Varia: Cultural Nationalism and Postcolonial Imperatives in Irene Salami-Agunloye’s Emotan: A Benin Heroine and Emmy Idegu’s Ata Igala the Great

This article examines the efforts of postcolonial creative writers, particularly dramatists, who attempt to rethink the seeming erosion of African culture in the face of western cultural expansion. The present research adopts the methods of descriptive and content analysis, as it dwells on books, journal articles, and internet materials to examine its subject. Of immediate interest are two Nigerian plays, Ata Igala the Great by Emmy Idegu and Emotan: A Benin Heroine by Irene Salami-Agunloye, which are read as paradigmatic texts for interpreting problematic postcolonial relationships. The article contributes to discussions related to colonialism and the hidden agenda of neo-colonialism, which are often interpreted in terms of western economic interests underlying cultural expansion. The article demonstrates how African postcolonial writers have striven to reverse this trend by promoting Africa’s cultural aesthetics as they represent indigenous ways of life and their problematic interaction with western cultural patterns. The discussed works focus on cultural canons related to African life, such as consultation with oracles, ancestor worship, and festivals; and they demonstrate the aesthetic specifics of African dance, music, songs, and their semiotic significance. The article concludes that even though the two plays “speak back” to power, their strength lies in the articulation of certain aesthetic patterns that contribute to African self-location. Thus, the plays not only attempt to assert African culture, but they also strive to rethink the meanings of western cultural imperialism.

Proyecto África “La Leyenda de Faro”: Efectos de una metodología basada en la gamificación sobre la motivación situacional respecto al contenido de expresión corporal en Educación Secundaria (Africa Project "La Leyenda de Faro": Effects of a methodology

El objetivo del siguiente estudio fue contrastar el efecto de una intervención en una unidad didáctica (UD) aplicando metodologías activas como la gamificación, en comparación con otra en la que se utilizaron estilos de enseñanza tradicionales, sobre la motivación situacional respecto a los contenidos de expresión corporal, en alumnos de 3º y 4º de Educación Secundaria Obligatoria (ESO). Para ello, utilizamos la Danza Africana como eje vertebrador en las clases en Educación Física (EF), y se analizaron comparativamente diferentes variables motivacionales teniendo en cuenta la Teoría de la Autodeterminación (TAD) en 98 alumnos (M edad=15.5; DT=.537) divididos en un grupo control (n=49) y un grupo experimental (n=49). Las mediciones se llevaron a cabo antes y después del período de intervención a lo largo de la UD a través de cuestionarios que medían el apoyo a las necesidades psicológicas básicas (CANPB), la satisfacción de las NPB (BPNES), la motivación (CMEF) y el clima motivacional (PEPS; SSI-EF) para comprobar la eficacia de la intervención. Los resultados sugieren que utilizar metodologías activas innovadoras parece mostrarse como una herramienta eficaz sobre distintas variables motivacionales del alumnado como: apoyo a la autonomía, apoyo a las relaciones sociales, autonomía, motivación intrínseca, motivación identificada y motivación externa. A pesar de ello, son necesarios más estudios para determinar significativamente la influencia de la gamificación sobre la motivación en las clases de EF. Abstract. The objective of the following study was to contrast the effect of an intervention in a didactic unit (DU) applying active methodologies such as gamification, in comparison with another in which traditional teaching styles were used, on situational motivation regarding the corporal expression contents, in Secondary Education students. For this, we used African Dance as a reference in Physical Education (PE) classes, and were comparatively analysed different motivational variables taking into account the Self-Determination Theory (TAD) in 98 students (M age = 15.5; SD =. 537) divided into a control group (n = 49) and an experimental group (n = 49). Measurements were carried out before and after the intervention period throughout the DU through questionnaires that measured support for basic psychological needs (CANPB), satisfaction of NPBs (BPNES), motivation (CMEF) and motivational climate (PEPS; SSI-EF) to check the effectiveness of the intervention. Our results suggest that using innovative active methodologies seems to be an effective tool on different motivational variables of the students, such as: support for autonomy, support for social relationships, autonomy, intrinsic motivation, identified motivation and external motivation. Despite this, more studies are needed to determine significantly the influence of gamification on motivation in PE classes.

In the Shadow of (Mis)Understanding South African Dance by Some Tourists

This article will explore the (mis)understanding of African dance by some tourists. Visitors to South Africa often look for “traditional African dancing,” and discredit the African contemporary dance forms. To understand this misperception, the author will draw from different social theories including those proposed by authors such as Hegel and Maine. Rooted in Maine’s theory, the article will explain how the Western world still perceives Africa as a traditional society whose traditions are static, unchanging, and in need of protection from Western influence. In line with what Hegel said, the generalisation of the continent of Africa as the “Dark Continent” that does not produce knowledge or has no history still influences today’s perception of culture in its countries. This article states that there is a great need for education and a shift in people’s mentality regarding how Africa and Africans are viewed and thus how its cultural components such as dance are perceived.

Dancing into Ubuntu:

This inquiry describes the lived experiences of five Bachelor of Education students learning and teaching Kpanlogo, a West African dance. Each experience was conceptually analyzed with the Sankofa bird, depicted with its beak reaching back to retrieve a golden egg on its back. This symbol embodies the Ghanaian proverb, to go back, physically or spiritually, to retrieve what was once lost or forgotten. Such a framework orients us to the philosophy of Ubuntu, which posits that humanness is found and cultivated within community. What this inquiry reveals is that while it was awkward for some, it was possible for others to dance toward Ubuntu. In sharing these experiences, an example is provided for how we might introduce culturally relevant curriculum in teacher education programs. This inquiry thus describes what it was like to connect a learning experience, in this case the Kpanlogo dance, to the community in which it is situated.

Dança Africana

RESUMO O presente trabalho possui como finalidade, a partir de uma perspectiva transversal, dissertar sobre a concepção epistemológicas do território da dança africana, compreendendo desta forma a sua importância dentro da cultura da África, adentrando os caminhos que interpelam a realidade, analisando desta forma os significados da esfera dos movimentos e as suas relações, dando importância para o corpo, os movimentos e os sentidos, entendendo a sua função cultural e a percepção de como habitam o mundo num verdadeiro diálogo crítico entre dança, antropologia e a vida. Com base na Diáspora, compreende-se as técnicas, as estéticas e as poéticas oriundas das formas africanizadas de escrita do corpo. O artigo tem por objetivo evidenciar a dança africana levando ao conhecimento do que elas são na realidade, a razão pela qual se fazem tão presentes no cotidiano dos africanos e os tipos mais comuns reafirmando assim, as diversidades dentro da África e fora dela. A metodologia da pesquisa foi realizada a partir de investigações em páginas eletrônicas, com o intuito de compreender as suas definições, seus contextos e sua importância, reforçando o entendimento sobre elas através de alguns teóricos como Tiérou (2001), Robert Farris-Thompson (1974) e Kariamu Welsh (1985), e dentre outros que reforçam a compreensão dos movimentos da dança africana e do uso do corpo em sua execução. Dança africana. Cultura. ABSTRACTThe present work aims, from a transversal perspective, to talk about the epistemological conception of the territory of African dance, thus understanding its importance within the culture of Africa, entering the paths that challenge reality, thus analyzing the meanings of the sphere of movements and their relations, giving importance to the body, movements and senses, understanding their cultural function and the perception of how they inhabit the world in a true critical dialogue between dance, anthropology and life. Based on the Diaspora, the techniques, aesthetics and poetics that come from Africanized forms of body writing are understood. The article aims to highlight the African dance leading to the knowledge of what they are in reality, the reason why they are so present in the daily lives of Africans and the most common types thus reaffirming, the diversities within Africa and outside it. The research methodology was carried out from investigations on electronic pages, in order to understand their definitions, their contexts and their importance, reinforcing the understanding of them through some theorists such as Tiérou (2001), Robert Farris-Thompson (1974 ) and Kariamu Welsh (1985), and among others who reinforce the understanding of African dance movements and the use of the body in their performance.African dance. Culture. RESUMENEl propósito del presente trabajo es, desde una perspectiva transversal, discutir sobre la concepción epistemológica del territorio de la danza africana, entendiendo así su importancia dentro de la cultura africana, adentrándonos en los caminos que desafían la realidad, analizando así los significados de la esfera de los movimientos y sus relaciones, dando importancia al cuerpo, los movimientos y los sentidos, comprendiendo su función cultural y la percepción de cómo habitan el mundo en un verdadero diálogo crítico entre danza, antropología y vida. A partir de la Diáspora se entienden las técnicas, la estética y la poética derivadas de las formas africanizadas de escritura del cuerpo. El artículo tiene como objetivo resaltar la danza africana conduciendo al conocimiento de lo que realmente son, la razón por la que están tan presentes en la vida cotidiana de los africanos y los tipos más comunes reafirmando así, las diversidades dentro y fuera de África. La metodología de investigación se llevó a cabo a partir de investigaciones en páginas electrónicas, con el fin de entender sus definiciones, sus contextos y su importancia, reforzando la comprensión de las danzas a través de algunos teóricos como Tiérou (2001), Robert Farris-Thompson (1974) y Kariamu Welsh (1985), y entre otros que refuerzan la comprensión de los movimientos de la danza africana y el uso del cuerpo en su ejecución.Danza africana. Cultura. SOMMARIOLo scopo di questo lavoro è, da una prospettiva trasversale, discutere la concezione epistemologica del territorio della danza africana, comprendendone così l'importanza all'interno della cultura africana, addentrandosi nei percorsi che sfidano la realtà, analizzando così i significati della sfera dei movimenti e delle loro relazioni, dando importanza al corpo, ai movimenti e ai sensi, comprendendone la funzione culturale e la percezione di come abitano il mondo in un vero dialogo critico tra danza, antropologia e vita. Dalla diaspora si comprendono le tecniche, l'estetica e la poetica derivate dalle forme africanizzate della scrittura del corpo. L'articolo si propone di mettere in luce le danze africane portando alla conoscenza di cosa sono realmente, il motivo per cui sono così presenti nella vita quotidiana degli africani e delle tipologie più comuni, riaffermando così le diversità dentro e fuori l'Africa. La metodologia di ricerca è stata realizzata dalla ricerca su pagine elettroniche, al fine di comprenderne le definizioni, i loro contesti e la loro importanza, rafforzando la comprensione delle danze attraverso alcuni teorici come Tiérou (2001), Robert Farris- Thompson (1974) e Kariamu Welsh (1985), e tra gli altri che rafforzano la comprensione dei movimenti della danza africana e l'uso del corpo nella sua esecuzione.Danza africana. Cultura.