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.
Deconstructing Melancholia in Wumi Raji’s Rolling Dreams
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
The Changing Cosmos in Ken Saro-Wiwa’s A Month and a Day
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
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
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
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
A Meta-Analysis of Electorate Surveys in the Nigerian States of Lagos and Bayelsa
appearance of familiar actors and actresses typically united under ‘Nollywood’ on home-video screens, in the place of well-choreographed singers of an endowed choir was spectacle at its exploited best. It bespeaks the length to which campaign creativity can go in electoral Nigeria. “I believe in Goodluck