The interplay of music and actions in Wole Soyinka’s ‘Kongi’s harvest’

Music, in any dramatic work, is not just meant to be an ordinary gap-filler, but is used as a necessary support of the coextual actions on stage, to contribute immensely to the overall production of meaning in the drama. It occurs either as unaccompanied songs (a cappella), instrumentals and/or a combination of both songs and accompanying instrumentations, and functions to enhance the playwright’s intended production of meaning in such drama. In addition, music in the theatre helps to intensify the audience’s suspense and expectations of the contextual conflict and its resolution within the play. This paper investigates the interplay between music and actions in Wole Soyinka’s ‘Kongi’s Harvest’ by looking at the way in which these two meta-theatrical elements affect each other. ‘Kongi’s Harvest’ is a satirical drama of ritual and celebration set against the background of a community’s protests on the attempt of a military despot to subvert the essence of a well-known custom of New Yam Festival. Using participant observation method, the researcher found out that if the musico-rhythmic motifs are effectively appropriated and employed as artistic devices in this work, they shall help to enrich and communicate the playwright’s dramatic intentions, through the actions taking place on stage, to the audience. The paper thereafter proffers a recommendation that the overall production of the play shall come out well once the theatre director can get someone to teach the music properly. In addition, that he also should be very creative in his selection of both the musicians and musical instruments to be used