African Performance Review - latest Issue
Volume 3, Issue 1, 2009
Source: African Performance Review 3, pp 7 –8 (2009)More Less
The editorial team of African Performance Review have in Vol. 3 No 1 put together an exciting mix of essays that touch on a wide range of issues that are currently exercising the minds of African performance scholars and practitioners. But one key idea which connects and is a thread that loops through and around the essays in this volume is the centrality and functionality of drama, theatre and performance in the life and social processes of respective African contexts and communities.
Author Ossie Onuora EnekweSource: African Performance Review 3, pp 9 –38 (2009)More Less
Drama is a human art. Since human beings generate the crises in society and also create the means for their elimination, it is proper for us to begin this presentation with an exploration of what being human entails. Thomas Aquinas' assertion that humans are "made almost on a par with the angels" in their ability to acquire and apply knowledge is reassuring; however, human beings share some basic characteristics of other animals, namely: "love for power and uninhibited sexual aggression" (Oke 4), which frequently generate conflicts in human communities.
Author Sam KasuleSource: African Performance Review 3, pp 39 –58 (2009)More Less
A lot has been written about Byron Kawadwa's work and its contribution towards developing and Ugandanising the Kampala theatre scene and bringing into it a critical element - Kawadwa was a playwright, actor and director, and Director of the National Cultural Centre, whose play, Oluyimba lwa Wankoko (Song of Wankoko), represented Uganda at the Festival of African culture (FESTAC 1977) in Nigeria. This paper attempts to explain why since independence, Byron Kawadwa is the most significant playwright in Ugandan theatre, and what makes his contribution distinct as both a playwright and director.
Author Lanre BamideleSource: African Performance Review 3, pp 59 –73 (2009)More Less
This paper intends to examine theories of humour in which the comic and the tragic meet through the style and structure of a text. It therefore defines the grotesque along this line and expands our interpretation of Osofisan's satiric pieces in Midnight Hotel within the ambit of unnatural disordered universe he creates to arouse laugher. This is in contrast to the kind of humour that is mirthless in Morning Yet on Judgement Day because the issues in discussion range from the serious and the tragic about the socio-political environment in which the play weaves the plot. In other words, our reception of each of these plays depends on the language and style of the plays to elicit either of the reactions: the grotesque in terms of the comic and mirthless humour in terms of the tragic which are so illustrated in each of the play. The paper concludes that whatever our reaction to each play both are good texts that intend to liberate us through humour from any frustration about the environment in which the texts are situated.
Author Alex AsigboSource: African Performance Review 3, pp 74 –85 (2009)More Less
Life, especially for the African, is made up of the material and immaterial: in other words, the world of the living and that of the dead - the spirits and disembodied entities. To live at peace with himself and his environment therefore, the African is expected not only to be in tune with the physical world but also to be properly aligned to the super mundane. It is when both worlds and dimensions are aligned that we can speak of balance in the true sense of the word.
Author Uche-Chinemere NwaozuzuSource: African Performance Review 3, pp 86 –99 (2009)More Less
The modern world has witnessed a rapid and momentous growth in cross cultural materials and the diffusion of goods and ideas. This universal activity which is encapsulated in the phenomenon of globalization has impacted the Sub-Saharan African environment significantly. This paper highlights the profound struggle for the soul of indigenous dramatic forms in Africa by radical religious proselytising propelled by the variegated and relentless ideals of cultural domination, religious radicalism and media propaganda which are some of the hallmarks of globalization.
Source: African Performance Review 3, pp 100 –112 (2009)More Less
Bode Sowande belongs to a second generation of Nigerian dramatists, which includes others such as Femi Osofisan, Kole Omotoso, Nasiru Akanji, Olu Obafemi, Tess Onwueme and Tunde Fatunde, who advocate a radical aesthetic for the theatre, different from the relatively conservative dramaturgy of the older generation of playwrights such as Wole Soyinka, J. P Clark-Bekederemo, Ola Rotimi and Zulu Sofola.
The African Company presents Richard III
Venue : The Greenwich Theatre, dir. Chuck Mike, 19/02/2009 : performance reviewAuthor Ekua EkumahSource: African Performance Review 3, pp 113 –117 (2009)More Less
Set in 1821, New York City, this true story tells the tale of the trials and tribulations that one would expect from the first Black Theatre Company in the 'New World' of the United States of America. Set within the context of slavery and a period when the 'Gradual Abolition of Slavery' was passed in New York, a city inhabited by both free and enslaved Blacks, this play deals with the complexities of identity, heritage and self-preservation, all underlined with the vulnerable emotion of love.