By Osita Okagbue
African Theatres & Performances seems at 4 particular functionality types in Africa and makes use of this to question the tendency to hire western frames of connection with learn and have fun with 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's 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 accordance with first-hand commentary and interviews with performers and spectators.
African Theatres & Performances supplies a desirable account of those practices, conscientiously tracing the ways that performances and theatres are designated and expressive in their cultural context.
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Additional resources for African Theatres and Performances
She came across to where we stood and executed some dainty ladylike dance steps – and forever shy, she never looked at us throughout her introductory dance but kept her head turned away or fixed to the ground. However, there was nothing shy about her dancing as, through hand gestures, body movement, and the soft and gentle manner in which her feet touched the ground when she danced or walked, she tried to convey the seductive grace and suppleness of a young maiden. This was made all the more noticeable and appreciated by the common knowledge that the actor performing the role was a man.
But first, the group had to search for the masquerades – this phase is known as icho mmonwu. The musicians continued with the slow rhythm for a while before they rose and began circling the compound – there were five dancers in front, followed by five instrumentalists and one singer. All of them wore yellow T-shirts and short brown skirts underneath which they wore khaki shorts. On the front of each T-shirt was painted a bold image of a giraffe (ochammili) on top of the group’s name. The rhythm suddenly changed to a faster beat and the dancers in response changed to energetic and rhythmic stamping, running and dancing, as they frantically looked everywhere and called out loudly to the masquerades to appear.
Since communication and the spectacle of this theatre depends a great deal on the masquerades themselves, on their dances and movements, much effort is concentrated on designing the masks, the costumes, and the choreography, all of which help to bring the masks alive during performance. Design Design in Igbo masking theatre can be examined on three levels: mask design and construction, costume design, and stage design. But of the three design components, only the mask carver and the tailor are specialists of a kind.
African Theatres and Performances by Osita Okagbue