By John Conteh-Morgan, Tejumola Olaniyan
African Drama and function is a suite of leading edge and wide-ranging essays that deliver conceptually clean views, from either well known and rising voices, to the research of drama, theatre, and function in Africa. themes diversity from reports of significant dramatic authors and formal literary dramas to improvisational theatre and renowned video motion pictures. South Africa's fact and Reconciliation Commissions are analyzed as a type of social functionality, and elements of African functionality within the diaspora also are thought of. This dynamic quantity underscores theatre's function in postcolonial society and politics and reexamines functionality as a sort of excessive paintings and daily social ritual.Contributors are Akin Adesokan, Daniel Avorgbedor, Karin Barber, Nicholas Brown, Catherine Cole, John Conteh-Morgan, Johannes Fabian, Joachim Fiebach, Marie-Jos? Hourantier, Loren Kruger, Pius Ngandu Nkashama, Isidore Okpewho, Tejumola Olaniyan, Ato Quayson, Sandra L. Richards, Wole Soyinka, Dominic Thomas, and Bob W. White.
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Additional info for African Drama and Performance (Research in African Literatures; African Expressive Cultures)
Tracing ways in which India was modernizing in the 1940s to 1950s, Milton Singer called cultural events such as weddings, temple rituals, festivals, recitations, plays, dramas, and musical concerts “cultural performance” (1959, xii–xiii). Extending the notion of performance to audiovisual productions in 1972, he claimed that performances were “the elementary constituents of the culture” (1972, 71). 2 My understanding of theatricality in this all-encompassing, expansive sense Dimensions of Theatricality in Africa 27 (see Fiebach 1996, 9–54 and 1998, 35–53) is similar to views and notions that have been advanced mainly by Western theatre people, social and cultural historians, anthropologists, sociologists.
Pondering over speci¤c qualities and essential features of African religion(s), Wole Soyinka and Ulli Beier emphasized the openness and thus creativeness of received cultures. ” (Soyinka 1992, 4). The history(ies) of beni-ngoma, of masks such as the central Malawian nyau, which originally represented the dead, and praise poems in Eastern and Southern Africa reveal similar or pertinent features. They corroborate “traditional” African societies’ openness and ®exibility. Their cultural performances permanently and eagerly integrate new components, thus creatively changing structures and functions in changing historical contexts (Ranger 1975, 7; Vail and White 1991, 198–230; Kaspin 1993, 35–55; Probst 1995, 5–9).
Intercourse with them must be rendered as a practice or, in other words, Dimensions of Theatricality in Africa 33 it must be performed. Symbolic action thus becomes a major component (constituent) of social, political, and cultural life. Cultural performance as signifying practice appears to be essential for dealing with public matters in general and thus for constructing social realities (Fiebach 1986, 42–78). Second, an all-encompassing pragmatism (Chernoff 1979, 155–165; Fiebach 1986, 80–81, 167–174)—that is, pragmatic worldviews and their corresponding attitudes—seem to have made many African (oral) societies conduct “real life” as theatrical, even as playful performing practices.
African Drama and Performance (Research in African Literatures; African Expressive Cultures) by John Conteh-Morgan, Tejumola Olaniyan