships, performance genres, transactions, and elements of cultural style which bring together the global dimensions of the study. There is an ethnographic grounding here through which the theoretical debates are addressed and illustrated that is both rare and refreshing. This is a highly commendable book. Andrew Apter, University of California, Los Angeles -- Andrew Apter (05/22/2007) Klein''s prose is readable, while her analysis is penetrating and refreshing. Her narrative is spiced with ethnographic testimonies that take the reader right into the heart of Yoruba life and culture. --Bode Omojola, African Studies Review --Bode Omojola African Studies Review Klein's prose is readable, while her analysis is penetrating and refreshing. Her narrative is spiced with ethnographic testimonies that take the reader right into the heart of Yoruba life and culture. --Bode Omojola African Studies Review Based on profound experiences with Yoruba drumming and masquerading families begun over a decade ago, Debbie Klein deftly presents stories of fathers and sons following and breaking with tradition, of brothers fighting over status and funding joint enterprises, and of women as daughters and wives standing their ground with grace or fierceness. From an exquisitely-realized close ethnography of the lives of traveling performers, Klein pulls back to theorize global connections by expertly examining the discourses and politics of collaboration, placing Africa in the world in a way that no other ethnography does. Her work is rigorous and imaginative, critical and reflective. --Carolyn Martin Shaw, University of California, Santa Cruz (06/08/2007) Notably, this work revitalizes the importance of anthropological research through careful attention to the quandariessurrounding anthropological collaborations. Rather than surrender under the weight of the most recent critiques of anthropology, Debra Klein perceptively builds from these challenges to offer a thoroughly engaging study of Nigerian Yoruba performers and the social life of their art form within the grip of late capitalism. Her study is at once accessible to wide ranging audiences while at the same time it tackles many of the urgent concerns of cross-cultural research. --Paulla Ebron, Stanford University (06/08/2007) Klein s writing is fresh and clear and she has a deft eye for detail. What makes her approach so compelling is the developing focus on the concrete relationships, performance genres, transactions, and elements of cultural style which bring together the global dimensions of the study. There is an ethnographic grounding here through which the theoretical debates are addressed and illustrated that is both rare and refreshing. This is a highly commendable book. --Andrew Apter, University of California, Los Angeles (05/22/2007) Based on profound experiences with Yoruba drumming and masquerading families begun over a decade ago, Debbie Klein deftly presents stories of fathers and sons following and breaking with tradition, of brothers fighting over status and funding joint enterprises, and of women as daughters and wives standing their ground with grace or fierceness. From an exquisitely-realized close ethnography of the lives of traveling performers, Klein pulls back to theorize global connections by expertly examining the discourses and politics of collaboration, placing Africa in the world in a way that no other ethnography does. Her work is rigorous and imaginative, critical and reflective. --Carolyn Martin Shaw, University of California, Santa Cruz (06/08/2007) Notably, this work revitalizes the importance of anthropological research through careful attention to the quandaries surrounding anthropological collaborations. Rather than surrender under the weight of the most recent critiques of anthropology, Debra Klein perceptively builds from these challenges to offer a thoroughly engaging study of Nigerian Yoruba performers and the social life of their art form within the grip of late capitalism. Her study is at once accessible to wide ranging audiences while at the same time it tackles many of the urgent concerns of cross-cultural research. --Paulla Ebron, Stanford University (06/08/2007) Klein's writing is fresh and clear and she has a deft eye for detail. What makes her approach so compelling is the developing focus on the concrete relationships, performance genres, transactions, and elements of cultural style which bring together the global dimensions of the study. There is an ethnographic grounding here through which the theoretical debates are addressed and illustrated that is both rare and refreshing. This is a highly commendable book. --Andrew Apter, University of California, Los Angeles (05/22/2007) Based on profound experiences with Yoru ba drumming and masquerading families begun over a decade ago, Debbie Klein deftly presents stories of fathers and sons following and breaking with tradition, of brothers fighting over status and funding joint enterprises, and of women as daughters and wives standing their ground with grace or fierceness. From an exquisitely-realized close ethnography of the lives of traveling performers, Klein pulls back to theorize global connections by expertly examining the discourses and politics of collaboration, placing Africa in the world in a way that no other ethnography does. Her work is rigorous and imaginative, critical and reflective. -- Carolyn Martin Shaw, University of California, Santa Cruz Notably, this work revitalizes the importance of anthropological research through careful attention to the quandaries surrounding anthropological collaborations. Rather than surrender under the weight of the most recent critiques of anthropology, Debra Klein perceptively builds from these challenges to offer a thoroughly engaging study of Nigerian Yoru ba performers and the social life of their art form within the grip of late capitalism. Her study is at once accessible to wide ranging audiences while at the same time it tackles many of the urgent concerns of cross-cultural research. -- Paulla Ebron, Stanford University Klein' s writing is fresh and clear and she has a deft eye for detail. What makes her approach so compelling is the developing focus on the concrete relationships, performance genres, transactions, and elements of cultural style which bring together the global dimensions of the study. There is an ethnographic grounding here through which the theoretical debates are addressed and illustrated that is both rare and refreshing. This is a highly commendable book. -- Andrew Apter, University of California, Los Angeles

Klein's prose is readable, while her analysis is penetrating and refreshing. Her narrative is spiced with ethnographic testimonies that take the reader right into the heart of Yoruba life and culture. --Bode Omojola African Studies Review

Notably, this work revitalizes the importance of anthropological research through careful attention to the quandaries surrounding anthropological collaborations. Rather than surrender under the weight of the most recent critiques of anthropology, Debra Klein perceptively builds from these challenges to offer a thoroughly engaging study of Nigerian Yoruba performers and the social life of their art form within the grip of late capitalism. Her study is at once accessible to wide ranging audiences while at the same time it tackles many of the urgent concerns of cross-cultural research. --Paulla Ebron, Stanford University<br>--Paulla Ebron (06/08/2007)

?Klein's writing is fresh and clear and she has a deft eye for detail. What makes her approach so compelling is the developing focus on the concrete relationships, performance genres, transactions, and elements of cultural style which bring together the global dimensions of the study. There is an ethnographic grounding here through which the theoretical debates are addressed and illustrated that is both rare and refreshing. This is a highly commendable book. Andrew Apter, University of California, Los Angeles -- Andrew Apter (05/22/2007)

""Klein's prose is readable, while her analysis is penetrating and refreshing. Her narrative is spiced with ethnographic testimonies that take the reader right into the heart of Yoruba life and culture.""--Bode Omojola ""African Studies Review"" ""Based on profound experiences with Yorùbá drumming and masquerading families begun over a decade ago, Debbie Klein deftly presents stories of fathers and sons following and breaking with tradition, of brothers fighting over status and funding joint enterprises, and of women as daughters and wives standing their ground with grace or fierceness. From an exquisitely-realized close ethnography of the lives of traveling performers, Klein pulls back to theorize global connections by expertly examining the discourses and politics of collaboration, placing Africa in the world in a way that no other ethnography does. Her work is rigorous and imaginative, critical and reflective."" --Carolyn Martin Shaw, University of California, Santa Cruz (6/8/2007 12:00:00 AM) ""Klein's writing is fresh and clear and she has a deft eye for detail. What makes her approach so compelling is the developing focus on the concrete relationships, performance genres, transactions, and elements of cultural style which bring together the global dimensions of the study. There is an ethnographic grounding here through which the theoretical debates are addressed and illustrated that is both rare and refreshing. This is a highly commendable book."" --Andrew Apter, University of California, Los Angeles (5/22/2007 12:00:00 AM) ""Notably, this work revitalizes the importance of anthropological research through careful attention to the quandaries surrounding anthropological collaborations. Rather than surrender under the weight of the most recent critiques of anthropology, Debra Klein perceptively builds from these challenges to offer a thoroughly engaging study of Nigerian Yorùbá performers and the social life of their art form within the grip of late capitalism. Her study is at once accessible to wide ranging audiences while at the same time it tackles many of the urgent concerns of cross-cultural research."" --Paulla Ebron, Stanford University (6/8/2007 12:00:00 AM)

Klein's prose is readable, while her analysis is penetrating and refreshing. Her narrative is spiced with ethnographic testimonies that take the reader right into the heart of Yoruba life and culture.--Bode Omojola African Studies Review (6/8/2007 12:00:00 AM) Based on profound experiences with Yoruba drumming and masquerading families begun over a decade ago, Debbie Klein deftly presents stories of fathers and sons following and breaking with tradition, of brothers fighting over status and funding joint enterprises, and of women as daughters and wives standing their ground with grace or fierceness. From an exquisitely-realized close ethnography of the lives of traveling performers, Klein pulls back to theorize global connections by expertly examining the discourses and politics of collaboration, placing Africa in the world in a way that no other ethnography does. Her work is rigorous and imaginative, critical and reflective. --Carolyn Martin Shaw, University of California, Santa Cruz (6/8/2007 12:00:00 AM) Klein's writing is fresh and clear and she has a deft eye for detail. What makes her approach so compelling is the developing focus on the concrete relationships, performance genres, transactions, and elements of cultural style which bring together the global dimensions of the study. There is an ethnographic grounding here through which the theoretical debates are addressed and illustrated that is both rare and refreshing. This is a highly commendable book. --Andrew Apter, University of California, Los Angeles (5/22/2007 12:00:00 AM) Notably, this work revitalizes the importance of anthropological research through careful attention to the quandaries surrounding anthropological collaborations. Rather than surrender under the weight of the most recent critiques of anthropology, Debra Klein perceptively builds from these challenges to offer a thoroughly engaging study of Nigerian Yoruba performers and the social life of their art form within the grip of late capitalism. Her study is at once accessible to wide ranging audiences while at the same time it tackles many of the urgent concerns of cross-cultural research. --Paulla Ebron, Stanford University (6/8/2007 12:00:00 AM)

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Debra L. Klein is professor of anthropology at Gavilan College in California.

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