Department of performing Art

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Dysfunctional societies and functional responses of dramatists in Henrik Ibsen, Arthur Miller, and Ahmed Yerima’s plays
(Department of Performing Arts, University of Ilorin, Nigeria., 2011) Michael Olanrewaju Agboola
This paper beams the light on three societies - Norway, America, and Nigeria - and discovers dysfunctions that needed the intervention of dramatists, to which Henrik Ibsen, Arthur Miller and Ahmed Yerima responded appropriately. Using the descriptive methodology, we discovered the Norway of Ibsen hypocritical with a lot of socio-political ambivalence, Miller's America is characterised by fantasy, shabby lies, new dreams, and exploitative capitalist ideology, while Yerima's society is bedeviled by prolonged military rule, resulting in unfair treatment in revenue sharing, agitation for resource control, high level of youth unemployment and contention over political power. The paper therefore concludes that if dysfunction must be corrected a rounded critical approach to societal malaise must be of great essence to dramatists.
NIGERIA AND DEVELOPMENT IN THE 21ST CENTURY: THETHEATRE FOR DEVELOPMENT ALTERNATIVE
(2011-05-07) Lateef Olaitan Rasheed
Indices of development begin with the development of human beings; human beings that will later develop other facets of the society such as the economy, natural, mineral and all other resources available in the country. Hence education is of paramount importance in any nation. The globalization of nations in the close of the 21st century further attests to this reality. It is however sad that while the 'so called developed countries' of the West are fast accelerating in terms of development, the same can not be said about majority of the 'Third World Countries'. What then are the problems facing such an oil-rich country as Nigeria that has remained practically stagnant in the face of development? This paper therefore seeks to explore some of the reasons for the backwardness and the near stagnation of the country 51years after attaining political independence. The paper argues that the Top-bottom developmental policies rather than the Bottom-top policies are largely responsible for this. We conclude that using the Theatre-for -Development alternative which encompasses the traditional nuances of communication; to conscientize, promote dialogue, conduct research and encourage Participation and awareness, sustainable development would be attained
SEXUALITY IN OGORI-MAGONGO OVIA-OSESE FESTIVAL
(Department of The Performing Arts, University of Ilorin, Ilorin, Nigeria, 2012) Adeyemi Tayo Joan
This study examines ways through which sexuality is being presented in Ovia-Osese festival of Ogori-Magongo. Although there are numerous festivals in and around Africa that features women in composition and performance, In Ovia-Osese festival among the Ogori-Magongo people of Kogi State, new developments have evolved that pronounces sexuality as a major feature of the celebrations . This study employs three different research methodologies: descriptive, participant observation method and oral interviews. These methods reveal facts about the origin and evolution of the festival, objectives, taboos (if any), and its effects on Ogori-Magongo people. This study finds out that sexuality, as it concerns the women folk is the core of what is show cased in the celebration of Ovia-Osese festival. In conclusion therefore, traditional women-based festivals like Ovia-Osese should be seen beyond cultural events and moments of celebration; they should rather be observed from the area of gender classification and compositional features like sexuality for women which sums up to produce the eventual performance. It is hereby recommended that scholars and critics especially women should explore such areas as traditional festivals for women from diverse ethnic groups in Nigeria, which addresses critical issues like sexuality and other gender related issues should be explored. This will create platforms for new discoveries and the appreciation of the female gender.
Playwriting: Purpose, Context and Mechanism
(Centre for Black and African Arts and Civilisation (CBAAC), Lagos, Nigeria., 2012) Michael Olanrewaju Agboola
This chapter, through a descriptive methodology, looks at the mechanism, context, and purpose of playwriting. The ingredients that make a good play are carefully considered. The playwright has been noted to be a "craftsman" who "builds" a play, writing it down in dialogue form. he is known to work within the context of time and space, using available materials in his society for his "craftwork". It has been discovered that writing a good play requires the touch of a playwright with exceptional qualities who must be intelligent, creative, visionary, imaginable, knowledgeable, observant, and foresighted. It is our view that conflict, which throws up crisis and suspense are critical catalysts of a good play. Crisis in tragedy and comedy are not likely to be of the same magnitude. And where they are, they are not resolved in the same way and are not always of the same consequence. The most popular plays, we observe, are those that appeal to the nuances of change. Therefore, it is our conclusion that practising and aspiring playwrights must tread this pattern for the attainment of a better society.
HUMOUR AS A SANITIZATION TOOL FOR WOMEN IN NIGERIA: A STUDY OF FUNKE AKINDELE’S JENIFA
(Society of Movie Scholars, 2013-11) Adeyemi Tayo Joan
Efforts to discuss humour in dramatic terms often fall between making descriptive analysis and evaluation criticism of the cause of laughter which results to the submission about comedy as a genre of drama. There is no way comedy can be separated from humour since the major ingredient that makes it up is formed by humour. This paper will therefore treat humour as comedy and comedy as humour for the purpose of stability and coherence in research. Humour, being a vehicle through which Funke Akindele has subtly transported moral values to the women folk in Nigeria in her movie titled Jenifa, will be explored and discussed as a literary genre that has found its roots as a growing art form in the Nigerian Yoruba movie industry. Diverse ideas about what comedy means and how it has been blended into the movie will be expressed through the review of relevant literatures and the adopted research methods which are oral interviews and the use of questionnaires. This paper intends to x-ray the different societal issues that are pressing on the Nigerian women especially the youths as recorded in Jenifa and examine ways through which humour has been interplayed with dramatic elements to proffer solutions to those ills and abnormalities. Given that there are just a few Yoruba movie produced by women and for the course and sanity of women, there are even fewer movies that carry comedy as their genre and such themes and sociology as Jenifa does which is the problem this paper intends to tackle. Jenifa will however be observed not only as a dramatic piece for entertainment but also as a tool to bring sanity to the decadence among some young women in Nigeria.
paradox and the changing face of dramatic engagement in two selected Nigerian play-texts.
(Society of Nigeria Theatre Artists (SONTA), 2014) Olanrewaju Agboola
By its nature politics, particularly a democracy is globally expected to be a vehicle for development, wealth creation, care of the citizenry, and accountability of political office holder. Political development in Nigeria over the years, however, appears to hold the contrary as the nation remains in a parlous state, despite the enormous human and material resources with which she is endowed. this paper, therefore, illustrates this paradox and its influence on Nigerian drama. This paper employs the descriptive methodology, taking a critical look at Wole Soyinka's King Baabu and Alex Asigbo's Reign of Pascal Amusu as primary sources. Books, published articles and unpublished theses, among others, constitute our secondary sources. Our theoretical framework is post-afrocentricism, which advocates situating the cause of Africa's underdevelopment elsewhere other than slavery, slave trade, colonialism, and neo-colonialism. Our finding shows that Nigeria's problem does not reside in the paucity of resources but in the highhandedness of its leaders. The study further discovers that the response of Nigerian dramatists, rather than a vertical or horizontal contours, assumes an undulating formation right from the pre-independence period to date. It observes that drama seems to be tempering its fangs, probably as a result of the euphoria of the present democracy. It, therefore, concludes that though Nigeria operates a democracy, dramatists cannot afford to recede from their radical and critical engagement of the military era, otherwise, the political class will capitalise on the elasticity offered by democracy to further plunge the nation.
ONWUMAYA
(Department of The Performing Arts, University of Ilorin, 2014) Temitope Adedokun-Richards
DANCE AND THE CHILD'S COGNITIVE DEVELOPMENT
(2015-06) Temitope Adedokun-Richards
DANCE 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.
THE FEMALE ACTOR AND LONGEVITY QUESTION IN THE NIGERIAN MOVIE INDUSTRY; REGINA ASKIA AND JOKE SILVA IN COMPARISON
(Stirling-Horden Publishers Ltd, 2016) Adenuga Tayo Joan
This paper examines the acting life span and period of relevance of a female actor in the Nigerian movie industry. Just as the art of acting cuts across different age groups and tribes; it is also not limited to any gender classification. Life expectancy in the field of acting in Nigerian home videos therefore cannot be predicted or ascertained since the factors that determine the existence and relevance of each actor vary from person to person. Generally speaking, acting life and period of relevance of female actors in Nigeria have been observed to be shorter than that of their male counterparts, hence the essence of this study. This work compares two female Nigerian actors whose acting lives vary. The actors are Regina Askia and Joke Silva. Questionnaires and oral interviews are the methodologies employed in this work. This study finds out from different audience members of home videos in Nigeria how much of the two female actors mentioned above they know. Questions like ‘who stayed longer in the industry’ and ‘who is still relevant’ among other questions will be answered in this research. Furthermore, factors that reduce the life span and relevance of female actors in Nigeria will be found out through these methods. This work has observed that acting life and period of relevance of female actors in Nigeria are relatively short. It has also discovered that female actors make a lot of efforts to sustain their relevance and increase their life span in the movie industry within which they pass through many challenges which sometimes affect them negatively and pose threats on their acting career. This study hereby suggests that the image of female actors in Nigeria should be boosted through scholarly research; this will help present their art to the larger society in a more meaningful way than it is being perceived and gain more acceptance for their art. It will also assist in sustaining their period of relevance as long as they wish to practice. Furthermore, academic writings should x-ray areas of concern like challenges facing female actors in Nigeria and proffer possible solutions to them. This will help the confidence of women in the acting profession and encourage them to improve on their skills and compete with their peers all over the world.
DANCE, A TRENDING NECESSITY IN NEW NOLLYWOOD: AN OVERVIEW OF I'LL TAKE MY CHANCES
(STIRLING-HORDENS, 2016-07) Temitope Adedokun-Richards
ABSTRACT 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.
CONTEMPORARY AFRICAN DANCE: ACCEPTANCE CHALLENGES AND GROWING TREND
(ASSOCIATION OF DANCE SCHOLARS AND PRACTITIONERS OF NIGERIA, 2016-10) Temitope Adedokun-Richards
CONTEMPORARY 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
The Performativity of Technical Elements in Eṣú Oníwà and Alápata Masquerade Festival Performances of Gbọ̀ngán, Ọ̀sun State
(The Performer: Ilorin Journal of the Performing Arts, 2017) Adebisi, Basiru Adeyemi
This study examines the virility of technical elements in Eṣú Oníwà and Alápata masquerade festival performances of Gbọngán, Ọsun State. Through the descriptive research method with the instrument of participant-observation, the performance stance of the technical elements are interrogated within theoretical framework of Sunday Enesi Ododo’s Techno-Cultural Performance Theory (2012). The paper discovers that, the performativity of technical elements enhances the naturalness of the actors (masqueraders) and cognitive sense of audience in the process of socio-cultural constructs of meaning to all the paraphernalia. The paper concludes that these visual objects of aesthetics are not just performance indicators but greatly becomes operational both as separate entities and with performers especially in traditional African theatre context. The study, therefore, recommends that intellectual effort should be made by theatre designers and scholars in performance studies to explore the potentials of technical elements as the enablers of any festival performances to boost our local contents.
Attitudinal reorientation towards production design and construction
(Society of Nigeria Theatre Artists (SONTA), 2017) Michael Olanrewaju Agboola
The normal goal of any theatrical production should be to entertain, educate and inform. However, some of these goals may be defeated due to poor technical input, particularly in the area of scene design and construction. This paper, therefore, addresses this technical failure, with the intention of suggesting the right attitude to technical conception for production. The descriptive and diagrammatic methodologies are employed to illustrate our proposition. The paper, however, makes references to books, published articles, unpublished theses, and materials from the internet to further strengthen our argument. Also, the theory of due diligence which demands that every step in a given process be followed if the end result will be successful was utilised. We have discovered that while the lapse may be due to a factor like laziness by some artistic directors, there are some others like complacency and lack of expertise. The paper, therefore, proposes an approach, which comprises defining the stage, setting the scene and preparing all necessary working drawings and models to scale. It concludes that given a good accompaniment by other elements of the theatre, this will ensure a reliable approach to performance culture and a robust theatre practice.
Counter-narrative communication versus dominant hegemonies: An analysis of the Niger Delta problem in a Nigerian play.
(Department of Mass Communication, Delta State University, Abraka, Nigeria., 2017-04) Michael Olanrewaju Agboola
Since oil exploitation started in the Niger Delta area of Nigeria, soon after the discovery of the same at Oloibiri, in 1956, the area has known no peace. The violent dimension to the crisis and persistence of the same over the years is an indication of some problem with its management by the government, but, what’s the problem? This is what this paper seeks to investigate, using Tess Onwueme’s play, Then She Said It as paradigm. The paper adopts the descriptive and content analysis methods; and Miller’s theory of Justice as a framework. Our findings show that the failure of the state in the discharge of its social responsibilities to the citizens accounts largely for the spate of violence. Being the dominant hegemony, the government presents only the official narrative that stigmatises the militants and sees no justification for agitation, but Onwueme adopts a counter narrative that exposes the insincerity of the government. The paper, therefore, concludes that nothing short of a concrete demonstration of sincere political will by the government to address the Niger Delta problem will extirpate the insurgency. The paper’s relevance lies in its attempt to seek solution to national problems; and recommends the counter narrative communication to creative writers.
Providing direction for the Nigerian cultural re-orientation in iyorwuese hagher's lifetimes
(SONTA(SOCIETY OF NIGERIAN THEATRE ARTISTS, 2017-04-07) Lateef Rasheed; Arinde Tayo
The murky cloud that enveloped the Nigerian nation in the recent times has been laid in the doorstep of various degrees of social vices that manifest in corruption, child labour, illiteracy, early teenage pregnancy, sexploitation, kidnapping and other high level criminalities. These vices undoubtedly are as a result of flagrant disregard for cultural norms and ethos by the Nigerian. Consequent upon this, cultural re-orientation becomes apt in Nigeria. It is in that direction that this paper explores the role of drama as a medium capable of exciting the sought for a change in our cultural orientation using Iyorwuese Hagher’s Lifetimes. Thus, we employ analytical method as a tool to identifying and excite attitudinal change that the literary piece under examination underscores in the dramaturgy of Hagher’s Lifetimes. Having perused the work, our findings reveal that drama ranks amongst the veritable instruments that succinctly appeal to minds of people as well as a medium that soothingly elicit beneficial change in the people of any giving society. It has been variously established that drama is a luxuriating balm that engender the soothing magic of believability. The paper concludes that uneconomical exploration of the medium of drama is a leeway to cultural reorientation. The paper therefore appeals to playwrights to rummage into more of the misdemeanours plaguing our society, document them for enlightenment, education, sustenance and cultural re-orientation of our society.
A Study of Postmodern Ideology in the Drama of Selected Nigerian Playwrights
(Islamic University Multidisciplinary Journal, Uganda, 2018) Adebisi, Basiru Adeyemi; Emmanuel-Olowonubi, O.
The banality of postmodern drama has given rise to the dynamic level of creativity in dramatic composition, transposition and experimentations of various issues in the society. The approach to such issues abhors not the pretentious manners of modern approach as dramatist deliberately infuses actor's consciousness to live within and outside the dramatisations of drama. This paper therefore studies postmodern ideology in selected works of two Nigerian Playwrights. Through contents analysis methods of research, the study explores various elements of postmodernism within the socio-political reality of Nigeria. It that the term" postmodernism involves a radical re-thinking of representational strategies, and with this, a question of our underlying assumptions about how" meanings” are produced especially as against the emotional drench of classical and modern dramas.
Nollywood and the Burden of Postcolonial Heritage on Selected Nigeria Films
(The Performer: Ilorin Journal of the Performing Arts, University of Ilorin, Ilorin Nigeria, 2018) Joe Odedina
Nollywood film industry has received many accolades in the last few years. This has popularised Nigerian cultural entertainment around the world. However, Nigerian cinema was not designed to be a cultural channel at inception, but instead, as a tool of colonial propaganda. It is the burden of this postcolonial heritage that our paper intends to explore, as it examines the negative influence of colonial history on Nollywood. The paper employs an analytical method of research. By this, the study reviews some earliest Nigerian films among which are Ti Oluwa Ni Ile, The figurine and Living in Bondage and realise that the burden of postcolonial heritage on Nigerian cinema is pervasive and corrosive. Based on the above approach, our findings reveal that Nollywood’s portrayal of young, upwardly mobile and selfish characters who sacrificed their families, communities and country to get rich and become wealthy is a burden inherited from the days of colonial cinema. Nevertheless, regardless of the ubiquitous corruption in these Nollywood films, this paper concludes that there is no better medium to expose and rectify the negative impact of postcolonial influence on Nigeria cinema, other than Nollywood films. This is accomplished through Nollywood’s concerted efforts at revamping its socio-cultural messages for collective development. It therefore, recommends Nollywood writers and producers use topical themes of positive role model characters to alleviate the burden.
EKAETE
(Department of the Performing Arts, University of Ilorin, 2018) Temitope Adedokun-Richards
Societal realities in contemporary Nigerian popular music
(Department of the Performing Arts, University of Ilorin, Ilorin, Nigeria, 2018-12-15) Oluwatosin John Ibitoye
Societal realities have continued to be evident in thematic structures of music composition, performance and production. Hence, this study critically examines the societal realities in contemporary Nigerian popular music. The Structural functionalism theory foregrounds this study. This study adopts the content analysis and deductive methods of research, audio and video tape materials in the contemporary Nigerian popular music space were used for deductions and analyses based on their thematic content and structure. This study argues that contemporary Nigerian popular music portray the realities in our contemporary society to a large extent as the society inspired its production and this music subsequently goes on to influence the people (society) with its content, especially the youths. This study encourages the use of the contemporary popular music as a tool for fostering national development, mass education and cohesion rather than embracing promotion of social immoralities and disintegration.
SHAO AWONGA YEARLY MASS WEDDING FESTIVAL, KWARA STATE
(by egghead A Journal of Arts,, 2019) DR Morenike Folabalogun and Sheriff Oluwaseyi Ojetunde
This write up sets to throw more light on the yearly performance of Shao people. The write up focuses on the 2019 mass wedding ceremony, highlighting the importance of the key cultural players like the Oba of Shao, the Iboo of Shao, the Ohoro of Shao and finally the brides. Methodology used for this write up includes non-participatory observations, oral history, and oral interviews with prominent cultural personalities of the players in the festival. Culture is dynamic and it’s the sum total of man and when any aspect of culture is changed, the culture assumes a new form. The foundation of traditional religion and worship forms the bedrock of all traditional worship and deities; Shao Awonga community is not an exception. The most important and perhaps the only deity celebrated by all in Shao Awonga is the Awon goddess. This write up focuses on the 2019 mass wedding festival performance in Shao.

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