Scholarly Publication

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Browsing Scholarly Publication by Author "Musiliyu Olorunnishola Sanni"

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    COSTUME AND MAKEUP DESIGNS IN ODODO’S TO RETURN FROM THE VOID
    (2023-10-21) Musiliyu Olorunnishola Sanni
    Costume and makeup designs are almost impossible to be de-emphasised in any artistic production. Without their complementary roles, the other aspects of a performative production, such as acting and directing, might not be conspicuous. In spite of their strategic functions, most theatre producers, including artistic directors and actors, have often acted to reduce these essential devices to the status of mere supplementary elements to the other aspects of a production. It is against this background that this paper examines the functional relevance of costume and makeup designs in Sunday Enessi Ododo’s (SEO’s) To Return From The Void. The paper adopts the descriptive method of research in its analysis. It uses participant-observation method complemented with interview as data gathering instruments. The former enables us to be physically involved and participate actively in the entire production process, while the latter allows us to gather added information from the appropriate production crew members. Relevant journal articles, textbooks and online materials are also consulted. Amongst other findings, the study discovered that costume and makeup designs do not only enhance performance aesthetics of the play, To Return From The Void, they also help in the realisation of the visual scheme, artistic presentation, and interpretation of the dramatic action in the musical opera performance. The paper concludes that costume and makeup arts are central composition to any production and will continue to be relevant in many creative oeuvres globally. It recommends that costume and makeup designs should be given considerable attention in any theatrical articulation. Keywords: Costume and makeup design, Paralinguistic, Ceative oeuvres, SEO.
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    DIGITAL SET DESIGN: A PRAGMATIC APPROACH TO STAGE PRODUCTIONS IN COVID-19 USING NIGERIAN STAND-UP COMEDY AND BIG BROTHER NAIJA LOCKDOWN EDITION AS PARADIGMS
    (2021-06-24) Musiliyu Olorunnishola Sanni
    COVID-19 has taken a significant toll on human and non-human interventions. In fact, its impact on health, economy, environment, agriculture, among other daily activities cannot be overemphasised. However, in spite of its consequences, implications and threats globally, it is not also without some major opportunities, especially in the areas of health technologies, discoveries, innovations and digital economy, communication, as well as digital set designs. This paper, therefore, examines digital set design as a pragmatic approach to stage productions in view of COVID-19 restrictions. The paper uses Nigerian Stand-up Comedy and Big Brother Naija Lockdown edition as paradigms. The study employs descriptive method of research to unearth some revolutionary roles of digital set designs during COVID-19. Alan Kirby’s Digimodernism is adopted as our theoretical model. We found out in the study that, technology is at the forefront of the stage and screen production during the pandemic. The study concluded that the overall impact of COVID-19 is undoubtedly a controversial phenomenon. The reason for this controversy is not unconnected to the fact that COVID-19 has its own risks without any prejudice to its opportunities. The paper recommends that digital performance culture should be encouraged not only in the area of set design, but also, in all aspects of performative productions in Nigeria. Keywords: Digital, Digimodernism, Design, Set, Pragmatic, Approach
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    Interrogating Active Light Theory in the Film Productions of Sarah Hassan’s Plan B and The Royal Hibiscus Hotel by Mo Abudu
    (Department of the Performing Arts, University of Ilorin, Ilorin, Kwara State, Nigeria, 2021-08-01) Musiliyu Olorunnishola Sanni
    This paper interrogates Active Light Theory as a pragmatic approach to film lighting in our contemporary society using Sarah Hassan’s Plan B and The Royal Hibiscus Hotel by Mo Abudu as paradigms. The paper employs the descriptive and non-participant observation methods of research while interview instrument complements the two methods. These methods enable us to study the functional relevance of film lighting in the selected movies. This paper also relies on relevant journals articles, textbooks and internet materials. More so, Adolphe Appia’s Active Light Theory re-modified by Palmer (2015) is adopted as our theoretical underpinning. We found out in the study that, film lighting is an expressive element that unifies all the stagecraft including actors and audiences. This paper recommends that technical experts in the film industry including cinematographer, lighting aesthetician and director should advance with the new trends of lighting by studying and learning various methods and techniques of film lighting. The study concludes that, the approach and technique of lighting design does not only define the object of focus but also influence the visual appearance, cinematic shots, story’s mood and aesthetics values of the film production as reflected in the two selected films where lighting create dynamics background for different cinematic shots and scenes. Keywords: Active Light, Theory, Film, Camera, Theatre.
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    Paradigm Shift in the Design Dimensions of Egungun Elewe Festival, Oro-Ago, Kwara State
    (Department of the Performing Arts, University of Ilorin, Ilorin, Kwara State, Nigeria, 2019-07-01) Musiliyu Olorunnishola Sanni
    This study examines the paradigm shift in the design dimensions of Egungun Elewe festival of Oro-Ago in Igbomina land, Kwara State. The study employs the qualitative method of research which includes analysis, observation, as well as oral interview from the appropriate authorities as primary source of information, while the secondary source relies on relevant journal articles, textbooks and internet materials. It is discovered that, scenographics, among other performance spectacles are irreplaceable in the performance of Egungun Elewe festival. This is because their functional expressions and technical values cannot be wished away in the performance conception and execution. The paper concludes that, technical inputs in the traditional Africa festival among other performative productions should be recognised as an integral part, perhaps one of the most important aspects of the production. This study recommends that, technical design with modern touch should be encouraged in the production process of indigenous African festival. Keywords: Paradigm Shift, Dimension, Festival, Egungun Elewe. African Theatre.
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    SCENOGRAPHIC CONCEPTION AND DRAMATIC ACTION IN OLU OBAFEMI’S PLAYS
    (National Theatre, Nigeria Iganmu, Lagos, Nigeria in conjunction with Alpha Crownes Publishing Ltd 107 Windmill Street, Rochester, United Kingdom and Department of English University of Ilorin, 2021-04-04) Sunday Enessi Ododo; Musiliyu Olorunnishola Sanni
    Scenographic conception is almost impossible to deemphasise in any artistic composition. As a matter of fact, its relevance cannot be relegated to the background in the areas of visual interpretation, dramatic realisation and technical actualisation of any creative piece. Scenography is an integration of all the visual components of the production with no restriction to the spaces and places in the theatre building rather; it encompasses all the paralinguistic aesthetics in the production process. Scenic artistry, scenography, scenic writing or painting could also be regarded as mise en scéne in any theatrical performance. This is because its embraces the totality and completeness of the artistic, dramatic and technical elements of the production.
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    THE PERFORMING ARTS AND YOUTH EMPOWERMENT IN NIGERIA
    (National Theatre, Lagos, Nigeria Iganmu, Lagos, Nigeria in conjunction with Alpha Crownes Publishing Ltd 107 Windmill Street, Rochester, United Kingdom, 2022-12-15) Sunday Enessi Ododo; Musiliyu Olorunnishola Sanni
    Performing arts has been recognised as one of the largest employer of workers globally. In fact, it has offered employment opportunities for many talented youths and as well reducing unemployment rate in Nigeria. In spite of its importance, performing arts as a career or means of livelihood in Nigeria has not received enough attention it deserves especially in the areas of entrepreneurship opportunities, job creation and empowerment not only for the youth but also for the entire community. This paper, therefore, focuses on performing arts and youth empowerment in Nigeria. The study employs the qualitative method of research which enables us to study the functional roles of performing arts as a veritable tool for youth empowerment. Relevant journal articles, textbooks and online materials are employed as secondary sources of data. It is discovered in this study that performing arts, being one of the most performing economic sectors in the country has not been given it wide range of entrepreneurship opportunities is accorded. This study concludes that performing arts among other creative industries in Nigeria have contributed hugely to the internally generated revenue as well as gross domestic product of the country. This alone has made the performing arts industry an indispensable art in the aspect of job creation and employment opportunities for the teeming Nigerian youth population. This study, therefore, recommends that government among other allied institutions should play their role in making performing arts an enviable career for Nigerian youth.