By Osita Okagbue
African Theatres & Performances seems to be at 4 particular functionality types in Africa and makes use of this to question the tendency to hire western frames of connection with learn and delight in theatrical functionality. The ebook 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 every one functionality intimately and discusses how each one is made, who it's made via 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 line with first-hand remark 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 detailed and expressive in their cultural context.
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Additional info for African Theatres and Performances
Some masked performers were already in the square entertaining the assembled spectators. These included Mmonwu Akolo – the satiric night masquerade who delights in exposing moral and social misdemeanours. He was busy regaling the spectators with satiric songs about recent events, and he spiced this with some comic banter. He picked on anyone who passed by who had not acknowledged him. Another character, dressed in a white caftan and white helmet to match and holding a small staff in his left hand and a leather fan on the right, was clumsily weaving in and out and falling over the rows of chairs between B and C, and then turning round to blame the bewildered spectators for tripping him.
Mister, bring kola nut Mister, how are you? I am well How goes it? No problem Mister, bring kola nut here Bring your money There is money (indicating his pocket) Ok, bring it (extending his right hand) Take the money (taking the money) Thank you. ) At last, he succeeded in selling some items – one person bought a piece of kola nut, and another paid for a stick of cigarette. 3 Mmonwu Awusa waves to ‘Customers’/Spectators. and soon was off to another side of the compound where more willing customers were beckoning for him to come over (Fig.
Attendants busily collected the money, which would go into the group takings to be shared out at the end. 6 Mmonwu Akolo and spectators. While Akum was performing at one end of the arena, a malevolent looking Dibia (native doctor) masquerade appeared very close to where I stood. He was so ugly that it was very difficult to look at him without a feeling of terror; his charred teeth and large eyes glaring back at me through the camera screen was disconcerting. He threatened harm and mayhem if he was not appeased before I or anyone dared to take his photograph or capture him on video without his permission.