African Theatres and Performances by Osita Okagbue

By Osita Okagbue

African Theatres & Performances seems at 4 particular functionality varieties in Africa and makes use of this to query the tendency to hire western frames of connection with research and savour theatrical functionality. The e-book 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.

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 line with first-hand statement and interviews with performers and spectators.

African Theatres & Performances offers a desirable account of those practices, conscientiously tracing the ways that performances and theatres are targeted and expressive in their cultural context.

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Extra resources for African Theatres and Performances

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I later learnt that the actor who played this character was in fact twenty-four years old. And in return for his ‘geriatric’ exertions he received more money and a chorus of applause from the spectators (Fig. 8). 8 Akuezuozo (Ezemmo) poses for the camera. 38 Mmonwu: Igbo masquerade theatre We then made our way back to the Ochammili group’s rehearsal compound where the members were already assembled and enjoying light refreshments. All masked performers were by then divested of their costumes and masks, except for the four actors who played Ochammili and Anukaibie.

A few minutes passed by, before Adamma’s parents, Nna Mmo (Father masquerade) and Nne Mmo (Mother masquerade) emerged. Nna Mmo wore a green tunic with golden yellow stripes and hem on top of a long skirt of the same material and design. His face was painted a bright pink, and on his head he wore a red crown. He wore gold beads around his neck, and on his right hand was a leather fan and across his left shoulder, an elephant tusk which he supported with his left hand. Both parents wore white hand gloves, black shoes and white socks.

He did stop to pose for the camera, and in response to taunts from some spectators who said that he was rather too old and could no longer dance properly, he did some ‘laboured’ dance routines, and holding his waist he ran around a bit to demonstrate his undiminished agility. I later learnt that the actor who played this character was in fact twenty-four years old. And in return for his ‘geriatric’ exertions he received more money and a chorus of applause from the spectators (Fig. 8). 8 Akuezuozo (Ezemmo) poses for the camera.

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