Theatre history provides evidence of the evolution of theatre from rituals and festivals. The controversies surrounding the ceremonies relating to the life and death of Osiris in ancient Egypt notwithstanding, it is evident that some such celebration did exist, and the issue in contention, as far as theatre historians are concerned, is the impenetrable nature of the performances (Brocket 1995: 10). The Osiris celebrations, together with festivals of the Greeks celebrated in honour of the Dionysus, are only two illustrations of a substantial connection between festival and drama.

In spite of this evident link between festivals and theatre, some critics of African theatre downplay the significant dramatic elements that undergird African festivals. Ruth Finnegan, for instance, has described such enactments as ‘quasi drama’ (Finnegan 1970). My interest in drawing attention to her opinion is to make the point that the sometimes unrecognised seedlings of a strong dramatic tradition grow from the nursery of ritual and festival.