Scholarly Works

Permanent URI for this collectionhttps://repository.ui.edu.ng/handle/123456789/327

Browse

Now showing 1 - 2 of 2

A comparative analysis of Japanese and Nigerian operatic theatre
(Department of English, University of Ibadan, Ibadan, Nigeria, 2012) Aguoru, D.
Several studies in Nigeria and in Japanese theatrical traditions have centred on various elements of either of the two dramatic and theatrical traditions. None so far has comparatively examined the two traditions with the intent of establishing distinct national identities, which are concealed in the theatres of peoples, neither has there been an attempt to comparatively institute universality, conformity or unorthodoxy or lack of it in both theatrical traditions. The interest and explorations, by critics of other far more developed national literatures into Japanese dramatic and theatrical tradition, is an indication that this research effort is pertinent. Most transnational and transcontinental comparative studies on Japanese literary have also not yet ventured beyond the Western world. This pretermits, in the usual manner, the depth and value of African and indeed Nigerian theatrical traditions which are arguably and inextricably rich in comparatives such as trends and forms, elements which have also been globally acclaimed in the international communities. This paper is a comparative examination of Alarinjo and Noh, the operatic theatres of Nigeria and Japan. This analogy is carried out by contrasts; distinguishing the specific features of the forms by comparing differences and is essentially written in counterpoint. This study of the oldest documented professional forms of theatre in Nigeria and Japan seeks to fill some yawing gaps of scholarship in comparative literature, and engage the age long theory of comparative literature as a suitable hypothesis and approach for establishing taxonomies in carrying out this study and other similar studies. It examines how national theatres reflect social, cultural and political issues and also explore the ancient operatic forms to highlight the value of evolving from cultural platforms that are supported by practices that preserve cultural and national identity. This comparatistic inquiry examines movements and trends, motif-types and themes and genre and forms in the operatic theatre of Nigeria and Japan.
From alarinjo to oniduro: stand-up comedy as a neo-cultural expression in Nigeria
(2012) Aguoru, A.
Comedy (Awada), a treasured genre among the itinerant (Alarinjo) theatre of the Yoruba, has come to have dominant influence on diverse performances in Nigeria. Indeed, it could be argued that contemporary Nigerian stand-up comedy has been largely influenced by the indigenous Alarinjotradition of the Yoruba, which harks back to the turn of the 21st century. Building on Alarinjo as a dominant precursor, the Nigerian stand-up comedy platform, in the last two decades has integrated ethnic, linguistic and religious affiliations to become a bastion of recreation and remuneration transcending the boundaries of the nation-state. Phenomenal though it has been, researchers have hardly traced Nigerian stand-up comedy from its Alarinjoantecedents, it being a dominant source and influence, to its eclectic contemporary state. Therefore, this study, through neo-cultural lens, examines the development from Awada/Alarinjo to Stand-up comedy in Nigeria; with a view to providing a credible understanding of the origin, influences, trends, motifs and forms of the fledgling industry. While acknowledging the complexities inherent in empiricism and positivism, the paper charts a genealogical argument for Nigerian stand-upcomedy beginning with the performances of nameless palace satiric entertainers which are traceable to almost every ethnic group in Nigeria, the diverse comic performances inherent in mask dramaturges, through the ‘de-ritualized’ itinerant troupes among the Yoruba. It connects this with the professional travelling theatre of the Ogunde Tradition that brought the traditional theatres of Nigeria into limelight, the art of Moses Olaiya, and Gbenga Adeboye, the precursor of Yoruba and indeed contemporary stand-up comedy in Nigeria. Linking these with aspects of the art of Alii Baba, Gbenga Adeyinka I, Julius Agwu, Basket Mouth, Gandoki, De Don Klint de Drunk and Mohammed Danjuma among others, stand-up comedy-as a contemporary art- is purposively interrogated. Thus, the paper chronicles the sociological, literary and multicultural metamorphosis of this theatrical and comical form.