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"Shango de Ima is a series of legends or histories edited, abridged, and linked together to illustrate one aspect of the orisha Shango. The material on which the play is based is part of an oral tradition that has its roots in Nigeria, and it appears here for the first time in written form ... Shango typifies man and his struggle to gain mastery of himself. Most practitioners of the Yoruba religion consider him the most important orisha to urban living ... He must, as in the beginning of the play, search for his true father and struggle, as must all mankind, to seek out and comprehend his own origins”--From introduction by Edward James, pages 43-44.
"Shango de Ima is a series of legends or histories edited, abridged, and linked together to illustrate one aspect of the orisha Shango. The material on which the play is based is part of an oral tradition that has its roots in Nigeria, and it appears here for the first time in written form ... Shango typifies man and his struggle to gain mastery of himself. Most practitioners of the Yoruba religion consider him the most important orisha to urban living ... He must, as in the beginning of the play, search for his true father and struggle, as must all mankind, to seek out and comprehend his own origins”--From introduction by Edward James, pages 43-44.
This new collection brings together plays and monologues from the National Black Theatre Festival, one of the most historic and culturally significant events—not only in the history of Black theater but in American theater. Held every two years in Winston-Salem, North Carolina, this gathering of Black theater companies and artists from around the country and across the globe features an extraordinary array of performances, workshops, films, spoken-word poetry, and more. Established in 1989 by Larry Leon Hamlin and the North Carolina Black Repertory Company, this volume includes three full-length plays produced at the Festival: Maid’s Door by Cheryl L. Davis Berta, Berta by Angelica Chéri Looking for Leroy by Larry Muhammad This collection also includes seventeen monologues and scenes selected from each year of the Festival, featuring the artists and playwrights: Jackie Alexander, Ifa Bayeza, Pearl Cleage, Kamilah Forbes, Endesha Ida Mae Holland, Javon Johnson, Rhodessa Jones, and others.
The mythological, folkloric, and religious beliefs of Western culture have resulted in a long and ongoing history of esoteric themes in theatre from the Middle Ages to the present in Spain and the America. Now Robert Lima, a noted comparatist, brings to bear on this material his wide knowledge of the world of the occult. Lima defines the terms "occult" and "occultism" broadly to embrace the many ways in which humans have sought to fathom a secret knowledge held to be accessible only through such supernatural agencies as alchemy, angelology, asceticism, astrology, demonolatry, divination, ecstasy, magic, necromancy, possession, Santeria, séances, voudoun, and witchcraft. The dramatic works covered range from medieval materializations of Hell to the Golden Age plays of Lope de vega, Tirso de Molina, and Calderón de la Barca, to modern stage works by Valle-Inclán, García Lorca, Casona, Miras, and a number of significant Afro-Brazilian and Caribbean dramatists. The concluding comprehensive bibliography of the drama of the occult is invaluable.
For nearly twenty-five years, poets, writers, artists, actors, directors, and an ever-growing audience have flocked to New York's landmark Nuyorican Poets Cafe, a breeding ground and showcase for some of the most original and energetic new works of theater being produced today, as well as a community gathering place. Now, for the first time, twenty original plays, monologues, and performance pieces that debuted at the Nuyorican are gathered together in Action, edited by Cafe founder Miguel Algarin and codirector Lois Griffith.
Over the last 35 years, practice of Santeria and the Yoruba religion in the United States has grown as the result of African American search for identity and large scale Cuban migration. While the ritual and belief systems of Santeria and the Yoruba Religion are essentially the same, the practical religion of both differs. Both center around questions of group identity and the concerns of their practitioners. This book focuses on the changes in the Yoruba Practical Religion of the Converted in the African American community. Through insighful attention to rich ethnographic detail, the author explores the beliefs, practices, and rituals of this religious community.
Set in the 1960s and 70s, Nirvana on Ninth Street is loosely based on residents who lived on and near Ninth Street between Avenues B and C in Manhattan, in what is now known as the East Village, during an extraordinary period when the area was a mecca of political radicalism and avant-garde poetry, music, and art. Rachel, a wholly fictitious character, ties the vignettes together. She is a woman who lives largely in a world of her own creation, remembering people from her past who live once again through her imagination. This book is the theater of the absurd, a comedy of errors, and brutal realism all rolled into one delightful, poignant, and sometimes tragic fantasy.
This book explores contemporary African adaptations of classical Greek tragedies. Six South African and Nigerian dramatic texts – by Yael Farber, Mark Fleishman, Athol Fugard, Femi Osofisan, and Wole Soyinka – are analysed through the thematic lens of resistance, revolution, reconciliation, and mourning. The opening chapters focus on plays that mobilize Greek tragedy to inspire political change, discussing how Sophocles’ heroine Antigone is reconfigured as a freedom fighter and how Euripides’ Dionysos is transformed into a revolutionary leader. The later chapters shift the focus to plays that explore the costs and consequences of political change, examining how the cycle of violence dramatized in Aeschylus’ Oresteia trilogy acquires relevance in post-apartheid South Africa, and how the mourning of Euripides’ Trojan Women resonates in and beyond Nigeria. Throughout, the emphasis is on how playwrights, through adaptation, perform a cultural politics directed at the Europe that has traditionally considered ancient Greece as its property, foundation, and legitimization. Van Weyenberg additionally discusses how contemporary African reworkings of Greek tragedies invite us to reconsider how we think about the genre of tragedy and about the cultural process of adaptation. Against George Steiner’s famous claim that tragedy has died, this book demonstrates that Greek tragedy holds relevance today. But it also reveals that adaptations do more than simply keeping the texts they draw on alive: through adaptation, playwrights open up a space for politics. In this dynamic between adaptation and pre-text, the politics of adaptation is performed.
This book aims to offer a broad history of theatre in Africa. The roots of African theatre are ancient and complex and lie in areas of community festival, seasonal rhythm and religious ritual, as well as in the work of popular entertainers and storytellers. Since the 1950s, in a movement that has paralleled the political emancipation of so much of the continent, there has also grown a theatre that comments back from the colonized world to the world of the colonists and explores its own cultural, political and linguistic identity. A History of Theatre in Africa offers a comprehensive, yet accessible, account of this long and varied chronicle, written by a team of scholars in the field. Chapters include an examination of the concepts of 'history' and 'theatre'; North Africa; Francophone theatre; Anglophone West Africa; East Africa; Southern Africa; Lusophone African theatre; Mauritius and Reunion; and the African diaspora.
This collection of papers results from the 15th annual meeting of the African Literature Association which was held in Dakar, Senegal, and was the first such meeting to be held in Africa. Topics covered include approaches and literary theory, language and history, thematic analysis, and literature in the African Diaspora.