“Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o: Summary And Critique

Introduction: “Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o

 “Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o first appeared in 2007 in the prestigious journal Performance Research: A Journal of the Performing Arts. This groundbreaking work has significantly contributed to the fields of literature and literary theory, offering a nuanced exploration of orature and its performative nature. Thiong’o’s essay has been widely cited and discussed, inspiring scholars to delve deeper into the connections between oral traditions, performance, and written texts.

Summary of “Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o

• The Paradigmatic Shift in Performance Studies: The article highlights the paradigmatic shift in the study of performance, initiated by Richard Schechner and the establishment of the Department of Performance Studies at NYU. This shift repositions theatre as one among many performance genres, removing it from its hierarchical position. It asserts that this shift allows scholars to see how “the invisible is often made visible through performance” (Thiong’o, 2007, p. 5). The comparison to Marxist theory is apt, as both shed new light on past and present cultural phenomena, challenging the notion of rigid categorizations.
• The Concept of Orature: Orature, coined by Ugandan linguist Pio Zirimu, is defined as the use of utterance as an aesthetic means of expression. Zirimu developed this term to contest the idea that oral arts were inferior to literature, arguing instead that orature stands on its own as a valid aesthetic form. The author writes that Zirimu’s brief contribution to this concept continues to influence scholars, as evidenced by its use across diverse cultures: “one reads variously of Hawaiian Orature, Namibian Orature, Ghanaian Orature and many others” (Thiong’o, 2007, p. 5).
• Pitika Ntuli’s Expansive Vision of Orature: South African artist Pitika Ntuli expanded Zirimu’s idea of orature by emphasizing its holistic nature, viewing it as a fusion of all art forms. Ntuli described orature as “more than the fusion of all art forms” but as the “capsule of feeling, thinking, imagination, taste and hearing” (Ntuli, 1988, p. 215). His conceptualization underscores the interconnectedness of human experiences, nature, and art in African societies. This fusion offers a holistic view of life where the boundaries between art forms are fluid.
• Orature’s Connection to Nature and Spirituality: The article explains that orature naturally assumes a connection between nature, nurture, the supernatural, and the spiritual. The Gikuyu term ndu encapsulates this interconnectedness, signifying the connection of all beings and phenomena. This connection is evident in the way orature portrays human interactions with animals and nature, such as in The Iliad or Ovid’s Metamorphosis, where transformations between different forms of life are common: “Orature takes for granted the normality of the connection between nature and nurture” (Thiong’o, 2007, p. 6).
• Performance as the Core of Orature: Central to the theory of orature is the concept of performance. Each element of orature—whether it be song, dance, or storytelling—is realized fully through performance. Thiong’o argues that the difference between orature and literature lies in this performative aspect: “Orature realizes its fullness in performance” (Thiong’o, 2007, p. 6). Performance involves not just the performer, but also the audience, and takes place in settings ranging from village squares to shrines.
• The Expanding Horizons of Orature: Cyber-Orature: Finally, the article explores the potential of cyber-orature, which extends the idea of orature into the digital age. Thiong’o suggests that the electronic space has revived orality and orature in new forms, further broadening its scope. He posits that this virtual space mirrors the principles of orature, where interconnectedness and performance are central: “In the electronic space, orality in general and orature in particular are coming back” (Thiong’o, 2007, p. 7).

Literary Terms/Concepts in “Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o

Term/Concept	Definition	Example
Orature	A system of aesthetics that uses utterance as an aesthetic means of expression, emphasizing the performative and oral-aural aspects of cultural communication.	Hawaiian Orature, Namibian Orature, Ghanaian Orature
Performance Studies	A field of academic inquiry that investigates the nature, function, and meaning of performance across various cultural contexts.	Richard Schechner’s work on performance theory
Paradigmatic Shift	A fundamental change in the basic concepts and assumptions of a field of study.	The shift from viewing theater as the pinnacle of performance to recognizing it as one among many equally valid genres.
Weltanschauung	A worldview or philosophy of life that shapes one’s understanding of the world and one’s place in it.	The Gikuyu system of thought based on the concept of “ndu” (substance) and the interconnectedness of all existence.
Nurture	The environment and upbringing that influence an individual’s development and behavior.	The human-made world, including technology, culture, and institutions.
Cybernurture	The digital and virtual environment that shapes human experience and interaction.	The internet, social media, and virtual reality.
Supernatural	Beings or forces that are believed to exist beyond the natural world.	Gods, spirits, and other spiritual entities.
Supernurtural	The spiritual or metaphysical realm that transcends both nature and nurture.	The soul, the afterlife, and the divine.
Riddle	A question posed in the form of a puzzle or enigma.	“I have a house without a door.”
Proverb	A short, wise saying that expresses a general truth.	“A stitch in time saves nine.”
Story	A narrative that recounts events, either real or fictional.	The Ozidi Saga, a traditional Ijaw epic.
Song	A sequence of sounds that are intended to be sung.	Work songs, religious hymns, and folk songs.
Poetry	A form of literature that uses language creatively to express emotions, ideas, and images.	Riddles, proverbs, and narrative poems.
Drama	A form of literature that is intended to be performed.	Plays, theater, and other live performances.
Dance	A form of movement that is intended to be expressive or rhythmic.	Traditional dances, modern dance, and ballet.
Performance	The act of presenting something to an audience.	Theatrical performances, musical concerts, and artistic exhibitions.

Contribution of “Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o to Literary Theory/Theories

Examples of Critiques Through “Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o

Literary Work	Critique Through Orature	Key Concepts from Thiong’o’s Theory
“Things Fall Apart” by Chinua Achebe	This novel’s heavy use of proverbs reflects the orature tradition of the Igbo people, where oral storytelling and wisdom are essential. The proverbs serve as tools for moral education and cultural transmission, a core aspect of orature.	Proverbs as “codifications of wisdom” (Thiong’o, 2007), representing the interconnectedness of culture, language, and performance in oral societies.
“The Ozidi Saga” by J.P. Clark-Bekederemo	As a transcribed Ijaw epic, The Ozidi Saga exemplifies the transition from orature to literature, with the written text capturing only a version of what was a dynamic, performed narrative. This highlights orature’s performative essence, lost in textual representation.	Orature’s reliance on performance, where the audience’s participation and the context are crucial. “Orature realizes its fullness in performance” (Thiong’o, 2007).
“The Iliad” by Homer	Homer’s epic poetry, though written, stems from an oral tradition where storytelling was performative, involving recitation before an audience. Like orature, The Iliad portrays fluidity between human and divine realms, reflecting nature and nurture connections.	The interconnectedness of human, nature, and divine realms in orature, where orality plays a central role in storytelling and cultural expression.
“Mahabharata” by Vyasa (Indian Epic)	The oral transmission of the Mahabharata demonstrates how orature preserves and disseminates cultural narratives through performance. Though often read in written form, the epic was traditionally passed down orally, embodying orature’s participatory and dynamic qualities.	The performative and participatory nature of orature, where each telling of the story brings new life and meaning to the narrative (Thiong’o, 2007).

Criticism Against “Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o

1. Overemphasis on Orality at the Expense of Literary Forms
   Thiong’o’s prioritization of orature might be seen as undermining the value and significance of written literature, particularly in cultures where literacy plays a crucial role in preserving and disseminating knowledge.
2. Lack of Depth in Defining Orature as a Comprehensive Theory
   Although Thiong’o introduces orature as a powerful framework, the article does not fully develop the theoretical foundations, leaving the concept open to interpretation without rigorous academic analysis or clear boundaries.
3. Romanticization of Pre-Colonial Oral Traditions
   Some critics may argue that Thiong’o romanticizes African oral traditions, potentially overlooking the complexity and evolution of these traditions in contemporary contexts, where hybrid forms of communication (oral and written) coexist.
4. Limited Exploration of Non-African Orature
   While Thiong’o acknowledges the existence of orature in other cultures (e.g., Greek epics, Indian traditions), his focus is largely on African contexts. This may lead to a criticism that the theory is underdeveloped in its application to global orature traditions.
5. Neglect of Modern Media’s Role in Orature’s Evolution
   Thiong’o briefly touches on cyber-orature, but the article lacks a thorough engagement with how modern digital media, such as social media and video platforms, impact and shape contemporary forms of oral performance.
6. Potential Idealization of Orature’s Holistic Nature
   Thiong’o’s depiction of orature as a harmonious fusion of art forms might be viewed as an idealized, overly unified model of cultural expression, potentially ignoring conflicts or contradictions within oral traditions.
7. Insufficient Consideration of Socioeconomic and Political Factors
   The article focuses on the aesthetic and philosophical aspects of orature but does not sufficiently address how socioeconomic or political conditions influence the development, preservation, or marginalization of orature traditions.

Suggested Readings: “Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o

Representative Quotations from “Notes Towards A Performance Theory Of Orature” by Ngũgĩ Wa Thiong’o with Explanation

Quotation	Explanation
“The invisible is often made visible through performance.”	This highlights Thiong’o’s belief that performance has the power to reveal deeper truths and realities, making abstract or hidden concepts accessible and tangible through enactment.
“Orature is more than the fusion of all art forms. It is the conception and reality of a total view of life.”	Thiong’o presents orature as a holistic worldview where various art forms—song, story, drama—are interconnected, reflecting the unity of human experience in performance.
“Orature realizes its fullness in performance.”	Thiong’o emphasizes that orature is not just about oral traditions but is brought to life through performance, which involves interaction between performer, audience, and context.
“What is often arrested in writing is a particular version, a particular rendering…”	Thiong’o argues that written literature limits the fluidity and dynamism of oral storytelling, where each performance can vary and evolve over time, making orature a more flexible form.
“Orature takes for granted the normality of the connection between nature, nurture, super-natural, supernurtural…”	This quotation reveals how orature assumes a seamless integration between the natural world, human life, and spiritual or supernatural elements, reflecting a holistic worldview.
“The highest conception of the supernatural is God… the highest conception of the supernurtural is the Soul.”	Thiong’o connects orature to spiritual beliefs, indicating how orature expresses the relationship between the material and the immaterial, linking nature, nurture, and spirituality.
“Performance involves performer and audience, in orature this often being a participatory audience.”	This points to the interactive nature of orature, where the audience is not passive but engages actively with the performance, thus enhancing its dynamism and impact.
“In the electronic space, orality in general and orature in particular are coming back.”	Thiong’o acknowledges the revival of oral traditions through digital media, suggesting that orature is evolving in the cyber age, where new platforms offer spaces for oral performances.
“Humans, birds, animals and plants interact freely, they often assume each others’ forms, including language.”	This quotation demonstrates how orature often blurs the boundaries between humans, animals, and nature, representing them as interconnected and capable of communication, a common feature in oral traditions.
“Dance is a celebration of freedom from fixity, a momentary triumph over gravitational pull…”	Thiong’o describes dance as an essential element of orature, symbolizing liberation and fluidity, reflecting orature’s overall resistance to rigidity and its embrace of transformation and change.