Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-21T23:13:56.119Z Has data issue: false hasContentIssue false

Preliminary notes on audiences in Africa

Published online by Cambridge University Press:  07 December 2011

Résumé

Il est vraisemblable quʼil y ait des spectateurs à condition quʼil y ait des spectacles. La perception que cʼest l'orientation de l'auditoire vers l'orateur qui crée les spectateurs est le point de départ pour un développement plus approfondi dans les études des média et de spectacles qui met l'accent sur l'activité et la créativité du public. Si le public a un rô1e actif dans la création du spectacle, les historiens culturels qui cherchent à découvrir les histoires de conscience dans les genres populaires africain ne peuvent pas se permettre de l'ignorer. Mais les publics ne sont pas tous les mêmes. Ils sont un produit historique tout autant que le sont les spectacles. Il y a des manières différentes d'interpréter et de faire l'expérience du spectacle, soit collectivement ou en dispersion, qui sont profondement liées à la nature de la vie sociale, l'âge, et l'endroit. La façon dont les gens se retrouvent ensemble; la façon dont ils établissent un rapport entre eux et avec le spectacle ou le discours auquel ils assistent; de quoi ils se considèrent eux-mêmes faire partie en établissant ce rapport; la façon dont le spectacle/discours leur est adressé—tout ceci est spécifiquement culturel et nécessite des recherches empiriques. Certain publics africains particuliers ont des manières et des styles conventionnels de trouver du sens, tout autant que les artistes/orateurs. On doit se demander comment les publics font leur travail d'interprétation.

Type
Introduction
Copyright
Copyright © International African Institute 1997

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

REFERENCES

Bakhtin, M. M. 1986. Speech Genres and other Late Essays, trans. McGee, Vern W., ed. Emerson, Caryl and Holquist, Michael. Austin, Tex.: University of Texas Press.Google Scholar
Bauman, Richard. 1977. Verbal Art as Performance. Prospect Heights, Ill.: Waveland Press.Google Scholar
Collingwood, R. G. 1938. The Principles of Art. London: Oxford University Press.Google Scholar
Cooper, Frederick. 1983. ‘Urban space, industrial time and wage labour in Africa’, in Cooper, Frederick (ed.), Struggle for the City: migrant labour, capital and the state in urban Africa, pp. 150. Beverly Hills, Cal.: Sage.Google Scholar
Drummond, Andrew Landale. 1934. The Church Architecture of Protestantism. Edinburgh: Clark.Google Scholar
Elliott, Kit. 1970. An African School: a record of experience. London: Cambridge University Press.Google Scholar
Ẹsan, Oluyinka Anuolu. 1994. ‘Receiving Television Messages: an ethnography of women in a Nigerian context’. Ph.D. thesis, Department of Sociology, Glasgow University.Google Scholar
Fuglesang, Minou. 1994. Veils and Videos: female youth culture on the Kenyan coast. Stockholm Studies in Social Anthropology 32, University of Stockholm: Almqvist & Wiksell.Google Scholar
Götrick, Kacke. 1984. Apidán Theatre and Modern Drama. Stockholm: Almqvist & Wiksell.Google Scholar
Gray, Ann. 1992. Video Playtime: the gendering of a leisure technology. London: Routledge.CrossRefGoogle Scholar
Habermas, Jurgen. 1962. The Structural Transformation of the Public Sphere, trans. Burger, Thomas and Lawrence, Frederick. Cambridge, Mass.: MIT Press.Google Scholar
Hone, Richard B. (ed.). 1877. Seventeen Years in the Yoruba Country: memorials of Anna Hinderer. London: Religious Tract Society.Google Scholar
Jeyifo, Biọdun. 1984. The Yoruba Popular Travelling Theatre of Nigeria. Lagos: Nigeria Magazine Publications.Google Scholar
Mangan, James A. 1987. ‘Ethics and ethnocentricity: imperial education in British tropical Africa’, in Sport in Africa: essays in social history, ed. Baker, William J. and Mangan, James A., pp. 138–71. New York: Africana.Google Scholar
Martin, Phyllis. 1995. Leisure and Society in Colonial Brazzaville. Cambridge: Cambridge University Press.Google Scholar
Mitchell, Timothy. 1988. Colonising Egypt. Cambridge: Cambridge University Press.Google Scholar
Murray, A. Victor. 1929. The School in the Bush: a critical study of native education in Africa. London: Longman.Google Scholar
Parker, Geoffrey. 1988. The Military Revolution: military innovation and the rise of the West, 1500–1800. Cambridge: Cambridge University Press.Google Scholar
Seaborne, Malcolm. 1971. The English School: its architecture and organization, 1370–1870. London: Routledge.Google Scholar
Thompson, E. P. 1967. ‘Time, work-discipline, and industrial capitalism’, Past and Present 38, 5697.CrossRefGoogle Scholar
Vološinov, V. N. 1929. Marxism and the Philosophy of Language, trans. Matejka, Ladislav and Titunik, I. R.. Cambridge, Mass.: Harvard University Press.Google Scholar
Warner, Michael. 1990. The Letters of the Republic. Cambridge, Mass.: Harvard University Press.Google Scholar
Warner, Michael. 1992. ‘The mass public and the mass subject’, in Calhoun, Craig (ed.), Habermas and the Public Sphere, pp. 377401. Cambridge, Mass.: MIT Press.Google Scholar
Waterman, C. A. 1990. ‘“Our tradition is a very modern tradition”: popular music and the construction of a pan-Yorùbá identity’, Ethnomusicology 34 (3), 367–79; reprinted in Karin Barber (ed.), Readings in African Popular Culture, London: James Currey; Bloomington, Ind.: Indiana University Press, for the International African Institute, 1997.CrossRefGoogle Scholar
Willis, Paul. 1990. Common Culture. London: Open University Press.Google Scholar