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Wole Soyinka's play Death and the King's Horseman depicts the conflicts between the African tradition and the Western ideology. Death and the King's Horseman, based on the real story at Oyo, one of the ancient Yoruba city in Nigeria 1946, is the play about the ritual suicide of the king's horseman after the Oyo King Siyenbola Oladigbolu's death. The British colonial officer Pilking, however, who was in charge at Oyo heard of Elesin's intention of committing suicide, so he ordered that the Horseman should be prevented from killing himself. When word of his father's arrest reached the Horseman's son, Olunde, he killed himself in place of Elesin in order to fulfill the needs of the ritual.
Soyinka's main concern in Death and the King's Horseman is to dramatize, through Elesin, how death is deliberated by the community as a communal and social significance not by an individual loss itself. Pilking who is representative of the British Colony's law puts the pressure on the Oyo cultural tradition regarded as a barbaric custom. The colonization is exposed as the hibridity of the African/English language, of the Yoruba ritual music/the European music and of the Yoruba people/English/Muslim. Death and the King's Horseman reveals not only the external aspects of hibridity but also the causes, inequality and unilateral way of hibridity which results in massacre of people and cultural colonialism in Africa.
For the strategic approach to enhance the contrasting sharpness of ideology between the Yoruba and Europeans, Soyinka uses the Yoruba folk opera which is consisted of the emergent hybrid of music, song and dance. The use of music, mime, oral poetry, masking and dance is as mediators of ideas and actions in the play. Especially music takes the role as generating a communal sense of cultural identity. Death and the King's Horseman raises the problem how can individual fulfill his will as well as cultural self-apprehension in the face of colonialism and Western global hegemony.
Soyinka's main concern in Death and the King's Horseman is to dramatize, through Elesin, how death is deliberated by the community as a communal and social significance not by an individual loss itself. Pilking who is representative of the British Colony's law puts the pressure on the Oyo cultural tradition regarded as a barbaric custom. The colonization is exposed as the hibridity of the African/English language, of the Yoruba ritual music/the European music and of the Yoruba people/English/Muslim. Death and the King's Horseman reveals not only the external aspects of hibridity but also the causes, inequality and unilateral way of hibridity which results in massacre of people and cultural colonialism in Africa.
For the strategic approach to enhance the contrasting sharpness of ideology between the Yoruba and Europeans, Soyinka uses the Yoruba folk opera which is consisted of the emergent hybrid of music, song and dance. The use of music, mime, oral poetry, masking and dance is as mediators of ideas and actions in the play. Especially music takes the role as generating a communal sense of cultural identity. Death and the King's Horseman raises the problem how can individual fulfill his will as well as cultural self-apprehension in the face of colonialism and Western global hegemony.
목차
Ⅰ. 들어가며
Ⅱ. 나이지리아 민속가극 Folk Opera의 혼종 양상
Ⅲ. 『죽음과 왕의 마부』의 민속 가극 형식과 문화 혼종 양상
Ⅳ. 나가며
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