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- ItemComparative Perceptions of Female Characters in Ahmed Yerima's Akaubata and Pegunrun(Feminist Perspectives in the Dramaturgy of Ahmed Yerima, Department of Performing and Film Arts University of Ilorin, 2025) Adebisi, Basiru Adeyemi
- ItemErosions of Morality and Nigerian Development in Iyorwuese Hagher’s Aishatu(Alarinjo: Journal of Theatre and Media Arts, Department of Theatre and Media Arts, deral University of Oye-Ekiti, 2025) Lateef Rasheed & Basiru A. AdebisiAny society without committed effort of its habitants in upholding decent codes of social practices, may experience backwardness and reign in pandemonium of moral erosions. Immorality is anti-development as it breeds socio-insecurity that remain difficult to solve especially when the idea bad overrides that of good in a society. Therefore, this paper examines the erosions of morality and Nigerian development in Iyorwuese Hagher’s play-text, Aishatu. Through descriptive and content analysis methods of research, this paper discovered that immorality exists and operate from the top to bottom ladder of the society. As evident in Aishatu, the characters like Alhaji Wadi, Inuwa and Captain Dem, breed ‘good boys’ as moral deviants, and sexually objectify young ladies like Aishatu and Rekiya in exchange of resources meant for the development of educational system that could better the lives of members of the society. It is concluded that corruption, oppression, bribery, embezzlement, financial indiscipline, drug abuse as reflected in play-text, constitute clogs in the wheel of Nigerian progress and development. The paper, therefore recommends holistic approach in character building and reformation through self-discipline as exhibited by the characters of Tola, as well as Rekiya at later stage of her life in the play-text.
- ItemSUPERNATURALITY OF WOMEN IN NIGERIAN FILMS: A STUDY OF OLATUNJI BALOGUN'S YEMOJA(Department of Theatre and Media Arts, Federal University Oye-Ekiti,Ekiti, Nigeria., 2025-04) Adenuga Tayo JoanThis study examines the portrayal of women as possessing supernatural powers in Nigerian cinema, by specifically analysing the character of Yemoja as depicted in Olatunji Balogun's film titled, Yemoja. Even though existing studies have explored the supernaturality of women in African ritual performances, festivals, and theatrical traditions, the manifestations of women’s supernaturality in contemporary Nigerian films have remained under-explored. The aim of this study therefore is to examine the supernaturality of women in Yemoja with a view to identifying the attributes and characteristics of women’s supernaturality displayed in the film. Through content analysis and connotative observation methods of gathering data, Yemoja's supernatural attributes and strong connection with human characters are ultimately established. Oyeronke Olajubu’s theory of African feminist mythology is adopted as the framework for this study. Findings suggest that, while potentially reinforcing certain cultural beliefs, the film also offers a nuanced portrayal of female power, showcasing women as both human and divine. This study recommends a continuous exploration and documentation of feminist supernaturality in Nigerian films. The study contributes to a growing body of scholarship that examines the diverse and complex representations of women and the supernatural in African cinema, thereby expanding our understanding of female agency and its significance within these narratives.
- ItemFrom Celebration to Objectification: Analysing Korra Obidi’s 2025 International Women’s Day Instagram Dance Video(College of Humanities Gregory University, Uturu, Abia State, 2025-04) Adenuga Tayo JoanThis study examines Korra Obidi’s 2025 International Women’s Day (IWD) dance video, posted on her Instagram page on the 8th of March 2025. Although previous studies have discussed female body representations and its implications in diverse creative works, the elements of objectification in short dance videos, intended to commemorate special celebrations, have been scantily explored. This study therefore moves beyond surface-level interpretations of celebration to explore the potential for objectification within the visual and performative content of Korra Obidi’s IWD dance video. Employing an interpretive research design and utilising content analysis as the primary method of research, the study scrutinises the video's composition, framing, and performative elements to discern the construction of female body objectification and its relation to the viewer's gaze. The theoretical frameworks underpinning this exploration are Laura Mulvey’s (1975) Male Gaze Theory and Barbara Fredrickson and Tomi-Ann Roberts’ (1997) Objectification Theory. Findings suggest that despite the video’s ostensible celebration of female bodies, it exhibits strong elements of objectification. The pronounced emphasis on specific body parts, coupled with the performative display of sexualised dance movements, constructs a visual narrative that prioritises the female body as an object of consumption. This study reveals how the video, while superficially intended as a celebration of women, inadvertently reinforces objectifying gazes, and potentially perpetuates objectification of female bodies within the digital sphere through certain visual and artistic elements. The study contributes to the ongoing scholarly discourse on the complex interplay between female agency, representation, and the pervasive gaze in contemporary digital culture, particularly within the context of celebratory performances intended to signify women empowerment.
- ItemMultifaceted Cultural Amplitude of Yorùbá Films: A Case Study of Aníkúlápó (2022), By Kúnlé Afoláyan(Department of Theatre and Film Studies, University of Port Harcourt, Choba, Rivers State, 2024-06) Michael Olanrewaju AgboolaThis paper considers the capacity of indigenous films, this time Yorùbá Films, to exude cultural significance that popularises the centrality of the Nigerian tribe, not only within the West African sub-region, but globally. Many Yorùbá films that date back to the Aye series of Hubert Ogunde days, the Ajani Ogun of Ade Afolayan, Ti Oluwa ni Ile of Tunde Kilani, Agogo Ewo, and Saworo Ide of Kunle Afolayan, and many others are cultural hits. Therefore, this paper problematizes indigenous films' relevance in amplifying the cultural aesthetics of the tribes. With the analysis of Kunle Afolayan’s Aníkúlápó (2022) and functionalism as a theoretical framework, the study discovered that films produced in traditional languages can spread the aesthetics of indigenous culture, attract the patronage of other cultures, with its multifaceted socio-economic appurtenances. In particular, Aníkúlápó exudes rich aesthetics peculiar to the Yorùbá Culture, such as the transcendental exposition of the Ifa Oracle, with its rich poetry and pedagogical artistry, the beautifully woven Aso Oke (handwoven traditional clothes), the assorted and delicately designed pottery that also exemplifies occupational engagement of a people, and many others. Of greater significance is the medium of film which is potent enough as a means of communication to disseminate and spread cultures far and near. Consequently, the paper concludes, that the power of indigenous language films to advance culture due to their fluidity and visual potency is huge and should be continually explored, more so that it possesses the propensity to preserve indigenous languages.