Browsing by Author "Temitope Adedokun-Richards"
Now showing 1 - 6 of 6
Results Per Page
Sort Options
- ItemCONTEMPORARY AFRICAN DANCE: ACCEPTANCE CHALLENGES AND GROWING TREND(ASSOCIATION OF DANCE SCHOLARS AND PRACTITIONERS OF NIGERIA, 2016-10) Temitope Adedokun-RichardsCONTEMPORARY AFRICAN DANCE: ACCEPTANCE, CHALLENGES AND GROWING TREND BY TEMITOPE ADEDOKUN-RICHARDS SCHOOL OF VISUAL AND PERFORMING ARTS, KWARA STATE UNIVERSITY, MALETE, NIGERIA topedokun@gmail.com ABSTRACT African dance performances have been popularized globally as a result of its initiators’ need for global identity. This has encouraged African dancers and choreographers to create work that address social, cultural and political issues peculiar to the African continent. However, so many debates have arisen to redefine contemporary dance and contemporary African dance. The latter, with a core reference to Africa depicts a dance with its roots and plot structure in Africa. This paper reflects on the impact of contemporary African dance on the contemporary Nigerian society made up of elites who are beginning to understand this new language in the performing arts. It analyses opinions from the two schools of thought in dance, that is, the ‘distortionist’, who is the contemporary dancer/choreographer or the preserver of culture, who is the indigenous dancer/choreographer. Therefore, this paper has been able to create a new term that will accommodate the different schools of thought- ‘Soco-tainment, to be able to accommodate both the preserver and distortionist. This will help in redefining the term ‘contemporary’ and promote new innovations in future dance performances. Keywords: Contemporary African Dance, Choreographers, Acceptance, Socio-tainment, Growing Trend
- ItemDANCE AND THE CHILD'S COGNITIVE DEVELOPMENT(2015-06) Temitope Adedokun-RichardsDANCE AND THE CHILD’S COGNITIVE DEVELOPMENT BY TEMITOPE ‘BUNMI ADEDOKUN-RICHARDS SCHOOL OF VISUAL AND PERFORMING ARTS KWARA STATE UNIVERSITY, MALETE, NIGERIA E-MAIL: topedokun@gmail.com ABSTRACT For most children, experiencing dance usually begins during childhood. It is so because their bodies respond to stimulus especially when music is played around them. They freely express their emotions, which in turn helps develop their social skills, in addition to physical development. However, scholars are yet to give dance commensuration attention that it deserves especially in the area of early childhood education. This is because Nigerian curriculum developers are yet to comprehend the potency of dance in enhancing learning and cognitive development in children. The paper examines the importance and benefits of dance in early childhood and emphasizes the need for dance as a subject in the Nigerian school curriculum. It takes a panoramic view of the educational purpose of dance in the life of a child. Therefore, the objective of this study is to call the attention of curriculum developers to dance and affirm that dance is capable of its role in the cognitive development of the Nigerian child. Keywords: Cognitive development, Dance, Education, Early Childhood Education, Curriculum.
- ItemDANCE, A TRENDING NECESSITY IN NEW NOLLYWOOD: AN OVERVIEW OF I'LL TAKE MY CHANCES(STIRLING-HORDENS, 2016-07) Temitope Adedokun-RichardsABSTRACT Dance has passed through a transition from stage to screen such that it has now become a necessity to use the African culture as an intermediary to blend both stage and screen together. Prior to the emergence of the New Nollywood, dance in film has been used for entertainment as written in their plot structure, especially in historical plays. So people got used to that, and not until the likes of Funke Akindele, Emem Isong and a host of others decided to write stories that promote the dance profession, using the film art to cover a wider range of audience, then the people’s orientation began to change gradually. However, the cinematic essence of the dance art has not been fully explored by Nollywood filmmakers, but the likes of Tunde Kelani, Funke Akindele, Emem Isong and Desmond Elliot have made it possible through their works. This paper focuses on the various issues that surrounds the acceptance of dance, dance styles and a case between love and duty as portrayed in the film I’ll Take My Chances, while noting the issues that are not properly addressed and the dramatic flaws detected in the film. The position of this paper is that I’ll Take My Chances serves the purpose of solving that problem of western dance versus indigenous dance in the search of cultural identity. The film’s major message is that dance is not complete if it does not have the African indigenous dances incorporated in their routines. It further emphasizes that African choreography is a depiction of Africans’ ways of life, struggles, and existence in totality.
- ItemEKAETE(Department of the Performing Arts, University of Ilorin, 2018) Temitope Adedokun-Richards
- ItemONWUMAYA(Department of The Performing Arts, University of Ilorin, 2014) Temitope Adedokun-Richards
- ItemPOPULAR MISIC AND DANCE; EXPLORATIONS IN NIGERIAN MUSIC VIDEOS(2019-12-18) Temitope Adedokun-Richards