Odun
Cristina Boscolo
jan. 2009 · Cross/Cultures : readings in the post/colonial literatures in English Bok 111 · Rodopi
E-bok
337
Sider
family_home
Kvalifisert
info
reportVurderinger og anmeldelser blir ikke kontrollert Finn ut mer
Om denne e-boken
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 Yorùbá 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 edì, Morèmi'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 (ìgbàgbó). 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.
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 edì, Morèmi'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 (ìgbàgbó). 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.
Om forfatteren
Cristina Boscolo graduated in modern languages at the University of Venice (with a pioneering study on the English language in Nigeria) Her passion for Nigerian literature, and Yoruba in particular, led her into African studies at the University of Mainz, Germany. She is currently a free-lance lecturer.
Vurder denne e-boken
Fortell oss hva du mener.
Hvordan lese innhold
Smarttelefoner og nettbrett
Installer Google Play Bøker-appen for Android og iPad/iPhone. Den synkroniseres automatisk med kontoen din og lar deg lese både med og uten nett – uansett hvor du er.
Datamaskiner
Du kan lytte til lydbøker du har kjøpt på Google Play, i nettleseren på datamaskinen din.
Lesebrett og andre enheter
For å lese på lesebrett som Kobo eReader må du laste ned en fil og overføre den til enheten din. Følg den detaljerte veiledningen i brukerstøtten for å overføre filene til støttede lesebrett.
