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• W822010198 abstract "Introduction Sam Ukala is a Nigerian playwright, director, teacher, and supporter of decolonization that works to explore African traditional standards of beauty and correctness (aesthetics). In construction of his plays, he depends on African oral tradition, hence belief or behavior passed within a group or society that has symbolic meaning or a special importance with origins in past for his materials and structure. He selects his material from oral tradition of Ika people of northwest region of Delta State in Nigeria, and thus works it into a modern dramatic mode to reflect his concern with social malaise in body politic of Nigeria. Hence, in this context, as O. R. Dathorne suggests, the direction of development [of modern African drama] would be in resuscitation of folk formsand that... traditional material helps to give historical depth and a time perspective to drama, even though it has been recorded by imagination of an individual (309, 323). This seemingly appears to have informed Ukala in his dramatic productions because in his plays, he borrows extensively from Ika oral tradition to give his plays a unique identity. And additionally, Abubakar (2009) in his discussion of relationship between African traditional performances and modern dramatic experience in hands of modern playwright in Africa observes that in hands of such playwrights, heritage of two performance cultures no doubt has made African playwrights inventive as they strive to be contextually relevant without losing touch with universal trends, like modern stage and its appurtenances (175). We understand Abubakar to mean that modern African playwrights do not just ape Western dramatic mode of presentation, but that they instead blend their materials from both traditions creatively to produce relevant theatrical experience that audiences from traditional African performance and Western dramatic tradition can both readily identify with. Therefore, this paper will examine four of Ukala's published plays: namely The Slave Wife (1982), Akpakaland (1990), Break a Boil (1992), The Trials of Obiamaka Elema, hereafter The Trials (1992), with objective to show that he combines folk materials of African people which consists of story-telling, audience involvement in enactment of action etc, with his European experience of drama, such as stage arrangement, lighting etc, to make comments on contemporary issues. Hence, paper examines plot, mode of characterization, language and various other structural devices in plays that give them a distinctive touch in order to show how playwright has used these to give depth to his plays and to categorically state that these derive from dramatist's experience in traditional African performance. In this treatment, we see that Ukala has indeed taken theatre from proscenium stage and imbued it with traditional African aesthetics in its composition and enactment to utilize basic features of performance via African folktale and other performances from which Africans create entertainment. Plot M.H. Abrams and Geoffrey Galt Harpham observe that [t]he plot ... in a dramatic or narrative work is constituted by its events and actions, as these are rendered and ordered toward achieving particular artistic and emotional effects (293). Conversantly, plot of a dramatic work is arrangement of incidents in work that send basic sentiments that writer wishes to convey, hence, Ukala depends on African folktale via its oral narrative and structure in construction of his plays. Akpakaland is about a wife who seeks to destroy her co-wife out of jealousy. Fulama tells President that one of his wives has a tail and, therefore, seeks to publicly disgrace concerned woman. Meanwhile, she has made Unata, one of her co-wives from Province of Poor, grow a tail through help of Enwe, native doctor, whom she deceives into assisting her. …" @default.
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• W822010198 date "2013-10-01" @default.
• W822010198 modified "2023-09-23" @default.
• W822010198 title "Sam Ukala: African Tradition in His Plays" @default.
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