UNIVERSITY OF ILORIN

FACULTY OF ARTS
THE DEPARTMENT OF PERFORMING ARTS

COURSE CODE: 354

GROUP 9

COURSE TITLE: NIGERIA INDIGENOUS THEATRE FORM

TOPIC: CHECK THE DETAILS OF CONTEMPORARY YORUBA

TRAVELING THEATRE

LECTURERS-IN-CHARGE
PROF. SEGUN OYEWO
DR. TAIYE ADEOLA
MR. KEHINDE OLALUSI

Ibrahim Gafar 20/15cf091

Alade Eniola 20/15cf054
Saluwadeen zainab 20/15cf159
Olawuyi Feranmi 20/15cf135
Bolaji Promise. 20/15cf071
Atolagbe Adekunle 20/15cf062
Fabiyi Jacob 20/15cf083
Oludairo Emmanuel 20/15cf140
Jayeola Abiodun 20/15cf098
Lawal Nelson 20/15cf107
Inyamagem Gift 20/15cf094
AKANU Victoria 20/15cf048
Bakare Okikiola 20/15cf068
keji 20/15cf076

*THE DETAILS OF CONTEMPORARY YORUBA TRAVELING THEATRE*.....

Contemporary Yoruba traveling theatre, also known as Yoruba travelling

theatre or Yoruba popular theatre, represents an evolving form of cultural

performance that has deep roots in the traditions of the Yoruba people of

Nigeria. This theatre tradition has undergone significant transformations

since its inception in the early 20th century. Here are some key aspects of

contemporary Yoruba traveling theatre:

A study of the Professional Yoruba Travelling Theatre reveals the reason it

qualifies to be dubbed“men’s world”. The very glaring truth, readily seen

from the roll call of the companies and artists in that theatre form, is the

near absence of women.Thus,the theatre is populated by men. Available

documents and texts on the Professional Yoruba Travelling Theatre are all

focused on male artists, such as Hubert Ogunde,Kola Ogunmola, Duro

Ladipo, and Oyin Adejobi. In his study, Biodun jeyifo is pleased to “discover

that the travelling theatre movement, from its inception, has been

extensively written about in the Nigerian daily newspapers and popular

news magazines” (1984,205).He goes on to declare that, “This body of

material constitutes quite an impressive source of secondary critical

material on the movement”. Jeyifo makes this comment in his book, The

Yoruba Popular Travelling Theatre of Nigeria(1984), which is one of the few

books that have emerged on the subject. As ‘impressive’ as these

secondary sources may be, for some inexplicable reasons, they did not pay
attention to the theatre troupesheaded by women. Jeyifo himself, though

aware of two of these women, did not consider documenting them in his

book on the Yoruba travelling theatre, and neither did other writers on the

subject before him –Ulli Beier, Joel Adedeji, MJC Echeruo, Dapo Adelugba,

Ebun Clark, etc; or even those who wrote after him Tola Adeniyi, Karen

Barber, and Remi Raji-Oyelade and his co-authors.While some of these

critical materials are general studies of the travelling theatre, some are

studies of individualartists. In all these studies, the same names come up,

including the most frequent ....Hubert Ogunde, Kola Ogunmola, Duro

Ladipo, Oyin Adejobi, Moses Olaiya, and so others not so frequent Jimoh

Aliu, Lere Paimo, Ishola Ogunshola, and a few others.The question that

drives this paper is why is the study of Yoruba Travelling Theatrealways

centred only on male artists? A previous journal article by this writer, titled

‘Bridging the Gap in Nigerian Theatre Studies: perspective on the Yoruba

Popular Travelling Theatre’, reveals three female theatre troupe leaders

Adunni Oluwole, Funmilayo Ranco and Mojishola Martins –whose

contributions have been neglected by theatre scholars and critics.The

current writing attempts to determine why these women have never form

part of Nigerian theatre studies. The study willunderscore the points that

made men’s theatre work more interesting to scholars. The main focus of

this study is Funmilayo Ranco because she was the only woman out of the

three, who had a sustained and successful theatre career as a theatre

leader. AdunniOluwole’s theatre leadership was short lived, as

hintedearlier. On the other hand,Mojishola Martin’s Theatrebarely took off.

Though she is the only one of them still alive, and she confirmed to this

researcher that she, in fact,had a theatre troupe, she declined to discuss it.

Throughoutthe course of the research, no other person linked to that

theatre was found –no troupe member and no fans. As these women’s

theatre work was not documented, a reliance on existing literature would

be futile. Consequently, the information used in this paper came mainly

from oral interviews involving over fifty respondents who knew or worked

with these women were conducted, authenticated and recorded in audio

and video forms.

The Professional Yoruba Travelling Theatre, a theatre forminvolving human

performers and towing a professional performance line, was developed by

Hubert Ogunde in 1946. No sooner he began this unique theatre form that

differs from the traditional mode andthe pure operatic form of the early

colonial erathan other artists cashed in on its popularity. All these were

men who have already developed their performance expertise through a

lifetime participation in all forms of performances, beginning with

traditional forms, and on to church and school performances in which they

had played leading roles.The skills developed from these diverse sources

were harnessed to develop an innovative form. At the beginning, women

were not part of the troupes becauseat the time the phenomenon of the

professional travelling theatre was a suspect and parents did not allow their

children, especially the girls, to be part of it.There is need to define

Professional Yoruba Travelling Theatre to differentiate it from otherforms of

theatre that share some characteristics with it. Travelling Theatre or

itinerant performances were usual in Africa, especially in the pre-colonial

times.Traditional forms replicated in the Alarinjo masked performances

were popular in the pre-colonial period in Yoruba Land.

HISTORICAL CONTEXT

.ORIGIN AND EVOLUTION

Yoruba traveling theatre began in the 1940s and 1950s with pioneers like

Hubert Ogunde, Duro Ladipo, and Kola Ogunmola. These artists laid the

foundation for a robust theatrical tradition that combined elements of

Yoruba folklore, ritual, and dance.Initially, performances were itinerant,

moving from village to village, often set up in temporary spaces like village

squares or community halls.

CHARACTERISTICS

.CONTENT AND THEMES

- Themes in contemporary Yoruba theater often revolve around social,

political, and cultural issues. They address moral lessons, societal norms,

historical events, and sometimes, contemporary challenges like corruption

and modernization.

- Storylines are frequently based on Yoruba mythology, legends, and oral

traditions, integrating these with modern issues to make them relevant to

contemporary audiences.

PERFORMANCE STYLE

- The performances are typically vibrant, incorporating music, dance, and

elaborate costumes. Drumming and traditional Yoruba music are central,

enhancing the narrative and emotional impact.

- There is a strong emphasis on audience interaction, with performers often

breaking the fourth wall to engage directly with the audience.

LANGUAGE

- While Yoruba is the primary language of performance, there is often a mix

of English and Pidgin English to cater to a broader audience, especially in

urban settings.

MODERN ADAPTATION
1. MEDIA AND TECHNOLOGY

- Contemporary Yoruba traveling theatre has embraced modern technology,

with performances now recorded and distributed on video and DVD. This

shift has helped preserve the art form and reach a wider audience beyond

the live, itinerant model.

- Social media and digital platforms are increasingly used for promotion,

networking, and sometimes even streaming performances.

2. INTEGRATION WITH NOLLYWOOD

- There is significant crossover with the Nigerian film industry, Nollywood.

Many actors and directors from the traveling theatre have transitioned to

film, bringing their theatrical skills to the screen and thus blending theatre

and cinema.

CHALLENGES AND OPPORTUNITIES

CHALLENGES

- Financial constraints and logistical difficulties in maintaining a traveling

troupe.

- Competition from other forms of entertainment, including Nollywood

films, television, and online content.

- Cultural erosion and the influence of globalization, which can sometimes

overshadow traditional practices.

OPPORTUNITIES

- Increased interest in cultural heritage and traditional arts, providing a

potential revival and renewed appreciation for Yoruba theatre.

- Opportunities for collaboration with international artists and exposure to

global audiences through festivals and cultural exchanges.Contemporary

Yoruba Traveling Theatre, also known as Aláàrìnjó, is a vibrant and dynamic

form of popular theatre in Nigeria. Here are some key features:

1. Mobile performance:Traveling theatre troupes perform in various

locations, including markets, streets, and villages.

2. Improvisation: Actors often improvise dialogue, songs, and dances,

making each performance unique.

3. Music and Dance: Live music and energetic dance are integral parts of

the performances.

4. Comedy and Satire: Humor and satire are used to address social issues

and critique societal norms.

5. Storytelling: Performances often feature stories based on Yoruba

mythology, history, and everyday life.

6. Costumes and Makeup: Colorful costumes and elaborate makeup add to

the visual appeal.

7. Interactive Audience: The audience participates through singing,

dancing, and responding to the performers.

8. Social Commentary : Performances often address contemporary social

issues, such as corruption, politics, and gender roles.

9. Collaborative performances: Multiple troupes may perform together,

showcasing their unique styles.

10. Dynamic language: Performers use a mix of Yoruba, Nigerian Pidgin,

and English, reflecting the diverse linguistic landscape.

11. Incorporation of Technology: Some troupes now incorporate digital

elements, like video projections and sound effects, into their performances.

12. Adaptation of Foreign influence: Contemporary Yoruba Traveling

Theatre draws inspiration from international theatre styles, such as

European and American influences.

These features make Contemporary Yoruba Traveling Theatre a vibrant and

dynamic expression of Nigerian culture and creativity.

KEY FIGURES AND COMPANY

* HUBERT OGUNDE* : Often regarded as the father of Yoruba theatre, he

established the Ogunde Theatre Party in the 1940s.

*DURO LADIPO*: Known for his historical plays and incorporation of

traditional Yoruba rituals and music.

*KOLA OGUNMOLA*: Celebrated for his adaptations of Yoruba folklore and

integration of comedic elements.

*OLA ROTIMI*: A playwright and director who brought a scholarly

approach to Yoruba theatre, blending traditional elements with classical

theatre techniques.

Contemporary Yoruba traveling theatre continues to be a dynamic and

evolving art form, deeply rooted in tradition yet adaptive to modern

influences and technologies. It remains a vital expression of Yoruba culture

and a significant component of Nigeria's rich cultural tapestry..

THE PURPOSE OF CONTEMPORARY YORUBA TRAVELING THEATRE

INCLUDES
1.Preservation of cultural heritage: To preserve and promote Yoruba

culture, traditions and values.

2. Entertainment: To entertain audiences with music, dance, drama and

storytelling.

3.Social Commentary: To comment on social and political issues affecting

the community.

4.Education: To educate audiences on history, mythology and cultural

values.

5. Community Engagement: To engage with communities and foster a

sense of belonging.

6.Economic Empowerment: To provide employment opportunities for

artists and contribute to local economies.

7.Innovation: To experiment with new forms, styles and themes, pushing

the boundaries of traditional Yoruba theater.

8.Cultural Exchange To exchange ideas and cultural practices with other

communities and cultures.

Furthermore Contemporary Yoruba traveling theater has significant

cultural, social, and economic importance, including:

1. *Cultural preservation*: It helps preserve Yoruba culture, traditions, and

values, promoting them to a wider audience.

2. *Community Engagement*: It fosters community engagement, providing

a platform for social commentary, education, and entertainment.

3. *Economic Empowerment*: It provides employment opportunities for

artists, musicians, and performers, contributing to local economies.

4. *Cultural Exchange*: It facilitates cultural exchange between Yoruba

communities and other cultures, promoting cross-cultural understanding.

5. *Innovation and creativity*: It encourages innovation and creativity in

the arts, pushing the boundaries of traditional Yoruba theater.

6. *Social Impact*: It addresses social issues, such as health, education,

and social justice, raising awareness and promoting positive change.

7. *Promoting Yoruba Language*: It helps promote the Yoruba language,

preventing its decline and ensuring its continued relevance.

8. *Tourism and cultural diplomacy*: It showcases Yoruba culture to

international audiences, promoting cultural tourism and diplomacy.

9. *Empowering Youth*: It provides a platform for young artists to develop

their skills, promoting youth empowerment and creativity.

10. *Preserving History*: It helps preserve Yoruba history and cultural

heritage, ensuring its transmission to future generations.

By traveling to different locations, this theater form reaches a broader

audience, promoting cultural understanding, education, and

entertainment..Traveling theater in Nigeria, particularly the Yoruba traveling

theater, has a rich history and cultural significance. It evolved from the

Egungun masquerades, which are traditional ceremonies where masked

performers represent the spirits of ancestors.... These performances were

initially part of religious and cultural festivals but eventually became a form

of entertainment that traveled from place to place.

The Alaarinjo was one of the earliest forms of traveling theater, known for

its short and satirical scenes that established stereotypical characters1. This

form of theater was highly popular in Nigeria during the late 20th century..

The Alarinjo Theatre is a Yoruba (travelling) traditional theatre. According to

different scholars of Nigerian theatre and drama, it is a highly itinerant

theatrical performance of Egungun (masquerade), located around numbers

of Yoruba settlements, such as villages and major towns. Consequently

from the foregoing, Alarinjo is no doubt a masque theatre and drama. Their
performances were occasionally initiated by important personalities such as

Kings and Chiefs. They gradually became open to the general audience at a

later period in the history of Yoruba people.

According to Adedeji, the name “Alarinjo”, means a “travelling dance

group”; a group that is highly peripatetic in nature, made up typically of

groups of masquerades with flamboyant costumes and individuals who are

agile and energetic. Ajayi states that technically the Alarinjo troupe is an all-

male performing company like the Egungun. Although women can be

dancers and chorus singers, they are not allowed to perform the masque.

The female role in the Alarinjo performance, just like in the classical

theatre, is acted out by the male troupe member (618)

The key parts of a typical performance done by the travelling troupes were

dancing to well known forms like the orisa dance, the bata dance and the

agemo dance. Then, there was the dramatic miming of mythological gods

or characters like Sango, Obatala or the wise tortoise. Again, satirical

dramas were aimed at displaying vices like gluttony, stealing, adultery and

so on. The performance projected themes such as; social values, morals,

folktales, wealth, man vs nature, man vs man etc.

Contemporary Yoruba traveling theatre combines traditional Yoruba

performance elements with modern storytelling techniques. It often

addresses current social, political, and cultural issues while maintaining the

vibrant music, dance, and costume traditions of Yoruba culture. These

performances are typically mobile, traveling from place to place to reach

diverse audiences, and they play a significant role in preserving and

promoting Yoruba cultural heritage.

EXAMPLES OF CONTEMPORARY YORUBA TRAVELING THEATRE;

*ORI INU* In Search of Self," a production by Crown Troupe of Africa. This

play explores themes of identity, spirituality, and cultural heritage through a

modern lens while incorporating traditional Yoruba performance elements

such as music, dance, and language. It has toured various cities, both within

Nigeria and internationally, reaching audiences across different cultural

backgrounds.

*ÀDUNNÍ ADE THEATRE COMPANY*

Founded by actress and producer Adunni Ade, this troupe has gained

recognition for its dynamic and culturally rich performances that blend

traditional Yoruba elements with modern storytelling techniques.

The Aduni Ade Theatre Company focuses on themes relevant to

contemporary Nigerian society, such as gender issues, social justice, and

cultural heritage. Their performances are known for their vibrant use of
music, dance, and traditional costumes, which resonate with audiences

both within Nigeria and in the diaspora. The group's commitment to

cultural preservation and innovation makes them a significant player in the

Yoruba traveling theatre scene today.

*THE MOSES OLAIYA ADEJUMO (BABA SALA)

Theatre Group, founded by the legendary comedian and dramatist Moses

Olaiya Adejumo, popularly known as Baba Sala, is one of the most

influential contemporary Yoruba traveling theatre groups. Baba Sala is often

regarded as the father of modern Nigerian comedy, and his contributions to

Yoruba theatre have left an indelible mark on the industry.

HISTORICAL CONTEXT AND CONTRIBUTIONS

Baba Sala started his career as a magician before transitioning to comedy

and theatre. He founded the Moses Olaiya Adejumo Theatre Group in the

1960s, and it quickly gained popularity due to its unique blend of comedy,

satire, and traditional Yoruba cultural elements. Baba Sala's performances

often featured slapstick humor, clever wordplay, and exaggerated

characters, making them highly entertaining and accessible to a wide

audience.

THEATRICAL STYLE AND THEME

The theatre group's productions are characterized by their comedic

approach to storytelling, addressing various social, political, and cultural

issues. Baba Sala's plays often depicted everyday life in Nigeria, using

humor to highlight and critique societal problems such as corruption, family

dynamics, and moral decay. The use of traditional Yoruba music, dance, and

costumes added a rich cultural texture to the performances, resonating

deeply with audiences.

LEGACY AND CONTINUED INFLUENCE

After Baba Sala's death in 2018, his theatre group has continued to

perform, keeping his legacy alive. The group's ability to adapt to changing

times while preserving the essence of Baba Sala's comedic style has been

key to their enduring popularity. They continue to tour, performing in

various cities and rural areas, maintaining the tradition of traveling theatre.

IMPACT ON NIGERIAN THEATRE AND COMEDY

Baba Sala's influence extends beyond his theatre group. He paved the way

for many contemporary Nigerian comedians and actors, inspiring a new

generation of performers. His innovative approach to comedy and theatre

set a precedent for blending entertainment with social commentary, a

practice that remains prevalent in Nigerian performing arts today.

CONTEMPORARY ADAPTATION

In recent years, the Moses Olaiya Adejumo Theatre Group has embraced

new media formats, producing video recordings of their plays and

leveraging digital platforms to reach a broader audience. This transition has

allowed them to stay relevant in the modern entertainment landscape,

bringing their unique style of Yoruba comedy to both local and international

audiences.

In summary, the Moses Olaiya Adejumo (Baba Sala) Theatre Group remains

a cornerstone of contemporary Yoruba traveling theatre. Their enduring

appeal lies in their masterful blend of humor, cultural storytelling, and

social critique, continuing the rich tradition of Yoruba theatre while

adapting to contemporary trends and audiences.

ADVANTAGES OF CONTEMPORARY YORUBA TRAVELING THEATRE ......

1.CULTURAL PRESERVATION

Traveling theatre helps preserve and promote Yoruba culture, traditions,

and language. Through performances that incorporate traditional music,

dance, and folklore, these troupes keep cultural heritage alive for future

generations.
Theatre performances often address social issues, educate audiences on

important topics, and promote moral values. By dramatizing everyday

experiences and societal challenges, they provide valuable lessons and

provoke thought and discussion.

2.ENTERTAINMENT

These performances provide entertainment and recreation for

communities, often bringing joy and laughter to audiences. This is

especially important in areas with limited access to other forms of

entertainment.

3.ECONOMIC OPPORTUNITIES

Traveling theatre creates jobs for actors, directors, costume designers,

musicians, and other related professions. It also stimulates local economies

by attracting audiences who may spend money on tickets, food, and other

amenities.

5.COMMUNITY ENGAGEMENT

By performing in various locations, these theatre groups engage directly

with diverse communities, fostering a sense of unity and shared cultural

identity. This helps build stronger community bonds and enhances social

cohesion.
6.PROMOTION OF THE ARTS

Traveling theatre promotes the performing arts, encouraging young people

to explore careers in acting, writing, directing, and other creative fields. It

helps sustain the artistic ecosystem and nurtures new talent.

DISADVANTAGES OF CONTEMPORARY YORUBA TRAVELING THEATRE ......

1.LOGISTICAL CHALLENGES

Traveling theatre troupes face logistical challenges such as transportation

costs, accommodation, and the physical strain of constant travel. These can

limit the number of performances and the reach of the theatre.

2.FINANCIAL INSTABILITY

Many traveling theatre groups struggle with financial instability due to

inconsistent ticket sales and sponsorship. This can impact the quality and

frequency of performances and the livelihoods of the performers.

3.LIMITED ACCESS TO RESOURCES

Performing in various locations, especially rural areas, can mean limited

access to technical resources such as sound and lighting equipment, which

can affect the quality of the production.

4.COMPETITION WITH MODERN ENTERTAINMENT

With the rise of digital media, television, and online streaming services,

traveling theatre competes with more accessible and convenient forms of

entertainment. This can lead to dwindling audience numbers.

5.CULTURAL DILUSION

In an effort to appeal to broader audiences, some theatre groups might

dilute traditional elements, leading to a loss of cultural authenticity and

richness in their performances.

6.SECURITY CONCERNS

Traveling troupes may face security risks, including theft, harassment, or

violence, especially when performing in unfamiliar or unstable regions. This

can pose a significant threat to the safety of the performers and crew.

CONCLUSION....

This study has attempted to look at the Nigeria theatre and drama study.

The study concludes that Yoruba theatre and drama cannot but retain a

significant level of ritualistic features in works of traditional, contemporary

and literary dramatists, such as Hubert Ogunde, Wole Soyinka, Ola Rotimi

and Femi Osofisan. However, it should be noted that the traditional ritual
practice of the Yoruba people has, over the years, dwindled considerably,

especially among the Yoruba people living in the cities. Nevertheless, those

living in the rural communities still revere and devote time and attention to

ritual and rite commitment. For instance, the town of Ile-Ife, considered by

the Yoruba race as their cradle, still religiously observes those ancient rites

and rituals.Contemporary Yoruba traveling theatre plays a vital role in

preserving and promoting cultural heritage, providing education and

entertainment, and creating economic opportunities. However, it also faces

significant challenges, including logistical and financial difficulties,

competition from modern entertainment, and potential security risks.

Balancing these advantages and disadvantages is crucial for the

sustainability and growth of this important cultural institution.