Mineke Schipper, Theatre and Society in Africa, Ravan Press,
  Johannesburg, 1982, 170 pp.
  Mineke Schipper's study is divided, broadly, into two parts, each presenting African
  theatre as a total expression of society.
  The first part discusses the significant elements which make African theatre vibrant.
  For example, under the heading 'Oral Literature and Total Theatre', she discusses the
  important role played by the traditional narrator, the man who knows how to use
  words effectively, and who 'by his rendering of mythical stories ... touches on the
 deepest truths'. (p.J3). Myths, legends and fairy tales are seen as Important elements
 of oral literature, explaining the significance of human existence (p.17). Similarly
 important, in oral tradition, is the role of the ancestors. The author gives Okot
 p'Bitek's Horn of My Love (J 964), Tom Omara's The Exodus (J 972) and J.P. Clark's
 Song of a Goat (J 964) and Ozidi (J 966) as examples of plays dominated by the
 presence of the ancestors who have to be appeased, as they influence human destiny.
 African theatre hd~ often been inspired by the past.        The author discusses this
 element by examming the way it is expressed, especiaJJy in the epic. Examples of
 plays emploYIng this mode include Soundjata in which the deeds of the hero are
 magmfied. She points out that the epic is often part of history, as in the case, for
 Instance, of Shaka. The latter has been presented in theatre in many roles, ranging
 from nation builder to militant black fighter.        The important point which she
emphaslses about the epic is that it is an important, integral part of oral tradition,
 with the hero as a source of inspiration.
The discussior. In the first part is, unfo. tunately, too brief to be effective.    The
author, while expressing interesting ideas, does not develop them fuJJy. One would
have welcomed a more detailed discussion of at least some of the plays referred to.
thiS would have given the argument the depth that it so woefuJJy lacks.
In the second part the author discusses important aspects of the African experience In
their soclO-polltlcal context.    For example, she examines dramatic response to the
confrontation with Europeans.        She mentions plays dealing with this issue, for
example, A.S. Maslye's The Lands of Kazembe (J 973) and Bernard Zadi's Les Sofas
suivi de l'oeil (1975). She also discusses, briefly, the colonial system itself as
presented in African theatre, and refers to relevant plays, such as Bernard Dadie's
Beatrice du Congo (1970), Philippe Elebe's Simon Kimbangu ou Ie messie noir (1972),
Duro Ladipo's Oba Waja (1967), Wole SOYinka'sDeath and The King's Horseman (J975)
and Ebrahim Hussein's Klnjeketlle (1970).        While the list above is impressive,
suggesting Wide readIng and research, the argument presented IS, unfortunately, quite
Inadequate for thIS kmd of study. The author makes sweeping observatIOns; she often
gives long quotatIOns from the plays, but. does not diSCUSSthem fuJJy. Similarly
Inadequate IS her treatment of such colomal Issues as aSSimilation and African protest.
Had she discussed the plays to which she refers in some measure of detail, her
argument would have been more effective.
MIneke Schipper suggests that African theatre has tried to direct its energies towards
Important SOCial Issues.      Plays such as Ngugl's The Black Hermit (1968), Sanf
Easmon's Dear Parent and Ogre (1964) and The New Pa~riots (1965) are examples of
the concern of theatre with tnbalism, whlle Oyono-Mbla s TrOISpretendants
un mari (I969) is a defence of a woman's right to marry whomsoever she chooses and
Rebecca Njau's The Scar (I960) and In the Round Chain (1964) are a call for the
emancipation of oppressed groups, especially women. Here agam, the author shows
wide reading and exhibits an acute appreCiation of the ISsues Involved In Afncan
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theatre. However, long quotations ac<X>mpaniedby short discussion do not enhance
the argument. This chapter, like the others before it, ends up as a wide survey when,
had it been treated more seriously, it might have been interesting and informative.
The material exists; it needs to be handled carefully and developed fully.
In the second part of her study, the author singles Wole Soyinka, the 'leading writer in
Nigeria, •.••..      as well as in the rest of Africa, Europe and America' (p.J36) for
discussion in a chapter of his own. She deals with the various influences that have
shaped Soyinka's plays, among which are traditional elements such as songs, dances
and festivals.   She tries to show that such plays as A Dance of the Forests (J 963),
Death and the King's Horseman and Madmen and Specialists (197 J) have been
influenced by traditional elements. She also discusses Soyinka's attitude to such issues
as African heritage and Negritude. Her conclusion is that while he is concerned with
these issues, Soyinka refuses to idealise Africa; rather he uses his plays to point out
the success of the continent as well as its failures.    A good example is A Dance of
the Forests where even the Gods do not escape his censure.           The author sees in
Soyinka a man with single-minded determination to make society face reality, however
disturbing this may be.
A few concluding remarks might help us understand Theatre and Society in Africa.
The book is well-researched into, as can be seen in the wide array of plays mentioned.
The argument is well-organised; the style is lucid.          The tone of the book is
sympathetic to the subject under discussion; real effort is made not only to
understand, but also to appreciate the place and role of theatre in African society.
Nevertheless, the book does have some weaknesses.         For example, the topic seems
rather broad, as do the geographical and linguistic areas covered. It would, perhaps,
have been better if the author had selected fewer aspects of African theatre for a
more thorough examination.       As it is, the argument tends to be thin, shallow and
sketchy, thus unsatisfactory.     This is a pity because a great deal of worthwhile
research has been carried out.
All in all, however,. Theatre and Society in Africa is a welcome introduction to a very
Important Afncan literary and cultural topic. Scholars and researchers will find the
detailed bibliography most useful.
V.C.D. Mtubani
Department of English
University of Botswana
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