Humboldt-Universität zu Berlin - Kultur-, Sozial- und Bildungswissenschaftliche Fakultät - Institut für Asien- und Afrikawissenschaften







2022. With Susanne Gehrmann (eds.). Crossings and Comparisons in African Literary and Cultural Studies. WVT Verlag, Trier.

 2021. Old Age in African Literary and Cultural Contexts (ed.). Cambridge Scholars Publishing

2018. Co-edited volume with Elisabeth Reitinger and Ulrike Vedder. Alter und Geschlecht: Soziale Verhältnisse und Kulturelle Repräsentationen., VS Verlag

2011. Rituals in Cameroon Drama: A Semiological Interpretation of the plays of Gilbert Doho, Bole Butake and Hansel Ndumbe Eyoh, Bayreuth, Bayreuth African Series 90.

In Preparation for Routledge. With Ifeoluwa Aboluwade, Serena Talento and Oliver Nyambi (eds.). Shakespeare in Africa: Literary Entanglement across Space and Time.


Journal Articles and Book Chapters

 2022. “Symbolizing Orature, Heroism and Gender Relations in Okoiti Omtatah’s Lwanda Magere, ” The Nairobi Journal of Literature, Vol 10, Number 10 (Special Issue), pp. 150-171.

 2022. With Susanne Gehrmann, “Crossings and Comparisons in African Literary and Cultural Studies: Introduction.” In Crossings and Comparisons in African Literary and Cultural Studies. Susanne Gehrmann & Pepetual Mforbe Chiangong (eds). WVT Verlag,

Trier, pp. 1-12.

 2022. “Political Practice and Irate Satire in Cameroonian Drama: A Cross-language Exploration of What God has Put Asunder by Victor Epie ’Ngome and La chèvre du sous-préfet by Charles Soh” In Crossings and Comparisons in African Literary and Cultural Studies. Susanne Gehrmann & Pepetual Mforbe Chiangong (eds). WVT Verlag, Trier.pp.121-140.

2021. “Theatre and Representation in Berlin: A Critical Understanding of Gender from an Intercultural Perspective.” In African Performance Review (APR), Vol. 13, No. 1 & 2, pp.37-54.

2021. “Introduction: Old Age in African Literature and African Sociocultural Contexts.” In Old Age in African Literary and Cultural Contexts. Cambridge Scholars Publishing, Pepetual Mforbe Chiangong (ed.) pp. 1-14.

2021. With Nepomuk Riva, “Performing Cultural (un-) Sustainability: The Impact of an Applied Theatre Workshop on a West African Graduate School Programme.” In Applied Ethnomusicology: Practices, Policies and Challenge, Beijing: Central Conservatory of Music Press, Huib Shippers et al (eds.),153-166.


2021.Ageism is Still ‘Another Form of Bigotry’: Physical Presentation of the Elderly Body in Anowa and The Gods are Not to Blame” in Old Age in African Literary and Cultural Contexts. Cambridge Scholars Publishing, Pepetual Mforbe Chiangong (ed.). pp. 35-56.

  1. “Interrogating Respect towards the Elderly during an Applied Theatre Workshop at Agyati in Bafut, Cameroon” in Old Age in African Literary and Cultural Contexts. Pepetual Mforbe Chiangong (ed.). Cambridge Scholars Publishing, pp. 99-108.
  2. Agony on Stage: The Intrigues of Building Houses in The Rubble Rouser Performed at the 58th Edition of the Kenya Schools and Colleges Drama Festival (KSCDF)” in Eastern African Literatures and Cultures: Emerging Trends, Susanne Gehrmann, Obala Musumba, James Ogone, Oduor Obura (eds.).pp. 247-263.
  3. “Transgressing" Wisdom and Elderhood in Times of War? The Shifting Identity of the Elderly Queen in the Performance of Women of Owu” in Under Construction: Performing Critical Identity. Anne Kohl (ed.), pp. 85-106.
  4. “From the Village Square to the Theatre Hall: Reflecting on the Shifting Grounds of People Theatre in a Postcolonial Context.” Special Issue Anglistik: International Journal of English Studies, Jana Gohrisch, Ellen Grünkemeier, and Hannah Pardey (eds), 149-167.


  1. “Patronage or Negotiation? An Exploration of the Performances of The Boomerang and Pamela's Journal,Matatu, 51. 1 (June 18, 2020), pp. 118-138.


  1. “A Critical Analysis of the Role of Aberewa (Old Woman) in Bill Marshall’s

Asana” in a Co-edited volume with Elisabeth Reitinger, and Ulrike Vedder. Alter und Geschlecht: Soziale Verhältnis und Kulturelle Repräsentationen., VS Verlag, pp. 143-162.


  1. “Linking Words. What had happened before: The Connection of African Literature to Berlin. Linking Words. Was bisher geschah: Verbindungslinien zwischen afrikanischer Literatur und Berlin”. Stadsprachen Magazin #6.


  1. “Theatrearbeit mit Menschen mit Demenz aus nicht nur Kuenstlerische Sicht; In Conversation with Barbara Wachendorff” in Co-edited volume with Elisabeth Reitinger, Ulrike Vedder & Gabi Jähnert. Alter und Geschlecht: Soziale Verhältnis und Kulturelle Repräsentationen. VS Verlag, pp. 112-126.


  1. “Negotiation in Participatory Development Theatre: Interface of the “Static” and the “Dynamic”. African Performance Review Journal. Volume 8, Number 2, 2016.


  1. “Postcolonial Feminine Emancipation in Bole Butake’s Lake God (1986) and And Palm-wine will Flow (1990)”. Hemispheres: Studies on Cultures and Societies, Vol. 30, No. 4, 25-42.


  1. “A Critique of Morality: An Existential Reading of Elderly Characters in Two of Bole Butake’s Plays” in Perspectives on Cameroonian Art, Archaeology and Culture, Yaoundé, Editions CLE.


  1. “Popular Culture as Medium of Expression: A Study of Artists of the North West Province of Cameroon” in Critical Interventions: Journal of African Art History and Visual Culture, No. 11, 79-94.
  2. Visual Material. Documentary on a Workshop on Intervention Theatre and Gender Awareness. Ca 35 mins.


  1. An Initiation Ritual as a Bridge to Political Power: Interpreting Symbols in Bole Butake’s (Cameroon) “Dance of the Vampires, West African Theatre and Performing Arts Journal,Vol. 1, No. 2, , pp. 51-66.
  2. “Intercultural Perspectives in African Theatre and Performance Art” in Irritation und Vermittlung: Theatre in einer Interkulturellen und Multireligiösen Gesellschaft, Berlin, Lit Verlag Dr. W. Hopf.


  1. “The Wilderness in the Forest: Grim and Concentric reformulations in the works of Butake and Makuchi.”


  1. Forthcoming as open access. “Health Care and Ageing Masculinity in the Performance of Notaufnahme – Hospitali”




Review Articles


2019. Kristin Flade. The Good Pain? Applied Theatre and Social Circus in Palestine Today. Vienna, Passagen Verlag, 2018, pp. 260, paperback, In African Performance Review, Vol. 11 No. 1.


  1. Emmanuel N. Ngwang and Kenneth Usongo. Art and Political Thought in Bole Butake, Maryland, Lexington Books, 2016, pp.131, hard cover. In African Theatre 18. ed. Chukwuma Okoye, James Curry,


  1. Judith G. Miller (ed.) and Chantal Bilodeau (trans.) Seven Plays of Koffi Kwahulé: In and Out of Africa. Judith G. Miller, ed. Michigan: University of Michigan Press, 2017, 322 pp, paperback. In African Theatre 18,  ed. Chukwuma Okoye, James Currey,


  1. 2019. Frida M. Mbunda-Nekang, Thorns and Roses: A Play, Bamenda, Langaa Research &Publishing, 2018, pp.73, paperback. In African Theatre 18, ed. Chukwuma Okoye, James Currey,
  2. Masitha Hoeane, Mama Mudu’s Children: A South African Post-Freedom Tragi-Comedy Grant Park: African Perspectives Publishing, 2017, 88 pp. ISBN 9780992236380. Pb £15 / $20. Published in African Theatre 17: Contemporary Dance, Edited by Yvette Hutchison & Chukwuma Okoye, James Curry, 2018 .


  1. Theatre of Real People: Diverse Encounters at the Berlin’s Hebbel am Ufer and Beyond by Ulrike Garde and Meg Mumford. London: Bloomsbury Methuen Drama, 2016, 247pp (paperback) for Platform: Journal of Theatre and Performing Arts, Vol. 11. Autumn 2017. “Authenticity”.


  1. Aderemi Raji-Oyelade, Playful Blasphemies: Postproverbials as Archetypes of Modernity in Yorùbá Culture, Trier, Wissenschaftlicher Verlag, 2012, 168pp, €22, 50, paperback. Nordic Journal of African Studies (NJAS), Vol. 24(1): 90–93.


  1. The Methuen Drama Book of post-Black Plays, Harry J. Elam Jr. and Douglas A. Jones, Jr., Eds in Platform: Postgraduate Journal of Theatre Arts, Vol. 7, No. 2, , pp. 90.


  1. Theatre for Development in Kenya: In the Search of an Effective Procedure and Methodology by Christopher Joseph Odhiambo, Bayreuth Africa Studies 86, Bayreuth: Pia Thielmann & Eckhard Breitinger, (“2008) 201 pp. + 9 illus., ISBN 978-3-93966-07-8, Reviewed in Studies in Theatre and Performance, 29.3.