Rituals in Cameroon drama: a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Hochschulschrift/Dissertation Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Eckersdorf
Thielmann & Breitinger
2011
|
| Schriftenreihe: | Bayreuth African studies series
90 |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=021179775&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | XII, 228 S. graph. Darst., Kt. |
| ISBN: | 9783939661115 |
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Datensatz im Suchindex
| _version_ | 1819349147242725376 |
|---|---|
| adam_text | Table of Contents
dedication
....................................................................................................
v
acknowledgement
................................................................................
vi
table of contents
..............................................................................viii
list of tables
...........................................................................................xii
list of figures
.........................................................................................xii
MAPS
..............................................................................................................
ΧΠΙ
CHAPTER ONE
..................................................................................................2
GENERAL INTRODUCTION
..........................................................................2
1.1
Overview
....................................................................................................2
1.2
Hypothesis
..................................................................................................4
1.3
Drama and society
....................................................................................4
1.4
The ritual thought
...................................................................................7
1.5
Review of related literature
...............................................................11
1.5.1
General voices on traditional performances in African drama and
society
.......................................................................................................11
1.5.2
Cameroonian voices on traditional performances
...........................14
1.5.3
Cameroonian drama and education
..................................................17
1.5.4
Voices on the semiological approach to Cameroonian drama
........24
1.6
Methodology
..........................................................................................31
CHAPTER TWO
..............................................................................................25
INDIGENOUS AFRICAN THEATRE
...........................................................25
2.1
Existence of traditional theatre in Africa
.......................................25
2.1.1
Early concepts
..................................................................................25
2.1.2
Démystification
of early concepts
...................................................26
2.1.2.1
Oral narrative as performance
...................................................27
2.1.2.2
Divination as performance
........................................................28
2.1.2.3
Witch-hunting as performance
..................................................29
2.1.2.4
Circumcision ritual as performance
..........................................30
2.1.2.5
Technical theatre in traditional performance
............................31
2.1.2.6
Social and spiritual impact of African traditional performances
...............................................................................................................32
2.2
Indigenous forms as theatre in Cameroon: Events beyond the
THEATRE
...........................................................................................................33
2.2.1
The Mvet performance
.....................................................................34
2.2.2
The Mvet narrator as a performer
....................................................35
2.2.3
The Abin
efor
festival as performance
............................................37
2.2.3.1
The origin of the Bafut people and cultural heritage
................37
viii
2.2.3.2
The
АЫп- е-
for. Stages in performance
...................................39
2.3
Ritual origin of European theatre
......................................................44
2.3.1
The Greek anthropomorphic society
................................................44
2.3.2
From ritual to Greek theatre
.............................................................45
2.3.3
Tragedy and comedy in Greek drama
..............................................47
2.3.4
Similarities between early Greek and Cameroon traditional theatre48
2.4
Background of authors
........................................................................50
2.4.1
Gilbert Doho and the
Bamiléké
cultural background
......................50
2.4.2
Bole Butake s cultural response to national politics
........................52
2.4.2.1
The mystery behind the red feather
...........................................54
2.4.2.2
The question of land in Cameroon
................................................54
2.4.3
Hansel Ndumbe Eyoh s celebration of the Bafaw culture
..............56
2.5
Conclusion
...............................................................................................57
CHAPTER THREE
..........................................................................................59
THEORETICAL APPROACH TO RITUALS
..............................................59
3.1
Further insights into signs
....................................................................61
3.1.1
Metaphors
.........................................................................................63
3.2
Signs and communication in the theatre
............................................64
3.2.1
The role of the audience and readers in the communication process
...................................................................................................................67
3.3
Signs and signification in the theatre
................................................69
3.4
Towards finding a semiological approach to rituals
......................71
3.5
Semiology as a relevant approach to Cameroonian drama
...........72
3.5.1
Kinesics
............................................................................................73
3.5.1.1
Gesture in a kolanut ritual
.............................................................74
3.5.2
Proxemics
.........................................................................................75
3.5.3
Utterances
.........................................................................................76
3.6
Conclusion
...............................................................................................78
CHAPTER FOUR
.............................................................................................79
TEXTUAL DISCOURSE
.................................................................................79
4.1
Contemporary context in
Noces de Cendres......................................
79
4.2
Political atmosphere in
Le Crâne.........................................................
80
4.3
Socio-political and cultural crises in Lake God
..............................82
4.4
Totalitarianism in Ewawa
-
Focus on And Palm- Wine Will Flow
... 84
4.5
Evil and Destruction in Dance of the Vampires
............................86
4.5.1
Comment on vampirism
...................................................................86
4.5.2
Examining the world of the vampires in Dance of the Vampires
87
4.6
The struggle for power in The Inheritance
........................................89
4.7
Social conflict in The Magic Fruit
..................................................92
CHAPTER FIVE
...............................................................................................95
THE COMMUNICATIVE POWER OF RITUAL ELEMENTS
................95
ix
5.1
Fertility ritual in
Noces de Cendres
...................................................95
5.1.1
Power
of spoken words in an invocation
.........................................96
5.1.2
Costume and hairstyle as communicative elements in rituals
.......101
5.1.3
The peace plant and its significant role
......................................102
5.1.4
Water and its significant role
...................................................102
5.1.5
Drumbeats as a communicative force
............................................103
5.1.6
Manipulating the fertility ritual for political power
.......................104
5.2
The skull transfer ritual in
Le Crâne
..............................................106
5.2.1
Décor as a
significant ritual element
..............................................107
5.2.2
Sculpture as a symbol of royalty
....................................................108
5.2.3
The throne as a symbol of power
...................................................108
5.2.3.1
The throne as an object of enslavement
..................................110
5.2.3.2
The significance of the skull
.......................................................112
5.3
Rituals of invocation and divination in Lake God
..........................114
5.3.1
The power of spoken words
...........................................................115
5.3.2
Costume and its significant role
.....................................................118
5.3.3
Peace plant, palm-wine, cock, masked figure and their
significance
.............................................................................................119
5.3.4
Gesture and its significance in divination
......................................120
5.3.5
Time of ritual performance and its significance
............................121
5.4
Ritual of invocation in And Palm-Wine Will Flow.
..........................123
5.4.1
The power of spoken words in an invocation
................................124
5.4.2
Decorated pot, palm-wine, dark fibre, and masks and their
significance
.............................................................................................127
5.5
Initiation into the vampire cult
.........................................................129
5.5.1
Mask and its significant role
..........................................................129
5.5.2
Colours and posture and their significant role
...............................130
5.5.3
The significance of the cardinal points
..........................................132
5.5.4
Psaul
Roi
after his initiation
...........................................................133
5.6
Divination ritual in The Inheritance
.................................................133
5.6.1
Dialogue and its significant role in a divination ritual
..................133
5.6.2
Costume and dance and their significant role
................................136
5.6.3
Mood during the divination ritual
..................................................137
5.7
Enthronement ritual in The Magic Fruit
.....................................138
5.7.1
Meaning of words in an invocation ritual
......................................138
5.7.2
Kolanut and palm-wine and their significant role
.........................141
5.7.3
Folktale as part of the enthronement ritual
....................................141
5.7.3.1
The story of The Magic Fruit
..................................................142
5.8
The significance of ritual settings
....................................................143
5.8.1
Conserving ritual settings
..............................................................144
5.8.2
Linking ritual settings with nature
.................................................146
5.9
Conclusion
.............................................................................................147
CHAPTER SIX
................................................................................................152
THE ROLE OF WOMEN IN RITUAL COMMUNITIES
.........................152
6.1
Women as agents of liberation
..........................................................152
6.1.1
Kwengong/Earth-goddess
..............................................................153
6.1.1.1
Relating the role of Earth-goddess to national events
................160
6.1.1.1.1
The revolution of the Takumbeng women
...........................162
6.1.2
The Fibuen Women s Cult
.............................................................164
6.1.2.1
Examining the cattle-grazier and farmer s conflict in North-West
Cameroon
................................................................................................167
6.1.2.1.1
Rebelling for livelihood: The Ndough Febwei women s cult
.............................................................................................................167
6.1.2.1.2
The Fumbuen women s cult
.................................................172
6.2
Women as victims of tradition
...........................................................173
6.2.1
Malak
.............................................................................................174
6.2.2
Mother
1.........................................................................................176
6.2.3
Ma Mende
......................................................................................179
6.3
Women as perpetrators of greed and evil
.......................................180
6.3.1
Mapu u and East
............................................................................180
6.4
Conclusion
.............................................................................................183
CHAPTER SEVEN
.........................................................................................185
DEEPENING HISTORY AND EXTENDING CONCEPTS
......................185
7.1
The Story in the
Paratext:
Events Beyond the Dramatic Texts
. 185
7.1.1
The Theatre for Development, mainstream drama and ritual cycle
.................................................................................................................188
7.2
Reader s Response: Feedback Analysis
............................................191
7.2.1
Responding to Doho, Butake, and Eyoh
........................................192
7.3
Conclusion
.............................................................................................200
GENERAL CONCLUSION
...........................................................................201
A NEW DIMENSION AND THE WAY FORWARD TO RITUALS IN
CAMEROONIAN DRAMA
...........................................................................201
APPENDIX
......................................................................................................207
Appendix
1 :
Personal Interviews
..............................................................207
Appendix
2:
Questionnaire
.........................................................................208
BIBLIOGRAPHY
...........................................................................................211
Primary texts
..............................................................................................211
Secondary texts
.........................................................................................211
|
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| id | DE-604.BV037266747 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T14:47:59Z |
| institution | BVB |
| isbn | 9783939661115 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-021179775 |
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| physical | XII, 228 S. graph. Darst., Kt. |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Thielmann & Breitinger |
| record_format | marc |
| series | Bayreuth African studies series |
| series2 | Bayreuth African studies series |
| spellingShingle | Chiangong, Mforbe Pepetual Rituals in Cameroon drama a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh Bayreuth African studies series Drama (DE-588)4012899-4 gnd Ritual Motiv (DE-588)4608313-3 gnd |
| subject_GND | (DE-588)4012899-4 (DE-588)4608313-3 (DE-588)4029413-4 (DE-588)4113937-9 |
| title | Rituals in Cameroon drama a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh |
| title_auth | Rituals in Cameroon drama a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh |
| title_exact_search | Rituals in Cameroon drama a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh |
| title_full | Rituals in Cameroon drama a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh Mforbe Pepetual Chiangong |
| title_fullStr | Rituals in Cameroon drama a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh Mforbe Pepetual Chiangong |
| title_full_unstemmed | Rituals in Cameroon drama a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh Mforbe Pepetual Chiangong |
| title_short | Rituals in Cameroon drama |
| title_sort | rituals in cameroon drama a semiological interpretation of the plays of gilbert doho bole butake and hansel ndumbe eyoh |
| title_sub | a semiological interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh |
| topic | Drama (DE-588)4012899-4 gnd Ritual Motiv (DE-588)4608313-3 gnd |
| topic_facet | Drama Ritual Motiv Kamerun Hochschulschrift |
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