African Theatres and Performances by Osita Okagbue

By Osita Okagbue

African Theatres & Performances appears at 4 particular functionality kinds in Africa and makes use of this to query the tendency to hire western frames of connection with learn and take pleasure in theatrical functionality. The publication examines:

  • masquerade theatre in japanese Nigeria
  • the trance and ownership ritual theatre of the Hausa of Northern Nigeria
  • the musical and oral culture of the Mandinka of Senegal
  • comedy and satire of the Bamana in Mali.

Osita Okagbue describes each one functionality intimately and discusses how every one is made, who it truly is made by way of and for, and considers the connection among maker and viewer and the social services of functionality and theatre in African societies. The discussions are in keeping with first-hand statement and interviews with performers and spectators.

African Theatres & Performances supplies a desirable account of those practices, conscientiously tracing the ways that performances and theatres are designated and expressive in their cultural context.

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The couple were accompanied by Ezeikolobia (a hunter), and Police Inspector. Both wore military-style uniforms – Ezeikolobia’s was dark blue, while the inspector’s was dark grey with a small green-whitegreen Nigerian flag on the left breast and a row of medals on the right. 5). The inspector immediately went to the front to protect the wealthy head of the household and his wife by clearing the road of traffic. Onuku and Adamma followed some distance behind the others. Apart from Ezeikolobia who straightaway was crouching and intently scouring the ground in search of animal footprints, the others came straight to where we were.

The first to come out was Onuku (Fool). Onuku was dressed in a dark bluish loose-fitting costume. His face was quite striking because of its prominent features – bald head made more obvious by a wide and protruding forehead, sagging eyelids, a wide mouth with a bit of his tongue showing in the corner, ears that were almost flat on the sides of his face, and very bushy eyebrows. He had large and sad eyes. A combination of all of these features gave him a vacant, sad and silly countenance (Fig. 1).

It was ringed with big trees, the branches of which provided additional viewing positions for young and more adventurous spectators. There were five entrances and exits (see Fig. 2) and as much as possible, the festival organizers kept these open to let groups in and out of the arena. From where I stood, Ezemmo’s raised stage was on the right, in between entrances C and D. The brightly coloured canopies provided some sun-shaded sitting and standing places. About twenty male marshals dressed in bright yellow T-shirts also stood at intervals.

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