Department of performing Art

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A Dialectical Analysis of National Security, Survival Strategies and Political Expediency in Emmy Idegu's The Legendary Inikpi
(Department of Theatre and Media Arts, Federal University, Oye Ekiti, Ekiti State, Nigeria, 2024-04-02) Michael Olanrewaju Agbool, PhD
This paper is a dialectical analysis of national security, survival strategies, and peculiar circumstances that dictate approaches to securing a nation as exemplified in Emmy Idegu’s The Legendary Inikpi. Using descriptive methodology, and nativism as theoretical framework to interrogate the play, the study found out the structure of Hegelian dialectics - thesis, antithesis, and synthesis – in the dramaturgy. It also discovered the employment of human sacrifice, and the diabolical weapons in the play to conform with the nativists’ theory, a branch of postcolonial theory. It found further that, in African societies, wars are fought not only physically, but also spiritually, employing the operations of the powers from unseen forces, especially mysterious ones, such as the gods and the ancestors, invoked by man, and that every war is political. Multifarious exigencies are also discovered to determine the strategies employed in wartime to secure a nation. Being a period of desperation and emergency, decisions taken in wartime are often unexpected and out of the ordinary, with far-reaching implications. The study, therefore, concludes that political leaders must be ready all the time, not only to make decisions but sacrificial ones for national security.
A Dramatist’s Search for a Sane Society: A Study of Ayò Akinwálé’s This King Must Die
(Cognizance Journal, Zain Publications, Stockholm, Sweden., 2025-03) Michael Olanrewaju Agboola
The condemnable excesses of the political class in Africa, particularly Nigeria, have attracted the response of many creative artists, particularly playwrights. As the search for solution continues, Ayo Akinwale provides an interesting dramaturgical perspective that worths interrogating. Consequently, this paper examines Akinwale’s This King Must Die (2001) as a play that seeks to heal Nigerian society of its seeming insanity. With the employment of the Marxist materialist theory, the study discovered that Akinwakle adopts a clinical approach of diagnosis and prescription which reveals that the Nigerian political class is full of impunity of unimaginable magnitude, such as violence and bloodletting, bestiality, and fraud. Akinwale’s use of mythical and histro-political materials to present Nigeria’s movement in transition in the play also pictures the nation’s problem vividly. The paly however presents hope of restoration, though the ancestors are tired of excesses of the political elite. Notwithstanding, in line with the Marxist materialist theory, Akinwale insists that since the nation’s problems are the products of their actions and inactions, the solutions must emanate from a collective action of its people, and ironically, the political class would still be a part of the participants. The paper, therefore, concludes that though the society still need the political class, it has to purge itself of inordinate ambition, greed, and sense of impunity, and align itself with the wishes of the masses so it could justify the mandate given by the people.
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.
A STUDY OF TIMAYA'S BUM BUM (REMIX) AND THE FEMALE BODY AS OBJECT OF DANCE IN NIGERIAN MUSIC VIDEOS.
(Department of Theatre and Film Studies, Nnamdi Azikiwe University, Awka, Anambra, Nigeria., 2025-02) Adenuga Tayo Joan
Dance is a popular form of artistic expression distinguished by the unique use of the human body to perform agreeable movements to a given rhythm. Even though existing studies have discussed the context, form, sociology and relevance of dance to a large extent, not too many studies have explored the use of the female body as object of dance in Nigerian music videos. Through a content analysis of Bum Bum (remix), BBR, by Inetimi Alfred Odom, popularly known as Timaya, featuring Sean Paul, this study examines the instrumentality of the female body with the objective of underscoring active components used to present it as object of dance in the music video. We leverage on Mulvey's (1975) male gaze theory and Fredrickson and Roberts' (1997) objectification theory. Music title, lyrical composition, visual expression and filming techniques were discovered as channels of presenting the female body as object of dance in Bum Bum (remix) ft. Sean Paul. We recommend a more artistic approach to dance especially in music videos without turning the female body to objects of sexual pleasure and desire. This study suggests that regulatory bodies should be more interested in the composition of dances and the use of the female body in Nigerian music videos before they are pushed out for public consumption.
Aesthetic of Choreographic Stunts in the Nigerian Nollywood
(Cognizance Journal of Multidisciplinary Studies Vol5 No1. 2025. A Open Accessible, Multidisciplinary, Fully Refereed and Peer Reviewed Journal., 2025-02) Joe Odedina
The Nigerian Nollywood has validated itself through the recent ranking by placing second to Bollywood of India and third to Hollywood of America in its popularity positioning. This acceptance is as a result of its rich content, treatment of social vices and the celebration of Nigeria‟s multi-plurality. However, most of the films are bereft of rich choreographic stunts. Indeed, choreographic stunts are seen as ingeniously deployed creative additions that spice up the overall aesthetics of film. Consequently, the study examines the aesthetic of choreographic stunts in the Nigerian Nollywood through the theoretical framework of realism as propounded by Siegfried Kracauer complimented with content analysis of five purposively selected films out of a sample population of fifteen. The aim was to spur Nigerian filmmakers into a more quality production in action scenes, while the objectives were to find out if this lacuna is caused by lack of stunt coordinators in Nollywood and if it has stunted the industry. In this line, the research adopted the causal-comparative methodology analysis to review existing data and some popular Nollywood thriller movies. It also explored an interview with one of Nollywood‟s actor/producer. The findings were that this vacuity resulted from insufficient professional trained stunt choreographers and low budget allocation to stunt performance which excludes the genre from audience with action interest worldwide. The article concludes that the void needs urgent intervention and suggests that stunt coordinator department be a standard part of Nollywood crew.
Africa’s Nascent Democracy and Wole Soyinka’s Cautionary Engagement in King Baabu.
(College of Humanities, Gregory University, Uturu, Abia State, Nigeria., 2025-04) Michael Olanrewaju Agboola
The third wave of democratisation that swept across Sub-Sahara Africa from the beginning of 1990 led to the enthronement of democratic government in many African countries. The enthusiasm derived from this had led African leading heads of states to declare, in 1998, that a political “renaissance” had started in the continent. It is now 27 years since that declaration was made and democracy is still “active” in Africa. Notwithstanding, this paper argued that Africa’s democracy is still nascent and susceptible to avoidable reversal. Consequently, the paper considered African nascent democracy and Wole Soyinka’s cautionary engagement in King Baabu. With the use of qualitative and textual analysis methodologies, and postcolonial theory as framework, the paper discovered that drama has always beamed its searchlight on the activities of the political class, hence Soyinka’s comical satire, King Baabu. The play reveals reprehensible activities of King Baabu that are antithetical to democracy. They include aversion to competitive election, intolerance of opposition, authoritarianism and dictatorship, high level corruption, and disregard for the rule of law. The paper therefore holds that there are enough grounds to conclude that there still exists real and imagined threats to African democracy. It is therefore recommended that every citizen should be vigilant and avoid voting into power the likes of king Baabu. Drama should be unrelenting in its critique of the activities of the political class with a view to preserving democracy in Africa.
An Analysis of Gender and Political Participation issues in Salami-Agunloye’s More than Dancing
(Department of Visual and Performing Arts, Faculty of Arts, University of Maiduguri, 2019-01) Michael Olanrewaju Agboola
This study examines the issue of gender and political participation in Nigerian drama, using Irene Salami-Agunloye's More than Dancing as a paradigm. The content analysis methodology is adopted to examine the subject of this play. This is used in addition to reference to published books, journal articles, unpublished theses, internet materials and other media sources. the study discovers that the festering issue of patriarchy, though a global phenomenon, is more profound in African politics, Nigeria inclusive. Also, Nigerian dramatists since the nation's independence often cast Nigerian women in various relegated forms of identity until recently when women dramatists themselves have started to launder their own image through their cultural productions. It has equally been observed that the signifying agency of African women in terms of political acumen, intelligence and productivity is just as strong as that of their male counterparts. It has, therefore, been concluded that, though the political space stifles women in terms of participation. but it is possible to reverse such trend, as emblematic of the denouement of the play which turns out to favour greater involvement of women in politics and exertion of the agency of women. However, attainment of this will require aggressive advocacy.
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.
COGNITIVE APPRENTICESHIP IN INDIGENOUS BALUU AND KENGBE MUSICAL ARTS OF ILORIN PEOPLE IN KWARA STATE, NIGERIA
(Society of Music Educators of Nigeria, 2021-12-15) Oluwatosin John Ibitoye
Over time, different and divergent learning methods such as the Kodaly method (1941), Vygotsky's Zone of Proximal Development (ZPD) (1987), Gordon's Music Learning Theory (1989), Pratt's Apprenticeship Perspective (1998), McPherson's Self-Regulated Learning in Music Practice (2017) have been postulated by scholars and musicologists alike in relation to the learning and practice of music in formal education. However, little study has focused on learning and apprenticeship methods for indigenous musical arts and practice, partly due to the informal context of indigenous music arts and practice in most cases. Hence, this study interrogates cognitive apprenticeship in indigenous African musical arts using two indigenous music styles: Baluu and Kengbe of Ilorin people in Kwara State, Nigeria as examples. This study is underpinned with Cognitive Apprenticeship Theory and relied on ethnography as the design. Using oral interview and non-participant observation of learning process, training, rehearsals and band performances of Baluu and Kengbe musical arts, this study identifies the stages of learning, development and professional practice of the practitioners. Learning by imitation, rote, articulation, reflection, exploration and improvisational skills were methods of skill acquisition. The study therefore recommends cognitive instructional strategies as an effective model in learning and apprenticeship as it stimulates the thought process of trainees and cognitive skills such as problem solving, social charisma, human relations, improvisation, enquiry, self-expression and self-esteem are developed through this model.
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
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.
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.
CULTURAL HYBRIDITY IN IWOLORI RITUAL DANCE OF EKINRIN-ADDE QUEENS
(Zain Publications, 2025-03) Adenuga Tayo Joan
This study examines the under-researched area of women-centered ritual performances within Indigenous African communities, with a specific focus on the cultural hybridity evident in Iwolori ritual dance of Ekinrin-Adde queens. While broader African ritual practices have received scholarly attention, women-specific rituals remain significantly under-explored. This study therefore illuminates the processes of cultural blending and modification that have resulted in new expressive forms in Iwolori, thereby ascertaining the elements of hybridity in the ritual dance. Drawing upon Homi Bhabha's (1994) theory of hybridity, this study employs a descriptive research design to analyse the form and composition of Iwolori. Data were collected through semi-structured oral interviews with selected Ekinrin-Adde queens, traditional chiefs, and community members. Non-participant observation of the Iwolori ritual dance was also employed as method of gathering data. Findings revealed that dynamic negotiation of tradition, modernity, and female agency are the principal elements of hybridity responsible for the emergent cultural expressions in Iwolori, which have profoundly shaped the cultural landscape of Ekinrin-Adde community. This study contributes to a deeper understanding of the complexities and significance of women's cultural expressions in Africa. It recommends the continued documentation of women-based practices, rituals, and performances across Africa to promote global recognition and foster interdisciplinary scholarly engagement.
Cultural Nationalism and Postcolonial Imperatives in Irene Salami-Agunloye's Emotan: A Benin Heroine and Emmy Idegu's Ata Igala the Great
("St. Cyril and St. Methodious" University of Veliko, Tarnovo, Burgaria., 2021) Michael Olanrewaju Agboola
This article examines the efforts of postcolonial creative writers, particularly dramatists, who attempt to rethink the seeming erosion of African culture in the face of Western cultural expansion. The present research adopts the methods of descriptive and content analysis, as it dwells on books, journal articles, and internet materials to examine its subject. Of immediate interest are two Nigerian plays, Ata Igala the Great by Emmy Idegu and Emotan: A Benin Heroine by Irene Salami-Agunloye, which are read as paradigmatic texts for interpreting problematic postcolonial relationships. The article contributes to discussions related to colonialism and the hidden agenda of neo-colonialism, which are often interpreted in terms of Western economic interests underlying cultural expansion. The article demonstrates how African postcolonial writers have striven to reverse this trend by promoting Africa’s cultural aesthetics as they represent indigenous ways of life and their problematic interaction with Western cultural patterns. The discussed works focus on cultural canons related to African life, such as consultation with oracles, ancestor worship, and festivals; and they demonstrate the aesthetic specifics of African dance, music, songs, and their semiotic significance. The article concludes that even though the two plays “speak back” to power, their strength lies in the articulation of certain aesthetic patterns that contribute to African self-location. Thus, the plays not only attempt to assert African culture, but they also strive to rethink the meanings of Western cultural imperialism.
Cultural Significance of Performance Space in Traditional Yoruba Film: A Study of Mustapha Jayeola’s Obara Meji
(GUU; Journal of Humanities: A Publication of College of Humanities Gregory University, Uturu, 2025) Adebisi, Basiru Adeyemi
Exploring the core essence of performance space beyond artistry, especially from the Yoruba cosmology has not received adequate attention in film making process; whereas, performance space is a thematic determinant of film production for pragmatic purposes. This paper therefore, examines the cultural significance of performance space in Mustapha Jayeola’s Obara Meji. Through content analysis and descriptive method with Sunday Enesi Ododo’s Techno-Cultural Performance Theory (2012), this paper explores the classification of performance space within the cultural affiliation of Yoruba cosmology, carefully classifying the performance spaces in the film as sacred and secular in its exterior and interior settings. Spaces such as Igbo-oro (evil forest), agbala (Balogun’s courtyard), witches’ coven and Torera’s redemptive room are sacredly significant to Yoruba cultural spirituality; while King’s courtyard, riverside and forest spaces are secular but complementary to the cultural ecosystem of Yoruba environment. The Yoruba film Obara Meji exemplifies the deep cultural significance of performance space in Yoruba tradition, serving as a medium for storytelling, spiritual expression, and social commentary. The paper concludes that spatial dynamics of Obara Meji not only provides authenticity to its themes but also demonstrates how Yoruba performance space traditions remains relevant in contemporary visual storytelling. It is recommended that more attempt should be made by story writers, set designers, directors and critical stakeholders in production process to be deliberate in aligning cultural significance of Yoruba culture to specific performance space for cultural education.
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.
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.
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
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.
EKAETE
(Department of the Performing Arts, University of Ilorin, 2018) Temitope Adedokun-Richards

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