Re-centering Cultural Performance and Orange Economy in Post-colonial Africa

This book explores the role of national theatres, cultural centers, cultural policy, festivals, and the film industry as creative and cultural performances hubs for exercising soft power and cultural diplomacy. It offers perspectives on ways existing cultural and non-cultural infrastructures, sometimes referred to as the Orange Economy, can open opportunities for diplomacy and soft power; avenues by which cultural performance and creative practice can be re-centered in post-colonial Africa and in post-global pandemic era; and insights for cultural performers, diplomats, administrators, cultural entrepreneurs, and managers to leverage cultural performance and creative practice on the continent. This volume is positioned within postcolonial discourse to amplify narratives, experiences and realities that are anti-oppressive especially within critical discourse.

Taiwo Afolabi, PhD, is a Canada Research Chair in Socially Engaged Theatre; Director, Centre for Socially Engaged Theatre; an Assistant Professor at the University of Regina, Canada; and a Senior Research Associate at the University of Johannesburg, South Africa. He is the founding artistic director of Theatre Emissary International, Nigeria.

Olusola OGUNNUBI is a Research Fellow at the University of the Free State and a Visiting Scholar with Carleton University, Ottawa. He received his PhD from the University of KwaZulu-Natal. His research interests include regional studies, comparative foreign policy, corruption in Africa, African regional power politics and soft power diplomacy.

Shadrach Teryila Ukuma, PhD, teaches cultural performances at Benue State University, Makurdi, Nigeria. His doctoral thesis focused on the utilitarian role of cultural performances in managing collective trauma amongst victims of farmer/herder conflicts in Benue State. He currently directs the fast-growing Kyegh Sha Shwa Cultural Festival in Benue State.

Auteur

Taiwo Afolabi is an Assistant Professor at the University of Regina, Canada and a Research Associate at the University of Johannesburg, South Africa. He received his PhD from the University of Victoria, Canada. He is applied theatre practitioner with a decade of experience working across a variety of creative and community contexts in over dozen countries across four continents. His practice and research interests include cultural performance, decolonization, community-based and socially-engaged creative practice, and research ethics. He is the founding artistic director of Theatre Emissary International, Nigeria, and serves on the board of the International Federation Theatre Research (IFTR). Olusola OGUNNUBI is a Research Fellow at the University of the Free State and a Visiting Scholar with Carleton University, Ottawa. He received his PhD from the University of KwaZulu-Natal. His research interests include regional studies, comparative foreign policy, corruption in Africa, African regional power politics and soft power diplomacy.

Shadrach Teryila Ukuma, PhD, has been teaching and researching cultural performances at Benue State University, Makurdi, Nigeria for seven years now. His doctoral thesis focused on the utilitarian role of cultural performances in managing collective trauma amongst victims of farmer/herder conflicts in Benue State. Part of his research interests includes investigating how cultural performances could function to propagate issues in sustainable development and how tenets of sustainability could be entrenched through social practice. Dr. Ukuma currently directs the fast growing Kyegh Sha Shwa Cultural Festival in Benue State.

Texte du rabat

This book explores the role of national theatres, national cultural centres, cultural policy, festivals, and the film industry as creative and cultural performances hubs for exercising soft power and cultural diplomacy. It shows how can existing cultural and non-cultural infrastructures, sometimes referred to as the Orange Economy, open opportunities for diplomacy and soft power; ways by which cultural performance and creative practice can be re-centered in post-colonial Africa and in post-global pandemic era; and existing structures that cultural performers, diplomats, administrators, cultural entrepreneurs, and managers can leverage to re-enact cultural performance and creative practice on the continent.
This volume is positioned within postcolonial discourse to amplify narratives, experiences and realities that are anti-oppressive especially within critical discourse.

Contenu

Theme I: Culture and Policy.- Chapter 1 Introduction.- Chapter 2 Tunisia Music Culture Policy: Perspective/Challenges of a State's Project.- Chapter 3 Community Museum for National Integration in Nigeria, 1960-2000.- Chapter 4 La réhabilitation de la performance rituelle Melan pour une reconstruction de la spiritualité originelle du peuple Ekang.- Chapter 5 Pan Africanism and Cultural Policy Management: A Formative Evaluation of Nigeria and Ghana Cultural Policies.- Chapter 6 Ife Art School as a Centre of Decolonization and Decolonial Thinking in Nigerian Visual Art Practice.- Chapter 7 Body Tattoo and Social Communicative Value in Nigeria: A Study of Ogallala Studio of Arts and Tattooing.- Chapter 8 Cultural Policy and Creative Practice in Africa: Impact and Challenges.- Chapter 9 Dutch-Moroccan cultural cooperation? A discourse on network of cultural policy.- Theme II: Creative Practice, Soft power and Diplomacy.- Chapter 10 Rewriting Africa's Single-Story Narrative: Lessons from Darmasiswa.- Chapter 11 Something of Value: The Neo-colonial Impulse of Basketball in Africa in the Performance of Modernity.- Chapter 12 Orange Economy, Cultural Diplomacy and Soft Power: Prospects and Problems in Africa (2).- Chapter 13 Structural Violence in Post-colonial Kenya bing represented through the Film Nairobi Half Life (2012).- Chapter 14 Nigeria's Orange Economy and the Appropriation of Soft Power.- Chapter 15 Psychosocial Aesthetics of Contemporary Inflight Entertainment.- Chapter 16 Hunters, Fighters, and Blue- Blood: A Post-modern Reading of African Folktales and the Soft Will to Africanise.- Chapter 17 Beyond Entertainment: Power and Performance in two Urban Festivals in Nigér.- Chapter 18 The National Troupe of Nigeria Post-Ogunde: A Cultural Diplomacy Fad or Farce?.- Theme III: Cultural Performance and Sustainability.- Chapter 19 Tumaini Festival: Deconstructing Colonial Borders at Dzaleka Refugee Camp in Malawi.- Chapter 20 To Own, Benefit and Sustain: Rethinking Museum Concept and Practice in Africa.- Chapter 21 Tapping into Africa's Environmental and cultural Heritage: Roles and responsibilities of the Citizens.- Chapter 22 B b b Music Festivals: Agency and Sustenance of Cultural Performance in Ghana.- Chapter 23 Problematic Leisure: The Consequences of the Engagement of Chess as Educational Aid within African/ Black School Curriculum.- Chapter 24 Bemoaning Extinct Cultural Practices: A Study of Olobonbori Performance.- Chapter 25 The role of Art Administration and Cultural entrepreneurship: an explorative analysis of the cap weaving industry of Maiduguri, Borno state-Nigeria.- Chapter 26 Conclusion.