Perspectives on African Rhythm and Dance in Onwueme’s <i>Riot in Heaven</i>

Abstract

Studies in the life and works of the literary icon, Tess Onwueme has been manifolded. Her ideologies on gender and other topical issues have enjoyed academic patronage by scholars in the humanities with her works succinctly capturing the histories and cultural heritages of the African people. As pervasive as her works have been, there exists a relative lack in the capture of performative nuances of the African people. This writer thus undertakes a study on the different perspectives of African rhythm and dance in Onwueme’s Riot in Heaven. Through an enduring content analysis against the historicity of the play’s setting and a review of related literature, the writer arrived at findings which further reveal the creative ingenuity of Tess Onwueme. These include the utilization of aural, visual and psychological rhythms against the background of African dance forms. Aural rhythm is made manifest in vocal renditions like songs, instrumentations, hand clapping, shouts and chants. Visual rhythm which addresses the sense of sight is exemplified in the play by the use of ceremonial and social dances of worship, unity and protest; marches and procession as well the floor patterns and movements. Psychological rhythm which works in the remote reserves of the human mind is revealed through characterization as travellers and living deads. The ideas of coming and going, living and dying, death and rebirth, violent drum sounds and deafening gunshots create psychological rhythm in the minds of the readers. Onwueme has beautifully captured the African life and setting through rhythm and dance in Riot in Heaven. This study serves as a springboard for further researches on performance components of literary works.