Ọkụmkpọ́ Masquerade as Theatre Performance in Akpoha-Afikpo Cross River Igbo Area of Southeastern Nigeria.
The Cross River Igbo area of Southeast Nigeria has a wide range of masquerade cultural practices which has attracted several academic investigations. The most cited and popular performance is the Akpoha-Afikpo Ọkụmkpọ́ masquerade. Scholars have engaged with the Ọkụmkpọ́ masquerade phenomenon from va...
| Publicado en: | Journal of African Cultural Studies Vol. 37; no. 4; pp. 478 - 497 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Dec2025
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=189653219&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 189653219 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 13696815 36D jtl: Journal of African Cultural Studies issn: 13696815 maglogo: N pubinfo: dt: Dec2025 vid: 37 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 189653219 10.1080/13696815.2025.2449892 ppf: 478 ppct: 19 formats: fmt: – @attributes: type: T db: hlh ui: 189653219 – @attributes: type: P db: hlh ui: 189653219 tig: atl: Ọkụmkpọ́ Masquerade as Theatre Performance in Akpoha-Afikpo Cross River Igbo Area of Southeastern Nigeria. aug: au: Orji, Bernard Eze affil: Department of Theatre Arts, Alex Ekwueme Federal University, Ndufu-Alike, Nigeria su: Cross River (Cameroon & Nigeria) Nigeria Social context Folk literature Cultural activities Performance theory Masquerades Performance art sug: subj: Social context Folk literature Cultural activities Performance theory Cross River (Cameroon & Nigeria) Nigeria Masquerades Performance art keyword: Akpoha-Afikpo Ọkụmkpọ́ masquerade performance analysis play production rituals theatre Akpoha-Afikpo Ọkụmkpọ́ masquerade performance analysis play production rituals theatre ab: The Cross River Igbo area of Southeast Nigeria has a wide range of masquerade cultural practices which has attracted several academic investigations. The most cited and popular performance is the Akpoha-Afikpo Ọkụmkpọ́ masquerade. Scholars have engaged with the Ọkụmkpọ́ masquerade phenomenon from varying perspectives, including its thematic preoccupations, the sociopolitical functions, the aesthetic dynamics, the ritual underpinnings, and the dramatic, sociological, and anthropological connotations, as well as the mask typologies. As far-reaching as these enquiries have been, however, there has been hardly any effort to investigate this performance within African theatricality, or to treat individual participants as individual performers. This article examines the processes involved in Ọkụmkpọ́ masquerade ritual as a theatrical performance. The research is based on participant observation, in-depth interviews and closed-group discussions. As a study that sets out to investigate the visual and kinetic spectacles of a particular Igbo satiric and didactic performance, ethno-poetics and performance analysis are the theoretical frameworks adopted. The article concludes that the production of Ọkụmkpọ́ masquerade follows the principles of play production: from scripting, auditioning, casting, rehearsal, directing, dress, and technical aspects, to the actual performance in both the village and the market square. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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