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The initial situation at the beginning of the 1950s divided the continents into two groups with regard to the proportion of older people: While in the industrially highly developed countries in North America, Europe, Australia and Oceania, between 7 and 8 percent of the population was 65 years and older, this affected in Asia almost and in Africa, Latin America and the Caribbean only about half as many. With the decline in the birth rate in all regions since then and the increased life expectancy of older people in particular - with the exception of Africa - the proportion of older people increased.

2018 North America, Europe, Australia and OceaniaAging is most advanced today in Europe, followed by North America, Australia and Oceania. In Asia as well as in Latin America and the Caribbean, the proportion of older people has doubled since 1950, but is still significantly lower than in the other regions. In Africa, however, the proportion of 65-year-olds and older only increased minimally, and the decisive increase is only expected in the coming decades. A further increase in the proportion of older people is also to be expected in the other regions, so that by the end of the 21st century, depending on the continent, between a quarter and a third of the population will be 65 years and older, in Africa around one in seven.

Percentage of the total population
Period Africa Asia Europe North America Latin America
and the Caribbean
and Oceania
2015 3.5 7.6 17.6 14.8 7.6 11.9
2020 3.6 8.9 19.3 16.8 8.8 13.0
2030 4.1 11.8 23.1 20.7 11.9 15.4
2040 4.8 15.3 25.9 22.0 15.5 17.1
2050 6.0 17.8 27.8 22.5 19.4 18.2
2060 7.2 20.9 28.9 24.0 23.2 19.6
2070 8.7 22.4 28.1 25.3 26.4 20.7
2080 10.6 24.1 28.7 26.3 28.6 22.3
2090 12.6 25.6 29.6 27.1 30.3 23.9
2100 14.6 26.8 30.1 28.1 31.5 25.4

Africa Theater

For centuries, theater in sub-Saharan Africa has functioned as part of entertainment, education, and religious rituals. In the religious party parades, the theater is used to depict historical and/or symbolic events as ritual highlights with the priests acting.

Entertainment was the primary purpose of the professional theater developed by the traditional African courts, for example in Nigeria and Ethiopia. From here, traveling troops developed, which played theater for the people. This professional folk theater, which is played in many places in Africa, eg apidan or alarinjo in Nigeria, koteba in Mali and njau in Zambia, is made up of several short, alternately comic, satirical and serious games whose dialogue is improvised around a synopsis and which has many elements of mime, music and dance. Visit Countryaah for all countries in Africa. As the performances take place on streets and squares, no scenography is used. Suits, sometimes masks and few props indicate the character of the actor and the action of the piece. You do not separate yourself from the crowd, but instead invite them to participate in the action. Each of them pays at will, but the biggest revenue comes from the private host who invited the squad.

Amateur theater has an important social function in most societies, partly by creating cultural cohesion around history, ethical and aesthetic values, and partly as social criticism or therapy. For a long time, a performance is created in which large parts of the village or metropolitan population participate. The costs are paid by the contributors and the audience.

Traditional African theater with both professionals and amateurs was further developed in many countries during the colonial period and later. Professional so-called traveling theaters of various kinds were developed in Nigeria, Uganda and Malawi. In Ivory Coast, storytelling was combined with traditional theater for so-called griot dramas. Various traditional forms of theater have been combined with Western audiences or the school's mission theater. In Ghana, concert parties and trios emerged. In Nigeria, Hubert Ogunde's Yoruba Opera led to sophisticated and comprehensive music theater. The theater troupes are rarely stationary, but must seek out their audience by touring the country, where they use schools and municipal buildings for their performances. All these forms of theater have both an entertaining and instructive function and not infrequently political undertones, either as propaganda by the rulers or as popular opposition to them. In the latter case, the theater often receives all its financial support from the broad population layers both in urban and rural areas. Local languages ​​are used and there are rich elements of music and dance. Several of these popular forms of theater have been given the opportunity to express themselves early in radio and television in several countries.

The colonial powers long regarded the local theater traditions as pagan and suppressed them. Imitation of European drama and the use of colonial language was encouraged. France thus only supported French aesthetics and French-language literature, resulting in a theater for a small elite. As England, in its colonies, supported independent literature in local languages, these countries developed their own theater sooner. In East Africa, harsh colonial conditions and political developments have been a hindrance to the development of the theater. In the Marxist-controlled countries, the theater is used to awaken the political consciousness of the people, modeled on Soviet agitators. For the black population of South Africa, conditions have made it difficult for any theater system until the mid-1980s.

At the colonial power's left-wing theaters and other state-supported institutions, an elite can now see plays created by playwrights, who are often also directors and actors, in both Western and African styles. Some of these setups later result in printed dramas. The traditional theater and other oral forms of expression have inspired the modern theater in Western languages ​​from the 1980s, for example in Cameroon.

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