TABLE OF CONTENTS Welcome ………………………………………………………………………

General Information ………………………………………………….

Notes on African Theatre Association ……………………………………..

African Performance Review (APR) ………………………………..

Conference Organisation …………………………………….

Keynote Speakers ……………………………………………….

List of Conference Participants ………………………………………………

Abstracts …………………………………………………………………..

Conference Schedule ……………………………………………………

Conference Programme ………………………………………………..

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WELCOME

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GENERAL INFORMATION

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NOTES ON AFRICAN THEATRE ASSOCIATION

The African Theatre Association is an international non-profit society open to scholars and practitioners of African performance and theatre. Its primary aim, through its annual conference, is to be a forum for the exploration of African performance and theatre processes. It intends to serve as a bridge between African theatre practices and scholarship in Africa and the African Diaspora, by bringing academics and theatre-makers together. The Association will initiate and lead discussions on African performance theory and practice. Its journal, African Performance Review, will help define and shape African performance and theatre scholarship and pedagogy by liberating them from the constraints of non-African discursive frameworks.

AfTA’s inception in 2006 was marked by a One-Day Inaugural Symposium, organised in collaboration with The Pinter Centre for Performance and Creative Writing, Goldsmiths. The Symposium on 8 April 2006 was held at the Ben Pimlott Building, Goldsmiths, and explored the theme of “Women in African Performance and Theatre”.

AfTA can be contacted via the website http://www.goldsmiths.ac.uk/AfTA/, by email at AfTA@gold.ac.uk, or by writing to; AfTA C/o Department of Drama, Goldsmiths College, University of London, New Cross, United Kingdom SE14 6NW.

Executive OfficersPresident Dr. Osita Okagbue (Goldsmiths, University of London)

General Secretary Dr. Victor Ukaegbu (University of Northampton)

Treasurer Dr. Jumai Ewu (University of Northampton)

Membership SecretaryMr. Sola Adeyemi (University of Leeds)

Executive BoardDr. Frances Harding (SOAS University of London)Dr. Sam Kasule (University of Derby)Ms Marcia Hewitt (Collective Artistes, London)Dr. Dipo Agboluaje (Soho Theatre, London)

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AFRICAN PERFORMANCE REVIEW (APR) ISSN 1750-4848

A bi-annual journal of the African Theatre Association (AfTA) dedicated to publishing, disseminating and encouraging high quality research and information on theatres and performance in Africa and the African Diaspora. The journal publishes articles, review articles and reviews on all aspects of African performance and theatre. Areas of particular interest are: critical theory and practice; theatre history/history of the theatre; theatre, culture & society; themes in African drama and theatre; theatre-for-development; African performance pedagogy; research in African performance; performance processes; performers and audiences; places of performance; performance and politics/politics of performance; theatre for young people; popular performance/theatre; radio/television drama; video movies; theatre in the African diaspora; theories of African dance & music; oral performances in Africa.

Articles are accepted for publication according to the assessment of referees. Manuscripts should be original and unpublished contributions, and should not be under submission to another publication. Articles should not normally exceed 5000 words, and must be typed double-spaced with wide margins. In order to be considered, two copies of the manuscript and a disk (Word 6 compatible) or e-mail attachment should be submitted. Contributors should use the Harvard Style. All references are included in the text and are indicated by surname(s) or author(s), year of publication and page number(s) in brackets, e.g. (Kerr, 1995:33). Each article should be accompanied by an abstract of 100-150 words on a separate sheet. Manuscripts should be sent to the Editor, African Performance Review, Department of Drama, Goldsmiths, University of London, SE14 6NW United Kingdom. Enquiries and communication should be sent by e-mail to AfTA@gold.ac.uk

EditorDr. Osita Okagbue, Goldsmiths, University of London

Associate EditorsDr. Jumai Ewu, University of NorthamptonDr. Victor Ukaegbu, University of Northampton

Reviews EditorDr. Sam Kasule, University of Derby

Advisory BoardProfessor Dapo Adelugba, University of Ibadan, NigeriaProfessor Eckhard Breitinger, Bayreuth University, GermanyProfessor Ossie Enekwe, University of Nigeria, Nsukka, NigeriaProfessor Robert Gordon, Goldsmiths, University of London, UKProfessor Temple Hauptfleisch, University of Stellenbosch, South AfricaProfessor Chimalum Nwankwo, North Carolina A & T State University, Greensboro, USA.

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CONFERENCE ORGANISATION

Conference HostsThe Pinter Centre for Performance and Creative Writing and the Department of Drama, Goldsmiths, University of London.

Conference ConvenorsDr. Osita Okagbue (Goldsmiths, University of London)Dr. Kenechukwu Igweonu (Royal Holloway, University of London)

Conference Websitehttp://www.goldsmiths.ac.uk/AfTA/critical-papers.php

Contact DetailsAfTA C/o Department of Drama, Goldsmiths College, University of London, New Cross, United Kingdom SE14 6NW.Email: AfTA@gold.ac.uk, Tel: 0207 919 7581

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KEYNOTE SPEAKERS

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LIST OF CONFERENCE PARTICIPANTS

Adedoyin, Mr. Ismaila Rasheed Email: rashotun@yahoo.co.ukAFFILIATION: University of Lagos, NigeriaTITLE: Theatre Critics and Theatre Criticism in Nigeria: Problems and Prospects

Adeniyi, Mr. Kehinde AbimbolaEmail: pbimboadeniyi@yahoo.comAFFILIATION: Adeniran Ogunsanya College of Education, NigeriaTITLE: Towards a Professional Excellence in Theatre Practice in Africa: The Nigerian Experience

Adigun, Mr. Bisi Email:adiguno@tcd.ieAFFILIATION: Trinity College, DublinTitle: The Vulture and the Ape Are Not Unequal: Soyinka as the Archetypal Contemporary Intercultural Dramatist

Akunna, Ms. Gladys IjeomaEmail: gladys_akunna@yahoo.co.uk AFFILIATION: Nnamdi Azikiwe University, NigeriaTitle: Dance as Mental Therapeutic in the African Experience: Beyond the Speculation

Aniago, Mr. Peter EmekaEmail: paa04@aber.ac.ukAFFILIATION: University of Wales, Aberystwyth, Wales,TITLE: The Context of Deep and Dark Play in Vicious Cultural Performances in Africa: Focus on Fulani Sharo and Igbo Ipia Agba.

Anike, Mr. Ndu F. Email:nduanike@yahoo.comAFFILIATION: TITLE: Masquerade as the Theatre That Unites the Igbo

Anyanwu, Mr. Chikwendu P.K.Email: chikwendua@hotmail.comAFFILIATION: TITLE: The Challenges of Staging a Novel in Igbo land: A Review of a Stage Adaptation of Chinua Achebe’s A Man of the People

Anyokwu, Dr. ChristopherEmail:anyokwu_c@yahoo.com AFFILIATION: University of Lagos, Nigeria.TITLE: The University as Metaphor of Histrionic Drought: The Nigerian Experience

Babatope, Mr. Babafemi Johnson

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Email: phemiebabs@yahoo.comAffiliation: Lagos State University, NigeriaTitle: Muse, Mood and Creativity; a Search for “Dramatic” Inspiration

Peter Badejo OBE KEYNOTE (no abstract)Email:AFFILIATION: Badejo ArtsTitle:

Castelyn, Ms Sarahleigh (exhibition)Email: s.castelyn@qmul.ac.ukAFFILIATION: Queen Mary, University of LondonTITLE: ‘Proudly South African’, or How I Chased the Rainbow and Bruised My Knee… (Exhibition/installation)

Cuxima-Zwa, Mr. Chikukuango Email: chikukuango.cuxima-zwa@Brunel.ac.uk

AFFILIATION: Brunel UniversityTitle: Angola: Body Painting in Britain, a Contemporary Cultural Identity

Eghagha, Dr. Hope Email: heghagha@yahoo.comAFFILIATION: University of Lagos, NigeriaTITLE: Audience Participation or Performance Distortion? A Period Study of University of Lagos Theatre Audience

Eluyefa, Mr. Dennis Email: Dennis.Eluyefa@winchester.ac.ukAFFILIATION: University of WinchesterTITLE: The Concept of “Alarinjo” in Yoruba Theatre.

Enendu, Dr. Molinta L. O. Email: ojenendu@yahoo.comAFFILIATION: Centre for Research on African Theatre and Theatre TechnologyTITLE: Performance Equipment Installations and Resources in Nigeria Theatre Houses

Evwierhoma, Professor Mabel I. E. Email: mabtobrhoma2002@yahoo.comAFFILIATION: University of Abuja, NigeriaTITLE: The Female Ethos and Development Paradigms in Nigerian Theatre Performance

Gordon, Professor Robert Email: r.gordon@gold.ac.ukAFFILIATION: Goldsmiths, University of LondonTitle: Fugard in Performance

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Hassan, Ms. Grace Uche and Ms. Regina Kwakye-OpongEmail: munssen@yahoo.comAFFILIATION: University of Ghana LegonTitle: Costume and Makeup as Medium for Cultural expression in Stage performance

Iguanre, Mr. Solomon Email: s_iguanre@yahoo.comAFFILIATION: Babcock University, NigeriaTITLE: Laffomania: Phenomenal Vaudeville

Irobi, Dr. EsiabaEmail:AFFILIATION: Ohio University, USATitle: The Problem with Postcolonial Theory

Kasule, Dr. Sam Email: s.kasule@derby.ac.ukAFFILIATION: University of DerbyTitle: Simbawo Akati: Changing concepts of popular music theatre and performance in Uganda

Ladan, Mr. Victor L.Email: victor.ladan@ntlworld.comAFFILIATION: The University of NorthamptonTitle: Transcribing the Lexicon of “Culture of Silence” in Theatre for Development: Lessons from Enula TfD Project among Abanyole Community of Western Kenya

Lawal, Mr. Hameed Olutoba Email: olutoba2000@yahoo.comAFFILIATION: Federal College of Education (Special) Oyo, NigeriaTITLE: African Ethos in Community Theatre

Mbajiorgu, Mr. Greg Email: gregnadix@yahoo.comAFFILIATION:TITLE: Towards the Development of the Solo Theatrical Sub-Genre in Nigeria: A Critical Examination of its Major Handicaps

Muebake, Professor Denis Email: denismen2000@yahoo.comAFFILIATION: National University of Equatorial GuineaTitle: Theatre and English Language in Equatorial Guinea

Ndah, Dr. Ubong S.Email: beulahinemesit@yahoo.comAFFILIATION: University of Uyo, Nigeria.TITLE: Theatre and Development in Africa: A Study on Media Social Responsibility

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Ntangaare, Dr. Mercy Mirembe (KEYNOTE)Email: eati@arts.mak.ac.ugAFFILIATION: Makerere University Kampala, UgandaTitle: African Theatre: Its Life and Journey into the New Millennium

Nwaru, Mr. Christian Ikechukwu Email: chrisnwaru@yahoo.comAFFILIATION: Imo State University, NigeriaTITLE: Dance as a Signifying Practice: A Study of Omenimo

Ofodile, Mr. ReginaldEmail: regofodile@hotmail.comAFFILIATION: TITLE: A World in Drama

Ojuade, Mr. Jeleel O.Email: jeleelo@yahoo.co.ukAFFILIATION: University of Ilorin, NigeriaTITLE: Dance Aesthetics in Theatrical Performance(s) in Africa: The Nigerian Perspective

Oni, Professor DuroEmail: durooni@yahoo.co.ukAFFILIATION: University of Lagos, NigeriaTITLE: Theatre Training in the Nigerian University System: A Critical Assessment of Design and Technology Courses

Onyekaba, Mr. Cornelius EzeEmail: cornelbest@yahoo.comAFFILIATION: University of LagosTITLE: The Changing Trends in Theatre Troupe Management in Nigeria: A Comparative Study of Fezi Productions and Crown Troupe of Africa

Oteh, Mr. Patrick-Jude Email: josreperthea@yahoo.comAFFILIATION: Jos Repertory Theatre, NigeriaTITLE: Chariot Without Riders – A Performance Exegesis

Oyetoro, Mr. Hafiz AdebimpeEmail: adabapata@yahoo.comAFFILIATION: Adeniran Ogunsanya College of Education, Lagos NigeriaTITLE: Stage Performance in Africa: The Tale of a Dying Performance Tradition

Princz, Mr. Andrew Email: aprincz@ontheglobe.comAFFILIATION: ontheglobe.comTITLE: Theatre and Performance as Image-building Tools for Africa

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Seremba, Mr. George BwanikaEmail: serembgp@tcd.ieAFFILIATION: Trinity College DublinTITLE: Myth, Mythopoeia and Robert Serumaga’s Majangwa

Siegert, Ms. Nadine Email: nadine.siegert@uni-bayreuth.deAFFILIATION: University of BayreuthTITLE: Shifting Centres – Shifting Perception: Contemporary Dance from Africa as Creative Opposition to Stereotypical Images of Africanity

Ukaegbu, Dr. Victor Email: victor.ukaegbu@northampton.ac.ukAFFILIATION: University of NorthamptonTITLE: Mediating Space and Venue in Traditional African Performance.

Windapo, Mr. Gbenga Email: abatabutu2000@yahoo.com;abatabutu2000@hotmail.comAFFILIATION: Adeniran Ogunsanya College Of Education, NigeriaTITLE: Theatre and Performance Processes: The Dynamics of Sato Dance

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ABSTRACTS Adedoyin, Mr. Ismaila Rasheed THEATRE CRITICS AND THEATRE CRITICISM IN NIGERIA: PROBLEMS AND PROSPECTS

Because the word criticism itself implies many different things to many people, we must first come to some agreement about what it means here.

Dennis J. Sporre (The Art of Theatre)

The paper aims to correct the current trends where criticism is muddled up with cynicism, sycophancy, faultfinding and passing judgement. It is a detailed process of analysis based on principles and theories geared towards understanding and appreciation of a work. The critic is one equipped with all the arsenals and experience and blessed with the critical and creative faculties required for passing constructive judgement on a work.

This paper focuses on the problems and prospects of theatre criticism in a multi-religious, multi-ethnic but buoyant entertainment industry and developing economy like Nigeria. It critically examines the development of theatre criticism and the plight of theatre critics in a society where criticism is perceived as sinful and discourteous. In a country with a dying theatre culture and a vibrant home movies industry, the writer evaluates the roles of theatre critics and the gains of criticism in a society where stage performances yield little or no profit and are largely supported by philanthropists and government agencies.

Employing the eclectic approach, the paper is academically stimulating and tailored to provoke more scholarly attention that is geared towards sustaining this near extinct but intellectually engaging discipline.

Adeniyi, Mr. Kehinde AbimbolaTOWARDS A PROFESSIONAL EXCELLENCE IN THEATRE PRACTICE IN AFRICA: THE NIGERIAN EXPERIENCEThe study is set to examine the present state of theatre practice in Africa, looking at the facilities for training and human resources development. The paper will also look at the influence of the environment on theatre practice, the involvement of science and technology and its resultant effect on the practice. The study intends to establish whether theatre in Africa has attained professional status, the major landmarks, the identified problems and suggested way forward to ensure that the practice attains an excellence status of a reputable profession such as medicine, law and engineering have.    

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Adigun, Mr. Bisi THE VULTURE AND THE APE ARE NOT UNEQUAL: SOYINKA IS THE ARCHETYPAL CONTEMPORARY INTERCULTURAL DRAMATISTLike “racism”, which Richard Schechner once described as a myth of desired cultural purity played out against “others” who are perceived as being not only different but inferior, interculturalism in theatre practice is increasingly becoming the exclusive preserve of the Occident. When intercultural theatre, a term which is currently attracting a lot of attention from western theatre practitioners and scholars, is discussed or written about, usually, names such as, Peter Brook, Eugenio Barba, Ariane Mnouchkine, Robert Wilson top the list.

But long before Brook’s The Mahabaharata (1985) and Mnouchkine’s L’Indiade (1987), Nigerian playwrights such as J P Clark-Bekederemo, Ola Rotimi, Zulu Sofola, have been adapting the classics and mixing the ‘foreign’ with the ‘familiar’. Out of all of these writers, Soyinka is however the most consistent in the way he fuses elements of western theatre traditions with his quintessential African theme. Although he writes in English, Soyinka is greatly inspired by the traditional elements of Yoruba ritual theatre and this unique eclecticism permeates both his theoretical and creative work. My intention in this paper, with particular reference to the theory of Yoruba tragedy and The Bacchae of Euripedes, an adaptation of The Bacchae by Euripedes commissioned by the National theatre of Britain in 1973, is to argue that Soyinka, though unsung, is the archetypal contemporary intercultural dramatist.

Akunna, Ms. Gladys IjeomaDANCE AS MENTAL THERAPEUTIC IN THE AFRICAN EXPERIENCE: BEYOND THE SPECULATIONSDance is an integral part of the African life. Its very nature (model of performance, functions and aesthetics) whether in secular or ritual form, makes it, perhaps, the most popular socio-aesthetic cultural institution for facilitating both personal well-being and communal welfare; for it is one art form which could be relevantly employed to suit various spiritual, psychological, economic, social and political needs. However, this complexity of the dance as a varied topic in the African experience has led to speculations and sweeping generalizations about its peculiar relevance. For instance, various published research by dance scholars reflect a number of “recurrent themes” intended as basic models for analyzing and interpreting the African dance culture. Among these, the topic of dance as “manifestation of the human unconscious background and or inner experience” is a crucial one. In this theme, Dance as a psychological form of human behaviour is speculated to help in conditioning the emotional state of individual members (of given societies), by helping to build their personal self-worth. As such, the cathartic and therapeutic function of dance is linked to this behaviour, since certain experience of Dance performance can help to purge negative feelings and emotion embedded in performers as well as spectators. This discourse highlights the theory and research that have attempted to investigate the use of dance as a medium of expression in psychotherapy. Precisely, it examines the speculations about its values in contributing to healthy

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emotional development. While it agrees on the psycho-dynamics of dance as a mind-body interventions therapy in the African experience, it advocates a scientific-oriented approach towards understanding the nature of its therapeutic relationship to psychological medicine.

Aniago, Mr. Peter EmekaTHE CONTEXT OF DEEP AND DARK PLAY IN VICIOUS CULTURAL PERFORMANCES IN AFRICA: FOCUS ON FULANI SHARO AND IGBO IPIA AGBA.The thematic focus of this paper is to evaluate the African cultural context and meaning of deep play and dark play as found in some cultural performances. Hence, this paper aims to explore the dimensions to deep play and dark play in some forms of vicious cultural performances in Nigeria. Primarily, the paper will be focusing on the meaning and context of deep play and dark play as reality of life as imbedded in some vicious performances like Fulani sharo and Igbo ipia agba and use these as the background to our discussion. To appreciate better the reasons behind the reality of deep play and dark play as specifics defining the quality of vicious enactments in African cultural settings, we shall explore vividly the cultural meanings of sharo and ipia agba. Then as defining specifics, we will explore the angle of interiority and exteriority of deep play and dark play essence in these performances as forms of vicious performances. This will lead us to questions like; to what extent can performers involve dark play in deep play and to what extent is vicious cultural performance a deep play?

Finally we shall look at the contexts and dimensions of performance experience in relation to, the reality and perception, impression and condition of deep play and dark play in bororo Fulani sharo and Igbo ipia agba performances. The contexts of performance experience will be viewed from the dimensions of the performers’ and the spectators’ aesthetic experiences.

Anike, Mr. Ndu F. MASQUERADE AS THE THEATRE THAT UNITES THE IGBOThis paper examines notions of African theatre and its social functions using the masquerade as the template that unites, entertains and adjudicates. Using the Igbo example, it will explore the mimetic characteristics of the masquerade and determine what makes it theatre.

The paper may also examine the contemporary scenario and create a corellation in the fact that the dearth of the masquerade in Igboland has coincided with the moral breakdown in society.

Anyanwu, Mr. Chikwendu P.K THE CHALLENGES OF STAGING A NOVEL IN IGBO LAND: A REVIEW OF A STAGE ADAPTATION OF CHINUA ACHEBE’S A MAN OF THE PEOPLE

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Adapting a literary work from one genre to another has been practised through the years. Linda Hutcheon writes that “the Victorians had the habit of adapting just about everything – and in just about every possible way”. In our own time, she says, “adaptation has run amok” and so seem to have lost its appeal (Hutcheon L, A Theory of Adaptation, NY, 2006, p xi). Adaptation may have gone crazy in the West but I am not sure if this could be said of adaptation in Africa; not in Igbo land for sure. Most of our artists would rather present stories and other forms of art works from the scratch.

My focus in this paper will be on the challenges of adapting a novel into a stage drama. This will draw heavily on my recent experiences as a stage adapter and producer of Chinua Achebe’s novel, “A Man of the People”.

From stating the reasons for the adaptation of this novel, this paper will discuss the processes that helped to realise the stage production. The processes will help us to appreciate the challenges and why stage adaptations of novels in Africa should occur more regularly.

Anyokwu, Dr. Christopher THE UNIVERSITY AS METAPHOR OF HISTRIONIC DROUGHT: THE NIGERIAN EXPERIENCEAfrican drama, like its Greek counterpart, can obviously be said to have undergone three main developmental stages, namely, ritual, festival and drama (or theatre). And owing to our bicultural situation, African playwrights trained in western dramaturgic traditions, have had to evolve more often than not a kind of syncretic or/and hybridized theatrical technique whereby we find an interfusion of autochthonous (African) performance modes (Total theatre) and foreign, western-derived dramaturgic techniques.

However, the university campus environment had provided these dramatists the conducive intellectual milieu where their talent and skills had blossomed and grown. In 1957, Drama was introduced into the English Department curriculum at Ibadan as part of an Educational theatre programme. In the same year, a group of expatriates, mainly university teachers and civil servants resident in Ibadan got together with their Nigerian friends and colleagues and formed the Arts Theatre Production Group which sought to awaken the interest in theatre in the people.

Right from the early 60s to the late 80s, several university-based theatre production groups flourished, theatre outfits like “The 1960 Masks”, The Orisun Theatre, The Ori-Olokun Theatre at Ife, among others, created a vibrant culture of live theatre productions. The situation now on Nigerian campuses as well as in the larger Nigerian society (in these days of the Home Video) leaves much to be desired as the theatergoing culture seems to be in dire straits or dying out. In this paper, we shall attempt to examine the interrelation of the university and African theatre, past, present and future.

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Babatope, Mr. Babafemi JohnsonMUSE, MOOD AND CREATIVITY; A SEARCH FOR DRAMATIC INSPIRATIONThat theatre is veritable tool for an all-round human development is an established conclusion. It is equally a common knowledge that “theatre is literature that walks”. There is no gainsaying the fact that the genre of literature that theatre revives is drama. This being the case, it is sufficient to submit that total theatre can not exist without drama. The question therefore is “where does drama come from?” Giving the developmental role of theatre in the all important scheme of advancing the course of humanity, it becomes imperative that the authentic source of dramatic inspiration should be established, this will ultimately enable us “give unto Caesar what is Caesar’s and unto man what is man’s”. As a result, this paper will discuss the source of dramatic inspiration. It will attempt to answer the question, whether it is Muse; a phantasmagorical creation of Greek mythology, or mood; a person’s state of mind, borne out of the rustic reality of their existence, is the true inspirational drive for dramatic creativity. Does dramatic inspiration emanate from god (Muse) or man? Failure to put this aptly poses enormous problem in the resolution of dramatic plots, as in the case “of gods from the machine”. Thereby misdirecting, misguiding and even derailing our focus from where the solution to our predicaments resides. If drama must truly perform its developmental roles - instruct, inform, enlighten and entertain - we need to know its true source and this is our focus here. Only then can we maximize its potentials in Africa.

Castelyn, Ms Sarahleigh EXHIBITION/INSTALLATION TITLE: ‘PROUDLY SOUTH AFRICAN’, OR HOW I CHASED THE RAINBOW AND BRUISED MY KNEE…‘Ngiyaxolisa ukuthi angikwazi ukukhluma isiZulu/I’m sorry about the great trek/I’m sorry about the war/I’m sorry I didn’t know there was a war going on/Ngiyaxolisa ukuthi ufikele/I’m sorry you stayed/I’m sorry you came home/I’m sorry you feel guilty/I’m sorry about the map/I’m sorry about the timing/I’m sorry I dropped you/I’m sorry but a rush and a push and the land is ours’ - Text from I’m Sorry I Never Meant to Hurt You: Part One (2005).

South Africans choreograph the history and the future of their country on and in and through their bodies. My material body, classified as ‘white’ during Apartheid, without my consent, performs a racist cultural identity that does not conform to my own anti-racist and anti-sexist beliefs. Because of this, it is imperative that I mobilise all aspects of my choreography to investigate the body’s relationship to the dominant discourses of gender, ‘race’, and nationality.

‘Somewhere over the rainbow/Way up high/There’s a land that I heard of/Once in a lullaby…/If happy little bluebirds fly/Beyond the rainbow/Why, oh why can’t I?’ – Text from ‘Somewhere over the Rainbow’, music by Harold Arlen and lyrics by E. Y. Harburg.

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Recent performance works such as Mlu Zondi’s Silhouette (2006) and Nelisiwe’s Xaba’s They Look at Me And That’s All They Think (2006) highlight the construction of African identity and issues around looking at bodies, especially ‘black’ African bodies. This installation/exhibition focuses on this subject, but attempts to create discourse and provide documentation around my own performance project in which I attempt to ask what it means to be African and ‘white’, thus adding to the recent debate generated on ‘white’ African identity. I will attempt to examine how my materiality functions as a physical trace of South Africa’s racist past, and possibly suggest options for my body to choreograph its non-racist future, all the while photographed dressed in a tutu and gumboots dancing with and chasing Desmond Tutu’s rainbow nation.

Cuxima-Zwa, Mr. Chikukuango ANGOLA: BODY PAINTING IN BRITAIN, A CONTEMPORARY CULTURAL IDENTITY In this paper, I will focus on my Angolan Identity; having the experience of growing-up in Angola, a country that went through a history of slavery, colonialism and civil war. My identity has been lost during the 20 th century. I had to leave Angola in the 90’s due to the civil war that took 30 years to end. I had to experience life as an asylum-seeker in the UK. So, my identity has been mutating. As an artist, I use art (body painting, ritual and dance) to search for identity; who I am in this modern and global world, where cultural identity defines the person. Through ritual and dance, I connect to my ancestors to ask for guidance and a sense of self.

In Britain, far from home, I feel close to home, by performing painted with the Angolan design patterns I feel close to my ancestors. I have developed a series of performances that portray Angola from my imaginary ideas of what home is. The objects that I use during my performances represent the way I feel about home. Now, in Britain I am re-creating a new identity that is part of my experience of being on asylum, a refugee and migrant that is looking to find the place that is imaginary.

My performances as body painting artist have elements of self-distraction and identity-confusion, through body painting live performance I create who I am and who I can be without limitations of boundaries of geographical position, or historical background. In my performance arts I narrate the histories of my experience of an African in the West searching for identity; the identity that is man made. I use my body, painted and adorned, to communicate with the culture about my feelings of what cultural identity is.

Eghagha, Dr. Hope AUDIENCE PARTICIPATION OR PERFORMANCE DISTORTION? A PERIOD STUDY OF UNIVERSITY OF LAGOS THEATRE AUDIENCE From 1995 tol 2007 this researcher has been directly and indirectly involved in a series of theatre productions in the Main Auditorium and Arts Theatre of the University of Lagos. As Artistic Director of Theatre Fifteen (1985 to 1988), he

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directed different theatre productions. He has also been involved as Director of the Theatre Workshop Programme, English Department. For other productions he had also sat in the audience to watch and observe students’ participation. The students often get involved in the emotions of productions, often in a disruptive manner. Even when ‘big shows’ were presented at these venues, there was often a tendency to be wild and boisterous. Catcalls and uttering obscenities were also part of the ‘audience participation’. The fundamental question therefore is whether interruptive participation can indeed be termed necessary audience participation. If the level of audience participation becomes disruptive would this not affect the message of the play and lead to a distortion of the message? Using the University of Lagos audience as a reference point this writer makes the point that there is the need to develop a cultured audience among the students in universities. Why are some university audiences ‘better behaved’ than others? Does the so-called ‘Lagos Factor’ play a role in shaping the attitude of the audience in the university? Why are the audiences in other theatres in Lagos more cultured? We suggest that a programme of action that would encourage academic and non-academic staff to watch campus productions be vigorously pursued.

Eluyefa, Mr. Dennis THE CONCEPT OF ALARINJO IN YORUBA THEATREYoruba theatre has been widely researched (Adedeji 1969, 1975, 1981, 1989; Banham 2004; Barber et al 1997; Beier 1964; Breitinger 1994; Clark 1979; Drewal 1992; Gotrick 1984; Hutchinson et al 2000; Jeyifo 1984; Kerr 1985; Ogunba et al 1978; Ogunbiyi 1981; etc.). Critics trace the origin of Yoruba theatre to the egungun (masquerades) dance troupe that originated in the palace of Alaafin in Old Oyo Katunga in 1820s. Beier concludes that this “could be called the beginning of theatre in Yorubaland” (Beier, 1964:199). Götrick refers to this as Apidan theatre; but it is Adedeji’s article ‘Traditional Yoruba Theatre’, 1969 that becomes the basis for this claim; “the article was published in connection with his dissertation ‘The Alarinjo Theatre: The Study of a Yoruba Theatrical Art from its Origin to the Present Times’” (Götrick, 1984:31). This depiction later labels the Yoruba contemporary troupes pioneered by Ogunde as “rogues” , “vagabonds” and “sturdy beggars” (Adedeji quoted in Clerk 1979: 4).

What is Alarinjo? Are the Alarinjos dancers, theatre practitioners or the masquerades? Why did Adedeji coin this word despite that “Onidan and Apidan are names which the entertainers use interchangeably to denote themselves” (Götrick, 1984:39). As a Yoruba man, Alarinjo does not mean egungun and egungun does not mean Alarinjo, but rather egungun could be Alarinjo and Alarinjo could be egungun, or anyone. Based on my experience as a member of ‘Ogunde Theatre’ (1984-1990) and ‘Ondo State Standing Troupe’ (1990-1996), this paper will refine our understanding of Alarinjo, which I believe for many years have been misused, misrepresented, and misinterpreted.

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Enendu, Dr. Molinta L. O. PERFORMANCE EQUIPMENT INSTALLATIONS AND RESOURCES IN NIGERIA THEATRE HOUSESThis study attempts an examination of selected Nigeria theatre houses and stage performance equipment installations as integral and component resource of a theatre building.  The understanding is that the architectural characteristics of a theatre building and the production equipment installations contribute to the overall growth and development of the theatre performance processes and theatre communication. The study focuses on selected Nigerian theatre houses – national, state/cultural centres, university and private theatre houses.  The study is considered significant because the performance equipment and spaces in these Nigerian theatres cannot be separated from the overall theatre practice and production efficiency.  Theatre production spaces – size, arrangement, organization – as they relate to scenic mechanisms and devices, stage lighting and sound equipment installations as relevant phenomena to theatre practice, are examined and their tangible returns thoroughly assessed.  The study, from the point of view of a practicing theatre designer and technologist, and one who has fabricated and installed theatre equipment for five theatre houses in Nigeria, will examine the problems associated with theatre venues and traditional technical elements of production.  The study addresses the problems associated with theatre houses and equipment installations and their contributions – positive or negative – to the development of theatre and theatre performances in Nigeria.  At this stage of increased support in the role of theatre space planning and technology to theatre production and communication, and as Nigeria theatre develops its history, philosophy, management and performance, the theatre houses and equipment installations should also be assessed and evaluated as part of theatre resources in production.

Evwierhoma, Professor Mabel I. E. THE FEMALE ETHOS AND DEVELOPMENT PARADIGMS IN NIGERIA THEATRE PERFORMANCE Theatres and performances have many uses in contemporary Africa and they keep reinventing themselves. In Africa, attempts are made to build communal strengths using performance from a gender focal point. Using theatre to deconstruct patriarchy, social, economic and political challenges people face is a current paradigm thrust in intervention strategies with development as their focus.

Performance is power and when gender constructs are performed, communities undergo mutation and empowerment. Specifically, women’s performance of the issues that concern their lives and aspirations has become a prototype to facilitate empowerment strategies, policy implementation and interpretation.

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Here, women’s rights become models of the peoples’ rights on which community strengths are built. One means of actualizing this is through political engagement, economic participation and governance. This ethos based on the female outlook is one channel of co-opting other members of the community into the process of development and other routes of daily communal living especially in rural communities.

This paper attempts to: Look at the sources of these performative intervention efforts, whether they are communally exogamous or endogamous. Decipher whether there is a female ethos in Nigerian Theatre performance; and what forms does it take? Ask- what the kinds of women’s participation in Nigerian theatre are? Do we find connections between the female ethos and development paradigms? If the answer is in the affirmative, what are these paradigms? If negative, why is this so?To answer these questions the present writer shall look at one hypothetical and one real community in Abuja.

Hassan, Ms. Grace Uche and Ms. Regina Kwakye-OpongCOSTUME AND MAKEUP AS MEDIUM FOR CULTURAL EXPRESSION IN STAGE PERFORMANCECostume and Makeup is not just about clothing an actor or applying cosmetics on an actor’s face or parts of the actor’s body that is not concealed by the costume, it is more than that, it is the process of studying who and what the character in the script is. In character description, costume and makeup play important roles, this is because what the audience sees gives a more immediate impression of who the character is , than what he or she says , that is , what they (the audience) hear from the characters mouth. For instance, in real life costume naturally gives a form of expression about an individual either of his or her social status, culture, religion, profession, sex, age and so on.

This ability to dress and make up to make an impression about the wearer on an onlooker is even more profound in the theatre because once a character appears on stage the audience instantly begins to interpret that character by what they see on him, in this respect, costume and make up perform a primary role in helping the audience to understand the character as well as his cultural background. This study will be centred on the African culture as reflected in a few theatrical performances in Ghana and Nigeria, with focus on how costume and make up help to express the culture and identity of the community and persons in these stage performances.

Iguanre, Mr. Solomon LAFFOMANIA: A PHENOMENAL VAUDEVILLE

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This paper is a personal experience of a Nigerian campus-based comedy group that made waves between 1986 and 1996 in and around the University of Ibadan environment. The group called Laffomania fabricated a potpourri of drama skits, songs, and dance for the new intakes. Though scanty number of references had been made to the group in scholarly work, it is still far in between and falls short of expectation. In consequence, this study, using the vaudevillian concept aims to justify the phenomenal influence of the Laffomania as a unique comedy group that made its mark in the realm of campus entertainment.

Kasule, Dr. Sam SIMBAWO AKATI: CHANGING CONCEPTS OF POPULAR MUSIC THEATRE AND PERFORMANCE IN UGANDAThis paper is an attempt to examine how concepts that redefine contemporary Ugandan theatre and popular performance are drawn from indigenous oral folk, and ritual performance texts, traceable to popular culture and socio-political contexts. The paper explores how these concepts have been cleverly used by the community to describe new developments in performance styles and forms in changing socio-political and economic environments. The paper argues that in the context of the post conflict Uganda, corporate sponsorship has impacted on the performance landscape.

Ladan, Mr. Victor L.TRANSCRIBING THE LEXICON OF “CULTURE OF SILENCE” IN THEATRE FOR DEVELOPMENT: LESSONS FROM ENULA TFD PROJECT AMONG ABANYOLE COMMUNITY OF WESTERN KENYA In this paper I demonstrate the importance of a Theatre for Development (TfD) practice which does not merely engage micro-level analysis of issues but also the macro-level as well. I focus on Enula project, a TfD endeavour undertaken among Abaluhya community of Ebunyole in Western Kenya in 2006, in which I resisted to view the oppressed as victims of a ‘culture of silence’, or a group of domesticated individuals lacking agency. The experience with Abanyole subalterns deconstructed Freire’s discourse on culture of silence. In fact, behind the customary ‘mask of silence’ was found (an) elaborate lethal but crude arsenal of intervention strategies and techniques based on culture, religion and experience of oppression by Abanyole. The current practice of TfD which offers it as a finished product, or a set of techniques meant to give “voice” to the silenced, must re-image itself from being a problem-solving practice to that of confidence-builder for affected communities by privileging interrogation of their collective intervention strategies as a pre-requisite for achieving praxis. I argue that TfD scholarship can be advanced best by research whose aims at decoding or transcribing the lexicon of silence (as a weapon of the subjugated) to gain insight into local perspectives of imbalanced power relations, rather than seeking to effect a “voice” transplant among the “voiceless”. I also question whether the binary between the “oppressors” and “oppressed” holds any relevance, particularly in societies whose history of patriarchal and autocratic power

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relations has effectively institutionalised hierarchies of power, hence requiring broader analyses.

Lawal, Mr. Hameed Olutoba AFRICAN ETHOS IN COMMUNITY THEATREPioneered in Nigeria by the Drama unit of the Department of English, Ahmadu Bello University, Zaria in 1976, Community Theatre is a kind of theatre that employs the artistic idiom of the people to dramatize community related problems. This technique encompasses the use of the songs, dances and local language of the targeted community in the dramaturgy. This blend of indigenous and modern conventions makes it an effective medium of communication and sensitization. Over the years, what informed its sustenance in the curriculum of the Departments of Theatre Arts in the Universities and Colleges of Education is its efficacy in enlightenment and conscientization of mostly illiterate rural populace. An attestation to this fact are the Samaru project of ABU, Zaria, Community Theatre projects of the University of Jos and that of the Department of Theatre Arts, Federal College of Education (Special), Oyo. Problems explored in these presentations include, fertilizer racketeering, illiteracy, unhygienic habits, water scarcity, teenage pregnancy and politics. This paper would therefore examine African Ethos in the performance of community Theatre in the four local government areas of Oyo town, namely, Afijio, Atiba, Oyo West and Oyo East.

Mbajiorgu, Mr. Greg TOWARDS THE DEVELOPMENT OF THE SOLO THEATRICAL SUB-GENRE IN NIGERIA: A CRITICAL EXAMINATION OF ITS MAJOR HANDICAPSThe art of solo performance is becoming popular in America and Europe in every sense of the word. The increasing success of this theatrical form has created fresh motivations and objectives for theatre producers, playwrights, directors, actors and even designers. Though this minimalist theatre thrives in the domain of the individual, recent studies in America, in particular, has shown that monodrama poses exciting challenges, not just for actors but playwrights, directors, producers, designers, technicians and theatre scholars, who have found this vibrant and unique art form a valuable educational tool withextreme creative and innovative possibilities that can enhance and develop playwriting, acting and directing skills. But despite the scholarly and artistic breakthroughs that have been recorded in this sub-field in recent times, Nigerian theatre scholars, playwrights, directors and producers are still unwilling to explore the potentials of monodrama. Strangely, theatre scholars in Nigeria still regard this form as a theatrical sub-field that is incapable of stimulating significant academic discourse. Similarly, most theatre artists and professionals in Nigeria tend to dismiss the solo play as an individualistic art that has little regard for theatre concept of inter-relationship.

On the basis of this background, the researcher hopes to critically re-examine these contentious issues and to x-ray all other factors that have impeded the

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academic and artistic growth of the solo performance art in Nigeria. Through this study, we may also be placed in a better position to appreciate why the seemingly popular appeal and economic success of solo performances in Nigeria rest squarely on sheer guts and creative resourcefulness of multi-skilled and talented upcoming Nigerian actors (such as the late Funsho Alabi and others) whose efforts in this direction can be greatly enhanced and consolidated by the interest and support of seasoned and notable Nigerian theatre historians, scholars, artists and critics who seem to have completely neglected and ignored this bourgeoning art form.

Muebake, Professor Denis THEATRE AND ENGLISH LANGUAGE IN EQUATORIAL GUINEAMy paper is going to focus on the part or role that theatre (especially Nollywood) plays in the learning of English Language in Equatorial Guinea. The Equato-Guineans are Spanish speaking people and with the advent of English theatre works mostly from Nigeria and to a very lesser extent Ghana has made the learning of English desirable and fun. The desire for learning English has dramatically skyrocketed as everyone who enjoys the theatre pieces have got to understand a bit of English, so thanks to theatre more and more people here are learning English.

Ndah, Dr. Ubong STHEATRE AND DEVELOPMENT IN AFRICA: A STUDY ON MEDIA SOCIAL RESPONSIBILTYThe theatre medium has been variously accepted as a most didactic medium, as it effectively coalesces its teaching and entertaining propensities into an avenue that is most potent in social orientation. The various researches on theatre in Africa, in the pre-colonial era, and even in the post-colonial times, point to the possibility and plausibility of adopting this medium in the development information process. Unfortunately, the medium, especially in countries like Nigeria, continue to serve purely entertainment and cultural exhibitory purposes, without a conscious effort at employing it for developmental purposes.

This paper seeks to review some of these existing usages, and the popularly-accepted capabilities of the theatre as a medium of communication, and proceed to present suggestive frameworks within which the theatre could be rightly accorded the societal responsibility of effectively participating in the gingering of development.

Ntangaare, Dr. Mercy Mirembe (KEYNOTE)AFRICAN THEATRE: ITS LIFE AND JOURNEY INTO THE NEW MILLENNIUMThis paper assumes the existence of African Theatre as a dynamic and vibrant entity that blends historical circumstances and African performance traditions with the realities in Africa today. The theatre is mutually dependent on but distinct from its often synonymous perception with traditional and indigenous

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performance in Africa. The basic argument is that African theatre is an art as well as a service. Of recent, however, the theatre practitioner’s unregulated practice coupled with social reality and global developmental and cultural trends have tended to paralyse theatre’s artistic side, compounding further the debate and questions about the true identity of African theatre, its definition, nature, role and utility. Yet African theatre remains a viable and progressive entity, its and our greatest challenge being the manner we’ve nurtured it over the years and thus, the way we’re promoting it for the future.

The primary focus of this presentation, therefore, is to encourage self-reflection, evaluation and debate as intellectuals, theatre artists, practitioners and promoters on the state and future of African theatre – now in a new Millennium.

Nwaru, Mr. Christian Ikechukwu DANCE AS A SIGNIFYING PRACTICE: A STUDY OF OMENIMODance has closely been associated with man in his day-to-day activities, yet the performers of dance art are treated with disdain. This is because most people do not understand the nature of dance and how it signifies. Therefore, the objective of this paper is to understand the Omenimo dance in relation to its mode of meaning generation.

This paper clarifies issues on form and content and the way they function in generating meaning in dance. It recognises the literal and non-literal mode of dance communication using Omenimo as a case study and ultimately submits that dance could communicate through both form and content.

Ofodile, Mr. Reginald A WORLD IN DRAMAThe subject will be the dramaturgy of the Sierra Leonean playwright, Dr Sarif Easmon.  I propose to examine his published plays, and the unique social circumstances which inform them. Dr Easmon and his plays were products of that remarkable social phenomenon, the Creoles of Sierra Leone.  A fantastic cultural cocktail, they were, in some ways a replica of Victorian Britain in Africa, and in other ways a peculiarly integrated African community.  The Creoles substantiated the Biblical statement about the last becoming the first.  They were mostly people who suffered the worst nightmare of their era - being sold and packed into the holds of slave ships. However, they moved from slave ship to dazzling eminence with astounding rapidity.  They produced most of the first professionals of modern Africa.  Their college, Fourah Bay, was affiliated to Durham University in the 1870s, thus becoming the first University College in modern Africa. 

 That there should be a gulf between the Creoles - who inhabit Sierra Leone's coastal region - and the traditional inhabitants of the interior is hardly surprising.  That difference, and how it was maintained and articulated are part of Dr Easmon’s oeuvre.  The non-dramatic writings of Dr Easmon will be utilised for

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background and drift of the plays.  Relevant too, will be other writings and cultural resources by Sierra Leoneanians or about Sierra Leone and its citizens.  One thinks of that other physician/writer of Creole backgrouind, Dr Wellesley-Cole.  Another Sierra Leonean playwright, Pat Amadu Maddy, will also be referred to.  

Ojuade, Mr. Jeleel O.DANCE AESTHETICS IN THEATRICAL PERFORMANCE(S) IN AFRICA: THE NIGERIAN PERSPECTIVEDance has been described as an important aspect of African life. It is a medium that creates avenue for practical demonstration of different age grades in performance. This study re-examines the aesthetics embedded in dance(s) of the people in theatrical performances, within the larger arena of their local languages as it transforms and feature in both local, stage and theatre performance(s).This paper therefore focuses on the need to further project and apply local / traditional dances in our modern theatre experiments.

Oni, Professor Duro THEATRE TRAINING IN THE NIGERIAN UNIVERSITY SYSTEM: A CRITICAL ASSESSMENT OF DESIGN AND TECHNOLOGY COURSESFrom the early 60s, when the first institution for training of theatre artistes and practitioners in Nigeria was first established at the University of Ibadan, the Nigerian University system has witnessed a deluge of departments of Theatre Arts, Performing Arts and Creative Arts, all concerned with the training of graduates in theatre arts.

This paper attempts to take a critical look at the universities that offer theatre arts in Nigeria with a view to assessing the impact that they have made and the obstacles that appear to be in the way of the proper training of the graduates. Prominent among these universities are the departments of theatre arts at the universities of Ibadan, Calabar, Nsukka, Maiduguri and Abuja and the Departments of Creative Arts at the universities of Calabar and Lagos and the University of Ilorin, Department of Performing Arts.

In doing this, the paper examines the curricular of the universities of Ibadan and Lagos and the available human and material resources at the disposal of these universities, especially in the areas of design and technology, with a view to assessing their adequacy or otherwise for the purposes that they were set up. In essence, the paper attempts to relate the development of theatre practice in Nigeria to the training provided by the universities, examining the impact that the training institutions have made to the development of theatre practice in Nigeria.

Onyekaba, Mr. Cornelius Eze

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THE CHANGING TRENDS IN THEATRE TROUPE MANAGEMENT IN NIGERIA: A COMPARATIVE STUDY OF FEZI PRODUCTIONS AND CROWN TROUPE OF AFRICAWhat is today called contemporary Nigerian theatre has been identified by many writers and theatre scholars to have effectively taken off between 1944 and 1946 under the influence of Hubert Ogunde. The management procedure of the pioneers of the era came to be known as the Director-Manager style of management where the owner of the troupe also assumed the role of Artistic Director, Producer, Playwright and Manager of the company. At the heart of this practice was the unique method applied by troupe owners in maintaining a steady supply of actors and actresses by marrying their female members and raising a large polygamous family. This method is a direct borrowing from the traditional Nigerian society, where men that have great expanse of landed property, married many wives and reared many children, so as to have a steady supply of unpaid-labourers to tend to their farms.

This paper takes a look at the merits and demerits of the old traditional approaches to theatre troupes’ management in Nigeria, as a prelude to investigating current trends in the industry. Using FEZI Productions and Crown Troupe of Africa, (both are managed by university graduates) in a comparative study that will include the use of oral interviews and analysis of publications as well as company records to determine the managerial style operational in the two organisations.

Considering the successes the two companies have recorded over the last few years, the study intends to reinforce the need for more theatre arts graduates to apply their knowledge in founding and managing theatre/entertainment companies of their own.

Oteh, Mr. Patrick-Jude CHARIOT WITHOUT RIDERS – A PERFORMANCE EXEGESISThe Jos Repertory Theatre was founded in 2000 in the ancient tin mining city of Jos in Plateau State, Nigeria. It draws its members from theatre graduates, unemployed youths, theatre teachers and students as well as those with a flair for the theatre. This last group usually undergo a training process that lasts from two months to a year.

In 2004, the group had the maiden edition of the Jos Festival of Theatre which has since grown to the third edition in 2007. One of the landmarks of the festival was the premiere of a workshop devised play, Our House, which went on to tour Glasgow, Scotland in 2005 and a repeat visit by our Glasgow partners, the Clyde Unity Theatre to Nigeria in 2006 for the second edition of the Jos Festival of Theatre. The Festival has gradually become the home for the premiere of new plays, as well as old plays within a ten days period.

One of the new plays that had its premiere at the 2nd Jos Festival of Theatre was a two man piece of theatre titled Chariot Without Riders which is a post-colonial

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examination of colonies in crisis. This play was devised within a workshop mode by the team of two actors who had undergone our training and a workshop co-ordinator.

This paper will seek to take a look at the creation process of the piece which has played successfully in Jos, Abuja and to a select group of Canadian International Development Agency staff on a retreat tour of Nigeria. The paper will also take an engaging look at the script and the issues raised within it, with the aid of a recording of the play in performance.

Oyetoro, Mr. Hafiz AdebimpeSTAGE PERFORMANCE IN AFRICA: THE TALE OF A DYING PERFORMANCE TRADITIONStage performance in Africa can best be likened to a beautiful rose on a rock gradually withering away. It is not unusual these days to visit a theatre during a stage performance and find the auditorium almost empty, whereas the same auditorium is filled to capacity whenever there is a film-show of any artistic quality. There is now a complete shift in the taste of not only the audience but also, and surprisingly, the theatre practitioners: actors, directors and playwrights. This paper discusses the causes and the effects of this taste shifting. In addition, through suggestions and recommendations the paper examines the possibility of the survival of stage performance in Africa, especially in the face of current stiff competition from both film and television performance.  

Princz, Mr. Andrew THEATRE AND PERFORMANCE AS IMAGE-BUILDING TOOLS FOR AFRICAThrough the culture and travel portal ontheglobe.com, my team has developed unique projects in Africa. We have presented pioneering country awareness and tourism development projects in countries like Nigeria and Angola through the periscope of its dance, theatre and cultural values. We partner with the governments of Africa in order to discover the cultural and tourism centres of greatest potential for the development of each country. We visited the Abuja Carnival in Nigeria, and dance performers of Angola at the invitation of the countries’ respective governments. We published reports in various international publications, including CNN Traveller, and Ballet-Tanz Magazine. I would like to present our unique concept of image-building through cultural production for African countries. We do what the mainstream media omit to do, in partnership with African governments. In Abuja, we were among the only representatives of the international press to attend. In Luanda while we were reporting on cultural values – other international media were reporting of deadly viruses in Angola from far off Johannesburg or Geneva. We look for the cultural values in countries, on the ground and in partnership with the countries themselves. We begin the first step of infrastructure development: cultural research and development.

In addition to presenting conference-goers with this unique approach to

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promoting Africa, I am also a critic and cultural writer. I will also comment on ways of transcending barriers of the media when presenting African artists in a western context.

Seremba, Mr. George BwanikaMYTH, MYTHOPOEIA AND ROBERT SERUMAGA’S MAJANGWA The paper is in two parts, the first section being a discussion of myth. The second section will focus on mythopoeia as well as Serumaga’s play, Majangwa (A Promise of Rains). The methodology employed is poststructuralist and postcolonial. The theorists that will be used for conceptual purposes include Michel Foucault, Jacques Derrida, John Mbiti, Victor Turner and Wole Soyinka.

While it is true that myth is a double signifier, in the semiological and metalinguistic sense, this paper is a deconstruction of Barthes’ secularism and Strauss’s structuralism with regard to mythology. This paper holds the view that to explicate mythology is to embark on an elusive, eternal quest, in which the here and now, the here-before, as well as the hereafter all become one and the same thing in the name of being, liminality and void. Given this kind of ontology, the structuralist and the secular are far from the ideal analytical tools. The paper also examines legends, tragedy and ritual; how they relate or even differ from mythology. I will then address mythopoeia and the preponderance of myth in the literatures and dramas of Africa; the Negritude poets; mythopoeia as a tool of protest, emancipation and decolonisation. Finally, I hope to examine Fanon’s ‘man of culture’ in the context of Serumaga, the man and his work. The main theme that will be discussed, in this respect, is the use of mythology as well as signification and survival in the teeming cauldron of inhumanity that Uganda became after the dawn of independence.

Siegert, Ms. Nadine (NOT COMING?)SHIFTING CENTRES - SHIFTING PERCEPTION: CONTEMPORARY DANCE FROM AFRICA AS CREATIVE OPPOSITION TO STEREOTYPICAL IMAGES OF AFRICANITYDance can be seen as a possibility to describe cultural conditions of living within postcolonial situations. Both the dancer’s habitual structures as well as the aesthetic frames of understanding generated within cultural spheres can be explored keeping in mind that contemporary African dance is a way of creating identities.

It is precisely the outline of a new corporeality within the processes of reception and appropriation of identities that will be focused on in the paper. Besides, I discuss African actors’ possible identity conflicts within hegemonic postcolonial structures of cultural politics, and how actors cope with required stereotypes of “Africanity” or “authenticity”. Within the scope of (re)actions one may find refusals of being labelled as “African”, attempts to determine oneself via foundations of south-south networks, amongst others, as well as defences of pan-African identity concepts.

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Whether and how it is possible for African dancers to bring about transformations, that change European gazes permanently, and disintegrate stereotypical images, thereby, will be one of the questions asked along the considerations. Is one able to perceive “Africanity” and/or “African dance” without running into degrading stereotypical patterns at all?

Can “African bodies”, when they confirm field specific ways of acting again and again, also simply through the colour of the skin, step out of this perception? What does it mean to use new media and unexpected aesthetic forms in performance? How can subversive corporeality look like and generate a real opposition and innovation?

Ukaegbu, Dr. Victor MEDIATING SPACE AND VENUE IN TRADITIONAL AFRICAN PERFORMANCEThis paper derives from two related theoretical positions on the nature of performance spaces. In Decolonizing the Stage: Theatrical Syncretism and Post-Colonial Drama Christopher Balme states that “in cultural semiotic terms”, performances such as “songs, dances, masquerades, costuming, and oral stories” “exist in their own right as cultural texts with their own specific mechanisms of production, transmission, and reception” (1999: 4). On the other hand, Marvin Carlson, in Places of Performance: The Semiotics of Theatre Architecture, distinguishes between space and venue suggesting that the former, as “places of performances generate social and cultural meanings of their own which in turn help to structure the meaning of the entire theatre experience” (1989:229-230). The two statement draw attention to how a society’s conception of space, whether as a fixed and stationary feature of performance, or as a loose aesthetic rubric for different types of spaces and venues, defines the production and reception strategies of its theatre. This paper distinguishes between space and venue and how the two function in traditional performances in Africa.

Windapo, Mr. Gbenga THEATRE AND PERFORMANCE PROCESSES: THE DYNAMICS OF SATO DANCEDance is said to be the backbone of theatre in Africa. Most traditional theatrical performances have roots in dance. Nigeria, and indeed the continent of Africa, is blessed with a rich variety of dances. Dance in Africa is more than entertainment or pastime but a way of life. Dance is what keeps the rhythm and soul of the continent together and in motion. Dance transverses the different cultures and peoples that make up the Nigerian nation. From the highly pulsating staccato rhythms of the Yoruba Bata dance to the acrobatics of the Igbo Atilogwu dance, the richness in the dynamics of Nigerian dances makes them a performance spectacle in various theatre halls and performance spaces. This paper delves into the performance process of the Sato dance, one of the many dances of the Egun people who inhabit the coastal region of South West Nigeria. This paper will seek to reveal the secrets of this most entertaining yet highly spiritual dance form and why it is at variance with the gentle flowing dances the coastal regions are

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known for. The paper shall also explore recent trends in the performance processes of Sato dance and its impact on the modern Nigerian theatre and dance space.

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CONFERENCE PROGRAMME

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