Decolonising the Stage: Ritualised Knowledge in the Theatre Initiation Process

Abstract

Initiation ceremonies in theatre education have been met with many assumptions that have been proven to be widely held. Some of these assumptions include views that the ceremonies are heathenistic, unnecessary, and even unprofessional due to their occurrence at the start of theatre training rather than at its conclusion, as is common in other professions. Through an integration of specific African philosophical frameworks, we discover and reveal the profound cultural and pedagogical significance of these rituals and their implications for decolonial practices in theatre. Central to this exploration is the concept of Ubuntu, which emphasises interconnectedness with its maxim “I am because we are.” It positions initiation rituals as a means of integrating new members into a communal fold, as is also obtainable in the African rites of passage, which mark significant transitions across life phases. This has transformative goals similar to those of theatre initiation practices. Additionally, the mytho-ritual framework, rooted in African mythology and prevalent in the works of African playwrights like Wole Soyinka and Femi Osofisan, is examined for its resonance with these initiation practices. This paper highlights how theatre initiation ceremonies offer unique insights that challenge and enrich global performance discourses by situating these indigenous philosophies within the broader context of performance philosophy. The research thus provides a critical lens for reimagining theatre education as a site of decolonial praxis and cultural affirmation.