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 Periodical article |
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| Title: | Yoruba drama and religion: the pre- & post-colonial situations |
| Author: | Ogundeji, P.A. |
| Year: | 1995 |
| Periodical: | Orita: Ibadan Journal of Religious Studies |
| Volume: | 27 |
| Issue: | 2 |
| Pages: | 100-111 |
| Language: | English |
| Geographic term: | Nigeria |
| Subjects: | African religions Yoruba folk drama theatre |
| Abstract: | This article compares the relationship between drama and religion, in the context of Yoruba culture, before and after colonialism came to Nigeria. Precolonial drama was a product of religious ritual, abundant in the traditional festivals of the Yoruba. The 'eégún aláré' (masquerade entertainer), also commonly known as 'alárìnjó' and 'apidán', was another form of precolonial drama among the Yoruba. The advent of Europeans in Yorubaland heralded a new religion, in the form of Christianity, as well as a new dramatic form. Both were 'domesticated', and the Yoruba have today developed indigenous Christian and dramatic forms with the 'aládùúrá' and other pentecostal churches, the Ogunde dramatic movement and its tradition, and written drama. The intrinsic connection between religion and drama in precolonial times is to a large extent absent. The two major approaches to the treatment of religion among Yoruba playwrights are tragic and satirical. Religious tragedy is exemplified by Duro Ladipo's '.Oba kòso' (The king did not hang) and 'M.orémi', among others, and .Olad.ej.o Okediji's '.Sàngó'. Religious satire is exemplified by Babatunde .Olatunji's 'A.sírí tú', which satirizes Islam, and Aikinwumi I.s.ola's 'Ab'.e ààbò', which satirizes Christianity. Bibliogr. |