Trends in Indigenous African Drama Scholarship

Egwu, Anya Ude

doi:10.4314/jcs.v8i3.60719

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“…They see imitation/role-playing as the basic element of drama and rightly argue that any ritual or festival performance with discernible presence of this element can be regarded as drama while performances without its presence cannot be so regarded. The scholars identified here are Soyinka (1976Soyinka ( , 1982Soyinka ( , 1988Soyinka ( , 1997, Rotimi (1981), Ogunbiyi (1981), Adedeji (1969Adedeji ( , 1978Adedeji ( , 1981, and Egwu (2010Egwu ( , 2011.…”

Section: On the Dramatic Status Of The African Festival Performancementioning

confidence: 98%

“…On the other hand, the relativist scholars such as Enekwe (1981), andOgunba (1971) argued in favor of a profuse presence of drama in all African indigenous communities. Egwu (2010Egwu ( , 2011 suggests that the argument on the dramatic status of African festival performances has actually been between five orientations: the already known evolutionist and relativist tendencies and his identified three additional tendencies, namely, the isolationist, the oscillationist, and the contradictionist. In particular, Egwu (2011) considers the isolationist group as comprising scholars who avoid the all-exclusive and the all-inclusive postures of the evolutionist and relativist schools, respectively.…”

Section: On the Dramatic Status Of The African Festival Performancementioning

confidence: 99%

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Deployment of Rhetorical and Literary Tropes in Ewa-ọma Festival Performances of Nkporo, South-East Nigeria

2021

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African traditional drama has been researched from several perspectives. But there are hardly studies fully focusing on the deployment of language to achieve performance goals in particular performances. This failure may have roots in the widely held assumption that verbal language (dialogue) is not a serious element of African traditional drama. Studying language in particular performances will show that there are instances of full and effective deployment of verbal communication in the African traditional drama. This article, therefore, studies language in ewa-ọma performances. Using basic literary appreciation and critical analysis methods, with a new historicist bias, the literary and rhetorical components of language are identified and analyzed according to their space-time relevance in two performances, to demonstrate the manner of realization of dialogue and (inter)weaving of literary and rhetorical strategies. Literary tropes and rhetorical devices are effectively deployed in well-developed dialogues to achieve a satirical goal in the performances.

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Section: On the Dramatic Status Of The African Festival Performancementioning

confidence: 98%

Section: On the Dramatic Status Of The African Festival Performancementioning

confidence: 99%

Deployment of Rhetorical and Literary Tropes in Ewa-ọma Festival Performances of Nkporo, South-East Nigeria

2021

View full text Add to dashboard Cite

show abstract

Trends in Indigenous African Drama Scholarship

Cited by 1 publication

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Deployment of Rhetorical and Literary Tropes in Ewa-ọma Festival Performances of Nkporo, South-East Nigeria

Deployment of Rhetorical and Literary Tropes in Ewa-ọma Festival Performances of Nkporo, South-East Nigeria

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