By John Conteh-Morgan, Tejumola Olaniyan
African Drama and function is a set of leading edge and wide-ranging essays that convey conceptually clean views, from either popular and rising voices, to the examine of drama, theatre, and function in Africa. themes variety from reviews of significant dramatic authors and formal literary dramas to improvisational theatre and well known video motion pictures. South Africa's fact and Reconciliation Commissions are analyzed as one of those 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 artwork 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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Extra resources for African Drama and Performance (Research in African Literatures; African Expressive Cultures)
At times, gesture is utilized purely for rhythmic purposes, the hands and body in harmony with the movement of the words rather than their content, the body thus becoming an echo of the sound of language rather than its meaning. . The audience provides . . accompaniment and commentary, or total involvement as actors. In accompanying and commenting, it simply re®ects the 26 Joachim Fiebach rhythmic movement and action of the narrative as it is being developed by the artist. (Scheub 1975, 71–73)1 The ¤rst three cases could be considered highly demonstrative symbolic actions, or “cultural performances” of different signi¤cance that were at the same time the actual communicative practices of the respective societal entities.
I cautiously take the view that symbolic action and the theatrical performance of social and political realities are essential characteristics of oral societies or predominantly oral societies before the communications (and thus cultural) revolution ushered in by the invention and spread of the printing press. , descriptions of travelers, analyses of anthropologists) to support my contention that large portions of public communication (sociopolitical interaction) in many African societies, before and during the period of full-scale colonization that began in the nineteenth century, were structured in similar theatrical ways (see Fiebach 1986).
On Tuesday, Rattray relates, the great local god, Ta Kese or Ta Mensa, and several other gods were carried upon the heads of their respective priests under gorgeous umbrellas of plush and velvet. ” Later Rattray was able to record them into his phonograph. The English translation of some parts shows that they were mocking or even scathingly attacking him: “O King, you are a fool. / We are taking the victory from out your hands. ” The Ashanti people, they went on, may be children of slaves. ” Today they had seen their master “eating rats” (1975, 156–157).
African Drama and Performance (Research in African Literatures; African Expressive Cultures) by John Conteh-Morgan, Tejumola Olaniyan