Cross-cultural influences and correspondences in contemporary Nigerian drama

Abstract

Cross-cultural influences, occasioned by different factors, abound in contemporary Nigerian literature, particularly, the Nigerian drama, and like the other two major generic forms, is largely responsible for its apparent hybridity of form, as well as engendering intertextuality. Cross-cultural correspondences also abound in virtually all aspects of Nigerian literature, especially, drama. Thus the seemingly shared ideological boundaries have made possible the domestication, adaptation and, or adoption of theories and concepts that were originally non-native of Africa. In addition to determining, locating and, or situating sources that foreground cross-cultural influences and correspondences, the present study examines the degree of cross-cultural influences of non-African, especially western dramatic traditions, on the contemporary Nigerian drama. Further still in this paper, there is a conscious effort at establishing very striking cross-cultural correspondence between contemporary Nigerian drama on the one hand, and on the other hand, dramatic traditions of non-African societies. The study delineates between cross-cultural influences and correspondences, and concludes that the overwhelming local and international audience-reception often accorded modem Nigerian drama is traceable to the playwright's artistic vision, especially his/her recognition of the possibility of advancing an obvious xenofilous spirit to a pedestal of a global dramatic culture, as well as his/her penchance for accornmodating and integrating the tradition of the Other.