1. The Theatre of Africa (A Quick Historical Breakdown)
Africa is considered the place from which humans originated.
The major period of colonization of Africa began after 1885, when leaders of Europe divided the continent into spheres of influence.
By 1900 all countries except Liberia and Ethiopia were under colonial rule.
Most countries won independence by the mid-1960’s but adopted governments similar to colonial rule.
The animosity against such governments has caused civil wars, genocide, and hostility to Western cultures continuing to today.
A very generic map of African colonies. See your World History teacher or book for something more specific (and accurate)!
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2. The Theatre of Africa (Some Basic Issues And Problems)
The first problem of studying African theatre history is the lack of historical documentation.
Griot – a storyteller who commits to memory a record of the community and passes it on to successors.
Oral tradition is difficult to maintain through civil war and conflict, so many important histories have been lost.
Slave trade greatly influenced the spread of African performance traditions, but because of slaves’ social status, these achievements are mostly undocumented.
As a result, much of the context for African performance tradition is unknown and/or misunderstood.
The many functions of a griot in African culture.
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3. The Theatre of Africa (Some Basic Issues And Problems)
The second problem is the complexity of performance elements.
Words are usually the least important, with other “languages” such as drumming and dance communicating more than spoken words.
Visual imagery, symbolism, gesture, mask, and costume which all may convey specific meaning are often difficult to describe or explain.
Frequently, components are added to a performance which seem to have little to do with the narrative and are left out of written scripts (if one is created).
Indigenous performance is so embedded into its specific culture that outsiders may be baffled by what insiders find perfectly clear.
During colonialism, even native-born scholars could become outsiders thanks to the education system.
Disney’s modern-day musical The Lion King draws inspiration for its costumes from traditional African components. Look at the texture and detail!
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4. The Theatre of Africa (Some Basic Issues And Problems)
The third problem is the vast diversity and blending of performance traditions as a result of Africa’s history.
The most common colonial languages were English and French.
In upper levels of education, those languages were used exclusively.
Classics of European drama were studied and performed in European-style theatres (proscenium stages).
After colonialism ended, leaders and upper-classes were generally educated in the European system.
As a result, national theatres were established based on European models.
This looks like a normal (though crowded) classroom to us, but schools in Africa are crafted to follow a European curriculum.
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5. The Theatre of Africa (Some Basic Issues And Problems)
Use of local languages and indigenous performance modes gained in popularity in protest against colonial values and practices.
It was argued that African languages were essential for the “decolonization of African minds.”
This resulted in a blending of European and indigenous forms of performance.
There is now a wide spectrum of theatre in Africa.
Notice here the blending of costume elements both modern/European and traditional/African.
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