The search for an authentic Nigerian cum African theatre is not a recent phenomenon. It has led to the crystallisation and theorisation of various theatre modes as others continue to emerge. These modes though eclectic, are patterned in line with traditional African theatre practice. Sam Ukala’s folkism is not an exception. This study therefore examines the aesthetics of African dramaturgy in Sam Ukala’s folkism. It investigates the transition from folkism to neo-folkism in Ukala’s theatre. Historical and analytical methods are utilised as the study historicises the search for an indigenous Nigerian theatre with content analysis of Ukala’s Plays. Our findings reveal that the search for an authentic Nigerian theatre continues, that precursory to the theorisation of the term folkism, constituents of its aesthetics existed in Nigerian dramaturgy and that there is a transition from folkism, to what we term neo-folkism. We conclude that Ukala in particular and Nigerian dramatists in general are still in search of an authentic African aesthetics.
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Author Name: Stephen Ogheneruro Okpadah
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Keywords: Dramaturgy, Aesthetics, African Theatre, Folkism, Neo-Folkism