Decolonising the Stage: Ritualised Knowledge in the Theatre Initiation Process

Shalom Ìbírónkẹ́; Yemi Atanda

doi:10.21476/PP.2025.101538

Keywords:

decolonization, Stage, Theatre Initiation, Performance Philosophy, Management

Abstract

Initiation ceremonies in theatre education have been met with many assumptions that have been proven to be widely held. Some of these assumptions include views that the ceremonies are heathenistic, unnecessary, and even unprofessional due to their occurrence at the start of theatre training rather than at its conclusion, as is common in other professions. Through an integration of specific African philosophical frameworks, we discover and reveal the profound cultural and pedagogical significance of these rituals and their implications for decolonial practices in theatre. Central to this exploration is the concept of Ubuntu, which emphasises interconnectedness with its maxim “I am because we are.” It positions initiation rituals as a means of integrating new members into a communal fold, as is also obtainable in the African rites of passage, which mark significant transitions across life phases. This has transformative goals similar to those of theatre initiation practices. Additionally, the mytho-ritual framework, rooted in African mythology and prevalent in the works of African playwrights like Wole Soyinka and Femi Osofisan, is examined for its resonance with these initiation practices. This paper highlights how theatre initiation ceremonies offer unique insights that challenge and enrich global performance discourses by situating these indigenous philosophies within the broader context of performance philosophy. The research thus provides a critical lens for reimagining theatre education as a site of decolonial praxis and cultural affirmation.

Author Biographies

Shalom Ìbírónkẹ́

Shalom Ìbírónkẹ́ teaches at the Theatre Arts Programme in Bowen University, Iwo, Nigeria. He has a background in theatre and activism. His research focuses on managing the inclusion and amplification of marginalised voices in the Nigerian creative industry.

Yemi Atanda

Yemi Atanda is a playwright, director, and poet. He holds a teaching position at the Department of Theatre Arts, Osun State University. He has a keen interest in play production, and as a director, is evolving a style that he calls mathematical symbolism.

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