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Profil
| Derzeitige Stellung | Professor W-2 und Äquivalente |
|---|---|
| Fachgebiet | Theater- und Medienwissenschaften,Allgemeine und Vergleichende Literaturwissenschaft; Kulturwissenschaft |
| Keywords | crises of nationhood, polarisation, adaptation/appropriation, dysphoria, violence |
| Auszeichnungen | 2022: Georg Forster (Experienced Researcher) Alexander von Humboldt Fellowship 2021: Bayreuth Academy Advanced African Studies Research Fellowship (BA) University of Bayreuth, Germany 2019: Andrew W. Mellon Foundation Postdoctoral Fellowship, Centre for Theatre, Dance and Performance Studies (CTDPS),University of Cape Town, South Africa 2018: Visiting Postdoctoral Fellowship, Moore Institute for Research in the Humanities and Social Studies, National University of Ireland, Galway, Ireland 2016: Submission Scholarship, Faculty of Graduate Research (FGR), Victoria University of Wellington, New Zealand 2014: Research Grant, Faculty of Graduate Research (FGR),Victoria University of Wellington, New Zealand 2013: Doctoral Scholarship, Victoria University of Wellington, New Zealand 2009: Travel Grant, “International Playwrights Workshop" Royal Court Theatre, London; British Council, Nigeria & Genesis Foundation, UK |
Aktuelle Kontaktadresse
| Land | Nigeria |
|---|---|
| Ort | Lagos |
| Universität/Institution | Shakespeare Arena Lagos Consults |
| Institut/Abteilung | Shakespeare Centre Lagos |
Gastgeber*innen während der Förderung
| Prof. Dr. Peter W. Marx | Institut für Medienkultur und Theater, Universität zu Köln, Köln |
|---|---|
| Beginn der ersten Förderung | 01.12.2022 |
Programm(e)
| 2022 | Georg Forster-Forschungsstipendien-Programm für erfahrene Forschende |
|---|
Publikationen (Auswahl)
| 2025 | Lekan Balogun: “Foreword: ‘Shakespeare, Tragedy, and the African continent’” William Shakespeare Complete Works The Tragedies: Based on the First Folio of James Heminges and Henry Condell . Flame Tree Publishing, United Kingdom, 2025 |
|---|---|
| 2025 | Lekan Balogun: “Social (Mis)conduct, Yorùbá Moral Epistemology, and Wesoo, Hamlet!” . London: Routledge, pp. 13—29. In: Ifeoluwa Aboluwade et al, African Shakespeare: Subversions, Appropriations, Negotiations. Routledge, London, 2025. 13-29 |
| 2025 | Lekan Balogun: “Àgbà(lagbà) ló mò’dí eéta”: Playing Dangerously as an Everyday Art in Taiwo Shango (1965)” . In: Journal of African Cultural Studies, 2025, 1—19 |
| 2023 | Lekan Balogun: Common backcloth: Fleishman’s Antigone (not quite/ quiet) and Soyinka’s ‘The fourth stage’” . In: South African Theatre Journal, 3.5, 2023, 195—211 |
| 2021 | Lekan Balogun: “Aesthetics of Adaptation and Tradition in Peju Layiwola’s Indigo Reimagined”. In: Oloko Patrick Peju Layiwola’s Indigo Reimagined: Rethinking Adire in Yoruba Fashion and Textile Modernity. Institute of African and Diaspora Studies, Lagos, 2021. 170—93 |
| 2021 | Lekan Balogun: “‘It’s a short distance from Sontag’: Chinyere Okafor’s New Toyi-Toyi as Militant Feminism”. In: Afolayan, Bosede Funke, Nigerian Female Dramatists: Expressions, Resistance, Agency . Routledge, 2021. 76—89 |
| 2021 | Lekan Balogun: “‘Wedlock of Rage’: Youth Restiveness in Zulu Sofola and Bosede Ademilua-Afolayan’s Drama”. In: Afolayan, Bosede Funke, Nigerian Female Dramatists: Expressions, Resistance, Agency . Routledge, 2021. 105—19 |
| 2021 | Lekan Balogun: “Ananse/Èşù Rising: Trickster Figures and Shakespeare in Davlin Thomas’s Lear Ananci, a Caribbean King Lear” . In: Lagos Notes and Records, 27, 2021, 32—55 |
| 2021 | Lekan Balogun: “Osu & Idamori: the limits of humanity in a ‘glocalized’ world” . In: Academia Letters, 2021, 1-5 |
| 2021 | Lekan Balogun: “Symbolism, Edan Ògbóni and the Spectacular in Mark Fleishman’s Antigone (not quite/quiet)”. In: African BLOG TAKEOVER, the Classical Reception Studies Network (CRSN), 2021, |
| 2019 | Lekan Balogun & Sesan Fasaanu: “Complexity and Politics of Naming in Yoruba Tradition: A Dramatic Exploration of Bosede Ademilua-Afolayan’s Once Upon an Elephant”. In: Genealogy, 3, 2019, 1—14 |
| 2018 | Lekan Balogun: “Mythological Recuperation and Performance as Agency for Genealogical Recuperation in Djanet Sears’s Afrika Solo”. In: Genealogy, 2, 2018, 1—16 |
| 2018 | Lekan Balogun: “Poetics of Mnemonic Strategy: The Art of Adaptation and the Spirituality of Being & Things in Tunde Kelani’s Saworoide and The Narrow Path”. In: JAFDIS: Journal of African and Diaspora Studies, 1, 2018, 53—74 |
| 2017 | Lekan Balogun: “From Performing the ‘Sundiata Form’ to Staging the Òrìsà: Djanet Sears’s search for Orírun in Harlem Duet”. In: Shakespeare en devenir/Shakespeare in Africa Project, Université de Poitiers. , 2017, |
| 2017 | Lekan Balogun: “Violence and Xenophobia in South Africa: Shakespeare, Thomas Mofolo’s Chaka, and Welcome Msomi’s uMabatha: the Zulu Macbeth”. In: Africology: The Journal of Pan African Studies, 10, 2017, 36— 54 |
| 2017 | Lekan Balogun: “‘Òtún we òsì, òsì we òtún’: gender, feminist mirroring, and the Yoruba concept of power and balance”. In: Journal of Gender and Power,, 7, 2017, 27—47 |
| 2015 | Lekan Balogun: 'Ele Supremacy’: Obinrin-Aesthetic in Bosede Ademilua-Afolayan’s Once Upon an Elephant”. In: Adamu Pangmeshi and Blossom N. Fondo, Rewriting Her Story: Critical Essays on the Female Subject in the Colonial and Postcolonial World. Ken Scholars Publishing, 2015. 121—52 |
| 2015 | Lekan Balogun: Moremi. Legenaire Theatre Books, 2015 |
| 2013 | Lekan Balogun: “Ajubaba: Shakespeare and Yoruba Goddess”. In: ” International Journal of Comparative Literature and Translation Studies,, 1, 2013, 8—25 |
| 2010 | Lekan Balogun: Olofin Ajaye: The Story of Lagos.. Legenaire Theatre Books, 2010 |
| 2010 | Lekan Balogun: For Heroes and Scoundrels. Legenaire Theatre Books, 2010 |
| 2010 | Lekan Balogun: Shaka. Lantern Books, 2010 |
| 2009 | Lekan Balogun: Farewell. British Council Nigeria, 2009 |
| 2008 | Lekan Balogun: Oya: Goddess of Whirlwind.. Lantern Books, 2008 |
| 2005 | Lekan Balogun: Alaafin Kanran: Fall of Tyranny. Lantern Books, 2005 |
| 2005 | Lekan Balogun: The Rejected Stone. Lantern Books, 2005 |
| 2003 | Lekan Balogun: Our Tomorrow Today. Afrocentric Books, 2003 |