Stand-up documentary: An emerging narrative device in Yvonne Orji’s comedy

• Published in: Tydskrif vir letterkunde Vol. 61; no. 2; pp. 14 - 22
• Main Author: Amaefula, Rowland Chukwuemeka
• Format: Journal Article
• Language: English
• Published: Pretoria Tydskrif vir Letterkunde Association 01-10-2024; Tydskrif vir Letterkunde Association, Department of Afrikaans, University of Pretoria
• Subjects: Actors; America; Audiences; Comedians; Comedies; comedy; Credibility; Culture; Documentary films; Families & family life; Humor; Literary Reviews; Literary Theory & Criticism; Literature; Literature, African, Australian, Canadian; Literature, German, Dutch, Scandinavian; Music videos; Narratives; Nigeria; Orji, Yvonne; Solo performances; stand-up; Stand-up comedy; stand-up documentary; Stereotypes; Theater; Yvonne Orji; Nigeria; United States > US; stand-up documentary; Nigeria; Yvonne Orji; comedy; stand-up; America
• DOI: 10.17159/tl.v61i2.15855
• EISSN: 2309-9070
• ISSN: 0041-476X; 2309-9070

Stand-up documentary—the inclusion of video film footage in stand-up performances—is a growing trend in comedy specials. Gary Gulman in The Great Depresh and Whitmer Thomas in The Golden One are some of the earliest comedians to employ documentary clips in creating portraits of their real-life circumstances on stage. More recently, Yvonne Orji’s comedy special for Home Box Office (HBO) entitled Momma, I Made It! also utilizes documentary video films of the comedienne’s experience in Nigeria to bring the Nigerian experience closer to her American audience. In this article I bring to the academic mainstream the understudied subject of stand-up documentary in humour studies. Through close reading and nuanced analyses of the gig, I examine stand-up documentary as a novel device of narration through which Orji introduces her audience to life in Nigeria through an exposition of her experiences growing up. Accentuating the differences between Nigerians and Americans and playing on Nigerian stereotypes, the comedienne deploys the clips as precise proofs transitioning her American audience into the alternate Nigerian contexts in Momma, I Made It! I conclude that stand-up documentary enhances the credibility of the performance, shapes perceptions of Nigerians, and facilitates audience understanding of cultural contexts that would otherwise remain unfamiliar to them.