Societal malfeasance as a survival strategy in Henry Leopold Belgam’s Erebie

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Emmanuel Iroh


The good, the bad, and the ugly, in the society are reflected in drama through the playwright who mirrors the society. This study examines societal malfeasances explored in Bellgam’s Erebie through contextual interpretation. Such societal malfeasances include Child Labour, Ritual Killing and Corruption. The study is hinged on the Rational Choice Theory of George Homas which states that actions of individuals in society reflect the sum of the choices made by them. It is supported by the Functionalist Theory of Emile Durkheim, also known as Structural Functional Theory which sees the society as a structure with interrelated parts, designed to meet the biological and social needs of the individual in that society. The study agrees with Durkheim that society is a complex phenomenon which must coexist as whole, with each individual striving to uphold the shared values and symbols while the Rational Theory of Homas allows an individual to make a choice that he thinks is sensible, depending on the prevalent circumstances, which will enable him to better his present condition. Conclusively, the choice of the two theories justifies the complex world we live in and the rational decisions we make believing to reap rationally from such choices. Unfortunately, such choices or decisions may not lead to the realization of our expectations. Again, actions of some of the components of the society which derail from societal norms to the detriment of such society become cogs in the wheel of progress of such society. The study recommends that people should be cautioned from indulging in societal malfeasance while government should strive to provide favourable conditions for her citizens aimed at reducing the poverty level in the country, and to encourage her citizens to abstain from the identified societal malfeasances.


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Iroh, E. . (2023). Societal malfeasance as a survival strategy in Henry Leopold Belgam’s Erebie. Advanced Journal of Theatre and Film Studies, 1(2), 55-61.