Umuada and the Phenomenon of Dual Identity in Ogbaruland

The Igbo is a patriarchal society but despite this, the association of indigenous women of some Igbo communities known as Umuada continues to exert influence in their patrilineal homes even after the exchange of identity through marriage; and despite their new roles as ndiomu (association of wives) in their consanguine communities. This results in a phenomenon of dual identity, significantly different from parallel Igbo sub-cultural groups. Several studies have been carried out on the contribution of the Umuada to their communities, especially in the economic and social spheres. However, there is a dearth of information on the formal structure of authority within which women carry out these activities especially in relation to thei

PARALLELS OF DANCE AND PLOT IN OGODI FEMALE BURIAL DANCE OF THE OGBARU IGBO SUB-GROUP OF EASTERN NIGERIA

Ogodi dance is a funeral dance drama performed among the Ogbaru lgbo people of Nigeria to celebrate the lifetime of a deceased, indigenously born woman, (Maduagwu, 2012). This work analyses the inter-play of dance on the one hand. and song lyrics on the other. as p1ot projectors in the performance of this ritual drama. The work aims to establish the importanc~ uf dance dynamics in African religious theatre. It decodes the heavy symbolism which characterize& ritual forms and which poses problems of analysis for researchers in the field. With relatively little documentation on the life of the woman inA frican society. the non-,erbal information encoded in dance is an important source of data on the woman in oral societies such. Ogodi dance of Ogbaru lgbo people as a performance exclusively set aside for ·Nomen provides an ideal model and also fills the gap in this area of gender study

TROPES OF TRANSITION IN WOLE SOYINKA'S DEATH AND THE KING'S HORSEMAN

This paper examines the role of non-verbal COI/1111Uilication as an index of the pace and progression of plot in African ritual drama, using Wale Soyinka 's Death and the King's Horseman as a representative model. The purpose is to attempt an analysis of the resource of traditional dramatic 11/otifs, especially dance, as tropes of movement and meaning in African ritual drama. The play has received distinguished critical attention is Soyinka 's major, and perhaps, unique contribution to 111odern ritual drama; this paper examines tropes of transition in Death and the King's Horseman, e::,pecially in the context of the Yoruba social semiotic of dance

THINGS RESTORED IN THE ANTHILLS OF THE SAVANNAH: A POSTMODERNIST REVIEW OF ACHEBE'S THINGS FALL APART AND ANTHILLS OF THE SAVANNAH

Chinua Ache be's writing stands for many things. Some believe he is a cultural and Political historian -simply documenting the eff ect of new ideologies and their effect on the body polity of his society. Others believe he is a vanguard a./African culture and the definite hero who is credited with reviving the distorted image o.f the African as portrayed by the alien lenses of Western imperialism. What is not in doubt, however, is Achebe ingenious ability to capture the undercurrent of emotive issues at every stage of the growth of his society. This work lays emphasis on the portrayal of gender in his two books which have generated relatively more controversy in this subject. From a post-modernist posture, thestudy in vestigates Achebe 's purpose in his portrayal of women in Things Fall Apart,· the emotive reactions this has generated; and how the author reconciles this .fi"acture in Anthills of the Savannah. The method involves an analysis ojjJrimary texts, relevant library commentaries and internet resources. Findings reveal Achebe 's continued relevance as a universal and timeless writer,· and with his sensitivity and empathyfor his fellow man, as demonstrated in his writing, his works will stand the test of time as a pathfinder in the search for representative theories ofAji-ican literatures

Globalisation and Cultural Identity: Reviving Traditional Dances in Post-Colonial Public Schools As A Panacea for The Erosion of Indigenous Value Systems

Globalisation and the subsequent eroding of national and cultural borders, especially in relation to cultural autonomy have produced ambivalent developments. It has been argued that its canon of mutual exchangeability of values is not reflected in practice and this argument is predicated on the fact that the cultural traffic continues to flow from the western societies to the rest of the World in a manner that reinforces the neo-colonial domination which Globalisation sets out to diminish, in the first instance. Consequently, it has become d matter of urgency that affected societies revisit the concept of Globalization with a view to · reappraising its benefits and devise a roadmap that ensures the two-way traffic between the West and the rest of the world that reflects this canon nf mutual exchange, otherwise, it bec01hes imperative that policies be put in place that would preserve the cultural autonomy and identity of affected societies. This paper makes a case for the >resuscitation of the dying traditions of cultural dances in public schools as one of the avmues of strengthening moral values and engendering cultural identity among the youth of post-colonial societies in the age of Globalization. The study employs the theon; of post-colonialism as a conceptual approach of discus~ ion. The research is expected to contribute to the knowledge towards the search for social and national identity, concepts which are unqer the imminent threat of Globalizing forces

Deconstructing Symbols of Female Attrition in Heterosexual Marriages: A Literary Perspective

Much of documented work on gender has tended to proffer so lutions to gender imbalance through the adjustment of social policies that are more inclusive of the needs and rights of women, without paying relative attention to the correlating sign structures which drive gendered behaviour in society such as symbols. Therefore, this paper examines the sustained role of symbols as precursors of gender attrition in the heterosexual marriage as portrayed in the lenses of literary texts featuring English speakin g Europe and post-colonial African societies; and from three periods in literary history. The texts used as illustration are Shakespeare's The Taming of the Shrew; Charlotte Bronte's Jane Eyre; and Chimamanda Adichie's Purple Hibiscus. The Symbolic Interactionist theory of sociology and the ·Feminist off-shoot of Nego-Feminism are adopted as analytical postures. While Symbolic Interactionism examines the content of symbolic dialogue between individuals in close proximity, Nego-Feminism projects a platfo rm for the understanding, reassessment and negotiation of gender power stru ctures within the heterosexual marriage institution with a view to achieving equity through peaceful and empathic negotiation. The research is expected to act as a launching pad for the review of traditional and obsolete symbols of status in gender role play

DRUM AND MASK: INTERROGATING SYMBOLS OF DIALOGUE TRADITIONAL AFRICAN THEATRE

Much work has been done in the research of elements of traditional theatrical forms often with unitary analyses of the multi -channeled codes of the drum, mask, songs, and costume . This disintegrative analytic method often adopted by the culturally di stanced scholar pose a problem of translation and understanding for phenomena that are experienced as interrelated, fused forms. Hence, this paper examines the interplay of masks and drums as icons of visual and "vocal" dialogue in traditional drama among the Yoruba and lgbo peoples of West Africa. The research aims to highlight the inclusion of drumming into African Pentecostal Christianity. Relevant commentaries from other cultures will be employed to highlight the points of the research where necessary. The rich store of existing data on traditional Yoruba and lgbo festivals provides the model for this discussion. Saunders Pei rce's Semiotic theory is adopted as a theoretical tool while li brary and Internet resources provide commentaries for the work. The research is expected to make a contribution to knowledge on the nature of symbolic communication in t raditional theatre

PROBING LUST AS BANE OF NIGERIA’S POLITICAL LEADERSHIP: A STUDY OF WOLE SOYINKA’S DEATH AND THE KING’S HORSEMAN AND OLA ROTIMI’S THE GODS ARE NOT TO BLAME

In order to address the issue of leadership crisis in Nigeria, writers have criticized Aristotle’s notion of prudence, which he suggests in the Nicomachean Ethics as a crucial moral resource for leaders who are politically inclined. These criticisms have propelled the need for this research. According to the Nicomachean Ethics, intellectual virtues help to identify what is just and amicable, while moral virtue helps to act out what is just and amicable. Therefore, the paper examines the lack of moral virtue as a bane in Nigerian’s political leadership, revealing that leaders who lack moral virtue are driven by lust for power, which has aggravated Nigeria’s challenges of corruption, selfishness, greed, misuse of power, exploitation and anarchy. Thus, the main objective of this paper is to explore the impact of lust on Nigeria’s political leadership and show its negative consequences at all levels of leadership. The Critical theory of sociology has been adopted as the theoretical framework in this study. The theory interrogates social structures and systems of power in the society in order to cause social change. According to its major proponent, Fuchs Christian, critical theory examines political economy, exploitation and domination in the societies. This research is expected to contribute to knowledge on moral directions for just and equitable political leadership in African societies

THE DANCE OF FREEDOM: A SEMIOTIC ANALYSIS OF DANCE IN THE TRIAL OF DEDAN KIMATHI

This study is an analysis of ‘The Trial of Dedan Kimathi’, a play co-authored by Ngugi wa ‘thiongo and Micere Mugo. The analysis focuses on the use of theatrical devices, especially dance and gesture as message media in the play. The theme of the play is the resilience of the human spirit in the face of oppression and injustice. As a fictional dramatization of the struggle of Kenyans under colonial rule, it carries a prophetic and triumphant message, especially in view of the recent admission by the British government of culpability in the horrific torture and murder of indigenous Kenyans during the insurgency of the fifties, known as the Mau-Mau. Existing analyses of the play have examined the use of language and thematic directions, but none of these documents the semiotic use of dance and speech as parallel message media. The research employs internet, library and archival search as well as the main text as sources of data. Viewed from the technical angle, the work validates the universality of the use of dance as the bedrock of African drama

EXPLORING GENDER JOURNEYS: A REVIEW OF ACHEBE’S ANTHILLS OF THE SAVANNAH, AIDOO’S CHANGES: A LOVE STORY, AND ADICHIE’S PURPLE HIBISCUS

This work examines the view of gender inequality in African society in the novels of three African fictional works. These are Achebe’s Anthills of the Savannah; Aidoo’s Changes: A Love Story; and Adichie’s Purple Hibiscus; thereby cutting across three generations of post-colonial experience. It is an attempt to document the progress made in the search for equality as seen from the lenses of fictional literature of the author’s societies. The post-colonial and feminist theories are applied to examine gender as an inheritance of colonized societies. Findings reveal the complexity of finding gender balance*** problems and the status of their efforts as portrayed in the selected literature. The primary texts, library search and relevant commentaries are the sources for present research. The work is expected to contribute to the growing body of literature that seeks to draw attention to the need for gender balance