Odún
Discourses, Strategies, and Power in the Yor?bá Play of Transformation
Series: Cross/Cultures; 111;
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Product details:
- Publisher BRILL
- Date of Publication 1 January 2009
- ISBN 9789042026803
- Binding Hardback
- No. of pages337 pages
- Size 235x155 mm
- Weight 739 g
- Language English 0
Categories
Short description:
A poetic ?voice? scans the rhythm of academic research, telling of the encounter with odún; then the voice falls silent. What is then raised is the dust of a forgotten academic debate on the nature of theatre and drama, and the following divergent standpoints of critical discourses bent on empowering their own vision, and defining themselves, rather, as counterdiscourses. This, the first part of the book: a metacritical discourse, on the geopolitics (the inherent power imbalances) of academic writing and its effects on odún, the performances dedicated to the gods, ancestors, and heroes of Yor?bá history.
But odún: where is it? and what is it? And the ?voice?? The many critical discourses have not really answered these questions. In effect, odún is many things. To enable the reader to see these, the study proceeds with an ?intermezzo?: a frame of reference that sets odún, the festival, in its own historico-cultural ecoenvironment, identifying the strategies that inform the performance and constitute its aesthetic. It is a ?classical? yet, for odún, an innovative procedure. This interdisciplinary background equips the reader with the knowledge necessary to watch the performance, to witness its beauty, and to understand the ?half words? odún utters.
And now the performance can begin. The ?voice? emerges one last time, to introduce the second section, which presents two case studies. The reader is led, day by day, through the celebrations ?odún ed?, Mor?mi?s story, and its realization in performance; then confrontation by the masks of the ancestors duing odún egúngún (particularly as held in Ibadan). The meaning of odún becomes clearer and clearer.
Odún is poetry, dances, masks, food, prayer. It is play (eré) and belief (?gb?gbó). It is interaction between the players (both performers and spectators). It is also politics and power. It contains secrets and sacrifices. It is a reality with its own dimension and, above all, as the quintessential site of knowledge, it possesses the power to transform. In short, it is a challenge ? a challenge that the present book and its voices take up.
Long description:
A poetic ?voice? scans the rhythm of academic research, telling of the encounter with odún; then the voice falls silent. What is then raised is the dust of a forgotten academic debate on the nature of theatre and drama, and the following divergent standpoints of critical discourses bent on empowering their own vision, and defining themselves, rather, as counterdiscourses. This, the first part of the book: a metacritical discourse, on the geopolitics (the inherent power imbalances) of academic writing and its effects on odún, the performances dedicated to the gods, ancestors, and heroes of Yor?bá history.
But odún: where is it? and what is it? And the ?voice?? The many critical discourses have not really answered these questions. In effect, odún is many things. To enable the reader to see these, the study proceeds with an ?intermezzo?: a frame of reference that sets odún, the festival, in its own historico-cultural ecoenvironment, identifying the strategies that inform the performance and constitute its aesthetic. It is a ?classical? yet, for odún, an innovative procedure. This interdisciplinary background equips the reader with the knowledge necessary to watch the performance, to witness its beauty, and to understand the ?half words? odún utters.
And now the performance can begin. The ?voice? emerges one last time, to introduce the second section, which presents two case studies. The reader is led, day by day, through the celebrations ?odún ed?, Mor?mi?s story, and its realization in performance; then confrontation by the masks of the ancestors duing odún egúngún (particularly as held in Ibadan). The meaning of odún becomes clearer and clearer.
Odún is poetry, dances, masks, food, prayer. It is play (eré) and belief (?gb?gbó). It is interaction between the players (both performers and spectators). It is also politics and power. It contains secrets and sacrifices. It is a reality with its own dimension and, above all, as the quintessential site of knowledge, it possesses the power to transform. In short, it is a challenge ? a challenge that the present book and its voices take up.
Table of Contents:
Acknowledgements
Note on Orthography
Mo b? Odún p?dé ? Encounter with Odún
Introduction
Part I: Discourses
Bíi báun ko I
1 Yor?bá Theatre: An Introductory Outline
2 Nigerian Theatre Criticism: ?Dominant? Issues
3 Critical Discourses and Their Power
Intermezzo
Bíi báun ko II
4 Coordinates of an Interpretation
Part II: Odún
Bíi báun ko III
5 Odún Ed?
6 Egúngún: The Power of the Ancestors
7 ??b? ?r?? The Yor?bá Play of Transformation
Glossary
Bibliography
Odún: Discourses, Strategies, and Power in the Yor?bá Play of Transformation
41 889 HUF
38 539 HUF
Event Studies: Theory, Research and Policy for Planned Events
76 440 HUF
68 796 HUF
