Dosunmu, Oyebade Ajibola
(2005)
The Appropriation of Traditional Musical Practices in Modern Yoruba Drama: A Case Study of Wole Soyinka's Death and the King's Horseman.
Master's Thesis, University of Pittsburgh.
(Unpublished)
Abstract
While the earliest forms of Yoruba theater may very well be found in ritual plays such as egungun and adamu orisa, over time, noteworthy genres such as alarinjo popular theater, folk opera, and modern literary drama have developed. In a postcolonial society like Nigeria where Western culture has exerted considerable influence, there is ample room for speculation over the extent of European dramatic conventions in modern Yoruba drama. However, regarding the music which so characteristically features in such plays, there is no question about its traditional source. Moreover, modern Yoruba drama evidently draws on a broad cultural spectrum which includes myth, ritual, religion, custom and history, all constituents of a rich oral repository. In my thesis, I examine to what extent the appropriation of traditional musical practices in modern Yoruba drama reflects a cultural self-apprehension in the approach of the dramatist. As a case study, I investigate Wole Soyinka's Death and the King's Horseman as a modern development of Yoruba theatrical traditions. Soyinka's plays have been praised for their skilled combination of African dramatic traditions and themes with Western structural elements. In Death and the King's Horseman the elements of music, dance, and miming which characterize traditional theatrical forms such as alarinjo, the traditional traveling theater of the Yoruba, are copiously used to enhance the dramatic scheme of the play. Further, the play which was published in 1975 is Soyinka's adaptation of a historical encounter which took place in 1945 in the Yoruba city of Oyo. When Elesin, commander of the King's stables, tried to commit ritual suicide in fulfillment of cultural expectations following the death of the King, the colonial authorities intervened, marring a ritual process which had important cosmological implications for the people of Oyo. In my thesis, I attempt to contextualize the events portrayed in Horseman within a historical setting relevant for the understanding of the events it portrays. Ultimately, I make comparisons between the techniques of dramatic development in traditional forms such as alarinjo and similar techniques evident in Soyinka's play.
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Details
Item Type: |
University of Pittsburgh ETD
|
Status: |
Unpublished |
Creators/Authors: |
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ETD Committee: |
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Date: |
7 June 2005 |
Date Type: |
Completion |
Defense Date: |
6 April 2005 |
Approval Date: |
7 June 2005 |
Submission Date: |
22 April 2005 |
Access Restriction: |
No restriction; Release the ETD for access worldwide immediately. |
Institution: |
University of Pittsburgh |
Schools and Programs: |
Dietrich School of Arts and Sciences > Music |
Degree: |
MA - Master of Arts |
Thesis Type: |
Master's Thesis |
Refereed: |
Yes |
Uncontrolled Keywords: |
Alarinjo Theater; Colonialism in Africa; Egungun Masquerade; History of Yoruba Theater; Language of the Yoruba; Modern African Plays; Music and Drama; Musico-dramatic analysis; Ritual Suicide; Tonal Languages; Yoruba Cosmology; Yoruba Theater and Music |
Other ID: |
http://etd.library.pitt.edu/ETD/available/etd-04222005-003959/, etd-04222005-003959 |
Date Deposited: |
10 Nov 2011 19:40 |
Last Modified: |
15 Nov 2016 13:41 |
URI: |
http://d-scholarship.pitt.edu/id/eprint/7478 |
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