1. art and entertainment
2. theatre

Course: PFA 404 – Contemporary African Drama (e Credits-Required)
Course Duration: Three hours per week for 15 weeks (45 hours)
Lecturer:
ADEOYE, A. AbdulRasheed
Ph.D. Theatre Arts (Ibadan), M.A. Theatre Arts (Ibadan), MPA
(Ilorin), Performing Arts (Ilorin).
Department of the Performing Arts,
University of Ilorin, Ilorin, Nigeria
E-Mail:
[email protected]
[email protected]
Office Location:
Room 11, Department of the Performing Arts,
University of Ilorin, Ilorin, Nigeria
Consultation Hours: 3.00pm-5.00pm (Wednesdays and Fridays)
Course Content
A study of drama in Africa from about the late 1940s to the present time. Broad trends
will be highlighted and attention given to the socio-cultural factors that influenced the
content and form of representative plays. 45h (T), R.
Course Description
This course is intended to provide comprehensive details about drama in Africa from the
1940s to the present time. The indigenous drama of the period under discourse will be Xrayed while the literary drama will serve as the main focus. The course covers the
essence of literary drama in some selected countries in Africa such as Nigeria, Ghana,
Kenya, South Africa, Morocco, Egypt and others. Topics such as South African market
theatre and the Fugardian tradition, the Ghanaian narrative tradition of Anasegoro,
traditional aesthetics in the African theatre, the controversies surrounding the
classification of African drama, feminist theatre, reception theory, factionalism,
protest/radical/Marxist drama, historicism and others will be covered in the course.
Representative plays are also expected to be read and discussed in the course with the
hope of honing and reviewing the socio-cultural factors that influenced those plays.
Course Justification
Considering the fact that the numerous African “cultures” and “pasts” are relevant in the
promotion of contemporary drama in Africa, the need to know the socio-cultural factors
that shape, and are currently shaping the contemporary drama in Africa cannot be
over-emphasised. This course also offers a potential graduate the opportunity of
becoming a professional practitioner, and for the advancement of humanity and theatre
scholarship.
Course Objectives
The main objective of the course is to avail students the opportunity to appreciate
contemporary African drama. By the end of the course, our expectation is that students
should be able to
(i)
appreciate the socio-cultural factors that influenced the contemporary African
drama
(ii)
describe the major and minor theatre traditions prevalent in the contemporary
African drama
1
(iii)
link the drama of the pre-colonial and colonial periods to the drama of the
contemporary period
(iv)
explain the styles and performance modes of the works of African dramatists
such as Wole Soyinka, Ola Rotimi, Zulu Sofola, Tess Onwueme, Akanji
Nasiru, Femi Osofisan, Efua T. Sutherland, Micere Mugo and Ngugi wa
Thiong’o, Athol Fugard, Tewfik Al-Hakim and others
(v)
acknowledge sources, causes and reasons for the controversies surrounding
the classification of contemporary African drama
(vi)
identify the reasons while contemporary African drama is functional and the
implication of this for the global theatre market
Course Requirements
75% attendance in classes is mandatory for all the students who offer the course and this
would qualify them to sit for the end of semester examination. Students would be
divided into groups and each group is expected to present a term paper or report on an
approved topic. Analysis of completed term paper or report would be done in class and
this would make the salient components of the course to be critically x-rayed. Also,
students are expected to read widely so as to be able to participate objectively during
normal lecture hours.
Methods of Grading
S/n Types of Grading
1.
Class Assignments/Test
2.
Term Paper or Seminar Paper
3.
Participation/Attendance in Class
4.
Final Examination
Total
Score (%)
10%
20%
10%
60%
100%
Course Delivery Strategies
Communicative face-to-face lectures will be the major method of course delivery. Group
works will be used in some topics while ideas would be exchanged through group or
online discussion.
Lecture Content
Week 1:
Introduction to Contemporary African Drama
Objectives: The main objective of the week is to describe the nature, forms and types of
contemporary African drama. Also, students should be able to appreciate the
peculiarities and importance of contemporary African drama in the society.
Description:
First Two Hours
An overview of the course
Nature of Contemporary African Drama
2
Last One Hour
Forms and types of Contemporary African Drama
Student Questions:
1.
Review the essence of the Contemporary African Drama.
2.
Examine the nature of Contemporary African Drama.
3.
What is ‘contemporary’ in the Contemporary African Drama.
4.
Enumerate the forms and types of the Contemporary African Drama.
5.
Mention four advantages inherent in studying Contemporary African Drama.
Reading List
1.
Adedokun2, Remi Ademola (2008). A pictorial history of Nigerian theatre and
Dramatists. Ibadan: Kraft Books Limited. pp. 19-109. ISBN 978-978-8425-52-6.
2.
African drama – globavoiceonline.org/2009/03/25/Africa-what-isafrican-drama3.
Accessed 24 August, 2011.
3.
African literature – Wikipedia, the free encyclopedia Available
http://en.wikipedia.org/wiki/Africanliterature3. Accessed 22 August, 2011.
4.
Dugga4, Victor Samson. (2002). Creolisations in Nigerian theatre. Bayreuth:
African Studies Series. pp. 11-28. ISBN 3-927510-72-6.
5.
Gbilekaa2, Saint. (1997). Radical theatre in Nigeria. Ibadan: Caltop Publications
(Nigeria) Limited. pp. 1-27. ISBN 978-31653-84-8.
6.
Ogunbiyi2, Yemi. (1981). Nigerian theatre and Drama: A critical profile. In:
Drama and theatre in Nigeria: A critical book (Ed.) Yemi Ogunbiyi. Lagos:
Nigerian magazine. pp. 3-50. ISBN 978-173-008-0.
Week 2:
at:
Conceptual Clarifications on Some Relevant Contemporary
African Drama’s Terms and Concepts
Objective: Students will describe and define the meaning of some relevant contemporary
African drama’s operating terms and concepts such as culture, performance, traditional
festival, ritual aesthetics, masquerading, multiculturalism, contemporary drama,
postmodern drama, African tragedy, African comedy and others in relation to
contemporary African drama. Examples would be drawn from representative countries
listed in the Course Description.
Description
First Two Hours
Conceptual clarifications on culture festival, ritual aesthetics, tradition and their relevant
examples
Conceptual clarifications on mask, puppetry and masquerading, interculturalism,
multiculturalism and their relevant examples
3
Last One Hour
Conceptual clarifications on contemporary theatre, postmodern theatre, African tragedy,
African comedy and others
Study Questions
1.
Define culture from three main perspectives.
2.
Conceptualise performance.
3.
Describe four major functions of theatre in a contemporary African
performance.
4.
What are the features of a multicultural performance?
5.
Distinguish African tragedy from classical tragedy.
6.
Define African comedy.
Reading List
1.
Kernodle1, George; Kernodle, Portia and Poxley, Edward. (1985). Invitation to
the theatre. New York: HBJ. pp. 15-28 and pp. 424-438. ISBN 0-15-546924-x.
2.
Lawal2, Olutoba Hameed, (2010). Fundamentals of theatre arts. Ibadan: Glory
Land Publishing Company. pp. 1-23. ISBN 978-31064-7-0.
3.
Layiwola2, Dele. (2001). Ritual drama humanistic methodology?” Thoughts on
the new theatre. In: Cross-currents in African theatre (Ed.) Austin Asagba.
Ibadan: Kraft Books Limited. pp. 212-229. ISBN 978-039-121-5.
4.
Musa1, Rasheed Abiodun. (2004). Multiculturalism and the dialectics of ethnic
Images in the Nigerian theatre. The Performer: Ilorin journal of the performing
Arts, 6: 63-82. ISSN 1595 – 0972.
5.
Wallace4, Anthony. (1970). Culture and personality. New York: Random House.
pp. 40-73. ISBN 394-30856-5.
6.
Yerima2, Ahmed. (2001) Colonialism and the development of drama in Nigeria.
In: Austin Asagba (Ed.) Cross-currents in African theatre. Ibadan: Kraft Books
Limited. pp. 40-51. ISBN 978-039-121-5.
Week 3:
Socio-cultural Factors that Influenced the Content and
Forms of Contemporary African Drama (1940 to 1960)
Objectives: The objectives of this week are to explain the socio-cultural factors that
influenced the content of Contemporary African Drama.
Description
First Two Hours
The socio-cultural factors that influenced the content of Contemporary African Drama
(1940 to 1960)
Last One Hour
The socio-cultural factors of influence in relation to the forms of Contemporary African
Drama (1940 to 1960)
4
Study Questions:
1.
Enumerate the forms of theatre prevalent in the contemporary African drama
between 1940 to 1960
2.
What are the cultural factors that influenced the content and form of the
contemporary African drama between 1940 to 1960?
3.
Review the political problems that influenced the content and form of
contemporary African drama during the colonial period.
4.
Discuss the works of two African theatre dramatists that condemned colonial
imperialism before independence.
5.
“Ethnicity is a key factor in the development of African drama of the 1950s”.
Do you agree?
Reading Lists
1.
Adedeji2, Joel Adeyinka and Ekwuazi, Hyginus, (1998). Nigerian theatre:
Dynamics of a movement. Ibadan: Caltop Publications (Nigeria) Limited. pp. 175, ISBN 978-31653-1-3.
2.
Clark4, Ebun. (1979). Hubert Ogunde: The making of Nigerian theatre. London:
Oxford University Press. pp. 1-97. ISBN 0-19-575647-9.
3.
Dugga4, Victor Samson. (2002). Creolisations in Nigeria theatre. Bayreuth:
African Studies Series. pp. 70-78. ISBN 3-927510-72-6.
4.
Gbilekaa2, Saint. (1997). Radical theatre in Nigeria. Ibadan: Caltop Publication
(Nigeria) Limited, pp. 1-72 and pp. 117-171. ISBN 978-31653-84-8.
5.
Jeyifo4, Biodun (1984). The Yoruba popular traveling theatre of Nigeria. Lagos:
Nigeria Magazine. pp. 1-113. ISBN 978-173-101-2.
6.
Lindfors4, Bernth. (2002). Folklore in Nigerian Literature. Ibadan: Caltop
Publications (Nigeria) Limited. pp. 6-23 and pp. 105-115. ISBN 978-36442-0-3.
7.
Ogunbiyi2, Yemi (1981). Nigerian theatre and drama: A critical profile. In:
Drama and theatre in Nigeria: A critical source boo (Ed.) Yemi Ogunbiyi. Lagos
Nigeria Magazine. pp. 3-56. ISBN 978-173-008-0.
8.
Yerima2, Ahmed. (2005). Modern Nigerian theatre: The Geoffrey Axworthy
Years, 1956-1967. Ibadan: Kraft Books Limited. pp. 11-36 and pp. 49-51.ISBN
978-039-135-5.
Week 4:
Socio-cultural Factors that Influenced the Content and
Forms of Contemporary African Drama (1960 to Date)
Objectives:
Students should be able to explain the socio-cultural factors that
influenced the content and form of Contemporary Drama from 1960 to
date
5
Description:
First Two Hours
The socio-cultural factors that influenced the content of Contemporary African Drama
(1960 to date)
Last One Hour
The socio-cultural factors of influence in relation to the form content of Contemporary
African Drama (1960 to date)
Study Questions:
1.
What are the factors that influenced the post-independence drama of Africa?
2.
Review the problems of military intervention and its impact on the African
cultural landscape.
3.
List and discuss four dominant forms of drama prevalent in contemporary
Africa.
4.
Discuss the works of two African theatre artists that condemned neocolonialism.
5.
Examine the political problems that influenced the content and form of postindependence African drama.
Reading List
1.
Adedeji2, Joel Adeyinka and Ekwuazi, Hyginus. (1998) Nigerian theatre
Dynamics of movement> Ibadan: Caltop Publications (Nigeria Limited. pp. 133162. ISBN 978-31653-1-3.
2.
Malomo2, Jide and Gbilekaa, Saint (Eds.) (1993). Theatre and politics in Nigeria.
Ibadan: Caltop Publications (Nigeria) Limited. pp. 1-159. ISBN 978-31653-1-3.
3.
Musa, Rasheed Abiodun. (2003) Theatre practice and electioneering campaigns in
Nigeria. Legon journal of humanities. xiv: 33-54. ISSN 0855-1502.
4.
Musa, Rasheed Abiodun (2006). The theatre of Ovonramwen: A reflection on the
dramaturgy and politics of historical reconstruction in the Nigerian theatre. Babel:
International journal of translation. 52(2): 153-171. ISBN 1569-9668.
5.
Dasylva4, Ademola (2003). Dapo Adelugba on theatre practice in Nigeria:
Interview by Ademola Dasylva. Ibadan: Ibadan Cultural Studies Group. pp. 37297. ISBN 978-35454-2-6.
6.
Osofisan2, Femi. (2001). Insidious treasons: Drama in a postcolonial state:
Essays Ibadan: Opon Ifa Readers. pp. 1-202. ISBN 978-33259-6-5.
Week 5 and 6:
Controversies Surrounding the Classification of
African Drama
Objectives: The objectives of the two weeks are to explain the controversies surrounding
the classification of African drama by different scholars. Also, the five main schools that
have emerged on the classification of African drama would be discussed.
6
Description
First two Hours in week 5
Relaying the problem of terminologies within the controversies
The genesis of the controversies
Last One Hour in week 5
The five controversies and the scholars involved
First Two Hours in week 6
The first three schools on the controversies (Evolutionists, Referentialists and the
Relativists)
Last One Hour in Week 6
The last two schools on the controversies (Alienistics, and the Diasporans)
Study Questions
1.
What are the factors responsible for the classification of African drama?
2.
Is comparative analysis of African drama with Western drama necessary for
the development of African drama?
3.
Critique the Cambridge Anthropologists on their impressions on Greek ritual
and tragedy.
4.
What are the implications of the controversies surrounding the classification
of African drama on literary criticism?
5.
Are the controversies in the classification of African drama beneficial to the
development of theatre practice?
6.
What are the arguments of the Evolutionists in the development of African
drama?
7.
Describe the factors responsible for the position taken by the Referentialists.
8.
“The Diasporans are too Europeanised and they cannot talk about African
drama”. Do you agree?
9.
Explain the socio-cultural factors that influenced the position of the
Alienistics in the classification of African drama.
10.
“The Relativists have no ideological position in the classification of African
drama”. Do you agree?
11.
How will you classify African drama?
Reading List
1.
Amkpa4, Awam. (1986). Hegemony and drama: The crisis of Nigerian literary
drama. Nigeria Magazine. 54 (3): 82-89. ISBN 029-0033.
2.
Clark2, J.P. (1981). Aspects of Nigerian drama. In: Drama and theatre in Nigeria:
A critical source book (Ed.) Yemi Ogunbiyi. Lagos: Nigeria Magazine. pp. 57-76.
ISBN 978-173-008-0.
3.
Dugga4, Victor Samson (2002). Crealisations in Nigerian theatre. Bayreuth:
African Studies series. pp. 11-25. ISBN 3-927510-72-6.
4.
Jeyifo2, Biodun (1981). Literary drama and the search for a popular theatre in
Nigeria. In: Yemi Ogunbiyi Drama and theatre in Nigeria: A critical source book
7
(Ed.) Yemi Ogunbiyi. Lagos: Nigeria Magazine. pp. 411-424. ISBN 978-173008-0.
5.
Nzewi2, Meki (1981). Music, dance drama and the stage in Nigeria. In: Drama
and theatre in Nigeria: A critical source book (Ed.) Yemi Ogunbiyi Lagos:
Nigeria Magazine. pp. 433-456. ISBN 978-173-008-0.
6.
Obafemi2, Olu. (1996). Contemporary Nigerian theatre: Cultural heritage and
social vision. Lagos: CBAAC. pp. 67-167. ISBN 978-039-046-4.
7.
Osofisan2, Femi. (2001). The political imperative in African dramaturgy and
theatre practice. In Cross-currents in African theatre (Ed.) Austin Asagba.
Ibadan: Kraft Books Limited. pp. 15-20. ISBN 978-039-121-5.
8.
Rotimi2, Ola (1981). The drama in African ritual display. In: Drama and theatre
in Nigeria: A critical source book (Ed.) Yemi Ogunbiyi. Lagos: Nigeria Magazine
pp. 77-80. ISBN 978-173-008-0.
9.
Soyinka2, Wole (1981). Towards a true theatre. In: Drama and theatre in Nigeria:
A critical source book (Ed.) Yemi Ogunbi Lagos: Nigeria Magazine pp. 457-461.
ISBN 978-173-008-0.
10.
Ukala, Sam. (2007). African theatre: Beast of no gender?. Abraka: Delta State
University. pp. 3-55. ISBN 978-33872-4-2.
11.
Wka4, Kalu. (2000) Creation and creativity: Perspective. Purpose and practice of
theatre in Nigeria. Calabar: Manson Publishing Company. pp. 1-23. ISBN 9782451-74-6.
Week 7:
Indigenous Traditional Aesthetics in the Contemporary
African Drama
Objectives: The main objective of the week is to explain and describe, through two
representative plays; Wole Soyinka’s Death and the King’s Horseman and Ola Rotimi
Kurunmi, the prevailing indigenous/traditional aesthetics in contemporary African drama.
Description
First Two Hours
The prevailing indigenous/traditional aesthetics in contemporary African drama
Last One Hour
Indigenous/traditional aesthetics in relation to the two representative plays
Study Questions:
1.
What are the prevailing indigenous/traditional aesthetics in contemporary
African drama?
2.
Enumerate six indigenous/traditional aesthetics in Wole Soytinka’s Death and
the King’s Horseman.
8
3.
4.
5.
6.
Describe and explain five indigenous/traditional aesthetics in Ola Rotimi’s
Kurunmi.
What is total theatre?
Using three characters of your choice from Wole Soyinka’s Death and the
King’s Horseman, discuss the Yoruba cycle of life.
What is the place of tradition in Ola Rotimi’s Kurunmi?
Reading List
1.
Obafemi2, Olu. (2009). Politics and aesthetic: Essays in drama, theatre and
performance. Ilorin: Haytee Press and Publishing Co. Ltd. pp. 1-132. ISBN
978-8090-40-0.
2.
Ogunbiyi2, Yemi (1981). Nigerian theatre and drama: A critical profile. In:
Drama and theatre in Nigeria: A critical source book (Ed.) Yemi Ogunbiyi
Lagos: Nigeria Magazine. pp. 3-56. ISBN 978-173-008-0.
3.
Ogundeji4, Adedotun, (2003). Forms of ‘traditional’ theatre practice in
Nigeria. In: Dapo Adelugba on theatre practice in Nigeria. (Interview by
Ademola Dasylva). Ibadan: Ibadan Cultural Studies Group pp. 3-37 ISBN
978-35454-2-6.
4.
Rotimi2, Ola. (1971). Kurunmi. Ibadan: University Press Ltd. pp. 11-95. ISBN
978-030556-4.
5.
Soyinka4, Wole. (1988). Death and the king’s horseman. In: Wole Soyinka six
plays. Ibadan: Spectrum Books Limited. pp. 147-220. ISBN 978-276-011-7.
Week 8:
Feminist Drama in Contemporary African Drama
Objectives: Students will be able to explain the core issues involved in feminist drama
and how the issues are important in the contemporary African drama. E.O. Kofoworola’s
Queen Ghasengeh and Irene Isoken Salami’s Sweet Revenge will be used as two
representative plays.
Description
First two Hours
Feminism and feminist drama in Contemporary African Drama
Last One Hour
Feminist drama in E.O. Kofoworola’s Queen Ghasengeh and Irene Isoken Salami’s
Sweet Revenge
Study Questions:
1.
Define feminism.
2.
What are the factors the influenced feminist drama in contemporary African
drama?
3.
Review E.O. Kofoworola’s Queen Ghasengeh as a feminist play.
9
4.
5.
“Irene Isoken Salami’s Sweet Revenge is a feminist drama carried too far?”
Do you agree?
Describe three major ways in which feminist drama can be developed in
African.
Reading List
1.
Idegu2, Emmy Unuja (Editor). (2009). Feminist aesthetics and dramaturgy of
Irene Salami-Agunloye. Jos: Department of Theatre and Film Arts. pp. 3-420.
ISBN 978-978-908-249-0.
2.
Keyssar1, Helene (Editor). (1996). Feminist theatre and theory. London:
Macmillan Press Ltd. pp. 1-136. ISBN 0-333-61550-6.
3.
Kofoworola2, Ziky. (2008). Queen ghasengeh. Ogbomoso: DorcAmos Tops
Publishers. pp. 1-150. ISBN 978-30603-5-7.
4.
Otokunefor4, Henrietta and Nwodo, Obiageli (Editor). (1989). Nigerian
female Writers. A critical perspective. Lagos: Malthouse Press Limited. pp.
53-68. ISBN 978-2601-09-8.
5.
Salami2, Irene Isoken. (2004). Sweet revenge. Jos: Saniez Publications. pp. 184. ISBN 978-35793-9-8.
Week 9 and 10:
Political Satire in Contemporary African Drama
Objectives: The objectives of the two weeks are to explain and describe the
interconnection between theatre and politics, and the core issues involved in political
satire in contemporary African drama through four representative plays.
Description
First One Hour in Week 9
The interconnection between theatre and politics, and political satire in contemporary
African drama
Last Two Hour in Week 9
Political satire in relation to Ngugi wa Thiong’o and Micere Githae Mugo’s The Trial of
Dedan Kmathi and Wole Soyinka’s A Dance of the Forests
First One Hour in Week 10
Core issues involved in political satire in contemporary African drama
Last Two Hours in Week 10
Political satire in relation to Tewfik Al-Hakim’s Fate of a Cockroach and The Sultan’s
Dilemma
Study Questions:
1.
Review the interconnection between theatre and politics.
2.
Define political satire.
3.
Examine the factors that led to neo-colonialism in Ngugi wa Thiong’o and
Micere Mugo’s The Trial of Dedan Kimathl.
10
4.
5.
6.
7.
“Wole Soyinka’s A Dance of the Forests is a play of political struggle”. Do
you agree?
Examine the heroes and the anti-heroes in Ngugi wa Thiong’s and Micere
Githae Mugo’s The Trial of Dedan Kimathi.
With Illustrative examples, examine three major thematic pre-occupations in
Tewfik Al-Hakim’s Fate of a Cockroach.
What are the Sultan’s Dilemma in Tewfik Al-Hakim’s Sultan’s Dilemma?
Reading Lists
1.
Al-Hakim2, Tewfik. (1999). Sultab’s dilemma. In: Fate of a cockroach and
other plays Nairobi: HEB Ltd. pp. 95-172. ISBN 0 435 901176.
2.
Al-Hakim2, Tewfik. (1999). Fate of a cockroach and other plays. Nairobi:
HEB Ltd. pp. 1-77. ISBN 0 435 90117 6.
3.
Ibitokun4, B.M. (1994). Villainy and psychopathology: Wole Soyinka and
political power. In: Soyinka: A collection of critical essays (Ed.) Oyin
Ogunba. Ibadan: Syndicated Communications Ltd. pp. 64-88 ISBN 978 3115
66.
4.
Maduakor2, Obi. (1991). Wole Soyinka: An introduction. Ibadan: HEB Nigeria
Plc. pp. 285-329. ISBN 978 129 177X.
5.
Ogunba4, Oyin. (1975). Movement of transition: A study of the plays of Wole
Soyinka. Ibadan: Ibadan University Press. pp. 69-102. ISBN 978 121 008.
6.
Soyinka4, Wole. (1973). A dance of the forests. In: Wole Soyinka Collected
plays. London: Oxford University Press. pp. 1-78. ISBN 019 281136 3.
7.
Thiong’o4, wa Ngugi and Mugo, Githae Micere. (1990). The trial of dedan
kimathi. Nairobi: HEB Ltd. pp. 3-85. 0 435 90191 5.
8.
Thiong’o4, wa Ngugi (1994). Decolonising the mind. Nairobi: EAEP. pp. 3462. ISBN 0-435-08016-4.
Week 11:
Radical/Protest/Marxist Drama
Objectives: Students will be able to explain and locate the aesthetics and poetics of
radical/protest/Marxist drama in contemporary Africa. This will be done through two
representative plays.
First One Hour
Discourse on radical/protest/Marxist drama
Aesthetics and features of radical/protest/Marxist drama
Last Two Hours
Features of radical/protest/Marxist drama in Akanji Nasiru’s Come Let us Reason
Together and Olu Obafemi’s Naira Has No Gender
11
Study Questions:
1.
Explain the factors that led to the development of radical/protest/Marxist
drama in Africa.
2.
Critique Akanji Nasiru’s Come, Let us Reason Together as a Marxist play.
3.
Review the “recurrent problem of violent clashes between students and law
enforcement agents in Nigeria” in Akanji Nasiru’s Come Let us Reason
Together.
4.
Examine Olu Obafemi’s Naira has no Gender as a protest play.
5.
Explain the essence of gender in Olu Obafemi’s Naira has no Gender.
6.
“Olu Obafemi’s Naira has no Gender is a sad commentary on the evil of
capitalism in Nigeria”. Do you agree?
Reading List
1.
Jeyifo4, BIodun (Ed.) (1985). Contemporary Nigerian literature: A
Retropective and prospective exploration. Lagos: Nigeria Magazine pp. 1143. ISBN 973-173-034-x.
2.
Obafemi1, Olu. (2003). Naira has no gender. Ibadan: Kraft Books Limited.
pp. 5-60. ISBN 978-039-085-5.
3.
Obafemi2, Olu. (2009). Politics and aesthetics: Essays in drama theatre and
performance. Ilorin: Haytee Press and Publishing Co. Ltd. pp 1-212. ISBN
978-8090-40-0.
4.
Nasiru4, Akanji. (1987). Come, let us reason together. Ijebu-ode: Shebiotimo
Publications. pp. 8-54. ISBN 978-2530-13-1.
Week 12, 13 and 14:
Seminar Presentations
Objectives: Students are expected to present and defend some topic assigned to them on
various topics such as South African market theatre and the Fugardian tradition, the
Ghanaian narrative tradition of Anasegoro, reception theory, factionalism, historicism
and others. Representative plays will be used to interrogate most of the topics.
Description:
First Two Hours in week 12
South African market theatre and the Fugardian tradition
The Ghanaian Anasegoro in contemporary African drama
Last One Hour in Week 12
Reception theory in contemporary African drama
First Two Hours in Week 13
Factionalism in contemporary African drama
Historicism in contemporary African drama
Last One Hour in Week 13
Tragedy and the tragic vision in contemporary African drama
First Two Hours in Week 14
Comedy and the comic vision in contemporary African drama
12
Brechtian aesthetics in contemporary African drama
Last One Hour in Week 14
Neo-alienation style in contemporary African drama
The folkist drama in contemporary African drama
Study Questions:
1.
Discuss the roles of the theatre in Apartheid South Africa.
2.
What are the factors responsible for the development of South African market
theatre?
3.
Explain the Ghanaian narrative tradition of Anasegoro as a theatre of the
people.
4.
Using two plays of your choice, support the notion that “African drama is any
drama that embodies the yearnings, experiences and sensibility of the African
people”.
5.
What are the features of neo-alienation style?
6.
Examine the advantages and disadvantages of folkist drama.
7.
What are the factors responsible for the development of Brechtian aesthetics
in the contemporary African drama?
8.
“African tragic plays are mere imitation of the contents and forms of classical
Greek tragic works. Do you agree?
9.
Review comedy and the comic vision in contemporary African drama.
10.
Define reception theory.
11.
What are the relevance of historicism in contemporary African drama?
12.
Conceptualise factionalism.
Reading List
1.
Aidoo2, Ama Ata. (1983), Anowa. Essex: Longman Group Limited. pp. 1-64.
ISBN 0 582 64269 8.
2.
Aristotle4, (1997). Aristotle Poetics (Dover Thrifls Editions). New York: D
over Publications. pp. iii – 60. ISBN 0-486-29577-X.
3.
Bamidele2, Lanrele Oladele. (2001). Comedy: Essays and studies. Ibadan:
Stirling-Horden Publishers (Nig.) LTD. pp. 1-106. ISBN 978-032-000-8.
4.
Fugard4, Athol. (1993). The township Plays: No-good Friday, Nongogo. The
coat, Sizwe Bansi is dead, The island. Oxford: Oxford University Press. pp.
14-0233. ISBN 0-19-282925-4.
5.
Idegu2, Emmy Unuja. (2008). Ata Igala the great. Kaduna: Tw Press and
Publishers. pp. 5-98. ISBN 978-219-370-4.
6.
Musa4, Rasheed Abiodun. (2006). The theatre of Ovoramwen: A reflection on
the dramaturgy and politics of historical reconstruction in the Nigerian theatre.
Babel: International journal of translation, 52(2): 153-171. ISBN 1569-9668.
13
7.
Sfofola2, Zulu. (1980). Wedlock of the Gods. Ibadan: Evans Brothers (Nigeria
Publishers) Limited. pp. 1-56. ISBN 0 237 28867 2.
8.
Sutherland2, Efua. (1975). The marriage of Anansewa. Essex: Longman
Group Limited. pp. v – 82. ISBN 0 582 64260 4.
9.
Ukala4, Sam (1997). Two plays: The placenta of death, The last heroes.
Agbor: oris Press pp. vi – 78. ISBN 998-2146-00-5.
10.
Ukala4, Sam (2007). African theatre: Beast of no gender?. Abraka: Delta State
University. pp. 3-55. ISBN 978-33872-4-2.
11.
Yerima2, Ahmed. (1998). The trials of Oba OPvonramwen. Ibadan: Kraft
Books Limited. pp. 6-80. ISBN 978-3039-001-40.
12.
Yerima2, Ahmed. (2003). Fragmented thoughts and specifics: Essays in
dramatic literature. Ikeja: Bookplus Nigeria Limited. no. 1-70. ISBN 97836506-2-9.
13.
Yerima2, Ahmed. (200). Ameh Oboni the great. Ibadan: Kraft Books Limited
pp. 5-63. ISBN 978-039-152-5.
14.
Yerima2, Ahmed. (2009). Discourse on tragedy. Minna: Gurara Publishing.
pp. 13-94. ISBN 978-978-49020-2-1-
Week 15: Test and General Revision
Objectives: Students are expected to do a written test to evaluate their understanding of
the course. Ample time would be given to question and answer session for a proper
analysis, review and integration of various topics and major highlights treated in the
course.
Study Questions:
1.
Suggest ways in which contemporary African drama can be developed.
2.
What are the hindrances to the development of contemporary African drama?
3.
Conceptualise historicism.
4.
Through two plays of your choice, support the notion that “reception theory is
built on the argument that, a play, which is written with the historical
materials of a particular people, must belong to somebody be it the
community or the society”.
5.
Differentiate between reception theory and historicism.
6.
How has colonialism affected and influenced contemporary African drama.
7.
In what ways can contemporary African drama contribute to the development
of African continent?
8.
Critique any tragic play within the contemporary African drama praxis.
9.
Should a dramatist be an ideologue?
10.
Attempt a re-classification of contemporary African drama.
14
Suggested General Reading List
1.
Adeoti2, Gbemisola. (2010). Aesthetics of adaptation in contemporary
Nigerian drama. Lagos: CBAAC. pp. 7-74. ISBN 978-978-8406-57-0.
2.
Adeoye2, AbdulRasheed Abiodun. (2009). The Killers (A social drama).
Ilorin: Department of the Performing Arts. pp. iv-65. ISBN 1595-0972.
3.
Adeoye2, AbdulRasheed Abiodun. (2009). The smart game (A ‘neo-alienation
script). Ilorin: Department of the Performing Arts. pp. iv-77. ISBN 15950972.
4.
Akinwale4, Ayo. (1998). This King must die. Ibadan: Caltop Publications
(Nig) Limited. pp. 3-78 ISBN 978 31653 3.
5.
Areo2, Margaret Olugbemisola. (2011). Oluyare: The aesthetic and
dramaturgical significance of masquerade performance of Edi festival. In:
Technical theatre and the performing arts in Nigeria (Eds.) Duro Oni and
Sunday Enessi Ododo. Lagos: CBAAC. pp. 54-68. ISBN 978-978-914-337-5.
6.
Asigbo4, Alex and Utoh-Ezeajugh. (2011). African literary adventure in the
21st century: Signposts of radicalism in contemporary Nigerian drama. In:
Development in the theory and practice of contemporary Nigerian drama and
theatre: A festschrift in honours of Dapo Adelugba (Eds.) Duro Oni and Sola
Adeyemi. Pp. 121-128. ISBN 978-0-9566837-0-0.
7.
Eagleton4, Terry. (1999). From towards a revolutionary criticism. In: Literary
theories. A reader and guide (Ed.) Julian Wolfreys. Washington: New York
University Press. pp. 109-115. ISBN 0-8147-9361-4.
8.
Ezenwanebe2, Osita. (2011). Male ego and the crisis of gender in modern
African drama and theatre. In: Technical theatre and the performing arts
(Eds.) Duro Oni Sunday Enessi Ododo. Lagos: CBAAC. pp. 273-298. ISBN
978-978-914-337-5.
9.
Kofoworola2, Ziky. (2006). Futonje: Our love (Cause for national
integration). Ogbomoso: DorcAmos Tops Publishers. pp. iv-98. ISBN
97830603-1-7.
10.
Kofoworola2, Ziky. (2008). Queen ghasengeh. Ogbomoso: DorcAmos Tops
Publishers. pp. iv – 150. ISBN 978-30603-5-7.
11.
Osofisan2, Femi (2003). Many colour make the Thunder-King. In: Major
plays- 1. Ibadan: Opon Ifa Readers. pp. 9-96. ISBN 978 3613626.
12.
Osofisan2, Femi (2003). Farewell to a cannibal rage. In: Major Plays-1.
Ibadan: Opon Ifa Readers. pp. 97-168. ISBN 978 361362 6.
15
13.
Robbins4, Ruth. (1999). Introduction: Will the real feminist theory please
stand up? In: Literary theories: A reader and guide (Ed.) Julian Wolfreys.
Washington: New York University Press. pp. 49-58. ISBN 0-8147-9361-4.
14.
Williams4, Raymond. (1999). Marxism and literature. In: Literary theories: A
reader and guide (Ed.) Julian Wolfreys. Washington: New York University
Press. pp. 116-131. ISBN 0-8147-9361-4.
15.
Yerima4, Ahmed (2011). Issues and development in contemporary Nigerian
drama and theatre practice. In: Developments in the theory and theatre: A
festschrist in honour of Dapo Adelugba (Eds.) Duro Oni and Sola Adeyemi.
United Kingdom: Alpha Crownes Publishers. pp. 47-58. ISBN 978-09566837-0-0.
Legend
1.
2.
3.
4.
- Available in the University Library
- Available in local bookshops
- Available on the Web
– Personal collection
16