LIT-304 — Modern African Drama: Lecture Note

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LA-NET | ONLINE LEARNING VIDEO PLATFORM FOR POST-SECONDARY & HIGHER INSTITUTION STUDENTS Course Code: LIT 304 Course Title: Modern African Drama Course Credit Load: 2 Units Series 1: Oral Sources of African Popular Theatre Series 2: Concert Party of Ghana and Folk Operatic Theatre in Nigeria Series 3: Foreign Influences and Literary Drama in Africa Series 4: Ideological and Aesthetic Features of Modern African Drama Series 5: Cultural Diffusion and Development of African Drama Proposed Outline for Series 1 Part 1.1: Origins of oral traditions in African theatre • Sub-Part 1.1.1: Storytelling and folktales • Sub-Part 1.1.2: Rituals, festivals, and communal performances Part 1.2: Travelling theatre in Africa • Sub-Part 1.2.1: Characteristics of travelling theatre • Sub-Part 1.2.2: Role of oral sources in travelling theatre Part 1.3: Concert party in Africa • Sub-Part 1.3.1: Origins and oral influences • Sub-Part 1.3.2: Performance styles and audience engagement Introduction Oral traditions have always been central to African cultural life, serving as the foundation for storytelling, rituals, and communal performances. These traditions gave rise to popular theatre forms such as the travelling theatre and the concert party, which continue to influence modern African drama. By tracing these oral sources, we gain insight into how African theatre evolved and how it reflects the values and experiences of communities.

LA-NET | ONLINE LEARNING VIDEO PLATFORM FOR POST-SECONDARY & HIGHER INSTITUTION STUDENTS The aim of this Series is to introduce you to the oral foundations of African popular theatre and to equip you with the skills to analyse how storytelling, rituals, and communal performances shaped the travelling theatre and concert party traditions. We shall commence this Series by examining the origins of oral traditions in African theatre, focusing on storytelling, folktales, rituals, and festivals. Next, we will explore the travelling theatre, considering its characteristics and reliance on oral sources. Finally, we will conclude with the concert party, analysing its oral influences, performance styles, and audience engagement. Series Learning Outcomes Upon completing this Series, you should be able to: • SLO 1.1 define oral traditions and explain their role in African theatre, • SLO 1.2 analyse the contribution of storytelling, folktales, rituals, and festivals to popular theatre, • SLO 1.3 describe the characteristics of travelling theatre and its reliance on oral sources, and • SLO 1.4 evaluate the oral influences, performance styles, and audience engagement in the concert party tradition. 1.1 Origins of Oral Traditions in African Theatre 1.1.1 Storytelling and folktales Storytelling is the oral art of narrating events, myths, or experiences to an audience. In African societies, storytelling has been a central means of transmitting knowledge, values, and traditions across generations. Folktales are traditional stories passed down orally, often featuring animals, heroes, or supernatural beings, and they serve both to entertain and to teach moral lessons. These oral forms laid the foundation for African theatre, as they involve performance, audience participation, and dramatic expression. Fill in the blank: Folktales are traditional stories passed down orally, often featuring animals, heroes, or __________ beings.

LA-NET | ONLINE LEARNING VIDEO PLATFORM FOR POST-SECONDARY & HIGHER INSTITUTION STUDENTS Traditional Pillar Visual Concept/Icons Core Function How It Forms Theatre ORAL NARRATION A powerful storyteller (Griot) holding a talking drum and a sacred staff, surrounded by intersecting sound waves. The Narrative Soul Transformation: The shift from a passive 'listener' to an engaged participant. The word is not just heard; it is performed through vocal texture, rhythm, and gesture, turning an historical record or folktale into a dramatic event. PERFORMANCE (Gestation/Action) A dynamic dancer wearing a traditional mask and full costume, frozen in motion. Flanked by masks, drums, and firelight. The Embodied Action Transformation: A storyteller (Griot) becomes a multi-character actor. Oral 'narration' is embodied through specific, often formalized physical movement, music (drumming, singing), and the use of masks or symbolic costumes. The act is the story. MORAL LESSONS (Didactic Purpose) A central, condensed symbol (like an Adinkra heart 'Sankofa' bird merging into a 'wisdom' scale and a law scroll). The Ethical Compass Transformation: Traditional stories and 'dilemma tales' are repurposed to address contemporary social/political conflicts, forcing the community to debate law, ethics, or leadership. Theatre becomes a functional tool for social engagement. (e.g., Sembène, Ngũgĩ) AUDIENCE PARTICIPATION (Call and Response) Two overlapping speech bubbles containing 'Call' and 'Response', linked by arrows to a vibrant circle of diverse, responding figures. The Communal Pulse Transformation: Breaking the 'fourth wall' is the primary goal. Spectators are not distant observers; they are integral co-creators. The Griot's 'call' demands the community’s 'response' (clapping, singing, interjecting), turning the

LA-NET | ONLINE LEARNING VIDEO PLATFORM FOR POST-SECONDARY & HIGHER INSTITUTION STUDENTS Traditional Pillar Visual Concept/Icons Core Function How It Forms Theatre performance into a collective act of affirmation or debate. Figure 1.1: Storytelling and folktales in African theatre 1.1.2 Rituals, festivals, and communal performances Rituals are formalised actions performed in religious or cultural contexts, often involving chants, dances, and symbolic acts. They are inherently theatrical, as they combine performance with meaning. Festivals are communal celebrations that bring people together through music, dance, and drama, reinforcing cultural identity and collective memory. Communal performances are shared artistic expressions, such as dances or dramatic enactments, where the community participates actively as performers or audience. These oral traditions shaped the travelling theatre and concert party by embedding performance in everyday life. Fill in the blank: Festivals are communal celebrations that bring people together through music, dance, and __________. Plate 1.1: Rituals and festivals as theatrical foundations Pilot questions 1.1 1. Folktales are traditional stories passed down orally, often featuring animals, heroes, or __________ beings. 2. State one purpose of storytelling in African societies. 3. Festivals are communal celebrations that bring people together through music, dance, and __________. 4. Give one example of how rituals are inherently theatrical. 5. Why are communal performances considered important in the origins of African theatre? 1.2 Travelling Theatre in Africa

LA-NET | ONLINE LEARNING VIDEO PLATFORM FOR POST-SECONDARY & HIGHER INSTITUTION STUDENTS 1.2.1 Characteristics of travelling theatre Travelling theatre refers to mobile performance groups that move from one community to another, presenting plays, songs, and dances. This form of theatre is deeply rooted in oral traditions, as performers rely on storytelling, improvisation, and audience participation rather than written scripts. Travelling theatre is characterised by its flexibility, accessibility, and ability to adapt performances to local contexts. It often addresses social issues, entertains, and educates, making it a vital cultural practice in African societies. Fill in the blank: Travelling theatre is characterised by its flexibility, accessibility, and ability to __________ performances to local contexts. Figure 1.2: Characteristics of travelling theatre 1.2.2 Role of oral sources in travelling theatre The strength of travelling theatre lies in its reliance on oral sources, which are spoken or performed traditions passed down through generations. These include folktales, proverbs, songs, and communal rituals. Oral sources provide the content, structure, and style of performances, ensuring that they resonate with audiences. They also allow performers to improvise and adapt stories to reflect contemporary issues. In this way, travelling theatre becomes both a mirror of society and a platform for cultural continuity. Fill in the blank: Oral sources such as folktales, proverbs, songs, and rituals provide the __________, structure, and style of travelling theatre performances.

LA-NET | ONLINE LEARNING VIDEO PLATFORM FOR POST-SECONDARY & HIGHER INSTITUTION STUDENTS Plate 1.2: Oral sources in travelling theatre Pilot questions 1.2 1. Travelling theatre is characterised by its flexibility, accessibility, and ability to __________ performances to local contexts. 2. State one feature of travelling theatre that makes it accessible to communities. 3. Oral sources such as folktales, proverbs, songs, and rituals provide the __________, structure, and style of performances. 4. Give one example of an oral source used in travelling theatre. 5. Why is travelling theatre considered both a mirror of society and a platform for cultural continuity? 1.3 Concert Party in Africa 1.3.1 Origins and oral influences The concert party is a form of popular theatre that emerged in West Africa, particularly Ghana, during the early twentieth century. It combined elements of music, dance, and comedy, often performed by itinerant groups in community spaces. Its origins are deeply tied to oral influences, such as storytelling, proverbs, and folk songs, which provided the content and structure of performances. The concert party drew heavily on improvisation, allowing performers to adapt stories and humour to suit local audiences. Fill in the blank: The concert party combined elements of music, dance, and __________, often performed by itinerant groups in community spaces. Oral Influence Visual Concept/Icons Core Aesthetic Function How It Forms Concert Party Theatre STORYTELLING (Orature/Performance) A powerful storyteller (Griot) holding a drum and a sacred staff, surrounded by sound wave symbols. The Narrative Soul Transformation: Utilizing traditional story patterns, vocal texture, and rhythm to process contemporary history (e.g., Ananse tales adapted to modern urban scenarios). The word is not just heard; it is performed, creating a dynamic feedback loop with the audience. (e.g., Sutherland)

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