Public Spectating and Political Undertones in Durbar The Emirate Court Art of Northern Nigeria as Instrument of Governance

Abstract

The discourses of nationhood and nation-building in the developed Western world have been facilitated by the prevalent cultures of writing and documentation. The situation in the developing world has remained largely fragmented because of the absence of such coherent, broadcast, and comprehensive forums for a discourse on 'nationhood'. Different societies articulate their perception of the priorities of nationhood in a range of forms – manifest in ritual visual displays, entertainment and formal rhetoric such as poetry, religious sayings and quotations – which were not dependent on literacy, including the ceremony of durbar. The ordinary people construe the durbar as a spectacle, perhaps because it encompasses a wide range of performance artists drawn from the many groupings within society. However, durbar functions, through its display of martial strength, to reinforce the political and religious power of the ruling elite: durbar within society. The focus in this essay is to examine political undertones of durbar, specifically the ways in which localized participation in the reinforcing ritual of relationships of power provides the people with an opportunity for the public exhibition of individual skills and for the elites an avenue for containing any nascent – or potential – articulation of resistance in society.