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 examine and have fun with theatrical functionality. The publication 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 way of and for, and considers the connection among maker and viewer and the social capabilities of functionality and theatre in African societies. The discussions are in line with 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 particular and expressive in their cultural context.
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Additional info for African Theatres and Performances
In analyzing the proxemic principles underlying Igbo traditional theatre, Ugonna is correct that: Mmonwu: Igbo masquerade theatre 45 The indigenous African theatre is abstract in the sense that the theatricality is realized more by symbolism and the mental disposition of both the actors and the spectators than by the effect of actual staging or environment. In other words, in mmonwu illusion of reality is achieved more by the use of abstract symbols than by the recreation of physical environment and through a prior knowledge of the mythic content of the drama and not necessarily as a result of a realistic representation on the stage.
One of the main qualities of Igbo masking theatre is the desire for and encouragement of versatility in all participants. Every member of a performing group has the chance to contribute in different capacities, including the major task of performing one of the masking roles (in a multi-mask play) such as Ochammili. They can also perform the main masked character in a performance such as the Ijele. Individuals thus train to dance, choreograph, make and play various instruments, participate in the chorus as singers, as acrobats, prop makers and carriers, or as assistants and guides to specific masquerades.
The dance was characterized by its seeming effortlessness and a tendency to hold the body stiffly upright, with minimal head and leg movements. 4 Nna Mmo, Nne Mmo and Ezeikolobia emerge from the dressing-room. played by a man added to the excitement with which this was received. Nna Mmo proudly acknowledged this homage by fanning and embracing her as she got up. The entrance of the couple and their dance marked the end of this phase. With all members of the family ready, a procession of performers and spectators began to make its way from the rehearsal compound to a second compound about three hundred metres away.