Department of Perfoming Arts

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    Nigerian musical instruments and performance aesthetics in Bisade Ologunde’s (Lágbájá) ensemble
    (Agunbay Publishers, 2022-12-15) Oluwatosin John Ibitoye
    This study examines the performance asthetics in Bisade Ologunde's music ensemble with his use of African musical instruments. Bisade Ologunde, the pioneer of the Africano style of music which is a resurgence of sophisticated African music, is popularly known as Lagbaja, a symbol of the faceless and the voiceless in African society. This study is hinged on the descriptive method of research using his selected works, namely; "Lulu fun won","Omojayejaye" and "Sweet melody" to draw our analyses and Findings. This study discovers that African music performaces are not just about drumming as against opinion that African music is all drumming, though, Africans are well known for drumming. Lagbaja uses his music as a creative tool to advocate for the faceless masses, to correct and chastise some failings and frailties in the society. Looking at the example of Lagbaja, this paper concludes that creative exploration in the arts is infinite and should not be limited, restricted or stereotyped.
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    Adeoye’s neo-alienation directorial theory relived in Nigerian Legion Corps of Commissionaire cadet training
    (Department of Theatre and Film Studies, University of Cape Coast, Ghana, 2022-08-24) Ikibe, Solomon Oziakpono and Ibitoye, Oluwatosin John
    The Neo-alienation directorial theory propounded by AbdulRasheed Abiodun Adeoye in directing plays, which keeps cast and crew on their toes from the beginning to the end of a play was recreated sometime ago at the Nigerian Legion Corps of Commissionaires organised training for the recruitment of new cadets in llorin, Kwara State. Using the descriptive method and participant observation tool, the study draws out the similarities in the style used in the training of the cadets, especially during the Passing-Out-Parade (POP) and the application of Adeoye's Neo-alienation in directing the process of the recruitment process. This study concludes that indeed, Adeoye's Neo-Alienation theory is covertly applied by some other professionals without formal training in the art to train their new in-takes. The study therefore, recommends application of different artistic approaches to advance and solve life challenging problems.
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    Socio-political realities in the stage performance of Sunday Ododo’s To Return from the Void
    (National Theatre, Iganmu, Lagos, 2023-10-22) Oluwatosin John Ibitoye
    eatre in its protean nature mirrors the society through its multifarious manifestations and performances. Over time, artists have used the performative arts to document, replicate, and criticise issues in the society. Musical performances are one of such mediums in the hands of creative artists used in showing the society to the society while equally entertaining them. is study reflects on socio-political realities in the Nigerian society as presented in Sunnie Ododo's musical drama, To Return from the Void. The study adopts the qualitative deductive method and participant observation as instruments for collecting data. References and inferences were drawn from the libretto and performance directed by this author in 2014 at the Department of the Performing Arts, University of Ilorin, Nigeria. The performance in its musicality reveals socio-political cum economic issues such as power as tool for mass oppression, exploitation, greed, and corruption in the multi-ethnic nation, Nigeria; fictionally represented as the 'Denterean' country in the libretto. The aforementioned factors have been the bane for the development of the country over time. They are also the bases for the prevalence of poverty, ethno-religious crises and other issues like banditry as evident in the country today. Ododo proposes systemic overhaul of the nation through conscious adoption of 'common sense' to bring the country back from social, political and economic void. This study concludes that opera performances and other theatrical performances are effective tools for communicating and evoking the need for socio-political change in any society
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    Societal realities in contemporary Nigerian popular music
    (Department of the Performing Arts, University of Ilorin, Ilorin, Nigeria., 2018) 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.
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    The performative art of Iyabo Awero’s indigenous music “Baluu”
    (Department of Theatre and Performing Arts, Bayero University, Kano, Nigeria., 2020-06-20) Oluwatosin John Ibitoye
    Baluu Music is an indigenous secular music in Ilorin, Kwara state. This indigenous music genre is primarily for entertainment in Ilorin and its environs. This ethnomusicological research looks into the performative art of Baluu Music in Ilorin, Using Iyabo Awero’s live band which is domiciled in Ilorin, the Kwara State Capital as a case study. This study adopts the descriptive method of research. The participant-observation and interview tools were used for data gathering and the analyses is done from ethnomusicological perspective. This study also looks into other issues such as etymology of the word ‘Baluu’, the origin and historical development of this genre, performance norms and practices in Baluu music, musical analyses, indigenous forms and styles inherent in Baluu Music, Baluu Dance, Band ensemble, using Iyabo Awero’s live band as paradigm. This study discovers that the Baluu music genre is basically a female oral musical art while the male oral musical art usually regarded as a ‘brother’ to Baluu, is the Dadakuada music. Our study reveals further that, westernisation, modernisation and the influence of technology did not threaten the existence of the indigenous Baluu music. This is because, Baluu music encumbered acculturation and foreign influence in exception to the influence of Islam on the music. This study concludes that indigenous music as an art should not lose its penchant in the artistic and performance parlance. To this end, indigenous music forms would receive more global relevance.