Abstract:

This essay analyses the Edegborode Annual Festival Performance of Sapele, Delta state, Nigeria, as one among the many dramatic performances in Africa, with economic values, vis-à-vis the possibility of adapting the festival into contemporary folk drama using Sam Ukala’s Folkism eight (8) Laws of Aesthetic Response. There is no doubt about the tourism potential and the economic values present in many Nigerian festival Performances. However, the question of whether traditional African performances can be classified as drama or not still lingers. Adopting traditional African performances into modern African folk drama is also a challenge. It is based on these that this study is carried out. I adopt the ethnographic method of research in carrying out this research. Participant observation and face-to-face interview method was explored. I aim to examine and measure the number of western performative elements like plot, character (isation), music, song, performance arena (stage), and the audience, in the Edegborode Annual Festival Performance, and how these aesthetics fit into modern African folk drama using Folkism as a yardstick. The study shows that the Edegborode festival performance provides entertainment to its audience. Also, its ability to attract over Four Thousand (4000) local tourists within Delta State every year adds economic value to community development. Most importantly, when subjected to the aesthetics of Folkism, the Edegborode annual festival is viable source material for modern folk drama. However, there is a need for a further critical study of the economic and health potentials of the use of traditional herbs and plants in traditional festival performances.

Keywords: Eurocentricism, Edegborode, Festivals, Folkism Performances