ÒGBÓJÚ ỌDẸ NÍNÚ IGBÓ IRÚNMỌLẸ̀ (THE FOREST OF A THOUSAND DAEMONS: A HUNTER’S SAGA) AND LÁNGBÒDÓ (THE INDESCRIBABLE MOUNT): PERFORMING CULTURE IN AFRICA
Keywords:African theatre, Yorùbá experience, cultural realities, indigenous materials, ancestral cults, professionalism
The study of theatre culture in Africa provides a significant background to reassess the emphasis on orthodox ideologies and inﬂuence of European aesthetics on the development of African theatre. The tradition of locating the worldview of dramatic characters within a culture which the audience within the culture can emphathise with is universal. And in most instances it is the misinformation about what is stylistically diﬀerent across cultures that is instrumental in isolating non-Western people's experiences. Thus the contextualisation of D. O. Fágúnwà’s novel, Ògbójú Ọdẹ Nínú Igbó Irúnmọlẹ̀, translated from the Yorùbá as The Forest of a Thousand Daemons: A Hunters Saga by the Nobel Prize winner Wole Soyinka, and Lángbòdó, the stage adaption whose title, Lángbòdó (The Indescribable Mount), is based on the wild locale at the heart of the hunter's adventure in Fágúnwà's novel by Wálé Ògúnyẹmí, within the system of Aláárìnjó the indigenous Yorùbá Travelling Theatre in West Africa, asserts culture as a performance space. The approach to understanding the concept of a theatre is to understand the art form which is characteristic of the culture. In the dramatic narrative of the hunter-narrator on a mission to the distant Mount Lángbòdó, Fágúnwà and Ògúnyẹ́mí capture the functional dimensions of indigenous people's theatres distinctive from European realities. This paper is an attempt to emphasise the importance of revisiting the definitions and developments of theatre along the backgrounds of indigenous cultures and theatrical arts such as Aláárìnjó as drawn from the selected works of the two Yorùbá writers.
Adédèjì, Joel A. (1969), The Alárìnjó Theatre: A Study of Yorùbá Teatrical Art from its Earliest Beginnings to the Present Times, Doctoral thesis, University of Ibadan.
Adedokun, Remi A. (2009) Community Theatre Practice In Nigeria: A Practical Approach to Theatre for Development (TFD) in Africa, Ibadan: BookWright.
Adedokun, Remi A. (2012) Theatre Production Handbook: Guide to Selecting & Producing Plays, Ibadan: Stirling-Horden Publishers.
Adélùgbà, Dapo (1978), “Tree Dramatists in Search of a Language”, Theatre in Africa, edited by Ogunba, Oyin, Irele, Abiola, Ibadan: Ibadan University Press.
Banham, Martin (2004), “Preface”, A History of Theatre in Africa, edited by Banham, Martin, Cambridge: Cambridge University Press.
Barber, Karin (2004), “Literacy, Improvisation, and the Virtual Script in Yoruba Popular Theatre”, African Drama and Performance, edited by Conteh-Morgan, John, Olaniyan, Tejumola, Bloomington: Indiana University Press.
Carlson, Marvin (2011), “Performance Studies and the Enhancement of Theatre Studies”, The Rise of Performance Studies: Rethinking Richard Schechner's Broad Spectrum, edited by Harding, James, Rosenthal, Cindy, New York: Palgrave Macmillan.
Conteh-Morgan, John, Olaniyan, Tejumola (2004), “Introduction”, African Drama and Performance, edited by Conteh-Morgan, John, Olaniyan, Tejumola, Bloomington: Indiana University Press.
Dasylva, Ademola O. (2006), “Classifcatory Paradigms in African Oral Narrative”, Isese Monograph Series, vol. 1, no.1.
Ebewo, Patrick J. (2017) Explorations in Southern African Drama, Theatre and Performance, Newcastle: Cambridge Scholars Publishing.
Fabian, Johannes (1990), Power and Performance: Ethnographic Explorations Trough Proverbial Wisdom and Theater in Shaba, Zaire, Madison, Wisconsin: The University of Wisconsin Press.
Fabian, Johannes (2004), “Theatre and Anthropology, Theatricality and Culture”, African Drama and Performance, edited by Conteh-Morgan, John, Olaniyan, Tejumola, Bloomington: Indiana University Press.
Fágúnwà, D.O. (2013), Forest of a Thousand Daemons: A Hunter's Saga, translated by Soyinka, Wole, San Francisco: City Lights Books.
Fágúnwà, D.O. (2005), Ògbójú Ọdẹ Nínú Igbó Irúnmọlẹ̀, Ibadan: Nelson Publishers Limited.
Falola, Toyin (2003), The Power of African Cultures, Rochester: University of Rochester Press.
Fiebach, Joachin (2004), “Dimensions of Theatricality in Africa”, African Drama and Performance, edited by Conteh-Morgan, John, Olaniyan, Tejumola, Bloomington: Indiana University Press.
Graf, J. C.de (2002), “Roots in African Drama and Theatre”, Black Theatre: Ritual Performance in the African Diaspora, edited by Harrison, Paul Carter, Walker ll, Victor Leo, Edwards, Gus, Philadelphia: Temple University Press.
Igweonu, Kenneth, Okagbue, Osita (2013), “Introduction”, Performative Inter-Actions in African Theatre 2: Innovation, Creative and Social Change, edited by Igweonu, Kenneth, Okagbue, Osita, Newcastle: Cambridge Scholars Publishing.
Loxley, James (2007) Performativity, London: Routledge.
Nkashama, Pius Ngandu (2004), “Theatricality and Social Mimodrama”, African Drama and Performance, edited by Conteh-Morgan, John, Olaniyan, Tejumola, Bloomington: Indiana University Press.
Ogunyẹmi, Wale (1979) Langbodo, Lagos: Tomas Nelson.
Okagbue, Osita (2007) African Theatres and Performances, London: Routledge.
Quayson, Ato (2004), Pre-Texts and Intermedia: African Theatre and the Question of History, African Drama and Performance, edited by Conteh-Morgan, John, Olaniyan, Tejumola, Bloomington: Indiana University Press.
Riccio, Tomas (2007), Performing Africa: Remixing Tradition, Theatre, and Culture, New York: Peter Lang Publishing.
Stein, Rebecca L, Stein, Philip L. (2017), The Anthropology of Religion, Magic, and Witchcraf, London: Routledge.
How to Cite
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.