RESIDUAL, DOMINANT AND EMERGENT FEATURES
BY
ATE AGERA
COLLEGE OF EDUCATION,
KATSINA-ALA
INTRODUCTION
The concept of African gambol is bingle steeped in rock, with contractions and antagonisms, which fool not been clearly spelt out. on that point is no agreed terrain on what constitutes African literature and wherefore on what constitutes African drama. Some of the problems to be encountered in traffic with this concept include defining who the Africans are. Do they include the whites in South African? Or the Arabs in North Africa? Or even the blacks in Europe and America? Is African drama one that is written in African languages? Is it one written about Africa or the African experience? Is it the unwritten carrying into action traditions of the pre-colonial era or the written post-colonial drama?
The European philosopher, Hegel instigated the controversy arising today in African drama through his asseveration that Africa was a continent without a culture a accounting or a civilization, making it a moral and historic duty for Europe t force Africa into a report and a civilization.
The immediate implication arising here is that without a culture, Africa could gestate had no drama.
What then is the status of the oral and performance traditions that have existed in Africa since creation?
CONCEPTS OF AFRICAN DRAMA
A collection of critics deriving their argument from Hegel argue that fundamentally, what exists in Africa does not train as drama because it either has no plot, it has no impersonation, or it is not secular. According to Ruth Finnegan, although certain quasi-dramatic elements exist in these forms, they are another thing entirely if looked at from the current European psychological and singularly individuated sense of drama.
Many of our African brothers subscribe to this racist argument. With Finnegan as a theoretical first point: M.J. C. Echeruo contends that considerable limitations are to be...If you want to get a full essay, order it on our website: Ordercustompaper.com
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