Bernard Eze Orji
Biographic Data
| ID | 270722 |
|---|---|
| NAME | Bernard Eze Orji |
| GIVEN NAMES | Bernard Eze |
| FAMILY NAME | Orji |
| SIGNATURE | ORJI B E |
| AFFILIATIONS | Alex Ekwueme Federal University, Ndufu-Alike |
| ORCID | 0009-0000-8235-6534 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
‘When lights out!’ The #EndSars protest performance and youth activism in Nigeria
This article examines how the October 2020 #EndSARS protests in Nigeria mobilised embodied, multimodal, and digitally mediated communication for political resistance and collective identity formation. Drawing on ethnographic fieldwork in Lagos, it analyses chants, music, dance, humour, protest art, hashtags, and digital circulation as practices through which protesters negotiated solidarity, legitimacy, and resistance in a postcolonial public sph…
‘We do not want clowning and noisy dancing in a university’
‘Looking back in the present’
Indigenous performances have resonated among the youthful population of Nigeria in recent times, leading to the catchphrase in the title ‘looking back in the present.’ Some describe it as a cultural identity resurgence, reawakening, revitalization, going back to history, or reinventing tradition. This study seeks to reevaluate the roles observed in a rite or initiation ceremony in a university theatre department in Southeast Nigeria, viewing them…
Ọkụmkpọ́ Masquerade as Theatre Performance in Akpoha-Afikpo Cross River Igbo Area of Southeastern Nigeria
Carnival and Afikpo Njenje -Masquerade
Incarnations of the spirits
This study explores performative features of a children's masking performance carried out among the Igbo of Southeastern Nigeria. Informed by the need to interrogate the cultural dimensions of the Bakhtinian notion of the carnivalesque, it discusses the extent to which some Igbo children's masking activities resemble carnival performance. Using data drawn from fieldwork and conceptual precepts from carnivalesque theory, the study analyses Igbo ch…
"Amari-Akaghi"—The Knowledge of the Unknown
The phrase "amari-akaghi" in my Akpoha, Igbo village, is tied around the metaphor of women and masking culture in Igbo society. This phrase alludes to women's knowledge of the workings of masquerades yet they cannot talk about it openly. I have weaved this paper around the perception of the "knowledge of the unknown" as touted and exemplified by Okonkwo's wives in Achebe's Things Fall Apart . Achebe in his seminal work revealed the position of th…
Aestheticism in visual symbols
Theatre practice in Nigeria like the world over is in a state of constant flux due to the ever emerging new trends. New concepts, styles, forms are continuously on demand as a result of the insatiable human tastes in performance and coupled with a civilization in which technological advancement and human creativity are not left out in its wake. The emergence of the social media has come to add more pressure on the live theatre from where the film…
Humour, satire and the emergent stand-up comedy
Masking is a phenomenon that is traced to almost all human ages. From its prehistoric and primitive narratives in Africa, its dramatic beginnings in ancient Greece and Rome, to its use as forms of character delineation in the commedia dell’Arte of the 16th and 18th century Europe, as well as its age long association with carnivals due largely to its analogous to humour and entertainment. Masking, as comic as it may seem, has been critical of huma…
"Amari-Akaghi"—The Knowledge of the Unknown
The phrase "amari-akaghi" in my Akpoha, Igbo village, is tied around the metaphor of women and masking culture in Igbo society. This phrase alludes to women's knowledge of the workings of masquerades yet they cannot talk about it openly. I have weaved this paper around the perception of the "knowledge of the unknown" as touted and exemplified by Okonkwo's wives in Achebe's Things Fall Apart . Achebe in his seminal work revealed the position of th…
Humour, satire and the emergent stand-up comedy
Masking is a phenomenon that is traced to almost all human ages. From its prehistoric and primitive narratives in Africa, its dramatic beginnings in ancient Greece and Rome, to its use as forms of character delineation in the commedia dell’Arte of the 16th and 18th century Europe, as well as its age long association with carnivals due largely to its analogous to humour and entertainment. Masking, as comic as it may seem, has been critical of huma…
Aestheticism in visual symbols
Theatre practice in Nigeria like the world over is in a state of constant flux due to the ever emerging new trends. New concepts, styles, forms are continuously on demand as a result of the insatiable human tastes in performance and coupled with a civilization in which technological advancement and human creativity are not left out in its wake. The emergence of the social media has come to add more pressure on the live theatre from where the film…
"Amari-Akaghi"—The Knowledge of the Unknown
The phrase "amari-akaghi" in my Akpoha, Igbo village, is tied around the metaphor of women and masking culture in Igbo society. This phrase alludes to women's knowledge of the workings of masquerades yet they cannot talk about it openly. I have weaved this paper around the perception of the "knowledge of the unknown" as touted and exemplified by Okonkwo's wives in Achebe's Things Fall Apart . Achebe in his seminal work revealed the position of th…
Carnival and Afikpo Njenje -Masquerade
Incarnations of the spirits
This study explores performative features of a children's masking performance carried out among the Igbo of Southeastern Nigeria. Informed by the need to interrogate the cultural dimensions of the Bakhtinian notion of the carnivalesque, it discusses the extent to which some Igbo children's masking activities resemble carnival performance. Using data drawn from fieldwork and conceptual precepts from carnivalesque theory, the study analyses Igbo ch…
‘Looking back in the present’
Indigenous performances have resonated among the youthful population of Nigeria in recent times, leading to the catchphrase in the title ‘looking back in the present.’ Some describe it as a cultural identity resurgence, reawakening, revitalization, going back to history, or reinventing tradition. This study seeks to reevaluate the roles observed in a rite or initiation ceremony in a university theatre department in Southeast Nigeria, viewing them…
Ọkụmkpọ́ Masquerade as Theatre Performance in Akpoha-Afikpo Cross River Igbo Area of Southeastern Nigeria
‘When lights out!’ The #EndSars protest performance and youth activism in Nigeria
This article examines how the October 2020 #EndSARS protests in Nigeria mobilised embodied, multimodal, and digitally mediated communication for political resistance and collective identity formation. Drawing on ethnographic fieldwork in Lagos, it analyses chants, music, dance, humour, protest art, hashtags, and digital circulation as practices through which protesters negotiated solidarity, legitimacy, and resistance in a postcolonial public sph…
‘We do not want clowning and noisy dancing in a university’
Art (6 works) · Aesthetics (5 works) · Literature (4 works) · Sociology (4 works) · Theatre and Performance Studies (4 works) · Igbo (3 works) · Law (3 works) · Political science (3 works) · African history and culture studies (2 works) · Entertainment (2 works)