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 research and relish theatrical functionality. The booklet 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 each one functionality intimately and discusses how each 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 line with first-hand commentary 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 detailed and expressive in their cultural context.
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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 research and enjoy 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.
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Additional info for African Theatres and Performances
Igbo masking theatre, like all theatre, is a composite art form, which brings together a multitude of artists working in different mediums, and thus it essentially requires skills in extensive organization and management. The study will concentrate on the various kinds of training, which would have been undergone by members of the Ochammili Cultural Group, prior to and in the making of their performance. I use this group because they and their process are typical of masquerade groups and the process of organizing a performance in Mmonwu theatre.
The dancers squatted really very low, legs apart, upper body and head held straight, and holding this stance they made short rhythmical forward jumps with their hands parallel to the ground, the left fully extended in front and the right, hooked at the elbow, making small slicing movements while the left was held steady. In this posture – lead dancer in front and the others forming two lines on either side – they rhythmically moved forward. On getting to the end of the compound the lead dancer turned right and the two lines behind turned, one to the right, the other to the left and danced back towards the musicians; then in again to repeat the sequence.
Apart from the difference in colour, their costumes were similar in design and signification to those worn by their Ochammili counterparts. As the previous group had done, each character performed their well-known routines round the arena, such as Di Nta trying to shoot Akum, Corporal keeping order and protecting his employer’s family and property, and the wealthy couple proudly strutting about. The daughter, however, was bold and flirtatious and had to be kept in check by her guide, unlike Adamma before her.