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A Critical Inquiry Into the Evolutionof Socio-Political A CRITICAL INQUIRY INTO THE EVOLUTIONOF SOCIO-POLITICAL PERFORMANCES IN TRADITIONAL NIGERIA YORUBA ALARINJO AND CONTEMPORARY ITINERANT THEATRE THROUGH A REVIEW OF SELECTED WORKS OF HUBERT OGUNDE, WOLE SOYINKA, OLA ROTIMI AND FEMI OSOFISAN BAKARE, Babatunde Allen Dissertation Presented for the Degree of Doctor of Philosophy (Drama and Theatre Studies) at the Stellenbosch University, South Africa Promotor: Prof. Petrus du Preez , 2018 December 1 Stellenbosch University https://scholar.sun.ac.za DECLARATION I, the undersigned, hereby declare that the work contained in this dissertation is my own original work and that I have not previously in its entirety or in part submitted it at any University for a degree. Signature…………………… Date…………… Bakare Babatunde Allen December 2018 Copyright © 2018 Stellenbosch University All rights reserved 2 Stellenbosch University https://scholar.sun.ac.za ACKNOWLEDGEMENTS I thank the Almighty God for His grace and mercy towards the completion of this research work. I want to thank my dear wife, Adejoke Yewande Bakare and my children — Eyitayo, Oluwateeniolafunmi and Oluwadarasimi Bakare — for their passionate support and understanding around my scheduled visits to South Africa during the course of the programme. You all availed me the critical foundation right from the beginning of the research up to its completion. You are my esteemed Angels! My profound gratitude goes to the Chair of the Drama Department, Stellenbosch University, Prof. Petrus du Preez, who is also my promoter and supervisor. Thank you for your endless efforts to ensure the necessary depth in this thesis. I appreciate your mentoring, which has extremely transformed my scope of understanding and learning. I also extend my deep appreciation to Prof. Marie Kruger and Prof. Temple Hauptfleisch, together with the entire academic and non-academic staff of the Drama Department, Stellenbosch University. You have aided and supported me all the way, and collaborated to advance the course of this study. I appreciate you all. I treasure my father and mother-in-law; Prof. Isola Olomola and Chief (Mrs) Adunni Olomola for their kind words of encouragement and support right from the beginning to the end of this research work. Also, I thank Mr. Ajibola Olomola and his wife, Adeyanu, for their persistent love shown to my family, especially during my years of completing this study. I thank you, Mr Robert Aziaticus (my Ghanian brother), for your kindness, support and brotherhood since we became friends during our MPhil programme at the University of Oslo, Norway (2005). 3 Stellenbosch University https://scholar.sun.ac.za Thank you, Mr Dipo Adesida, my brother and friend: I appreciate you. You guys have proved to me that, good friendship is indeed more worth than a thousand rubies. I recognize your contribution towards the completion of this project. My utmost gratitude posthumously goes to Prof. Wole Ogundele of Department of English and Literary Studies, Obafemi Awolowo University, Ile-Ife, Osun State, Nigeria (who unfortunately passed on before the completion of this dissertation). I met Dr Segun Oyeleke Oyewo during his academic stay at the Dramatic Arts Department, Obafemi Awolowo University, Ile-Ife, Osun State, Nigeria. Thank you for giving me an audience with insight despite their tight schedules. The interactive sessions I had with them during the preliminary period of this study helped me to lay an acceptable foundation. I also say a heartfelt thank you to the Dramatic Arts Department, Obafemi Awolowo University, Ile- Ife, Osun State, Nigeria, where the seed of this study first sprouted. To my extended family, I say thank you, and God bless you all. I appreciate the love and affection extended to me during my stay at Stellenbosch by the following friends-like- family: Mary Nnalima, Banji Asekun, Rev. Nathan Chiroma and family, Mrs Ronalda Nanumango and other members of the Nigerian community in Stellenbosch too numerous to mention by name. God bless you all. My sincerest appreciation goes to the authority of Bowen University, Iwo, Osun State, for granting me study leave in order to complete this study. The management of African Independent Television (AIT), Asokoro, Abuja granted me a one-year sabbatical during the early stages of this work. I acknowledge this support and thank the organization greatly. Finally, I yearn to value the support given me by Dr Theophilus Ayo Banji (Department of English, Bowen University) and Dr Adebola A. Aderibigbe (Department of Communication & Performing Arts, Bowen University). You both gave me unconditional and vital editorial assistance. The same applies for Dr (Mrs) Idowu-Faith (Department of English, Bowen University). I cherish all other teaching and non-teaching staff at the Department of Communication and Performing Arts as well as the entire staff of the Faculty of Humanities of Bowen University, for their support throughout the course of this study. 4 Stellenbosch University https://scholar.sun.ac.za DEDICATION I dedicate this study to the Almighty God, who blessed me with strength and energy to carry on when all roads appeared blocked and all hope lost. God in His infinite mercy lifted me up and sent help. For this work, I give You all the glory and adoration. Also, I devote this study to my late Mother, Adunni Odelia Bakare and late Father, Modupeola Rufai Bakare, for their love and care. I wish you were both alive today to see what the Almighty God is doing. To my late sibling, Oluwatoyin Bakare: sleep on in the bosom of the Almighty God. 5 Stellenbosch University https://scholar.sun.ac.za ABSTRACT This study examines the evolution of socio-political theatre and drama performances in Nigeria. The first part consists of the introduction, theory and historical contexts, while the second part discusses the contribution of selected literary dramatists to this evolution of social-political theatre and drama performance in Nigeria. The study specifically focuses on Yoruba Traditional Alarinjo (Travelling) Theatre, contemporary itinerant theatre and selected works of Hubert Ogunde, Wole Soyinka, Ola Rotimi and Femi Osofisan. The theoretical framework of the study is based on three concepts: the Theatrical Event expounded by Wilmar Sauter; Theatre and Festivals as Poly-Systems by Temple Hauptfleisch; and Vicki Ann Cremona’s concept of Festivalising Process. Relevant historical developments are reviewed and analysed in the study. The developments are points of reference to various forms of Yoruba theatre and drama. In addition, the study examines social-political evolutions, especially those that relate to and are useful for the analysis of the inherent evolution of theatre and drama in the Yoruba tradition Alarinjo, the contemporary theatre and the selected works of Nigerian literary dramatists. It further examines Yoruba Traditional Alarinjo (Travelling) Theatrical and dramatic performances and investigates the critical roles of the egungun (masquerades), masques, oral literature and other Yoruba cultural and traditional properties in the performances. This study concludes that the types of performance modes, styles, methods and techniques which were used during the different stages of the evolution of socio-political theatre and drama in Nigeria, are rooted in the vast Yoruba cultural and traditional forms of performing arts. These include forms such as masquerading, oral poetry, folklore or folktale, music, dance, chants, incantation and acrobatic display among others. The study recognises the contribution of the Western culture of entertainment which partly influenced the evolution of socio-political theatre and drama performances of the Yoruba contemporary itinerant theatre. Lastly, this study analyses and reveals the influence of Western education on the mentioned Nigerian Literary Dramatists’ theatre and drama. 6 Stellenbosch University https://scholar.sun.ac.za ABSTRAK Hierdie studie ondersoek die evolusie van sosio-politieke teater en drama in Nigerië. Die eerste deel bestaan uit ‘n inleiding, teoretiese raamwerk en historiese konteks, terwyl die tweede gedeelte die bydraes tot die ontwikkeling van sosio-politieke teater van die gekose literêre dramatiste ondersoek. Die studie fokus op die tradisionele Yoruba Alarinjo (reisende) teater, kontemporêre reisende teater en geselekteerde werke van Hubert Ogunde, Wole Soyinka, Ola Rotimi en Femi Osofisan. Die teoretiese raamwerk van die studie berus op drie konsepte: die Teatrale Gebeurtenis, soos uiteengesit deur Wilmar Sauter; die Teater en Feeste as Poli-sisteme van Temple Hauptfleisch; en Vicky Ann Cremona se werk oor die Verfeestelikingsproses. Die relevante historiese ontwikkelinge word in hierdie studie ondersoek en ontleed. Hierdie ontwikkelinge is verwysingspunte vir verskeie teatervorme van die Yoruba drama en teater. Die studie ondersoek die sosio-politiese ontwikkelinge, veral die aspekte wat verband hou met die evolusie van teater en drama in die tradisionele Alarinjo, die kontemporêre teater en die gekose Nigeriese literêre dramatiste. Die studie bespreek voorts die tradisionele Yoruba Alarinjo (reisende) teatrale en dramatiese performances en ondersoek die kritiese rol van die egungun (maskerades), maskerspele, orale literatuur en ander kulturele en tradisionele eienskappe van Yoruba performance. Die studie kom tot die gevolgtrekking dat die tipes performance-modusse, style, metodes en tegnieke wat gedurende die verskillende stadiums van die evolusie van sosio-politieke teater en drama in Nigerië gevind word, in die ryke kulturele
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