Ogoni Opera. Theatrical Invention Based on Witnessed Events

Art at the Convergence of Documentary Theatre, Reenactment, and Therapy

Authors

  • Javier López Piñón indépendent/retired

DOI:

https://doi.org/10.33011/rita.v1i1.4099

Keywords:

Artivism, musictheatre, refugee camp theatre

Abstract

On November 23 of last year, Ogoni Opera had its opening night in Ouidah. It was entirely produced and performed by the refugee community and met with a warm reception from the Beninese audience. For this first number of the Revue Internationale des Inventions Théâtrales Africaines, the creative process that has led to this production might serve as an inspiring example how the performing arts can also touch on goals and intentions beyond the purely aesthetic.

References

Bame, Kwabena N. 1985. Come to Laugh: African Traditional Theatre in Ghana. New York: Lilian Barber Press.

Barber, Karin. 2003. The Generation of Plays: Yoruba Popular Life in Theater. Bloomington: Indiana University Press.

Barber, Karin, John Collins, and Alain Ricard. 1997. West African Popular Theatre. Bloomington: Indiana University Press.

Cole, Catherine M. 2001. Ghana's Concert Pary Theatre. Bloomington: Indiana University Press.

Jeyifo, Biodun. 1984. The Yoruba Popular Travelling Theatre of Nigeria. Lagos: Nigeria Magazine.

Kerr, David. 1995. African Popular Theatre: From Pre-Colonial Times to the Present Day. London: James Curry.

Okagbue, Osita. 2012. African Theatres and Performances, Abingdon: Routledge.

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Published

06/21/2026 — Updated on 06/21/2026

Versions

How to Cite

López Piñón, J. (2026). Ogoni Opera. Theatrical Invention Based on Witnessed Events: Art at the Convergence of Documentary Theatre, Reenactment, and Therapy. Revue Des Inventions Théâtrales Africaines, 1(1). https://doi.org/10.33011/rita.v1i1.4099