By Osita Okagbue
African Theatres & Performances appears to be like at 4 particular functionality types in Africa and makes use of this to query the tendency to hire western frames of connection with study and delight in theatrical functionality. The e-book examines:
- masquerade theatre in jap 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 every one is made, who it truly is made by means 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 response to first-hand statement and interviews with performers and spectators.
African Theatres & Performances provides a desirable account of those practices, rigorously tracing the ways that performances and theatres are certain and expressive in their cultural context.
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Extra info for African Theatres and Performances
It is timed to precede or coincide with the first rain of each year. I watched and recorded the festival in 1993 and 1994. Enemma has a set structure made up of three phases: a ritual veneration or worship in the morning; a family feast in the afternoon; and a general communal open-air entertainment in the evening. We will be concerned with the third phase during which the masquerades feature. The appearance of the masquerades marks the highpoint of the festivities. I chose Enemma as the event to analyse for two reasons.
However, through lines, strokes and general placement of features he tries to suggest essences or ideas or motifs of the character. For instance, Adamma was meant to represent the Igbo idea of virginal beauty – smooth and radiant skin, high cheek bones, 48 Mmonwu: Igbo masquerade theatre clear and innocent eyes, fully formed mouth, slightly pointed nose, rich and shiny black hair. Onuku’s mask, on the other hand, was blank, had vacant eyes, pallid skin, wide and protruding forehead, a leering tongue to suggest both his stupidity and rampant sexuality.
This postperformance analysis continued until well into the night, but we left them at about eight o’clock, at the point when they began discussing how much money they had received and what they were going to use it for. Management and organization in Igbo theatre There is a perception, especially among outsiders, that African traditional performances erupt anywhere, anyhow and at any time, almost as if they happen without any pre-planning. Part of this perception, I believe, is given credence by the belief of most African peoples that everyone can perform and thus no form of training is required.
African Theatres and Performances by Osita Okagbue