Philosophical Rumination on Gelede: an Ultra-Spectacle Performance
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CULTURA CULTURA INTERNATIONAL JOURNAL OF PHILOSOPHY OF CULTURE CULTURA AND AXIOLOGY Founded in 2004, Cultura. International Journal of Philosophy of 2016 Culture and Axiology is a semiannual peer-reviewed journal devo- 2 2016 Vol XIII No 2 ted to philosophy of culture and the study of value. It aims to pro- mote the exploration of different values and cultural phenomena in regional and international contexts. The editorial board encourages the submission of manuscripts based on original research that are judged to make a novel and important contribution to understan- ding the values and cultural phenomena in the contempo rary world. CULTURE AND AXIOLOGY CULTURE INTERNATIONAL JOURNAL OF PHILOSOPHY INTERNATIONAL ISBN 978-3-631-71562-8 www.peterlang.com CULTURA 2016_271562_VOL_13_No2_GR_A5Br.indd 1 14.11.16 KW 46 10:45 CULTURA CULTURA INTERNATIONAL JOURNAL OF PHILOSOPHY OF CULTURE CULTURA AND AXIOLOGY Founded in 2004, Cultura. International Journal of Philosophy of 2016 Culture and Axiology is a semiannual peer-reviewed journal devo- 2 2016 Vol XIII No 2 ted to philosophy of culture and the study of value. It aims to pro- mote the exploration of different values and cultural phenomena in regional and international contexts. The editorial board encourages the submission of manuscripts based on original research that are judged to make a novel and important contribution to understan- ding the values and cultural phenomena in the contempo rary world. CULTURE AND AXIOLOGY CULTURE INTERNATIONAL JOURNAL OF PHILOSOPHY INTERNATIONAL www.peterlang.com CULTURA 2016_271562_VOL_13_No2_GR_A5Br.indd 1 14.11.16 KW 46 10:45 CULTURA INTERNATIONAL JOURNAL OF PHILOSOPHY OF CULTURE AND AXIOLOGY Cultura. 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This publication has been peer reviewed. www.peterlang.com CROSS-CULTURAL INTERMEDIALITY: FROM PERFORMANCE TO DIGITALITY CONTENTS Asunción LÓPEZ-VARELA AZCÁRATE 7 Introduction: Performance, Medial Innovation and Culture Ananta Charan SUKLA 13 Indian Intercultural Poetics: the Sanskrit Rasa-Dhvani Theory Krishna PRAVEEN and V. Anitha DEVI 19 Kathakali: The Quintessential Classical Theatre of Kerala Jinghua GUO 27 Adaptations of Shakespeare to Chinese Theatre Cyril-Mary Pius OLATUNJI and Mojalefa L.J. KOENANE 43 Philosophical Rumination on Gelede: an Ultra-Spectacle Performance María VIVES AGURRUZA 53 The Cultural Impact of the Nanking Massacre in Cinematography: On City of Life and Death (2009) and The Flowers of War (2011) Qingben LI 67 China’s Micro Film: Socialist Cultural Production in the Micro Era Annette THORSEN VILSLEV 77 Following Pasolini in Words, Photos, and Film, and his Perception of Cinema as Language Adile ASLAN ALMOND 83 Reading Rainer Fassbinder’s adaptation Fontane Effi Briest Yang GENG and Lingling PENG 103 The Time Phenomenon of Chinese Zen and Video Art in China: 1988-1998 Carolina FERNÁNDEZ CASTRILLO 125 Lyric Simultaneities: From “Words in Freedom” to Holopoetry Janez STREHOVEC 137 Digital Art in the Artlike Culture and Networked Economy Stefano CALZATI 153 Representations of China by Western Travellers in the Blogsphere Horea AVRAM 173 Shared Privacy and Public Intimacy: The Hybrid Spaces of Augmented Reality Art 10.3726/CUL2016-2_43 Cultura. International Journal of Philosophy of Culture and Axiology 13(2)/2016: 43–51 Philosophical Rumination on Gelede : an Ultra-Spectacle Performance Cyril-Mary Pius OLATUNJI Dept. of Philosophy & Theology, Collegeof Human Sciences, University of South Africa. [email protected] Mojalefa Lehlohonolo Johannes KOENANE Dept. of Philosophy & Theology, Collegeof Human Sciences, University of South Africa. [email protected] Abstract. Gelede is a typical Yoruba concept which has evolved into a traditional form of musical performance with its influence has transcend its traditional abode in the Yoruba communities of Nigeria and West Africa to Latin Americas, parts of Europe, Australia and the Black world at large. It also evolves beyond mere localized performance in which members of a community gathered in the town squares, market squares or the typical under the tree arrangements to a wider scale in all aspects of the social, and even religiouslives of the people. This paper combines an expository and comparative analysis with its main objective to sensitise scholarly attention to the phenomenon and to provide supplementary concise and critical source for further studies, philosophic analyses and scholarly interpretations. Keywords: Gelede, Gender Studies, Gon-gon music, Nigerian performance, Ritual, Yoruba INTRODUCTION Gelede is a typical Yoruba ritual and arts performance that has got its influence beyond its traditional abode in the Yoruba communities in Nigeria and West Africa to reach Latin America, parts of Europe, Australia and the Black world at large (Klein, 2007). It expanded form localized street performance in which members of a community gathered in the town squares, market squares or the typical under the big tree arrangement for the purpose of disseminating information, deliberating and ensuring social harmony in the community (Wiredu, 2000: 274-382), evolving in an unusual manner with wider, dipper and stronger influence on performing arts and on culture on the global scene. 43 C.-M. P. Olatunji, M.L.J. Koenane / Philosophical Rumination on Gelede ... As stated by Lawal Babatunde (1996: xiv,) very few works have been carried out specifically on Gelede. These include H. Ulli Beier (1958), Frank Speed (1968), and the first notable work carried out by an indigenous scholar, Anthony Asiwaju (1975). In his works Benedict Ibitokun (1987) also made a Gelede debut from a literary and linguistic perspective, consequently opening up a genuinely new horizon in the study of the traditional phenomenon. Since then public and scholarly interest has risen appreciably, and there have been analyses of Gelede from sociological, purely musical and historical perspectives. Scholars such as R. F. Thompson (1971) have studied Gelede from a philosophical perspective, providing a description of the aesthetic components of Gelede costume. Babatunde Lawal (1996) carried out an almost all encompassing groundbreaking work upon which this paper largely depends, without necessarily adopting its analysis or position. Since Lawal, only very little addition has been made to the body of knowledge about this aesthetically rich and epistemologically significant