A History of Theatre in Africa by Martin Banham

By Martin Banham

Supplying a complete account of a protracted and sundry chronicle, this heritage of theater in Africa is made out of essays written through students within the box. The insurance is geographically huge and contains an exam of the options of "history" and "theater" in Africa; North Africa; Francophone theatre; Anglophone West Africa; East Africa; Southern Africa; Lusophone African theatre; Mauritius and Reunion; in addition to the African diaspora.

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This celebrates the jubilee of the coronation and the renewal of the vigour of the pharaoh, and is a re-enactment of the unification of Upper Egypt and Lower Egypt. Many visual and recorded depictions of this ceremony are extant, showing the rituals of running the double course, the shooting of four arrows, libations ceremonially carried by young princesses, female dancers,          jugglers and participants. These scenes are depicted in the Luxor tomb of Kheru-ef, steward of Queen Tiy (Eighth Dynasty,  ) and in the Great Festival Temple of Thutmose III (– ), built in honour of Amon Ra in the temple complex of Karnak.

The post that is relevant to our situation and our history is the posttribal state. The post-tribal state can be said to have been inaugurated at                                 the Berlin Conference of –. Africa was delimited and mapped as a place of modern states with no consideration of tribal borders and cultural differences. Some ‘nation-states’ have as many as two hundred and fifty tribes while others have one or two. Whatever the number of tribes in each modern African nation-state, Africa has arrived at the post-tribal condition in which tribal differences are deemed dangerous and even unmentionable.

In the paintings of the Opet festival on the walls of Luxor temple the scenes include people clapping rhythmically, dancers, Nubian slaves, acrobats, people kneeling in adoration, and priestesses with sistras (rattles made of metal or faience, often topped with the head of the goddess Hathor). Modern echoes of this ancient ceremony still take place in the month of Shabaan, the month before the fasting month of Ramadan, in Luxor, when, during the moulid or birthday celebrations of Abul Hagag, there is a procession from his mosque, built in the thirteenth century in the medieval Fatimid village.

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