Performance Theory and Aladura Spirituality

Performance is a multidisciplinary term that is associated with action, expression, and assessment in a wide range of areas, namely theatre, dance, sports, ceremonies, rituals, and life activities in general. Performance can be scripted or unscripted, consciously staged or daily life activity, and usually involves the performer and the audience. According to Thompson (1985:78), performance is “the mode of assessment of the ‘textual/character/actor’

interaction. Performance is interestingly placed at the intersection of the text, the actor/character and the audience”. Performance theory refers to a frame of ideas with which performance is critically studied both in its artistic and aesthetic forms. It has no single origin;

it originated in different fields of knowledge. In the social sciences, performance as an academic discipline is associated with the collaborative efforts of two scholars: Richard Schechner²⁸ in performing arts and Victor Turner²⁹ in anthropology. Both scholars brought theatre and anthropology together to provide a lens through which human daily life events and rituals can be understood as performance driven (Phelan 1998). Erving Goffman (1959) explains that every human is a performer; he/she acts out one thing or the other on daily basis and almost in all moments of life; and that all what we eat and wear, including our conversations with other humans are all performances that showcase lots about us, others and the society in general. Goffman says that an individual who plays a role either scripted or unscripted is conscious of the fact that he/she is being observed and naturally wants his/her audience (observers) to get some impression out of the performance being staged.

As both expression and assessment of human realities in the society, Margaret Drewal (1991:1) says that “performance is the praxis of everyday social life; indeed it is the practical application of embodied skill and knowledge to the task of taking action”. In fact, Drewal (1991:2) presents a broader conception of performance as:

A means by which people reflect on their current conditions, define and/or re-invent themselves and their social world, and either re-enforce, resist, or subvert prevailing social orders. Indeed both subversion and legitimation can

emerge in the same utterance or act.

28 An American scholar of performing arts.

29 A British cultural anthropologist who did extensive studies rituals.

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Schieffelin (1998:195) sees performance as “‘symbolic’ or ‘aesthetic’ activities”, which are embedded in everyday life and which humans articulate in their worldviews. Although Schieffelin sees these expressive processes from the lens of western theatrical performance, the basic idea in this notion finds relevance in Aladura spirituality. The Aladura churches particularly the C&S, TCLA, and CCC articulate their worldview and constructed identities and express them in performative acts as in worship, rituals, symbolic gestures, objects, numbers, colours and paraphernalia. Without these realities and expressions nothing can be said of Aladura faith traditions. In this regard, Schieffelin (1998:195) says “without living human bodily expressivity, conversation and social presence, there would be no culture and no society.”

Schieffelin sees performance as processual with conscious intent and commitment of the performer. Drawing on Humphrey and Laidlaw’s position, Schieffelin (1998:197) explains that performance requires intentionally “formulated strategies” with which “we act both for ourselves and in the eyes of our beholders.” The relevance of Schieffelin’s position on the intentionality of performance and its processual nature can be located in the purposive worship and practices of the Aladura and the strategies, which they designed for sustaining their relevance. However, contrary to Scheffelin’s position, not every performative act of the Aladura is intentionally formulated. Spirit possession, glossolalia, and trance are experiences from the altered state of consciousness of the gifted, and such unconscious or subconscious state cannot be passed for an intentionally formulated performance. Members of Aladura churches claimed that their liturgies are their peculiar way of expressing the significance of the divine in their lives and that of the church and that the strategies with which they showcase their spiritualities are meant to seek the attention of their audiences for membership and to encourage them to partake in the divine salvation that abound in their beliefs and practices.

Performance as an accomplishment is what Schieffelin says requires an assessment or rating as in sports or business discourses. In problematizing performance beyond the domain of performative acts, Schieffelin explains that performance also entails evaluations of the expressive culture, which partly rest on the performers themselves, and most importantly their audiences or observers. Self-assessment of Aladura churches compels them to redefine their operations in the competitive religious market. The assessment, which members make of their commitment in comparison with the rewards they record, determines their retention of their membership or their choice of a new religious organisation. Furthermore, the assessment,

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which non-members make of Aladura churches’ response to felt needs of people is discernible in the interest, which people express in joining the churches either for full or casual membership.

Schieffelin draws a line of demarcation between performance and the notion of text. Although the author argues that performance should not be treated as text, he acknowledges their commonality in their beginnings, middles, and ends. Yet, he says performance differs in its performativity because it creates its effects in its audience who live with its impact, and that performance as a living social activity takes place within space and time, but “texts are changeless and enduring” (p.199). The living activities of the Aladura are both spontaneous and scripted performances. Members are expected to conduct themselves according to church doctrine and other rules of practice. Their designed liturgies are the basis for conducting worship. As prophetic churches, emphasis is also placed on unwritten word of God as basis of their activities. The integration of scripted and unscripted performances in Aladura worship and ritual practices usually create effects on members and non-members. This was observed in individuals who choose to be permanent members in their respective churches and those who choose to be casual members or solution seekers.

The relationship between performer and spectator in western theatrical conception, according to Schieffelin, is problematic because of its assumed illusionary nature. If the relationship is that of illusion as against reality, the author asks: “where are the truth and efficacy in ritual located”? (p.202). He however does not rule out the role that performative acts play in the social construction of reality. Devoid of western conception of illusion in the theatrical relationship between performers and audiences, the performative acts of Aladura churches are expressions of their beliefs, those realities that have been drawn from their traditional religions and cultural backgrounds that are integrated into the biblical tradition of the church.

The materiality of their beliefs is seen in their use of white garments, colourful robes, different designs of metal and wooden staffs, and natural and man-made ritual substances.

The robes of different colours and designs and staffs signify ranks, office and cell identity within the church. The healing sessions, where the ‘spiritualists’ go in trance, speak in tongues and prophesy are performative acts that are meant to address the existential problems of attendees who are pleased to receive divine messages, which the prophesier claims to bring. The sacred names, sacred oil, water, perfumes, other natural objects and their use in performing ritual cleansing and healing of the afflicted constitute performative actions that

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express members’ strong belief in sacred power and materialised faith, by making it a tangible experience.

In analysing the performative acts of the Aladura, Schechner’s (1988) notion of performative act will suffice here. Schechner’s notion is that there are certain qualities that a performance should have. They include special time, special value of objects, non-productivity, appeal to others, rules, performance places, audience, self-assertion, completed performance, performed by group, symbolic reality, and script. These are main characteristics of Aladura ritual performance, which involves sacred time, sacred place, and special value for natural and manufactured objects used in rituals and worship. Such ritual performance is also expected to have no monetary gains. In Aladura rituals and worship, there are rules/restrictions binding on individual or group participants who are either being watched or assessed by audience/non-participant observers and the audience/non-participants themselves. The ritual performance is the symbolic presentation of the beliefs and lived experiences of members.

The theory has helped to explain the human side of the lived experiences that revealed a lot about the Aladura and the society of their emergence and spread. The theory is not set to prove or disprove the influence of the transcendence in the activities of Aladura churches but to explain their lived experiences as performative acts that showcase their resilience in a competitive religious environment.

1.5 Methodology