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Resisting Eco-colonialism Through Indigenous Epistemologies and Performances in Nigeria

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Stanley Timeyin Ohenhen1* & Princewill Chukwuma Abakporo²
¹,² Theatre Arts Programme, Bowen University, Iwo Osun State, Nigeria. *Correspondng author. 

Rupkatha Journal, Vol. 16, Issue 1, 2024. https://doi.org/10.21659/rupkatha.v16n1.02
[Article History: Received: 01 December 2023. Revised: 01 February 2024. Accepted: 02 February 2024. Published: 03 February 2024
]
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Abstract:

The lands and natural resources of indigenous communities in the Global South have been severely exploited thereby leading to a major decline in the ecosystem, following centuries of colonization.  The research intends to investigate and demonstrate the relevance of indigenous cultural epistemologies and traditional performances, in challenging and reversing the ecological degradation brought about by colonialism in Nigeria. Relying on the postcolonial, and environmental justice theoretical frameworks, an examination of the literature and case study centred on the indigenous populations in Ogoniland in the Niger Delta region of Nigeria will be deployed. Through an exploration of the traditional performances of the Ogoni people, which are deeply rooted in their indigenous cultural epistemologies, encompassing their customary knowledge structures, rituals, and worldviews, this study aims to illuminate the deep ecological understanding that has supported this Nigerian, Niger Delta community for several generations. Additionally, it aims to acknowledge the vital role that indigenous peoples play in maintaining a variety of ecosystems as well as their deeply ingrained spiritual and cultural ties to the natural world. The study examines creative practices and effective eco-restorative projects led by the indigenous people of Ogoniland that defy the colonial-era models of resource extraction and industrial development. The research intends to contribute to the current global conversation on decolonization, environmental stewardship, and the importance of inclusive and diverse viewpoints in sustainable development. The research concludes that indigenous cultural epistemologies and traditional performances provide vital resources for engaging the ecological issues that Ogoniland and other locations in Nigeria for that matter, face by elevating the voices and knowledge of indigenous peoples.

Keywords: Indigenous cultural epistemologies, colonialism, ecological degradation, Global South, Ogoniland, Nigeria, environmental stewardship, decolonization, inclusive perspectives.

Sustainable Development Goals: Peace, Justice and Strong Institutions, Life on Land

Citation: Ohenhen, S.T. & Abakporo, P. C. (2024). Resisting Eco-colonialism Through Indigenous Epistemologies and Performances in Nigeria. Rupkatha Journal 16:1. https://doi.org/10.21659/rupkatha.v16n1.02 

“Humans as Voices of God and Tradition?” Rethinking the Subjugation of the African Woman in Mariama Ba’s So Long a Letter

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Stephen O. Solanke, Ajayi Crowther University, Nigeria

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Abstract

Over the eons, man has posed asspeaking for and on behalf of God and Tradition. His assumed positions on social issues, therefore, are regarded as infallibles. Polygamy as one of the issues is advantageous for male. This paper discusses, through a sociological consideration of Mariama Ba’s So Long a Letter and the effects of polygamy, that a positive consideration be cast on the issue in the modern African world. Women need not be abandoned, children need not be cast aside, and men’s lives need not become loveless as much as the society need not be shackled with frustrated marriages and destroyed lives. The African world, faced with the negative effects laid on the table in this paper, should sociologically re-adjust itself into the modern world of love-giving, acceptance and sharing. Keep Reading

Drama and the Politics of Climate Change in Nigeria: A Critical Appraisal of Greg Mbajiorgu’s Wake Up Everyone

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Norbert Oyibo Eze, University Of Nigeria, Nsukka

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 Abstract

Johnny Igbonekwu observes that ‘an obvious primal instinctive human quest” is to “conquer the world” but he equally notes that man has not been able to achieve this goal, in spite of his “formidable intellectual assaults on the multifarious stupendous mysteries of the world” (Talk About Man 1). The quest for all manner of domination-economic, political, territorial, and spatial, etc, has driven man into invention and mindless application of technology which in choking nature, cause it to frequently retaliate through global warming, tsunami, landslide, erosion, and flooding of different dimensions. The constant decimation of human lives, businesses, buildings, and municipal services as well as the emergence of perturbing diseases owing to these palpable effects of natural disaster, force the issue of climate change to occupy a significant place in the world of environmental studies and research. This paper seeks to explain the place of drama in tackling the problem of climate change through a detailed analysis and interpretation of Greg Mbajiorgu’s Wake Up Everyone considered to be a giant impact assessment study and provocative wake-up call. Keep Reading

Biafra and the Aesthetics of Closure in the Third Generation Nigerian Novel

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Madhu Krishnan, the University of Nottingham, UK

Volume 2, Number 1, 2010 I Download PDF Version

DOI: 10.21659/rupkatha.v2n2.09

 Abstract

This paper examines the role of closure, or the lack thereof, in four contemporary Nigerian novels. Representative of the third wave of Nigerian literature, these narratives each deals with themes of trauma, identity and community affiliation in postcolonial Africa, highlighting the fractured and displaced nation-state as the site of a radical aporia between individual fulfillment and communal harmony. This article postulates that the lack of closure on the level of thematic content and characterization in these novels is an aesthetic condition of third generation Nigerian literature as it strives to narrativize the openness and undecidability of the postcolonial condition and the fundamental instability of history and identity-formation in contemporary Africa. Keep Reading

Ideological Mutations in the Drama of Bode Sowande

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Ameh Dennis Akoh, Osun State University, Nigeria

Volume 2, Number 1, 2010 I Download PDF Version

DOI: 10.21659/rupkatha.v2n2.08

 Abstract

The question of a convenient marriage of ideology and aesthetics in Nigerian drama has occupied the minds of critics for a long time – for some dramatists ideology has no place in their works and thus insist rather on social vision; however, while it is, again, long been established that there is no way of escape from ideology in our time, the concern then is on the ideological mutations in a dramatist and his work over time. This paper engages the works of one of Nigeria’s foremost playwrights, Bode Sowande. The paper discusses the different phases of the ideological mutations of the playwright from spiritual and revolutionary nationalism to what the drama is christened for specific purposes.1 The paper argues that the writer’s sensibilities are shaped by the changing fortunes of the society and the current aesthetic and philosophic tangentiality in the African dramatic and theatrical arts of English expression (Uji 44). Keep Reading

Soyinka and Yoruba Sculpture: Masks of Deification and Symbolism

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Gilbert Tarka Fai

University of Maroua, Cameroon

Volume 2, Number 1, 2010 I Download PDF Version

DOI: 10.21659/rupkatha.v2n1.05

Abstract

The Yoruba mask is a piece of sculpture that is both artistic and functional. The carved work fulfils one or more of several functions—sacred or profane, personal or communal, serious or satirical. As an object it has only its relatively insignificant quota of vital energy that is found, according to African ontology, in all matter and substance of the visible world- animal, vegetable and mineral. But the Yoruba mask also has a force that extends to the world of spirits and gods. These masks also have the dual effect of transforming the wearer and the ambivalence of serving good and evil ends. This indicates that the Yoruba mask apart from its spiritual essence is a symbol of great complexity and ambiguity. It is from this great community of sculptors and from the ambivalent quality of the mask as image and symbol that some of Wole Soyinka’s creative writings emerge. This paper argues that Wole Soyinka uses his native Yoruba sculpture, and the mask in particular, to dramatise the essential spiritual continuity of human nature through the dramatic appearance of gods and the spirits of the ancestors in the world of the living during the dance of possession. Keep Reading