Introduction
This essay seeks to explore the vibrant world of performance poetry in Nigeria through the lens of Richard Schechner’s Performance Theory. Performance poetry, as an oral and embodied art form, holds a significant place in Nigeria’s cultural landscape, reflecting socio-political realities, personal narratives, and communal identities. Schechner’s framework, which views performance as a broad spectrum of human activity encompassing theatre, rituals, and everyday behaviours, provides a useful analytical tool to understand the performative elements of Nigerian poetry (Schechner, 2002). This essay will first outline the key tenets of Schechner’s theory, particularly focusing on concepts such as ‘restored behaviour’ and the blurring of boundaries between performer and audience. It will then examine the historical and cultural context of performance poetry in Nigeria, before applying Schechner’s ideas to specific aspects of this art form, including audience interaction and the role of cultural rituals. Finally, the essay will consider the limitations of applying a Western theoretical framework to a distinctly African practice. Through this analysis, the aim is to demonstrate how performance poetry in Nigeria embodies Schechner’s notion of performance as a transformative and communal act, while also acknowledging the unique cultural dynamics at play.
Richard Schechner’s Performance Theory: Key Concepts
Richard Schechner, a prominent figure in performance studies, offers a comprehensive framework that extends beyond traditional theatre to include rituals, play, and social dramas. Central to his theory is the concept of ‘restored behaviour,’ which Schechner describes as actions that are learned, rehearsed, and repeated, often detached from their original context and adapted for performance (Schechner, 2002). This idea is particularly relevant to performance poetry, where poets draw on cultural narratives and personal experiences, reinterpreting them through rehearsed verbal and physical expressions. Furthermore, Schechner argues that performance disrupts the binary between performer and audience, creating a liminal space where both parties actively participate in meaning-making. His assertion that “performance is a way of knowing” (Schechner, 2002, p. 2) suggests that performance serves as a mode of cultural and personal expression, a perspective that resonates strongly with the oral traditions of Nigerian poetry. While Schechner’s theory is rooted in Western academic discourse, its emphasis on the universality of performance as a human activity provides a foundation for cross-cultural analysis, albeit with certain limitations that will be addressed later.
The Context of Performance Poetry in Nigeria
Performance poetry in Nigeria has deep roots in the country’s oral traditions, which predate colonial influences and remain a vital part of cultural expression across diverse ethnic groups such as the Yoruba, Igbo, and Hausa. Historically, griots and praise singers performed poetry to document histories, honour leaders, and comment on societal issues (Ojaide, 1996). In contemporary Nigeria, performance poetry has evolved into a dynamic form of expression, often associated with urban youth culture and political activism. Platforms such as the Lagos Poetry Festival and spoken word events in cities like Abuja have amplified the voices of young poets addressing issues like corruption, gender inequality, and postcolonial identity. The performative nature of this art form—combining rhythm, gesture, and direct audience engagement—distinguishes it from written poetry and aligns it closely with Schechner’s definition of performance as an embodied, interactive event. Moreover, the influence of global hip-hop culture and local musical traditions like highlife and fuji often permeate Nigerian performance poetry, creating a hybrid form that reflects both indigenous and modern influences (Ojaide, 1996). Understanding this context is essential before applying Schechner’s theoretical lens.
Applying Schechner’s Theory: Restored Behaviour in Nigerian Performance Poetry
One of Schechner’s most applicable concepts to Nigerian performance poetry is ‘restored behaviour.’ In this context, poets often draw on historical and cultural narratives, re-enacting them through oral delivery and physical gestures. For instance, a poet performing a piece about the Nigerian Civil War might adopt the tone and mannerisms of a traditional griot, thus restoring a form of behaviour rooted in communal storytelling (Schechner, 2002). This act of restoration is not merely mimicry; it transforms historical memory into a contemporary critique, allowing audiences to reconnect with the past while engaging with present-day issues. A specific example can be seen in the work of poets like Dike Chukwumerije, whose performances often weave personal and national histories into a single narrative, embodying restored behaviour through deliberate vocal inflections and bodily movements that evoke traditional praise singing. This alignment with Schechner’s theory highlights how Nigerian performance poetry serves as a bridge between past and present, reinforcing communal identity through repeated, adapted actions. However, it must be noted that while Schechner’s concept is broadly applicable, it may not fully account for the spiritual dimensions often embedded in Nigerian oral traditions, where performance is sometimes seen as a sacred act.
Audience Interaction and Liminal Spaces
Another critical aspect of Schechner’s theory is the blurring of boundaries between performer and audience, creating a shared liminal space where meaning is co-constructed. In Nigerian performance poetry, this dynamic is particularly evident. Unlike written poetry, which is often consumed in solitude, performance poetry thrives on immediacy and interaction. Audiences frequently respond to poets with applause, shouts, or even verbal interjections, becoming active participants in the performance (Schechner, 2002). For example, at events like the War of Words poetry slam in Lagos, poets often tailor their delivery based on audience reactions, adjusting tone or pacing to sustain engagement. This aligns with Schechner’s view of performance as a collaborative act where “the audience is as much a performer as the actors” (Schechner, 2002, p. 22). Furthermore, the physical settings of these performances—often in open-air venues or community spaces—enhance this sense of liminality, breaking down formal barriers and fostering a communal experience. While this interaction enriches the performance, it also raises questions about the extent to which audience responses shape the poet’s message, a nuance Schechner’s theory does not fully explore.
Cultural Rituals and Performance in Nigeria
Schechner’s inclusion of rituals as a form of performance offers another lens through which to view Nigerian poetry. In many Nigerian cultures, poetry is not merely entertainment but a ritualistic act tied to festivals, initiations, and communal gatherings (Ojaide, 1996). For instance, among the Yoruba, praise poetry (oriki) is performed during ceremonies to honour ancestors or deities, embodying spiritual and social significance. Schechner’s theory helps illuminate how these ritualistic performances transcend mere aesthetics, functioning as transformative acts that reinforce cultural values and collective memory (Schechner, 2002). However, applying this Western framework to African rituals requires caution. Schechner’s focus on performance as a universal human activity may overlook the specific cosmological beliefs that underpin Nigerian rituals, where the boundary between the secular and the sacred is often blurred. Thus, while his theory provides a useful starting point, it must be complemented by culturally specific understandings to avoid oversimplification.
Limitations of Applying Schechner’s Theory
While Schechner’s Performance Theory offers valuable insights, its application to Nigerian performance poetry is not without challenges. Primarily, Schechner’s framework is rooted in Western academic discourse, which may not fully capture the cultural and historical specificities of African performance traditions. For instance, his emphasis on performance as a secular or artistic act does not always align with the spiritual dimensions of Nigerian poetry, where performances often serve as conduits for divine or ancestral communication (Ojaide, 1996). Additionally, Schechner’s universalist approach risks flattening cultural differences, potentially reducing Nigerian performance poetry to a subset of global performance rather than acknowledging its unique socio-political context. Indeed, scholars like Tanure Ojaide argue for the need to centre African epistemologies when analysing such art forms, a perspective that Schechner’s theory does not explicitly address (Ojaide, 1996). Therefore, while Schechner’s concepts of restored behaviour and liminality are broadly applicable, they must be adapted and critiqued to reflect the nuances of Nigerian cultural expression.
Conclusion
In conclusion, Richard Schechner’s Performance Theory provides a compelling framework for analysing performance poetry in Nigeria, particularly through concepts like restored behaviour, audience interaction, and the ritualistic nature of performance. By examining how Nigerian poets restore cultural narratives, engage with audiences in liminal spaces, and embed their work within communal rituals, this essay has demonstrated the transformative power of performance poetry as a mode of cultural expression. However, the limitations of applying a Western theoretical lens to an African context have also been acknowledged, highlighting the need for a culturally sensitive approach that prioritises local epistemologies. Ultimately, this analysis reveals the richness of Nigerian performance poetry as a site of personal and communal meaning-making, while also underscoring the importance of adapting theoretical frameworks to specific cultural contexts. Further research could explore how other global performance theories intersect with African oral traditions, offering a more nuanced understanding of this dynamic art form. As Nigerian performance poetry continues to evolve, it remains a vital space for dialogue, resistance, and cultural preservation.
References
- Ojaide, T. (1996) Poetic Imagination in Black Africa: Essays on African Poetry. Carolina Academic Press.
- Schechner, R. (2002) Performance Studies: An Introduction. Routledge.
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