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Acknowledgements | ||
Preface | ||
Introduction | 1 | |
Pt. I | Theory | 27 |
1 | The dramatic limits of Igbo ritual | 29 |
2 | Myth, ritual and drama in Igboland | 38 |
3 | What's in a mask | 49 |
4 | Acting Africa | 69 |
5 | National erotica: the politics of 'traditional' dance in Tanzania | 78 |
Pt. II | Performers and performing | 95 |
6 | Individualism and community in the theatre of Serumaga | 97 |
7 | The gods as guests: an aspect of Kalabari religious life | 117 |
8 | Masking in Mende Sande society initiation rituals | 138 |
9 | Gyinna-Gyinna: making the djinn manifest | 149 |
10 | Creativity, participation and change in Theatre for Development practice | 158 |
11 | Playing the puppets: innovation and rivalry in Bamana youth theatre of Mali | 174 |
Pt. III | Voice, language and words in performance | 187 |
12 | Storytelling theatre in Sierra Leone: the example of Lele Gbomba | 189 |
13 | The language of anglophone Cameroon drama | 198 |
14 | Congolese playwrights as cultural revisionists | 208 |
15 | Purity and pollution in Freetown masked performance | 222 |
16 | Comic Opera in Ghana | 234 |
17 | Folklore and tradition in the drama of Cliff Lubwa p'Chong | 244 |
18 | Horrific comedy: cultural resistance and the Hauka movement in Niger | 258 |
Pt. IV | Spectators, space and time in performance | 277 |
19 | South African theatre in an era of reconciliation | 279 |
20 | Masks and secrecy among the Chewa | 290 |
21 | Tourism and social change among the Dogon | 304 |
22 | Theatre and social issues in Malawi: performers, audiences, aesthetics | 311 |
23 | Fathers and sons: politics and myth in recent Zambian drama | 321 |
24 | The art of festival in Ghana | 339 |
Index | 359 |
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