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Routledge International Handbooks Series [More in this series]

Summary note

The Routledge Handbook of African Theatre and Performance brings together the latest international research on performing arts across the continent and the diaspora into one wide-ranging collection, offering readers a compelling journey through different ideas, people and practices which shape African theatre.

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Contents

• Cover
• Half Title
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• List of figures
• List of tables
• List of contributors
• Acknowledgements
• Chapter 1: Introduction
• Part I: Colonial and Postcolonial Theatre
• Part II: Theatre Spaces
• Part III: Theatre for Development and Social Change
• Part IV: Diaspora
• Part V: Theatre Futures
• Notes
• References
• Part I: Colonial and postcolonial theatre
• Chapter 2: Local heritage in North African Theatre: Between cultural renewal and identity politics
• Indigenous forms of performance in North Africa
• Preserving local heritages in the colonial and post-colonial eras
• Building an amazigh theatre in contemporary North Africa
• Conclusion
• Chapter 3: Ritualistic performances in Cameroon
• Introduction
• Theoretical considerations
• Brief historical background of ritual performance practice in Cameroon
• Ritualistic performances
• Installation rituals in Kom
• Theatrical techniques employed in ritual performances
• The pre-established text
• Text
• Song
• Stage space
• Dance
• Chapter 4: The Dùndún drumming tradition and the Colonial missionaries
• The Yorùbá: a brief introduction
• The dùndún within the Yorùbá musical culture
• The colonial missionaries in Nigeria
• Preconceived ideas and myths
• The power relation
• Chapter 5: The Emblematic Legacy of Robert Serumaga's Abafumi (Storytellers) Theatre Company
• The Man, His Dream and Vision
• Serumaga's Return and After
• The Abafumi
• The Abafumi Manifesto
• Regimen and Methodology
• Renga Moi (1972)
• The Beginning of the End
• Chapter 6: Sony Labou Tansi's theatre for a new humanity
• Introduction.
• Françafrique: a relationship of continued exploitation
• 'Everything must be reinvented' (Sony, 2015d [1992], p. 165)
• Children of the mushroom: beyond colonial binaries
• Chapter 7: The intermittent rise of Angolan theatre
• Before independence (up to 1975: colonial period)
• Revolutionary post-independence period (1975-1991: socialist regime)
• Civil war period (1992-2002: shift to market economy)
• Peace and reconstruction (from 2002 to the present: market economy)
• Chapter 8: Lost History of Music for Self-delectation: Tracing Malawi's Moribund Performance Genres
• Psychosocial Functions of the Musical Arts Performances
• Permutations of Malawi's Indigenous Performance Genres
• Instrument Anatomy, Nomenclature and Performance
• Musicological Corollary of the Performances
• The Current State and Value of Music Performances for Self-Delectation
• Chapter 9: Reconfiguring postcolonial cultural policy: Impetus from Zimbabwean and South African performers and performances
• The lingering death of colonialism
• Hegel, the colonial narrowness of thought, and aesthetics after the Enlightenment
• Glimmers of hope: negotiation, co-creation and dissimilarity
• Performative forms of dissimilarity: impetus from South Africa and Zimbabwe
• Cultural policy considerations
• Note
• Part II: Theatre spaces
• Chapter 10: Design and other aesthetic elements in Duro Ladipo's Oba Koso and Moremi
• Duro Ladipo: the man of the theatre
• Early reviews of Duro Ladipo's theatre: the effectiveness of design and aesthetic elements
• Design and aesthetic considerations of Oba Koso
• Design and aesthetic elements in Moremi
• References.
• Chapter 11: Rose Mbowa (1943-1999): Mother Uganda
• Bibliography
• Chapter 12: Spatial temporality and the poetics of space liminality in Ebiran Ekuechi Facekuerede performance
• Ekuechi as theatre
• The aesthetics of spatial temporality and the poetics of space liminality in Ekuechi playing space
• Chapter 13: The State Theatre in a Transforming South Africa
• The South African State Theatre
• Challenges
• Chapter 14: The CITO - Burkina Faso's Alternative to a National Theatre
• History
• The Repercussions of a Coincidence
• Artistic Processes
• Chapter 15: Theatre of Statehood: An Examination of NAFEST 2020 and 2021 Opening Ceremony Performances
• A Historical Overview of Thematic Developments at NAFEST
• NAFEST Opening Ceremony
• NAFEST Opening Ceremony Performance 2020: The Ancient Plateau
• NAFEST Opening Ceremony Performance 2021: Children of the Rolling Hills
• Discussion
• Conclusions
• Chapter 16: From Stage Space to Video Space and Back: Multimedia Performance and Audience Engineering in a Contemporary African Environment
• The Problem in Context
• Study Sample and Methodology
• Multimedia Performance and Audience Engineering
• The Colour of Rusting Gold
• Drumbeat of Death
• Analysis and Discussion
• Chapter 17: Connections Across Remoteness: Interacting Online Spaces at the South African Virtual National Arts Festivals (2021-2022)
• Online Spaces
• African Performance
• Active Audiences
• Reflections on Creating The Voice in Your Head (2020) and Fearless Flow (2021)
• Two Case Studies: Seen Pha Kwa J.B (2021) and Unfathomable (2020)
• Seen Pha Kwa J.B (2021).
• Unfathomable (2020)
• Chapter 18: Uninhibited theatre in Burundi at the Buja Sans Tabou Festival: An interview with Festival Director Freddy Sabimbona
• Part III: Theatre for development and social change
• Chapter 19: Democratising the Theatre for Development (TfD) Space through Balancing Power Dynamics: Analysing Practice-Based Experiences from Uganda
• Theoretical Contexts: TfD as a Democratic Process
• Performance of Power in TfD Practice
• Learning from Recent Projects
• The Fish Farmers TfD Project: When the Funding Framework Stifled Effective TfD Practice
• Democratising the TfD Process: the Walukuba TfD project
• Balancing the Facilitator-Participant Power Dynamics
• Facilitators' Awareness of the Impact of Capital/Money
• Chapter 20: Representation of femicide on theatre stages: The urgency to respond to the scourge of violent murders of women in post-colonial South Africa
• Telling untold stories in theatre
• Using theatre as testimony
• Representing femicide on South African stages
• Depicting femicide on stage
• South African Female playwrights: Speaking for the voiceless
• Chapter 21: Understanding intra-gender hostility through feminist critical discourse analysis: Performative discursivities in the works of female Nigerian playwrights
• Surrogate patriarchy: A means to intra-gender hostility
• Feminist critical discourse analysis: A means to intra-gender appraisal
• Feminist analytical resistance and activism
• Gender as ideological structure
• Complexity of gender and power relations
• Discourse in the (de)construction of gender
• Critical reflexivity as praxis
• Chapter 22: Labarin Aisha (Aisha's Tale) and Aisha Tori: Radio Drama as Paradigms of Social Change in Northern Nigeria
• Origins of Theatre-for-Development in Nigeria
• Jos Repertory Theatre's Incursion into Theatre-For-Development
• Overview of Radio Drama
• COVID-19 and the Reinforcement of Radio Drama
• Labarin Aisha - Format and Storylines
• Aisha Tori - Pidgin Adaptation for North Central Nigeria
• Paradigms of Radio Drama as Agent of Social Change in Northern Nigeria
• Chapter 23: Intervention theatre/film Watatu (2015) as a counter-narrative to radicalization of the youth in the coastal region of Kenya
• Watatu (2015) the film: introducing the text and context
• Watatu Part One: Narrating the tragic story of radicalism and extremist ideologies
• Part two: community participation: scripting the counter-narrative against radicalization
• Part 3: reflections: what if…
• Filmology
• Chapter 24: After revivals: New protest theatre by "born-free" South Africans
• Introduction: from "born-free" revivals of anti-Apartheid plays to new protest theatre
• "Chris Hani can't dance" (Nkwenkwezi, 2021): Rediscovering the Radical Past in Hani: The Legacy:
• "We went from UCT students to uMkhonto weSizwe real fast" (Conrad et al., 2017, p. 11): The Fall, decolonisation, and anti-Apartheid protest theatre's legacy
• Conclusion: new directions in South African theatre
• Chapter 25: Staging Activism: Performed activism as a vehicle for social change in Nigeria
• Interview with Dr. Oluwatoyin (Toyin) Olokodana-James
• Interview with Orwi Manny Ameh
• Interview with Dr. Tunde Awosanmi
• Chapter 26: Prosper Kompaoré and theatre for development in Burkina Faso: An Interview with Prosper Kompaoré.

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ISBN

• 1-04-001991-9
• 1-003-17606-2
• 1-04-001989-7

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