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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 i

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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 gen

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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

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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,

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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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