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Relevant bibliographies by topics / Dance Nigeria

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Journal articles

Academic literature on the topic 'Dance Nigeria'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Dance Nigeria"

1

Abakporo, Princewill C. "Dance and content issues: implications for contemporary indigenous dance in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 72–82. http://dx.doi.org/10.4314/ejotmas.v7i1-2.5.

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Many traditional dances have witnessed downturn in patronage to occasion academic debates geared towards reviving interest in indigenous performances and live theatres in Nigeria. It is within this context that this article closely look at content issues in Nigerian indigenous dance from a diachronic perspective and observed that the seeming dwindling patronage for certain Nigerian indigenous dances is as a result of the inability of indigenous dance creators and performers to package indigenous dance products to reflect popular tastes in contemporary times. Also, it is observed that content issues in art are indicators that human society is constantly in a state of flux and that as humanity responds to these changing realities; art must do the same to remain relevant to the society within a particular period. Drawing on this, the study concludes that Nigerian indigenous dance space could be enlivened when its contents are at par with dominant societal realities and respond to prevailing societal conditions within the time of its creation while retaining its structures and form as a cultural document for the people. It recommended that the approach, packaging, and performance of indigenous dances from formalist and philosophical aesthetic consciousness will aid in the malleability of traditional dance contents to satisfy changing societal and audience needs. Keywords: Traditional dance, Indigenous dance art, Nigeria Content issues, Patronage

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2

Iyeh, Mariam A., and Godwin Onuche. "A syncretic analysis of the duality of dance as art and science." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 98–109. http://dx.doi.org/10.4314/ejotmas.v7i1-2.7.

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This paper examines the duality of dance as both art and science. It argues on the premise that only the manifestations of dance as an art form has been explored whilst its scientific manifestations have been arguably ignored. It avers that duality is seen in the processes involved in dance choreography. In doing this, it maintains that dance as an art often manifests in the intuition and creativity involved during the creation of dances while dance as science manifests itself during the execution of movements. It argues that the traditional practitioners of dance in Nigeria and Africa are generally aware of the scientific nature of dance, which they adhere to unconsciously while creating dances without knowing it has a scientific posturing. The article insists that intelligence displayed in dance choreographies attests to the above claims. The study uses syncretism and Humphrey-Weidman theory of dance composition as theoretical moorings to contend that the Agbaka dance of the Igala people of Kogi State in North Central Nigeria expresses and displays the scientific nature of dance. Consequently, the dance form is examined from the physiological, psychological and biomechanical perspectives, informing the conclusion that dance practitioners in Nigeria should engage in a conscious exploration and admittance of dance as both art and science. Keywords: Syncretism, Art, Science, Duality of dance, Biomechanics, Agbaka dance

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3

Tume, Tosin Kooshima. "Choreographic metaphors of political terrorism and counter-terrorism in Arodan Dance Theatre." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 335–47. http://dx.doi.org/10.4314/ejotmas.v7i1-2.22.

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In Nigeria, the deliberate intimidation and exploitation of the common man by the ruling class, for political aims, has reached endemic proportions. These strategic intimidations come in diverse forms, and clearly qualify as acts of terrorism. In the Yoruba worldview, ‘Arodan’ is a cautionary concept which is employed by the elders to curb the excesses of troublesome children. However, it has evolved to be a two-edged sword which could either be used for both corrective andcurative aims, or manipulated for punitive and evil purposes. Arodan, a dance workshop performance by the students of the Department of Theatre and Media Arts, FUOYE, is built on the Yoruba conceptual frame of ‘Arodan’. The dance theatre is a metaphor which explores the ‘Arodan’ concept to identify Nigerian politicians as the ‘elders’, and the common man as the ‘troublesome child.’ Deploying the social identity theory (SIT), this article, examines the use of choreographic metaphors to enact the forms, features, and effects of political terrorism within the Nigerian space in the Arodan performance. It finds that thedesperate yearnings which stem from selfish political interests are cloaked under terrorist acts in Nigeria. In conclusion, the paper affirms that the resolutions simulated in Arodan – national reorientation, political awareness, vigilance, and collective will should be deployed as proactive measures to counter political terrorism in the country at developmental crossroads. Keywords: Political terrorism, SIT, Arodan dance theatre, Choreographic images, Nigeria

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4

Ugolo, C. E. "The State of Dance Research in Nigeria." Dance Research Journal 26, no. 2 (1994): 71. http://dx.doi.org/10.2307/1477938.

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5

Nwaru, Christian Ikechukwu. "Synergism of Dance Theory and Practice: The Requisite for Dance Development in Nigeria." Art and Design Review 02, no. 04 (2014): 85–90. http://dx.doi.org/10.4236/adr.2014.24011.

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6

Akas, Nicholas Chielotam, and Martha Chidimma Egenti. "Semiotics in indigenous dance performances: Ekeleke dance of Ekwe people of Nigeria as paradigm." OGIRISI: a New Journal of African Studies 12, no. 1 (2016): 214. http://dx.doi.org/10.4314/og.v12is1.14.

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7

Gore, Georgiana. "Dance in Nigeria: The Case for a National Company." Dance Research: The Journal of the Society for Dance Research 4, no. 2 (1986): 54. http://dx.doi.org/10.2307/1290726.

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8

KLEIN, DEBRA L. "Allow Peace to Reign: Musical Genres of Fújì and Islamic Allegorise Nigerian Unity in the Era of Boko Haram." Yearbook for Traditional Music 52 (October 12, 2020): 1–22. http://dx.doi.org/10.1017/ytm.2020.5.

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AbstractA proliferation of popular music genres flourished in post-independence Nigeria: highlife, jùjú, Afrobeat, and fújì. Originating within Yorùbá Muslim communities, the genres of fújì and Islamic are Islamised dance music genres characterised by their Arabic-influenced vocal style, Yorùbá praise poetry, driving percussion, and aesthetics of incorporation, flexibility, and cultural fusion. Based on analysis of interviews and performances in Ìlọrin in the 2010s, this article argues that the genres of fújì and Islamic allegorise Nigerian unity—an ideology of tolerance, peaceful coexistence, and equity—while exposing the gap between the aspiration for unity and everyday inequities shaped by gender and morality.

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9

Igbokwe, Ubochi Stella. "The Significance of Ìrìráábú Musical Satire in the Ékpè Dance Festival Amongst the Obohia-Ndoki People of Nigeria." Yearbook for Traditional Music 50 (2018): 119–40. http://dx.doi.org/10.5921/yeartradmusi.50.2018.0119.

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Ékpè can be understood as a spirit-manifest or masquerade as well as a festival, and Ìrìráábú is a part of the music performed during the Ékpè dance festival. The Ékpè dance festival is part of my cultural heritage—I am part of this culture and have been an active participant-observer in this festival since my childhood.

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10

Aluede, Charles O., and Emmanuel A. Eregare. "Dance Without Music: An Academic Fable and Practical Fallacy in Nigeria." Anthropologist 8, no. 2 (2006): 93–97. http://dx.doi.org/10.1080/09720073.2006.11890941.

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