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E. Cloth in West African History. Lanham: Altamira 2006. Kusimba, C. ; J. C. Odland; and B. Bronson; eds. Unwrapping the Textile Traditions of Madagascar. Los Angeles: Fowler Museum of Cultural History, 2004. Lamb, Venice. West African Weaving. London: Shell, 1975. Lamb, Venice, and Alastair Lamb. Au Cameroun: Weaving— Tissage. : Roxford, 1981. Lamb, Venice, and Alastair Lamb. Sierra Leone Weaving. : Roxford, 1984. Lamb, Venice, and Judy Holms. Nigerian Weaving. A. A. Lamb, 1980. Paydar, Niloo Imami, and Ivo Grammet, eds.

Lbsat is a traditional performance that appeared in Morocco in the eighteenth century in Marrakesh. PHOTOGRAPH BY KHALID AMINE into an arc surrounding the performance from all sides. The space required by the hlayqi (the maker of spectacle) is not a specific space, and the timing of the performance is any time. No fourth wall with hypnotic fields is erected between stage and auditorium, for such binary opposition does not exist in al-halqa. All the marketplace or Medina gates can be transformed into a stage; and the entire circle is a playing area, as open as its repertoire of narratives and dances.

For instance, precolonial theater in eastern and Central Africa was collective, anonymous, participatory, and attuned to the people’s rhythm of life. It came alive in a variety of social and cultural activities, such as birth, initiation, hunting, marriage, spirit-possession rituals, and deathrelated activities. Most of the indigenous theater forms were, however, suppressed during the colonial era, which generally denigrated non-Western cultures, especially in the efforts to introduce Christianity into the region.

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