HAUSA FOLKTHEATRE AND OCCUPATIONAL GROUPS: SOME EXAMPLES IN ZARIA, KADUNA STATE

HAUSA FOLKTHEATRE AND OCCUPATIONAL GROUPS: SOME EXAMPLES IN ZARIA, KADUNA STATE

Abstract:

The thesis looks into Hausa folktheatre and occupational groups, basing the examples on Zaria. Chapter One briefly discusses the myth of the origin of the Hausa people and culture. It also discusses the use of the term “occupational” based on two meaningso The first is to describe performances which are conducted by practitioners of specific occupations and which relate directly to the nature of these occupations. Examples include 1 Danhoto, Wasan Runji or Hawan Kaho, and Was ail Wuta. The performances reflect the nature of the occupations as performed by practitioners of the profession. They usually are for entertainment and do not aim at the acquisition of material benefits. The second meaning is to describe performances conducted by entertainers who earn all or part of their livelihoods through the occupation of entertaining. Examples include Wawan Sarki and ‘Yan gambara performances. The primary aim of this type of performances is to acquire material benefits. Chapter two is a description of the range of some occupational folktheatre. It is a description of the extent to which some occupational groups represent the nature of their occupation in performances o Examples are wasan Aska, Gardawa and vi. Wasan Planar pa occupational performances – Chapter three takes a look at the socioeconomic influences on some occupational folktheatre. Examples include ‘Yan tauri and Bori traditional folk performances. The discussion looks into the process of commercialization of the occupational performances and associates the process with the influences of modern society. Chapter four takes a look at folktradition and occupational groups. it discusses folklore, folk-music and song and folk-dance, in relation to folktheatre and tradition. Chapter five is a review of the occupational folktheatre as it existed and as it exists today- I suggest that the present and future status of folk performances will depend on the role and function it is supposed to fulfil in society

HAUSA FOLKTHEATRE AND OCCUPATIONAL GROUPS: SOME EXAMPLES IN ZARIA, KADUNA STATE

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