Representation, Performative Exchange and Afropolitanism: Rethinking Opera Production in Nigeria through <i>The Magic Flute</i>

Abstract In this article, I consider the 2012–13 productions of The Magic Flute in Lagos, Nigeria, by the Musical Society of Nigeria (MUSON), as a means of rethinking broad conceptions of opera performance in postcolonial Africa. I explore the extent to which visual representation in this production creates cultural contact, exchange and hybridity, affording a pathway for experiencing opera from both Western and African perspectives without homogenisation or a clash of differences. Arguing against notions of race that pit Africa against the West, this study privileges Achille Mbembe’s writings on Afropolitanism as a framework for examining the multiple modes of meaning and identity created through this production. By scrutinising the textuality of visual elements and conceiving them as sites of localised ideological or identity struggles, I argue specifically that opera in Nigeria requires a critical framework that moves beyond notions of ‘whiteness’ and indigenisation. I will show that this staging invokes indigenous knowledge from Nigerian traditional religious and socio-cultural conceptions. In other words, mixed codes of visual elements operate as cultural signifiers that perpetuate an Afropolitan identity through which audiences interact with this art form.