Theatre Space: A Historical Overview of the Theatre Movement in Ghana

Theatre Space: A Historical Overview of the Theatre Movement in GhanaI SOPHIA D. LOKKO I ORIGINS Long before the arrival of European culture in the fifteenth century, Ghana enjoyed a rich culture of pageantry in which gold ornaments and iron played prominent parts. The cults of iron and gold were the foundations on which societies were organised; the gold cult, handed over from mother to daughter, embodied the arts of drama, music and dance, which mothers sought to pass on as richly as they could. Rituals pervaded these rites which developed into ceremonies like initiation. In the custom of initiation, African boys are taught bravery, and good manners to their parents and elders; girls learn how to behave with their parents, elders and husbands, and are initiated into the responsibilities of motherhood. ' More specifically, "the supreme economic and social importance of pottery in the life of a woman is specially presented dramatically to initiates during the female puberty rites."3 In Ghana, then, awareness of theatre has long been a fundamental part of social life. In the times when cults and rites flourished, practically every nightparticularly , every moonlit night - different age groups, both male and female, gathered round their traditional trees to sing, dance and act. Such interactions brought whole communities together, for the processes were intended to sharpen people's awareness of social norms, the political situation, morals and religious standards. Yet the concept of theatre ultimately dates back to the time when the early tribesman, dressed in the skin of a previous catch, danced and chanted for rain or other benefits. He performed other ritual rites like sacrifices, libation and prayers, ostensibly to invoke other powers to assist in the fulfilment of his needs. So Ghana enjoyed elements of theatre in the rituals of the early tribesman, as well as in the ceremonies of rites of passage which include quite prominent ritual observances at home, in the community, and in other situations . In short, the significance of music and dance as essential aspects of 310 SOPHIA D. LOKKO dramatic action - fealures remarked by AristoIle - has always been recognised in Ghana. Brockett places this phenomenon in its appropriate socio-historical perspective: "The basic elements of theatre and drama are found in every society no matter how primitive or advanced. They may be seen in the dances and ceremonies of primitive peoples, just as they can be found today in such diverse activities as religious services, political campaigns, parades, sports and children's make-believe."4 Various traditions of all the ethnic groups in Ghana have enshrined drama, drumming and dancing in their cultures. [n most groups, as we have noticed, customary rites such as the rites ofpassage use music, dance and drama to teach - in particular, to teach values held sacred in the language, the norms and sanctions of customary behaviour, and the arts of figurative speech and eloquence . ConsequenIly, every member of these societies grows up with some experience in one or all the forms of the performing arts - music, dance and drama. Thus, theatre in Ghana has existed for centuries in the traditional dramatic expressions which in some ways have ritual origins. The special characteristics of these dramatic expressions are music and dance, which also happen to be important ingredients in Ghana's culture. Ritual aspects ofthis culture ofcourse add to the richness of the performances. The scene for dramatic expression may be a beach, a shrine or grove, a chief's house, a playground, an arena, or a farm: "the choice ofvenue depends on the occasion and the requirements of its themes and actions or those involved in it"' ;as well, it depends upon the duration ofthe performance and the weight of the particular dramatic expression. The drama, which can be poetic, is usual1y enriched with music and interpretative movements . All of these ingredients become the drama's important means of expression . Obviously, traditional theatre does not exist as something separate from social life; it is interwoven with it, making valuable contributions as a mode of communication, a form of aesthetic expression, education and entertainment . In Ghana, drama has the power to encourage and maintain social solidarity. II BURGEONING [n viewing the various forms of drama...