Seeing the unseeing audience: Women and West African power association masquerades

Abstract

For more than a century, observers have noted that the West African power associations known as Komo and Kono prohibit women from seeing their performances and assemblages. Reportedly fearful of seeing something they are not permitted to see, women and children run for shelter and shut the doors. Yet, in western Burkina Faso today, certain Komo and Kono chapters authorize some women to view their arts, and women who are not authorized still interact with performers during events, consult with the organizations' leaders at other times or assist power association leaders in other ways. A focus on the unseeing but ever-present audiences of Komo and Kono reconfigures our understanding of audiences. Scholars of theatre audiences in different times and places have sometimes used 'spectators' as a synonym for 'audience', implying a group of people who are physically present for an event and can see it. Unseeing audiences are physically present at a live performance and interact with performers even though they are prohibited from actually seeing the event other people can see. Shifting our focus to women as members of unseeing audiences also reveals women's varied contributions to organizations and arts that have long been framed as institutions that operate squarely within men's domains.