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  • All: "spectacle" x
  • African Studies x

Mohammed Inuwa Umar–Buratai

The discourses of nationhood and nation-building in the developed Western world have been facilitated by the prevalent cultures of writing and documentation. The situation in the developing world has remained largely fragmented because of the absence of such coherent, broadcast, and comprehensive forums for a discourse on 'nationhood'. Different societies articulate their perception of the priorities of nationhood in a range of forms – manifest in ritual visual displays, entertainment and formal rhetoric such as poetry, religious sayings and quotations – which were not dependent on literacy, including the ceremony of durbar. The ordinary people construe the durbar as a spectacle, perhaps because it encompasses a wide range of performance artists drawn from the many groupings within society. However, durbar functions, through its display of martial strength, to reinforce the political and religious power of the ruling elite: durbar within society. The focus in this essay is to examine political undertones of durbar, specifically the ways in which localized participation in the reinforcing ritual of relationships of power provides the people with an opportunity for the public exhibition of individual skills and for the elites an avenue for containing any nascent – or potential – articulation of resistance in society.

Silvana Palma

Fascism’s distinctive penchant for monumentality, where Power is embodied in the spectacle of modern architecture; finally, following the urban expansion and population explosion that came with the war on Ethiopia and the proclamation of the Empire (1935–1941), Asmara resembles a veritable Italian city

Zaki R. Ghosheh

of the usual manifestations of inadequate delegation is the spectacle of the executive attending to matters of minute detail, signing letters which might readily have been attended to by a subordinate, and crowding his work hours with functions which should be performed at lower levels. The failure

Creativity and the Burden of Thoughts

Deconstructing Melancholia in Wumi Raji’s Rolling Dreams

Stephen Kekeghe

talk I feel the pain as I sit I feel the pain as I write poems of pain haunt me I am too close to pain 13 For instance, in “At the Scene of an Accident” the poet deploys a narrative strategy to reveal the anguish elicited by spectacle of a car crash

Trauma as Archetype, Terror as Arsenal

The Changing Cosmos in Ken Saro-Wiwa’s A Month and a Day

Sophia Akhuemokhan

Ogoniland. Karadim claims that slow violence is a difficult theme to handle: swift violence satisfies “the audience’s desire for spectacle that slow violence does not contain [… and] is more exciting and eventful.” Nonetheless, deficiency in spectacle and excitement is not a serious drawback in the art of

Dorothy Nelkin

through trade union leaders. "There must be an end to the saddening spectacle of certain elements who paradoxically find it normal to turn work places into places of public meetings."2 By the summer of 1966, however, unions were again expressing concern over the Government's slow pace in attacking

Rhetoric and Rivalry

Arrow of God and Present-Day Nigerian Politics

Diri I. Teilanyo

’s unattractive looks (e.g., Gordons). The entire spectacle of the content of the utterance—the conspicuous laughter, the protracted sniffing, the ‘populist’ Pidgin used, the mien and general physical presence of Obasanjo, and the general theatrics employed: all this presents Obasanjo as the consummate

Environmental Sustainability

African Womanist Response in Ojaide’s The Activist

Charles A. Bodunde and Saeedat B. Aliyu

shocked them. Where were the flying fish that used to shoot out of the water into the air and then somersault back into the water? That spectacle was now confined to memory. The water was no longer herb-dark … it was light green, greasy, and smelly. 21 The novelist, through the recollection of

The Nigerian Film Plot

Motion without Movement?

Elo Ibagere and Osakue Stevenson Omoera

behind diverting spectacle. 17 Elo Ibagere, “Towards a Theorization of the Nigerian Film: The Realistic and Formative Tendencies in Focus,” IJOTA : Ibadan Journal of Theatre Arts 2.4 (2008): 10. 18 Siegfried Kracauer, “Basic Concepts” (1960), in Film Theory and Criticism , ed. Gerald Mast

Ali A. Mazrui

."16 But with the conversion of the veil into a military camouflage the enemy gradually became extra alert. "In the streets one witnessed what became a commonplace spectacle of Algerian women glued to the wall, over whose bodies the famous magnetic detectors, the 'frying pans' would be passed. Every