ABSTRACT

The article analyses and reflects on the intergenerational relationship between Yorùbá performance traditions, Túndé Kèlání’s films and contemporary youth theatrical practices in Nigeria. I focus on the engagement of youth in the production of some of Kèlání’s well-known video films and explore how these works participate in the generation of a new public in the new social context. Based on an examination of Túndé Kèlání’s collaboration with Crown Troupe of Africa, a Lagos-based youth street theatre troupe, the article suggests that, rather than a ‘degeneration’ of popular performance culture, contemporary video culture in Nigeria has continuously recycled the prevalent political morality derived from earlier performance genres, and constitutes a crucial site of youth mobilisation and activism in contemporary Nigeria.

摘要

本文分析并反思了约鲁巴的表演传统，通德·凯兰尼的电影与尼日利亚当代青年戏剧实践之间的代际关系。我专注于让年轻人参与制作凯拉尼语的一些著名视频电影，并探讨这些作品如何在新的社会环境中参与新公众的产生。基于对TúndéKèlání与位于拉各斯的青年街头戏剧团非洲皇冠团的合作的考察，该文章表明，尼日利亚的当代录像文化并没有使流行的表演文化“堕落”，而是不断地回收了流行的政治文化。道德源自早期的表演体裁，是当代尼日利亚青年动员和行动主义的重要场所。