Abstract
Studies on Afro-Asian relations have mainly focused on the grand narratives of economic, academic, and diplomatic engagements at the macro level, while discourses on the micro level cultural interactions have been given very little attention. This study, thus, addresses these fault lines by investigating exchanges at this level using the case study of theatre performance at the Confucius Institute in Lagos, Nigeria. The study examined how the use of theatre is integral to the Sino-Nigerian cultural exchanges by means of the teaching curriculum and cultural celebrations with specific focus on the Spring Festival. The study specifically investigated how performances such as drama, music, dance, martial arts and magic, project the Chinese culture in line with Mao Zedong’s and Yoruba functionalist approaches to theatre. It contends that Chinese theatre in Africa serves as an integral cultural component of the Sino-Nigerian economic, diplomatic and academic exchanges while advocating an infusion of a multiculturalist approach to the festival in which both cultures recognize and respect the ‘other’ in line with Hanban’s objective of building a harmonious world.
Highlights
Studies on Afro-Asian relations have mainly focused on the grand narratives of economic, academic, and diplomatic engagements at the macro level, while discourses on the micro level cultural interactions have been given very little attention
Theatrical performances form part of the teaching curriculum and Chinese cultural expressions at the Confucius Institute in Lagos, Nigeria
Of primary importance is the need for a symbiotic rather than parasitic cultural interaction, as the latter eventually results in the annihilation of a culture to the detriment of its adherents
Summary
Within the active interactive mode, theatre can be conceptualised as a sub-cultural eclectic space serving as a melting pot for material and immaterial culture, and it permeates the political, religious, social, educational, health, historical, and recreational institutions (see Felner and Orenstein, 2006; Mackerras, 2008; Musa 2004; Umenyilorah 2014) This reflects theatre as a space for didactic ideological and character formation as with indigenous African performances (Kamlongera, 2005). The sessions present a performance of China to the world as a people who advocate loyalty, peace and high ethical standards as communicated in certain lyrics which encapsulate the teaching content This aligns with the two-fold enduring functions of Chinese theatre; firstly, as entertainment and secondly, as ‘a place where the ignorant receive moral instructions’ (Jacovleff and Tchou-Kia-Kien, 1922). Such exchanges are usually facilitated through the establishment of cultural centres abroad by each partner
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