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First half of Theater2A at UCSB with McMahamon

autochthonous indigenous- plays tied to the land and region sprung from the earth anansi the spider from ghana ijapa from nigeria
diaspora the movement of africans moving to america and the carribean, communities that begun because of this
homowo(first fruits) festival the Ga people of Ghana homowo means jeering at hunger harvest is a tradition that also ensures a good crop for the next year to come, mandatory to have every year
animist have multiple gods
fallibility gods make mistakes, ask forgiveness from humans not only the other way around can be wrong
Ogun Yoruba god of Iron and War and recently, innovation and technology hacked between divide of realm of human and god with his iron a
ashe is life force of the yoruba people
engungun masking
griot -story tellers for important people,
epic of son-jara(sunjata) Mande people and the story from mali around 1240 a.d.
written histories present meaning as fixed and stable, no interpretation just facts
storytelling the meaning can be changeable and adaptive to the times
Anansi the Spider Originally from Ghana, the Akan people
Nyame- the supreme god of the Akan people
morality tale lesson learned at the end
Characteristics of Trickster Figures undermine the gods or other authorities introduce elements of chaos into an ordered society violate a society's sacred institutions and values
2 sets of characters in trickster tales trickster and neighbors, telling you to be like the neighbors
Ijapa The Tortoise From the Yoruba people in Nigeria
Efua Sutherland famous for orature Mother of Ghanian Drama”
orature combo of oral tradition and literature
mboguo disruption of the story/improvisation
Femi Osofisan
anansem anansi + sem(story/issue/problem)
anasegoro- anansi+ gro(theatre/musical)
Dilemma Tales no clear cut lesson
Metatheatre no fourth wall
Orunmila(Ifa) Yoruba Orisha(God) cowrie shells God of oracles an pleads on behalf of mankind
Olodumare Supreme God) of Yoruba
Esu (Eshu) Yoruba Orisha (god) God of paradox “messenger” and “trickster” god
fa( Orunmila) Divination Processions supplicant goes to Ifa priest, tells problem, priest casts Kola shells, supplicant chooses the best phrase, priest tells him what to do, active role for supplicant
total theatre multi media production with dialogue, music, song, dance, color and spectacle
First Generation 1960's directly following independence Ex. Wole Soyinka “The Strong Breed” Nigerian
Second Generation 1970's followed a Marxist agenda but targeted the educated class Ex. Femi Osofisan “Once Upon Four Robbers” NIgeria
Scramble for Africa- ivided Africa among the European colonies after slave trade ended
Civil War Biafran War 1967-1970: in Nigeria-fight for political power between different groups and regimes
SAP's Structural Adjustment Programs many restrictions and they require money to be invested in things like economy, not education
Postcolonialism attitude toward colonialism doesn't mean “after colonialism” but rather the feeling of resentment
afro-pessimism the tendency to associate Africa only with ethnic conflict, war and disease
Sango Yoruba God of Lightning god-king, only yoruba god to have formerly been a human
Wole Soyinka Series of ritual-centered plays interested in rituals gone awry
New Year Ritual a way to rid the village of all its sins and wrongdoings and bad things that happen
Ritual- Presentational, presents a reality (process in the now)
Drama Representational- re-presents a reality(already happened)
Phases of Ritual Victor Turner 1-preliminal 2-liminal 3-postliminal
Preliminal (separation)- Creation of Sacred Space
Liminal transition)- Anti Structure
Postliminal (incorporation)- Re-integration in society
fourth stage compared to the liminal /anti structure stage fourth stage is rituals
Chthonic realm abyss dividing gods from mortals
tragedy anguish of the severance humans feel being separated from gods
Scapegoat catalogues sins of people from old year from the hebrew old testament
obatala yoruba god of creation has patience, was imprisoned by Sango
Created by: hannad